BY: ALLAMA IQBAL FAMOUS POET OF SUBCONTINENT AND NATIONAL POET OF PAKISTAN
Shikwa is a complaint from Man to God. It gives us a key glimpse into the development of Allama Iqbal's poetic thought, particularly in regards to his grievances with the state of the Muslim world at the time. One which had been deteriorating with the colonization and the collapse of the Ottoman and Mughal empires. It was first recited in 1911 at a small gathering at the annual meeting of the Anjuman-e Himayat-e Islam in Lahore. It moved many listeners to tears, but raised equal controversy as it allegedly showed disrespect towards God. As Sarah Fazli wrote, in all honesty Shikwa did emanate a strong sense of entitlement - that material progress and glory, the inheritance of Muslims, had been unlawfully stolen by the West. Of course, these grievances were answered to in Jawab-e-Shikwa.
One issue for the layman reading Allama Iqbal's level of poetry is how rich it is with references to Islamic history - one needs to be well versed in it to fully understand the concepts being presented. It is also difficult to fully comprehend the spiritual overtones being expressed without knowledge of what, at least to us, are difficult Urdu and Persian phrases and vocabulary.
Thus, this translation has been created essentially as a layman's guide, a resource aimed at those with limited skills in Urdu and a reasonable understanding of English. We have tried to keep the English relatively simple, so with many words accessibility and explanation has been prioritised over poetic accuracy or succinctness. We'll provide a detailed line-by-line translation and analysis of "Shikwa" by Allama Iqbal. We'll explore the themes of the poem, including the relationship between God and man and the role of religion in society. By the end of this guide, you'll have a deeper understanding of this famous Urdu poem and its significance in literature.
Line-by-line translation and analysis of "Shikwa"
(Stanza 1)
کیوں زیاں کار بنوں،سُود فراموش رہوں
فکرِ فردا نہ کروں،محوِ غمِ دوش رھوں
Why should I choose the loser’s role, restrain myself from seeking that which I may gain?
Nor think of what tomorrow holds, being only absorbed in the sorrows of yesterday?
Farda (tomorrow) is shared with Persian
نالے بُلبُل کے سُنوں اور ہمہ تن گوش رہوں
ہم نوا میں بھی کوئی گُل ہوں کہ خاموش رہوں
Hearing the passionate cries of the nightingale, and stay completely attentive?
Fellow Man! Am I some flower that I forever remain silent?
Hama-tan is a way of saying completely, with my whole body
جُرأت آموز میری تابِ سخن ہے مجھ کو
شکوہ اللہ سے،خاکمِ بدہن ہے مجھ کو
I (now) have the courage to wield my gift of speech (my poetic ability),
For it is God Himself, may I be damned, whom I have a complaint for!
Sand/dust in my mouth is a Persian phrase to say 'may I be damned if I am being disrespectful. Its used to express an apology for saying something ominous or profane. Its also used as a form of respect when talking to elders or someone of higher status
Taab is actually a versatile word, and can mean: warmth, burning, anger, rage, light, radiance, strength, power, ability, capability. Taab-e-Sukhan can be alternatively read as poetic ability
In stanza 1, the poet proclaims he will not hold back on his words in this complaint as it will be senseless to restrain himself any longer
(Stanza 2)
ہے بجا شیوۂ تسلیم میں مشہور ہیں ہم
قصّۂ درد سُناتے ہیں کہ مجبور ہیں ہم
It is true to say, we are famous in our habit of submission (to Allah),
(But) We are helpless now in narrating our tales of pain,
ساز خاموش میں ،فریاد سے معمور ہیں ہم
نالہ آتا ہے اگر لب پہ تو معذور ہیں ہم
We are silent lutes, filled with anguished cries (wanting to be heard),
If our passionate cries come to our lips then excuse us, for we are helpless (can't stop ourselves),
Saaz can mean either lutes specifically or musical instruments
Maazoor actually means disabled in Urdu
اے خدا! شکوۂ اربابِ وفا بھی سُن لے
خوگرِ حمد سے تھوڑا سا گِله بھی سُن لے
Oh Allah! Listen too to the complaints of your followers,
From those accustomed to only your praise, please listen to a small complaint!
Hamd = Praise of allah, like in Alhamdullilah
In stanza 2, the poet, in humility, apologises for what he is about to say for he is aware of the audacity of such a complaint to the Almighty.
(Stanza 3)
تھی توموجود ازل سے ہی تری ذاتِ قدیم
پُھول تھا زیب چمن پر نہ پریشان تھی شمیم
Of course, your Timeless Self was present from the beginning of time,
This flower become the decoration of the garden, but its scent had not scattered,
شرطِ اِنصاف ہے اَے صاحبِ الطافِ عمیم
بوئے گُل پھیلتی کِس طرح جو نہ ہوتی نسیم
In justice, O Master of universal kindness,
If there had been no breeze then how did the fragrance of that flower spread?
The poet asks God to admit in justice from whom do all his favours flow? Who is to credit for the spread of the Almighty's message
ہم کو جمعیّتِ خاطر یہ پریشانی تھی
ورنہ اُمّت تیرے محبوبؐ کی دیوانی تھی؟
Our concern was for the sake of society,
Otherwise, was this community of Your beloved (Prophet Muhammad S.A.W) insane?
In stanza 3, the poet starts his complaint by arguing that had it not been for the Muslims, the message of Tauheed (monotheism) would not have spread to the world. So the poet asks God to admit, in justice, from whom do all his favours flow?
(Stanza 4)
ہم سے پہلے تھا عجب تیرے جہان کا منظر
کہیں مسجود تھے پتّھر،کہیں معبود شجر
Before we came, how strange the sight of your world was to us,
In some places, stones were worshipped, while in other places, trees were made gods,
Jahan can mean either world or universe, and is thus used interchangeably
Hum Se Pehle here means 'before our time' rather than 'in our presence'
خُوگرِ پیکرِ محسوس تھی اِنساں کی نظر
مانتا پھر کوئی اَن دیکھے خدا کو کیونکر
Man's sight was accustomed to only that which they could feel,
Then why would anyone believe in the God that can't be seen?
Paikar-e-Mahsoos = Figures of Feeling = Tangible things, which we can see and touch
تجھ کو معلوم ہے لیتا تھا کوئی نام ترا؟
قوّتِ بازوئے مسلم نے کیا کام ترا
You know well (as I do), was anyone even uttering your name?
It was the might of Muslim arms which fulfilled your creed!
In this line the poet has ramped the level of his accusation, phrasing it aggressively with this rhetorical question of whether God knew or not. There is also an underlying implication of God being unable to do his 'Kaam' (spreading his name) without the help of Muslim strength
(Stanza 5)
بس رہے تھے یہیں سلجوق بھی ،تُورانی بھی
اہلِ چیں چین میں،ایران میں ساسانی بھی
Yet it is here that the dwelled the Seljuks, and the Turanids,
Also the inhabitants of China, and the Sasanians in Iran,
Saljuqs were a powerful turkish dynasty, whose empire stretched from Iran to Anatolia during the heights of their power
Sasaani is the Urdu word for Zoroastrians, who used to rule Iran before the Islamic conquest of Iran. Zoroastrianism is a Persian religion founded in the sixth century b.c. by the prophet Zoroaster. They regard fire as something holy
'Chin' in traditional Urdu texts refers to Central Asia
اِسی معمورے میں آباد تھے یونانی بھی
اِسی دُنیا میں یہودی بھی تھے،نصرانی بھی
In this same lively land, the Greeks of Yunan also inhabited,
In this same world there were Jews and also Christians,
Yoonani are those who lived in the Ionian Penisula (mostly Greeks)
Note the imagery being created of a lively and populated world, which is then used to emphasize how the Muslims were one of a kind
پر ترے نام پہ تلوار اُٹھائی کس نے
بات جو بگڑی ہوئی تھی،وہ بنائی کس نے
But who was it that raised their swords to fight in your name?
That which had become corrupted, who was it that set it right?
(Stanza 6)
تھے ہمیں ایک ترے معرکہ آراؤں میں
خشکیوں میں کبھی لڑتے ،کبھی دریاؤں میں
It was us and us alone who fought in expeditions to spread your cause,
On dry lands we fought at times, and at times we fought in the seas,
دِیں اذانیں کبھی یورپ کے کلیساؤں میں
کبھی افریقہ کے تپتے ہوئے صحراؤں میں
At times we gave the call of prayer in the churches of Europe,
And at times in Africa's scorching deserts,
Allama Iqbal was keenly aware of the history of Islamic Rule in Andalusia
شان آنکھوں میں نہ جچتی تھی جہاں داروں کی
کلمہ پڑھتے تھے ہم چھاؤں میں تلواروں کی
The world's glories and grandeurs were not attractive to our eyes,
For we recited the Kalima even under the shade of drawn swords!
Kalima = The declaration of faith, the shahada: "There is no God but Allah, and Muhammad is the messenger of Allah."
Here, it isn't clear which shade did the Muslims recite the Kalima under. It can mean under the shade of Muslim swords, therefore making it a line about conquering solely in the name of faith, while it can also mean under enemy swords, therefore making it a line about how the Muslims refused to give up their faiths even under the threat of death
The poet affirms both the extent and the intentions of the Muslim conquest
(Stanza 7)
ہم جو جیتے تھے تو جنگوں کی میصبت کے لئے
اور مرتے تھے ترے نام کی عظمت کے لئے
What we lived for, was only to endure the hardship of your battles,
And what we died for, was the glory of your name,
تھی نہ کچھ تیغ زنی اپنی حکومت کے لئے
سر بکف پھرتے تھے کیا،کیا دہر میں دولت کے لئے؟
None of our skill in combat was for any lust of power,
We wandered even willing to die, was that for any worldly riches?
Sar-Ba-Kaf metaphorically means willing to die, as in carrying the head in hand as an offering
قوم اپنی جو زرومالِ جہاں پہ مرتی
بُت فروشی کے عِوض بُت شکنی کیوں کرتی؟
Our nation, had they set their hearts on the gold and riches of this world,
Why would they break the idols instead of selling them!
Like in English, to die for here can be literal or metaphorical
In stanza 7, the poet maintains the intent of these Muslims was righteous, and their expansion was not for worldly wealth or power, but for a greater purpose
(Stanza
ٹل نہ سکتے تھے اگر جنگ میں اڑ جاتے تھے
پاؤں شیر کے بھی میداں سے اُکھڑ جاتے تھے
We couldn't be stopped, once we stood firm in battles,
Even the lions would flee the battlefield,
This line referring to lions emphasizes both the bravery of the Muslims and the odds they faced
تجھ سے سر کش ہوا کوئی تو بگڑ جاتے تھے
تیغ کیا چیز ہے ہم توپ سے لڑ جاتے تھے
Those who rebelled against you became ruined (from our fury)
What were swords to us? We would charge against cannons!
نقش توحید کاہر دِل پہ بٹھایا ہم نے
زیرِ خنجر بھی یہ پیغام سُنایا ہم نے
The imprint of Tauheed, we seated in every heart,
Even under the blades of daggers we preached this message!
The connotation of daggers here seems to be more defensive
The 'Bhi' here can mean either "even" or "also"
(Stanza 9)
تُو ہی کہہ دے کہ اُکھاڑا درِ خیبر کس نے
شہر قیصر کا جوتھا،اُسکو کیا سَر کس نے
Tell me You, who pulled out the gates of Khayber?
That which was the city of Ceaser, who conquered it?
This is a reference to the battle of Khayber in 628 AD between Muslims and Jews. When fighting in Al-Qamus Fort, it is said that during this battle Hazrat Ali uprooted a door so heavy it took 8 men to replace it on its hinges. Some sources say this was to substitute for a shield which had been struck away, while there are some Shi'ite sources which say it was to create a bridge to breach the fort. It is said Hazrat Ali was bestowed the surname of "the Lion of God" (Asadullah) after this battle
The city of Ceasar refer to Constantinople, capital of the Roman (Byzantine) Empire. It was conquered by the Ottomans in 1453
توڑے مخلوق خداوندوں کے پیکر کس نے
کاٹ کے رکھ دیے کفّار کے لشکر کس نے
Who destroyed the idols of created gods?
Who laid the armies of unbelievers to ruin?
کس نے ٹھنڈا کیا آتشکدۂ ایراں کو؟
کس نے پھر زندہ کیا تذکرۂ یزداں کو؟
Who cooled the fire temples of Iran?
And who was it then that gave life to the remembrance of God?
After Iran was conquered by the Islamic caliphate in the 7th century, Zoraostrians, who worship fire, slowly lost their position as the primary religion in Iran. Once conquered politically, the Persians began to reassert themselves by maintaining Persian language and culture. Regardless, Islam was adopted by many, for political, socio-cultural or spiritual reasons, or simply by persuasion, and became the dominant religion. Allama Iqbal describes the decline of Zoroastrianism in Iran as the cooling of the fire temples
(Stanza 10)
کون سی قوم فقط تیری طلبگار ہوئی
اور تیرے لئے زحمت کشِ پیکار ہوئی
Which nation was it that merely desired You?
And for You became the embodiment of enduring hardship?
کِس کی شمشیر جہاں گیر،جہاں دار ہوئی
کس کی تکبیر سے دنیا تری بیدار ہوئی
Whose might conquest triumphed over the whole world?
Whose Takbeer was it from that the world awakened?
Note the rhythm of 'Shamsheer-e-Jahangir, Jahan-dar Huwi'
کس کی ہیبت سے صنم سہمے ہوئے رہتے تھے
مُنہ کے بَل گر کے “ھُوَ اللہُ اَحَد”کہتے تھے
Because of whose fear did the false-gods shrink in terror,
Passionately crying “There is no god but God,” as they crumbled down in submission?
The poet metaphorically highlights the glory and strength of the Muslims by saying even the idols (which of course can't move or think) would cower and fall in fear. By saying the idols fell and proclaimed 'Allah is One', the poet suggests their religious rule was overthrown and attests to the extent of Muslim efforts
(Stanza 11)
آگیا عین لڑائی میں اگر وقتِ نماز
قبلہ رُو ہو کے زمیں بوس ہوئی قومِ حجاز
If the time for prayer came in the exact midst of a fight,
Facing the Ka'aba, the nation of Hijaz would kiss the earth.
Hijaz refers the western region of the Arabia Peninsula, where the holy cities of Makkah and Madina are. This is where Islam started and spread from, and is used by the poet to symbolise true Islam
ایک ہی صف میں کھڑے ہوگئے محمود و ایاز
نہ کوئی بندہ رہا اور نہ هي کوئی بندہ نواز
In one row, the King Mahmood and the slave Ayaz stood as equals,
No one remained a slave (Banda) and no one remained a master (Banda-Nawaz).
Ayaz was Sultan Mahmood Ghaznavi's beloved slave, even being awarded the throne of Lahore in 1021 - he was the first Muslim governor. Mahmood and Ayaz's names are commonly used as symbols of unwavering loyalty, affection, and in this case, class
بندہ و صاحب و محتاج و غنی ایک ہوئے
تیری سرکار میں پہنچے تو سبھی ایک ہوئے
Slave and master, poor and rich, all became one,
When appearing in your court, everyone became one and the same!
These two lines act both as a praise of Islam's rulings, and the willingness of Muslims to follow its creed - it shows they abandoned their worldly standings when in front of the Almighty
(Stanza 12)
محفلِ کون و مکاں میں سحر و شام پھرے
مئے توحید کو لے کر صفتِ جام پھرے
When the sun rose and when the stars shined, we wandered across the whole world,
With the wine of Tauheed we wandered like goblets, (carrying to share)
کوہ میں، دشت میں لے کر ترا پیغام پھرے
اور معلوم ہے تجھ کو،کبھی ناکام پھرے
In mountains, in Deserts we traversed with your message,
And You know well, ever did we roam with defeat or failure?
دشت تو دشت ہیں ،دریا بھی نہ چھوڑے ہم نے
بحرِ ظلمات میں دوڑا دیے گھوڑے ہم نے
Land aside, we didn't even leave the Seas,
Upon our galloping horses, we even rode unto the sea of darkness!
This particular verse alludes to the expedition in 1512 of the Barbaràsah Brothers (Arouj and Khair-al-Dân Barbaràsah) in north-west Africa when they expelled the Spaniards and established the authority of the Islamic Ottoman Khilafah. They conquered up to the north-western sea coast and in their zeal drove their horses to some distance in the Atlantic Ocean, saying that if the land of God extended beyond the African coast they would conquer it also in His name. Poetically, it also shows that they rode to the darkest corners of the world to spread Islam's light
(Stanza 13)
صفحۂ دہر سے باطل سے کومٹایا ہم نے
نوعِ انساں کو غلامی سے چھڑایا ہم نے
From the pages of time, we erased falsehoods,
We unchained mankind from the clutches of slavery,
تیرے کعبے کو جبینوں سے بسایا ہم نے
تیرے قرآن کو سینوں سے لگایا ہم نے
We made your Ka'aba a place of prostration,
We held your glorious book to our chests,
The poet is questioning where it was exactly that they went astray for God to allegedly abandon them
پھر بھی ہم سے یہ گِلا ہے کہ وفادار نہیں
ہم وفادار نہیں،تُو بھی تو دِلدار نہیں!
Yet still you accuse us that we are not faithful,
Maybe we aren't faithful, but then neither are you loving!
The poet asserts that if Man can be accused of a breach of faith, then so can God
(Stanza 14)
اُمتیں اور بھی ہیں ، اُن میں گناہگار بھی ہیں
عجز والے بھی ہیں، مست مئے پندار بھی ہیں
For there are those of other faiths too, among them sinners too,
There are humble ones too, also ones drunk with the wine of pride,
ان میں کاہل بھی ہیں،غافل بھی ہیں،ہشیار بھی ہیں
سینکڑوں ہیں کہ ترے نام سے بیزار بھی ہیں
In them there are those of little worth, ignorant ones as well as intelligent ones,
And there are hundreds who are even weary of your name too,
رحمتیں ہیں تری اغیار کے کاشنوں پر
برق گرتی ہے تو بیچارے مسلمانوں پر
Yet your mercies rain on the roofs of others,
But if a thunder-bolt would strike, it would be on the poor Muslims!
(Stanza 15)
بُت صنم خانوں مین کہتےہیں مسلماں گئے
ہے خوشی ان کو کہ کعبے کے نگہبان گئے
The idols in temples say, "the Muslims are gone",
Happiness is theirs' that the guardians of the Ka'ba are gone,
منزلِ دہر سے اونٹوں کے حدی خواں گئ
اپنی بغلوں میں دبائے ہوئے قرآن گئے
They say, “The world is well rid now of hymn‐reciting camel‐men,
The ones who held the Quran under their arms are gone"
Hudi/Huda Singers were camel riders that sung songs during long journeys across the deserts. These songs were mostly religious in nature, like hymns, and praised God to protect them in their journeys
A 'Manzil' doesn't necessarily need to be a final destination, it can be a resting place on a journey
خندہ زن ہے کُفر،احساس تجھے ہے کے نہیں
اپنی توحید کا کچھ پاس تجھے ہے کہ نہیں
Disbelief 'itself' rejoices and mocks us, do you even care or not?
Of your own One-ness, do you have any care or not?
Khandah-Zan = One who sets up a laugh, a joker
It is not the disbelievers (Kuffar), but disbelief (Kufr) itself that is rejoicing
The poet has again upped the ante by rhetorically questioning if God himself believes in his own Oneness
(Stanza 16)
یہ شکایت نہیں، ہیں اُن کے خزانے معمور
نہیں محفل میں جنھیں بات بھی کرنے کا شعور
This complaint is not that their treasures are overflowing,
Those that don't even have the proper manners of speech,
This reference to poor manners of speech reflects the Indo-Persian cultural admiration for elegant social gatherings and sophisticated speech
قہر تو یہ ہے کہ کافر کو ملیں حُور و قصور
اور بیچارے مسلماں کو فقط وعدۂ حور
Our anger is that that the disbelievers get all the worldly bounties,
And the Poor Muslims get only fed the promises of Hoors (in paradise)
Although there is some difference in opinion on what the concept of Hoor is, they are most commonly considered to be heavenly maidens/angels. Whatever it may mean, in this context it refers to the bounties of Heaven
The poet explains he isn't so bothered by the fact that it is disbelievers who get the world's bounties, but rather that the Muslims were promised those same bounties - the Muslims only get unfulfilled promises, while the disbelievers get their bounties here and now
اب وہ الطاف نہیں، ہم پہ عنایات نہیں
بات یہ کیا ہے کہ پہلی سی مدارات نہیں
Now we don't get any favours. nor is any kindness showered on us,
What is this, O Allah, that you are not even giving that prior courtesy?
(Stanza 17)
کیوں مسلماں میں ہے دولتِ دنیا نایاب
تیری قدرت تو ہے وہ جس کی نہ حد ہے نہ حساب
Why is it that between Muslims worldly wealth is scarce?
Your power is that which has no limit nor measure,
تُو جو چاہے تو اُٹھے سینۂ صحرا سے حباب
رہروِ دشت ہو سیلی زدۂ موجِ سراب
With only your will water can flow from even the heart of the desert,
And the desert traveller can get stormed (drenched) by the waves of a mirage,
The poet questions why the Muslims are so starved from wealth when God is all-powerful
طعنِ اغیار ہے، رسوائی ہے،ناداری ہے
کیا تیرے نام پہ مرنے کا عوض خواری ہے؟
There are taunts by others, dishonour, and poverty (for us),
Is the return of dying in your name only shame?
(Stanza 18)
بنی اغیار کی چاہنے والی دنیا
رہ گئی اپنے لئے ایک خیالی دنیا
This world become the world that others wanted,
What has remained for us is an imaginary world,
ہم تو رخصت ہوئے اوروں نے سنبھالی دنیا
پھر نہ کہنا ہوئی توحید سے حالی دنیا
We had been dismissed, others have taken over this place,
But then don't You dare say that Tauheed has left this palace,
Essentially the poet is telling God that he shouldn't complain later on that nobody honours him, since it is He who permitted the Muslims to be driven out of power
ہم تو جیتے ہیں کہ دنیا میں تیرا نام رہے
کہیں ممکن ہےکہ ساقی نہ رہے، جام رہے؟
We live here only for your name to remain in this world,
Is is possible then that wine-bearers don't remain, yet the wineglasses do?
The poet underlines the implication of God somehow having a dependency on Muslims
These references to wine and intoxication are about Tauheed and Muslims being the ones who bear it. So the poet is asking: without Muslims, how will the remembrance of Allah remain?
(Stanza 19)
تیری محفل بھی گئی، چاہنے والے بھی گئے
شب کی آہیں بھی گئیں، صبح کے نالے بھی گئے
Your congregations are gone, as well as those who desired you,
The nights sighs are gone, so are the dawns laments,
دل تجھے دے بھی گئے، اپنی صِلا لے بھی گئے
آ کے بیٹھے بھی نہ تھے کہ نکالے بھی گئے
We came, gave our hearts to you, received our reward, and left,
When we came we hardly sat, we were even thrown out
آئے عشّاق، گئے وعدۂ فردا لے کر
اب اُنھیں ڈھونڈ چراغِ رُخِ زیبا لے کر
We came as lovers, but left with promises of tomorrow,
Now find them with your Beauty's lamp!
The expression “searching something with a lamp in hand” is used in Urdu to search for something almost non-existent. The intensity of the search as well as a hint of taunt is added by ‘Allama Iqbal by including the part of the “lamp of the Beautiful Face of God”.
In this stanza, the poet argues for God to do something - namely to show his metaphorical beauty again - to fulfil the promises he made as the people who desired and congregated for him are gone now, distanced from Islam
(Stanza 20)
دردِ لیلیٰ بھی وہی،قیس کا پہلو بھی وہی
نجد کے دشت و جبل میں رَمِ آہو بھہ وہی
The pain (heartache) of Laila is the same, and so is Majnun's passion,
In the deserts and mountains of Nejd, the gazelle's sprint is the same,
Laila and Majnun is an old story of Persian origin about Qays ibn al-Mulawwah (Majnun) and his ladylove Layla bint Mahdi. The story passed from Arabic to Persian, Turkish, and Indian languages, and is known as the 'Romeo and Juliet of the East'
Nejd is the region that resides in the East of the Arabian Peninsula. Majnun was said to have roamed the vast deserts of Nejd after getting separated from Laila
عشق کا دل بھی وہی،خسن کا جادو بھی وہی
اُمّتِ احمدِ مرسل بھی وہی، تُو بھی وہی
The soul of Love is still the same, and the charm of Beauty remains,
The followers of the Prophet are the same, and so are you,
Ahmed-e-Mursil means Ahmed, the one who was sent (a prophet). It is a synonym of Muhammad
پھر یہ آزردگیِ غیر سبب کا معنی
اپنے شیداؤں یہ چشمِ غضب کیا معنی
Then what is the reason for this dejection without reason?
Why did You cast an angry eye upon your admirers?
In this stanza, it is being argued that, while admittedly those mehfils are not the same (Stanza 19), Muslims remain still passionate and faithful. Therefore they are surprised with the anger expressed from God
(Stanza 21)
تجھ کو چھوڑا کہ رسولِ عربی کو چھوڑا؟
بُت گری پیشہ کیا، بت شکنی کو چھوڑا؟
Have we abandoned you? Have we abandoned the messenger of Arabia?
Did we make idols, abandon their destruction?
عشق کو، عشق کی آشفتہ سری کو چھوڑا؟
رسمِ سلمانؓو اویس قرنیؓ کو چھوڑا؟
Did we abandon Your Love or the madness that goes with it?
Did we abandon the traditions of Salman (R.A) and Awais (R.A)?
Salman (R.A) was a companion of the Prophet. He was a Zorastrian from Persia who later converted to Islam when he met the Prophet in Yathrib (Madina). He was the first Persian Muslim and was credited with the suggestion of digging a trench around Medina to prepare for the Meccan attack (Battle of the Trench) - this was a Sasanian military technique
Awais-e-Qarani was a Yemeni Muslim who lived during the Prophet's time, but never met him. Hence, he is not considered a companion, but a Tabiun, as he had met Omar (R.A)
آگ تکبیر کی سینوں میں دبی رکھتے ہیں
زندگی مثلِ بلال حبشی رکھتے ہیں
The fire of Takbeer we keep suppressed in our hearts,
And we live our life as exemplified by Bilal of Abyssinia!
Bilal of Ethiopia was a former slave, one of the earliest converts of Islam, and one of the most trusted companions (Sahaba). He endured much hardship during his life and was also chosen to be the first Mu'azzin (Person who gives Azan)
This stanza builds on the idea that the Muslim's love for Allah is still enough that it shouldn't be a reason for their alleged abandonment
(Stanza 22)
عشق کی خیر وہ پہلے سی ادا بھی نہ سہی
جادہ پیمائیِ تسلیم و رضا بھی نہ سہی
That Love however, lets leave aside, for even that former elegance is not there,
And we may have lost the (former) desire of submission also,
Sahi in this context means: true, indeed, even if it is, so what.
مُضطِرب دل صفت قبلہ نما بھی نہ سہی
اور پابندیِ آئینِ وفا بھی نہ سہی
Our agitated hearts may not now turn to the Qibla like trusted compasses also,
And we may not follow the laws of faith also,
Aaeen-e-Wafa in this context means the faith of Islam. So Pabandi-e-Aaeen-e-Wafa refers to the restrictions of our faith
کبھی ہم سے، کبھی غیروں سے شناسائی ہے
بات کہنے کی نہیں،تُو بھی تو ہرجائی ہے!
(But) At times you befriend us, and at times, you befriend others,
This should not be said, but you too are unfaithful!
Ghair has a strong and quite negative connotation in the ghazal world. The poet is arguing that God's behaviour is even worse
Harjaai is a pun on the word “harja”, which means omni-present as well as a person who is not restricted to one person in love and fidelity - an unfaithful partner. This word was of particular controversy given its weight and disrespect (God replies in Jawab-e-Shikwa, Stanza
(Stanza 23)
سرِ فاران کیا دین کو کامل تُو نے
اِک اشارے میں پزروں کے لئے دل تُو نے
Upon the peak of Mount Faran Your faith You did perfect,
With one divine gesture you stole the hearts of thousands
Faran (Paran) is a region which, in Islamic tradition, equates to an area in Hijaz. Jabal an-Nour (the mountain of Light) and the Cava Hira are in this region, which is where the Prophet (S.A.W) received the first revelation of the Quran
After the great accusation made in stanza 22, the poet suddenly shifts the tone to one of praise and awe
آتش اندوز کیا عشق کا حاصل تُو نے
پُھونک دی گرمیِ رُخسار سے محفل تُو نے
You fanned the flames of the yield of (Divine) Love, (the effects)
You kindled our gathering with the warmth of your cheeks,
Rukhsar can also mean face. This gives it a double meaning in this context: that the radiance of God's face itself kindles the gathering given its pure beauty
آج کیوں سینے ہمارے شرر بار نہیں
ہم وہی سوختہ ساماں ہیں، تجھے یاد نہیں؟
Why is it today that our chests are void of any of those (former) sparks?
We are still those scorched victims (from Love's heat), do you not remember?
The poet again questions the reasoning for God's alleged withdrawal from the Muslims
The waves and tonal shifts of praise and disappointment further the sense of this poem being a one-to-one discussion with God
(Stanza 24)
وادی نجد میں وہ شورِ سلاسل نہ رہا
قیس دیوانۂ نظّارۂ محمل نہ رہا
In the valley of Najd, the clanging of chains is no longer heard,
Qais no longer remained crazed with the spectacle of saddles,
A Wadi is a gully or streambed in northern Africa and the Middle East that remains dry except during rainy season
Shor-e-Silasil refers to when Majnun was considered mad and chained. While shackled, he roamed the valley of Najd for Layla. In this context it means that former passion is not here now
According to legend, Qais used to look in every saddle of camels that passed in search for Laila
حوصلے وہ نہ رہے،ہم نہ رہے، دل نہ رہا
گھر یہ اُجڑا ہے کہ تُو رونقِ محفل نہ رہا
That (former) yearning has gone, we have not remained, our desires have not remained,
Our homes have become desolate, for you are no longer the light of our gatherings,
اے خوش آں روز کہ آئی و بصد ناز آئی
بے حجابانہ سُوئے محفلِ ما باز آئی
O! Blessed be that day when You shall come (back), for hundred times Your Grace would follow
unveiled towards this gathering of mine!
In these last two lines the poet shifts to a cheerful hope for the future
(Stanza 25)
بادہ کش غیر ہیں گلشن میں لبِ جُو بیٹھے
سُنتے ہیں جام بکف نغمۂ کُو کُو بیٹے
Wine-drinkers are the others, sitting in the flower garden like river mouths (drinking away),
Listening with goblet in hand the song of the Cuckoo,
This kū kū is the call of the Asian koyal bird. The effect is idyllic (happy and relaxed). It's not to be confused with the English cuckoo
دور ہنگامۂ گُلزار سے یک سُو بیٹھے
تیرے دیوانے بھی ہیں مُنتظر “ھُو” بیٹھے
From all this garden's riot far, calm in a corner seated,
Your crazed lovers are, waiting for just your 'Hoo',
اپنے پروانوں کی پھر ذوقِ خُود افروزی دے
برقِ دیرینہ کو فرمانِ جگر سوزی دے
Give your moths (lovers) a taste of your illuminated-self again!
Strike your ancient thunderbolt and set these ash-cold hearts alight!
Parwanon are often used as the pinnacle of love in Urdu poetry, given moths, in their fatal passion for light, willingly engulf themselves in the flames of a fire
Jigar actually means Liver. But in ghazal physiology, the liver is as important an organ as the heart, and the effect isn't ludicrous the way it is in English, hence heart was used in this particular translation
(Stanza 26)
قوم آوارہ عناں تاب ہے پھر سُوئے حجاز
لے اُرا بلبلِ بے پر کو مذاقِ پرواز
The wandering nation is again riding towards Hijaz,
The passion of flight (itself) flies the wingless nightingale,
Rein in control, like one would do to horses
Soo-e-Hijaz means back on track to true Islam
مضطرب باغ کے ہر غنچے میں ہے، بُوئے نیاز
تُو ذرا چھیڑ تو دے، تشنۂ مضراب ہے ساز
The fragrance of submission is now in every bud of the restless garden,
Just start the music, for the instruments are thirsty for their plectrums,
Plectrums are the small pieces of material used to pluck the strings of an instrument
Zara means 'a small bit' or 'just'
نغمے بیتاب ہیں تاروں سے نلکنے کے لئے
طُور مضطر ہے اُسی آگ میں جلنے کے لئے
The Melodies are restless to emerge from their strings,
And Mount Sinai yearns to burn in that same blaze once more!
Mount (Toor) Sinai was said to have burnt down to ashes when God revealed himself to Musa. Alternatively, it is where Musa is believed to have encountered God in the form of fire (not sure which one)
Note the rapidly changing imagery to show the sudden increase in passion from horse-riders to wingless nightingales, to buds, to a musical instrument. This achieves a sense of euphoria and hope in God listening to this request and making one small encouraging action
(Stanza 27)
مُشکلیں اُمّتِ مرحوم کی آساں کردے
مُورِ بے مایہ کو ہمدوشِ سلیماں کردے
Ease the travails of your blessed followers,
Raise You the helpless ant to the stature of Suleiman A.S.,
Dosh is shoulder, humdosh is shoulder to shoulder
Prophet Suleiman (Solomon) A.S. was a king who was said to have possessed super natural powers
Now the tone has shifted to one of prayer
جنس نایابِ محبّت کو پھر ارزاں کر دے
ہند کے دَیر نشینوں کو مسلماں کر دے
Make You that invaluable produce of Love within our grasp,
The idolaters of India, make them Muslim,
Dair can apply to any non-Muslim place of worship
جُوئے خوں می چکدا از حسرتِ دیرینہ ما
می تپد نالۂ بہ نشتر کدۂ سینۂ ما
A river of blood drains from my long-held desires,
Complaints throb in this dagger-wounded chest of mine!
Tapd = Beat, throb (Mee-Tapd = Beating, Throbbing)
These two lines are in Persian. This description of the chest becoming a house for daggers shows how deeply it has been pierced
Now the poem shifts to a more solemn, almost desperate, tone, as the poet cries for the burdens of the Muslims to lighten
(Stanza 28)
بُوئے گُل لے گئی بیرون چمن رازِ چمن
کیا قیامت ہے کہ خود کہ خود پُھول ہیں غمّازِ چمن!
The fragrance of the flowers has taken the secrets of the garden outside of it,
What a calamity that the Flowers themselves have become the informers of the Garden! (how sad that it is the garden's best that have become traitors)
This garden refers to the garden of Islam
Note the continuation of this imagery of Islam emerging from a flower and the Muslims scattering its scent that was seen in Stanza 2
عہدِ گُل ختم ہوا، ٹوٹ گیا سازِ چمن
اُڑ گئے ڈالیوں سے زمزمہ پرداز چمن
The seasons of flowers ended, shattered is the lute of the garden,
From the branches, the songbirds of the garden have flown away,
These lines refer to the downfall of Islam as perceived by Allama Iqbal
ایک بُلبل ہے کہ محو ترنّم ہے اب تک
اس کے سینے میں ہے نغموں کا تلاطم اب تک
But yet, there is one uncompanioned nightingale lost in singing, still,
In its chest is still that same enthusiasm for song!
In this verse and those following it to the end of the poem Allama Iqbal is referring to himself and his book, Bang-e-Dara (Call of the Marching Bell). It is a bell that people used to ring in old times to awaken the travellers to signal it is the time to move on to their next destination. This poem helped the Muslims to wake up and know that who they really are and what is their purpose. Allama Iqbal is this lone nightingale which sings away, lost in its own song
(Stanza 29)
قُمریاں شاخِ صنوبر سے گریزاں بھی ہوئیں
پتّیاں پُھول کی جھڑ جھڑ کے پریشاں بھی ہوئیں
Turtle-doves from the pine-tree's branches have escaped also,
The petals of withered flowers have scattered also,
وہ پرانی روشیں باغ کی ویراں بھی ہوئیں
ڈالیاں پیرہنِ برگ سے عُریاں بھی ہوئیں
Those old garden paths have also become desolate,
The branches have too become stripped of their covering of leaves,
قیدِ موسم سے طبیعت رہی آزاد اس کی
کاش گُلشن سمجھتا کوئی فریاد اس کی!
But free from the shackles of seasonal change the songster remained,
If only someone in the garden understood the burden of his cry!
While all the other inhabitants of the garden (representing Islam) have left, the lone nightingale remains immune to the seasonal changes, singing its message
(Stanza 30)
لُطف مرنے میں ہے، نہ مزا جینے میں
کچھ مزا ہے تو یہی خونِ جگر پینے میں
There is no pleasure left in death, nor is there any joy in living,
If there is any pleasure left, it is in eating our own hearts out (in grief),
To "drink the blood of the liver" means, idiomatically, to torment onself, wear oneself down, eat ones heart out
Difference between Dil and Jigar: They are often used interchangeably in Urdu poetry but there is a significant difference which isn't often appreciated. The key difference is that Dil has a voice, it can speak out and complain to express its pain and discomfort, while Jigar is mute, having to silently bear its hardships. You will often hear the phrase “dil ki aawaaz” but never “jigar ki aawaaz”. Jigar has no aawaaz- its a metaphor for perseverance and bravery under the pains inflicted by the beloved (human or God)
کتنے بیتاب ہیں جوہر مرے آئینے میں
کس قدر جلواے تڑپ رہے ہیں مرے سینے میں
How impatient are the scratches in my reflection,
How the visions inside my heart tremor (wanting to manifest)
Jouhar here refers to scratches or polish-lines, which the mirror attains as it gets polished in order to become fully clear. Thus, polish-lines are metaphorically like honourable scars that testify to the mirror's eagerness to suffer in order to achieve purity. So, the meaning here is: How impatient is my reflection (my soul) in becoming clear - its eager to clear away its impurities
Jalwe is an "appearance" or "manifestation," but it seems always to mean a glorious one. The suggestion here is that the poet has imaginations latent in his heart that are struggling to emerge. So the first line was about Man's reflection being eager, while the second line is about that same eagerness being present in Man's heart. This eagerness both outside and inside signals the extent of Man's plight
اس گُلستان میں مگر دیکھنے والے ہی نہیں
داغ جو سینے میں رکھتا ہوں، وہ لالے ہی نہیں
But in this Garden lives not one to see (or care),
Those poppies which keep the marks of God's love, there are not there!
The poppy flower has a black stain at the bottom of its corolla. This is poetically referred to as the mark of Love of God. So, the poet is saying those people with God in their heart, they aren't here anymore
Alternative Explanation (due to conflicting sources): Tulips famously have a dāġh or dark wound/scar on them. So the English translation would be: Those who would keep wounds/scars in their hearts - they aren't tulips alone. This would mean the poet is hinting darkly that many in this garden of Islam have been scarred, not just the tulips
(Stanza 31)
چاک اس بُلبلِ تنہا کی نوا سے دل ہوں
جاگنے والے اسی بانگِ درا سے دل ہوں
May this lonely (and sad) Nightingale's song cut into every heart,
May every heart become awake from the calling sound of this bell
یعنی پھر زندہ نئے عہدِ وفا سے دل ہوں
پھر اِسی بادۂ دیرینہ کے پیاسے دل ہوں
So then every heart become alive with this new creed,
So then hearts become parched (again) for this ancient wine,
عجمی خُم ہے تو کیا،مے تو حجازی ہے مری
نغمہ ہندی ہے تو کیا،لَے تو حجازی ہے مری
So what if the cask is not Arabic? My wine is Hijazi,
And what if the song is Hindi? My melody is Hijazi!
Ajami = (Non Arab) - Ajam (عجم) is an Arabic word meaning mute, which today refers to someone whose mother tongue is not Arabic. During the Arab conquest of Persia, the term became racially charged. In many languages — including Persian, Turkish, Urdu, Azerbaijani, Bengali, Hindi, the Kurdish languages, Gujarati, Malay, Punjabi, and Swahili — Ajam and Ajami refer to Iran and Iranians respectively
Hindi here pertains to Hind, which is the region of the Indian subcontintent, not the modern language
So Hijazi here means true islam, the one not desecrated by superficial boundaries. This reflects Allama Iqbal's criticism of nationalism (See below)
The poem ends here on a hopeful note promising, or rather avowing, a new pact of faith with Allah
Wataniyat (وطنیت) Patriotism-
In these new Gods the biggest is the nation state
That which is its clothing, is the coffin of religion
https://www.peyaam.com/translations/shikwa