Jalees Ahmad, Al Hakam
The name Allama Iqbal, formally known as Sir Muhammad Iqbal, is undoubtedly familiar in the realm of poetry. He was renowned as a distinguished Muslim writer and philosopher, and celebrated as Pakistan’s national poet, despite his demise before the inception of Pakistan.
Born in Sialkot during the British Raj era, Muhammad Iqbal was granted the title Sha’ir-e-Mashriq, known as the Poet of the East. His writings are known worldwide, and he is considered one of the best Urdu and Persian poets of the 20th century. Even today, his poetry continues to be remembered, quoted, posted on social media and shared widely.
His poems covered many topics, from societal issues to the teaching of tasawwuf [Islamic mysticism], and Indian Muslims much liked his motivational poetry. Hardly in any poetry society will one find Allama Iqbal’s name not mentioned.
It is often said that his genius of poesy can ignite dormant feelings and emotions within the reader, often awakening sentiments the reader may not have been aware of or had kept deeply concealed. However, we shall let the poets and experts of this era decide if this statement is valid.
In one of his famous poems, “kabhi aye haqeeqat-e-muntazir nazar aa, libaas-e-majaaz mein”, Allama Iqbal expressed his desire for God to manifest Himself:
کبھی اے حقیقتِ منتظر نظر آ لباس مجاز میں
کہ ہزاروں سجدے تڑپ رہے ہیں مری جبین نیاز میں
In this verse, Iqbal pleads with God to reveal Himself in a physical, human form; he states that many of his prayers – which in the verse are symbolised by prostrations – are eagerly awaiting fulfilment in their supplication. Iqbal addresses God as haqeeqat-e-muntazir. When seen separately, “haqeeqat” relates to truth or reality; and “muntazir” relates to waiting for or anticipating.
A fun little anecdote about this poem, which is commonly known in poetry society, is that once when Allama Iqbal visited Lucknow, he recited this well-known ghazal. After listening to the entire poem, it was jokingly said: “Now please recite a ghazal in Urdu too!” Iqbal found this comment so funny that he often shared the story with his friends, enjoying the humour.
In response to Iqbal’s poem, Hazrat Syeda Nawab Mubaraka Begumra, the daughter of Hazrat Mirza Ghulam Ahmadas, the Promised Messiah, penned a poem titled “Nishan-e-haqeeqat ki arzu”, employing the technique of a persona poem from the perspective of God, referred to as “ba zubaan-e-khuda”.
Hazrat Syeda Nawab Mubaraka Begumra effectively and eloquently responds to Iqbal’s nazm. She starts by writing:
مجھے دیکھ طالب منتظر مجھے دیکھ شکل مجاز میں
جو خلوص دل کی رمق بھی ہے ترے ادعاۓ نیاز میں
This means that God – in this persona poem from the perspective of God – is saying to the seeker, referring to them as “talib-e-muntazir”, that if they had even an iota of sincerity, they could perceive His manifestation in a physical form. It suggests, as an invitation to the seeker, to perceive God’s presence through a metaphorical or symbolic way – through the things Allah has created.
Reading this, one is reminded of the verse that speaks about how Allah, being the Creator of all things, invites people to reflect upon the creation of the universe. (Suah Aal-e-‘Imran, Ch.3: V.192)
Hazrat Syeda Nawab Mubaraka Begumra goes on to write:
ترے دل میں میرا ظہور ہے ترا سر ہی خود سر طور ہے
تری آنکھ میں مرا نور ہے مجھے کون کہتا ہے دور ہے
مجھے دیکھتا جو نہیں ہے تو یہ تری نظر کا قصور ہے
Here, it is as if the poet is saying that God’s manifestation is within the heart of the person, and the person’s “sar” (head) is metaphorically described as Mount Tur itself; Mount Tur being the place where Allah revealed Himself to Moses.
The second line highlights that divine light is present in the person’s eyes; and then asks, “Who says I am far?” As if to say that from where did this belief emerge that God is far away? The third line plays on the idea that if one does not see or perceive His manifestation, then instead of saying that God is far, it is well nigh possible that there is a fault in one’s spiritual vision.
Then, Hazrat Syeda Nawab Mubaraka Begumra states:
مجھے دیکھ رفعت کوہ میں مجھے دیکھ پستی کاہ میں
مجھے دیکھ عجز فقیر میں مجھے دیکھ شوکت شاہ میں
نہ دکھائی دوں تو یہ فکر کر کہیں فرق ہو نہ نگاہ میں
These lines further address the seeker to see God’s manifestation at the peak of the mountain; and in the lowliness of the valley. This implies that Allah is not limited to specific places or states but can be found in both high and low circumstances. As man often goes through highs and lows or ups and downs, at all times, no matter what the circumstances are, God’s manifestation can be observed.
As we continue to read the poem, we find that the seeker is told to “see Me in the helplessness of the poor; see Me in the power of the king.” This further reinforces the notion – or fact I shall say – that the Divine is not confined to any particular social status or condition but is omnipresent across all situations; and goes on to say that if, even then, He is not apparent to the seeker, then one shall consider that there might be a fault in their spiritual vision and lens.
Hazrat Syeda Nawab Mubaraka Begumra further writes:
مجھے ڈھونڈ دل کی تڑپ میں تو مجھے دیکھ روۓ نگار میں
کبھی بلبلوں کی صدا میں سن کبھی دیکھ گل کے نکھار میں
میری ایک شان خزاں میں ہے میری ایک شان بہار میں
As the seeker, through the nazm, is told that God’s manifestation is present at all times and places, they are further told to look within and to search for Him in the longing of the heart, and at times in the voice of nightingales, or the beauty of flowers. His manifestations can be perceived in autumn and spring, meaning that God’s manifestation can be seen, observed, and felt in all climates and seasons.
Thus, the Divine is not confined to a single season; rather His manifestation is also reflected in the changing cycles of nature.
میرا نور شکل ہلال میں مرا حسن بدر کمال میں
کبھی دیکھ طرز جمال میں کبھی دیکھ شان جلال میں
رگ جاں سے ہوں میں قریب تر ترا دل ہے کس کے خیال میں
The seeker has been told to observe how the Divine’s light is represented in the crescent moon and its beauty is found in the perfection of the full moon, which shows and reminds the seeker to look at the creation of the Universe and not just that but also how the Universe operates.
The second line further expands on the nature of the divine. It encourages and urges the seeker and observer to see the divine in various manifestations, emphasising how the divine can be perceived and experienced in diverse ways.
Then, the third line introduces a metaphorical closeness, stating that the divine is closer than the jugular vein. This alludes to the verse of the Holy Quran: “And assuredly, We have created man and We know what his [physical] self whispers [to him], and We are nearer to him than [even his] jugular vein.” (Surah Qaf, Ch.50: V.17)
So, after telling the seeker to find God, it signifies an intimate and immediate connection with the divine, transcending physical distances. The question at the end prompts the reader to consider in whose thoughts their heart resides, implying that the divine is intimately linked to one’s consciousness and awareness. It encourages the reader to look within, to look at who resides in their heart.
