Works in Persian
Iqbal's poetic works are written primarily in Persian rather than Urdu. Among his 12,000 verses of poetry, about 7,000 verses are in Persian. In 1915, he published his first collection of poetry, the Asrar-e-Khudi (Secrets of the Self) in Persian. The poems emphasise the spirit and self from a religious, spiritual perspective. Many critics have called this Iqbal's finest poetic work[11] In Asrar-e-Khudi, Iqbal explains his philosophy of "Khudi," or "Self." Iqbal's use of the term "Khudi" is synonymous with the word "Rooh" mentioned in the Quran. "Rooh" is that divine spark which is present in every human being, and was present in Adam, for which God ordered all of the angels to prostrate in front of Adam. One has to make a great journey of transformation to realize that divine spark which Iqbal calls "Khudi".
A similitude of this journey can be understood by the relationship between fragrance and seed. Every seed has the potential for fragrance within it, but to reach its fragrance the seed must go through all the different changes and stages: First breaking out of its shell. Then breaking the ground to come into the light, developing roots at the same time. Then fighting against the elements to develop leaves and flowers. Finally reaching its pinnacle by attaining the fragrance that was hidden within it. Similarly, in order to reach one's khudi or rooh, one needs to go through the multiple spiritual stages which Iqbal himself went through, and encourages others to travel. Not all seeds reach the level of fragrance; many die along the way - incomplete. In this same way, only a few people can climb this Mount Everest of spirituality; most get consumed along the way by materialism.
The same concept was used by Farid ud Din Attar in his "Mantaq-ul-Tair". He proves by various means that the whole universe obeys the will of the "Self." Iqbal condemns self-destruction. For him, the aim of life is self-realization and self-knowledge. He charts the stages through which the "Self" has to pass before finally arriving at its point of perfection, enabling the knower of the "Self" to become a viceregent of God.[4]
In his Rumuz-e-Bekhudi (Hints of Selflessness), Iqbal seeks to prove the Islamic way of life is the best code of conduct for a nation's viability. A person must keep his individual characteristics intact, but once this is achieved he should sacrifice his personal ambitions for the needs of the nation. Man cannot realise the "Self" outside of society. Also in Persian and published in 1917, this group of poems has as its main themes the ideal community, Islamic ethical and social principles, and the relationship between the individual and society. Although he is true throughout to Islam, Iqbal also recognises the positive analogous aspects of other religions. The Rumuz-e-Bekhudi complements the emphasis on the self in the Asrar-e-Khudi and the two collections are often put in the same volume under the title Asrar-e-Rumuz (Hinting Secrets). It is addressed to the world's Muslims.
Iqbal sees the individual and his community as reflections of each other. The individual needs to be strengthened before he can be integrated into the community, whose development in turn depends on the preservation of the communal ego. It is through contact with others that an ego learns to accept the limitations of its own freedom and the meaning of love. Muslim communities must ensure order in life and must therefore preserve their communal tradition. It is in this context that Iqbal sees the vital role of women, who as mothers are directly responsible for inculcating values in their children.
Iqbal's 1924 publication, the Payam-e-Mashriq (The Message of the East) is closely connected to the West-östlicher Diwan by the famous German poet Goethe. Goethe bemoans the West having become too materialistic in outlook, and expects the East will provide a message of hope to resuscitate spiritual values. Iqbal styles his work as a reminder to the West of the importance of morality, religion and civilization by underlining the need for cultivating feeling, ardour and dynamism. He explains that an individual can never aspire to higher dimensions unless he learns of the nature of spirituality.[4] In his first visit to Afghanistan, he presented his book "Payam-e Mashreq" to King Amanullah Khan in which he admired the liberal movements of Afghanistan against the British Empire. In 1933, he was officially invited to Afghanistan to join the meetings regarding the establishment of Kabul University.
The Zabur-e-Ajam (Persian Psalms), published in 1927, includes the poems Gulshan-e-Raz-e-Jadeed (Garden of New Secrets) and Bandagi Nama (Book of Slavery). In Gulshan-e-Raz-e-Jadeed, Iqbal first poses questions, then answers them with the help of ancient and modern insight, showing how it affects and concerns the world of action. Bandagi Nama denounces slavery by attempting to explain the spirit behind the fine arts of enslaved societies. Here as in other books, Iqbal insists on remembering the past, doing well in the present and preparing for the future, while emphasising love, enthusiasm and energy to fulfill the ideal life.[4]
Iqbal's 1932 work, the Javed Nama (Book of Javed) is named after and in a manner addressed to his son, who is featured in the poems. It follows the examples of the works of Ibn Arabi and Dante's The Divine Comedy, through mystical and exaggerated depictions across time. Iqbal depicts himself as Zinda Rud ("A stream full of life") guided by Rumi, "the master," through various heavens and spheres, and has the honour of approaching divinity and coming in contact with divine illuminations. In a passage re-living a historical period, Iqbal condemns the Muslim who were instrumental in the defeat and death of Nawab Siraj-ud-Daula of Bengal and Tipu Sultan ofMysore respectively by betraying them for the benefit of the British colonists, and thus delivering their country to the shackles of slavery. At the end, by addressing his son Javid, he speaks to the young people at large, and provides guidance to the "new generation."[4]
His love of the Persian language is evident in his works and poetry. He says in one of his poems:[12]
گرچہ اردو در عذوبت شکر است
garche Urdū dar uzūbat shekkar ast
طرز گفتار دري شيرين تر است
tarz-e goftar-e Dari shirintar ast
Translation:
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