ALLAMA IQBAL GAISU -E TABDAR

 

ALLAMA IQBAL GAISU -E TABDAR

गेसू-ए-ताबदार को और भी ताबदार कर

अल्लामा इक़बाल

 

LISTEN TO THE YOUTUBE

 

https://youtu.be/3Xmv2oC31Cg

 

बाल-ए-जिब्रील

 

1      गेसू-ए-ताबदार को और भी ताबदार कर

होश ओ ख़िरद शिकार कर क़ल्ब ओ नज़र शिकार कर

 

2      इश्क़ भी हो हिजाब में हुस्न भी हो हिजाब में

या तो ख़ुद आश्कार हो या मुझे आश्कार कर

 

3      तू है मुहीत-ए-बे-कराँ मैं हूँ ज़रा सी आबजू

या मुझे हम-कनार कर या मुझे बे-कनार कर

 

4      मैं हूँ सदफ़ तो तेरे हाथ मेरे गुहर की आबरू

मैं हूँ ख़ज़फ़ तो तू मुझे गौहर-ए-शाहवार कर

 

5      नग़्मा-ए-नौ-बहार अगर मेरे नसीब में न हो

उस दम-ए-नीम-सोज़ को ताइरक-ए-बहार कर

 

6      बाग़-ए-बहिश्त से मुझे हुक्म-ए-सफ़र दिया था क्यूँ

 

कार-ए-जहाँ दराज़ है अब मिरा इंतिज़ार कर

 

7      रोज़-ए-हिसाब जब मिरा पेश हो दफ़्तर-ए-अमल

आप भी शर्मसार हो मुझ को भी शर्मसार

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MEANINGS AS UNDERSTOOD

 

1        गेसू-ए-ताबदार को और भी ताबदार कर

 

होश ओ ख़िरद शिकार कर क़ल्ब ओ नज़र शिकार कर

 

Iqbal offers a vivid picture of the beauty of the human soul. He has imagined it to be the "shining or captivating tresses" of a beautiful woman obscured by karmic impurities. He urges all individuals to enhance the radiance and allure of their souls through the pursuit of love and devotion to God. This transformative process unfolds when one elevates the understanding and awareness of the mind, curbing and nipping the wayward tendencies at their inception (होश ओ ख़िरद शिकार कर क़ल्ब ओ नज़र शिकार कर) and steering clear of infatuations with the fleeting wealth and attachment of this worldly existence.

 

2        इश्क़ भी हो हिजाब में हुस्न भी हो हिजाब में

 

या तो ख़ुद आश्कार हो या मुझे आश्कार कर

 

Ishq signifies the obliteration of the self, contrasting with love and Mohabbat, which retain a sense of duality, seeking tangible connections, passion, and a yearning for mental or physical togetherness. Since the Divine remains unseen (हिजाब), and His beauty remains invisible (हिजाब), ignite the unperceived fervour or fire of Ishq within yourself. This silent flame, invisible to the external eye, catalyzes self-realization. In doing so, the Lord is kind to unveil Himself to human beings.

 

 

3        तू है मुहीत-ए-बे-कराँ मैं हूँ ज़रा सी आबजू

 

या मुझे हम-कनार कर या मुझे बे-कनार कर

 

This verse refers to the macrocosm as God and the microcosm as the soul. The Lord is a shoreless expanse of the vast ocean (मुहीत-ए-बे-कराँ), while the soul is a minuscule rivulet (आबजू). The analogy emphasizes the limited awareness of the soul, akin to a small stream unaware of its integral connection to the vast ocean surrounding it.

 

In essence, Iqbal prays oh Lord, You are the boundless expanse, and I am a mere creek. Grant me the awareness that my soul is within You and that there is an inseparable oneness between the soul and God. Like the sun and its rays eternally intertwined, the duality of the mind creates division. He prays for the blessing of the highest consciousness, a state where the soul recognizes its unity with the Divine.

 

4        मैं हूँ सदफ़ तो तेरे हाथ मेरे गुहर की आबरू

 

मैं हूँ ख़ज़फ़ तो तू मुझे गौहर-ए-शाहवार कर

 

I, a humble human being, am akin to the shell of a broken pearl, filled with sins and transgressions. Like a precious gem, you have the power to preserve my honour. With your benevolence, transform me from a mere stone into a jewel.

Iqbal speaks of the profound weight of karmic imperfections that burden the soul. Without divine grace, individuals may endure ceaseless cycles of reincarnation across various physical forms, as depicted in Hindu mythology's cycle of 8,400,000 species or the cycle of 84. Salvation, Mukti, or Nijat from the confinement within the prisons of different bodies remains elusive without this divine intervention, perpetuating the duality between the Lord and beings."

 

5        नग़्मा-ए-नौ-बहार अगर मेरे नसीब में न हो

 

उस दम-ए-नीम-सोज़ को ताइरक-ए-बहार कर

 

It is a beautiful expression of longing and a plea for divine intervention. Iqbal desires the exquisite melody of the "Naghma-e-Nau-Bahar" (song of the new spring), suggesting a symbolic season of happiness and divine bliss. However, if fate has not granted the poet this joy, he implores the Divine to release him from the struggles and sorrows of life, much like a caged bird seeking liberation.

The mention of "Dum-e-Neem-Soz" (subtle breath) and "Tairak-e-Bahar" (bird of spring) adds to the poetic imagery, emphasizing the delicacy of the request for divine intervention and the hope for a renewed and joyous existence.

6        बाग़-ए-बहिश्त से मुझे हुक्म-ए-सफ़र दिया था क्यूँ

 

कार-ए-जहाँ दराज़ है अब मिरा इंतिज़ार कर

 

Iqbal diverts his conversation with God in this verse to a new dimension. All five verses above are of Ishq, longing, submission, salvation, self and God's realization. In this two-liner, the sentiments are loving and curious in question-and-answer format.

 

A childish soul politely asks the Holy Father—why it was ordained from the Royal Transcendental Garden for traversing the cosmic creation.

 

"Why was I, from the Garden of Eternity, bestowed the command to embark on this journey?

Now, my chariot of existence traverses the vast expanse; I await Your divine presence because my anticipation of returning to You is of no avail."

Oh, Almighty, I find myself trapped in the intricate web of karma—actions, reactions, desires, responsibilities, and attachments. How can I realize Your Divine Truth (return to Maqam-e-Haq) while entangled in these vast diversions and worldly affairs? The crux lies in the bestowal of Your grace, facilitating the experience of Oneness with You—Tauheed."

 

7        रोज़-ए-हिसाब जब मिरा पेश हो दफ़्तर-ए-अमल

 

आप भी शर्मसार हो मुझ को भी शर्मसार

 

 

Oh Lord, on the day of reckoning, known as Roza-Mashar, my actions as per the Karmic ledger will be scrutinized. The jury will decide whether I will be blessed with the realization of Your divine presence or be sent back into the cycle of reincarnation, the cosmic wheel of 84.

I earnestly pray that You do not dishonour me with shame by casting me out of the eternal Garden. If, perchance, I am subjected to the cyclic wheel of rebirth, Lord, You, too, will bear responsibility and embarrassment  for not gracing me with Your forgiveness."

THE ESSENCE

 

      I.         Enhancement of the Soul's Radiance: Iqbal emphasizes the beauty of the human soul, encouraging individuals to purify their hearts and minds through love and devotion to God. The transformative process involves elevating understanding, curbing wayward tendencies, and avoiding attachment to worldly wealth.

    II.         Ishq as Self-Obliteration: Ishq, as portrayed by Iqbal, involves the obliteration of the self, contrasting with love and Mohabbat. When the Divine remains hidden, igniting the unseen fire of Ishq within oneself leads to self-realization, compelling the Lord to unveil Himself to humanity.

   III.         Seeking Awareness of Oneness: Iqbal's prayer acknowledges the vastness of God and the limited awareness of the soul. He seeks awareness that the soul is within God, emphasizing the inseparable Oneness between the soul and the Divine, akin to the eternal connection between the sun and its rays.

  IV.         Divine Transformation of the Soul: Iqbal acknowledges human imperfections and sins, likening himself to a broken pearl. He implores the Divine to transform him into a precious gem, highlighting the need for divine grace to escape the cycle of reincarnation and attain salvation.

    V.         Longing for Divine Bliss: Iqbal desires divine intervention, longing for the joyous melody of a new spring. If fate denies this happiness, he implores the Divine to release him from life's struggles, using the poetic imagery of a caged bird seeking liberation.

  VI.         Questioning Life's Journey: In a two-liner, Iqbal questions the purpose of life's journey ordained from the Royal Transcendental Garden. The soul, entangled in karma and worldly affairs, awaits divine presence, highlighting the need for divine grace to realise Oneness.

VII.         Prayer for Divine Forgiveness: Iqbal anticipates the day of reckoning, where actions will be scrutinized. He earnestly prays for divine forgiveness, expressing a desire not to be cast out of the eternal Garden. If subjected to the cycle of rebirth, he calls upon the Lord to bear responsibility for not granting forgiveness.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tu Rah Na'ward-e-Shauq Hai; ALLAMA IQBAL

 

Tu Rah Na'ward-e-Shauq Hai; Manzil na kar qabool"—

तू राह-ए-नवर्द शौक  है; मंज़िल न कर क़बूल

ALLAMA IQBAL

Listen  to youtube -----https://www.youtube.com/watch?v=Ex86MMl5dYk 

 

 

1 तू राह-ए-नवर्द (wanderer on the way) शौक (love) है; मंज़िल न कर क़बूल

 

Oh, traveller or seeker on the path of love for God, do not be content with one's current destination and keep striving towards the ultimate goal of love. There are several stages of higher consciousness that one must traverse. (In Sufism, many Mukamat are layered in inner transcendental consciousness.) A seeker is prone to consider a somewhat higher realization as final as an erroneous realization. Iqbal in another ghazal states

तू  अभी  रहगुज़र  में  है, क़ैद-ए-मक़ाम से गुज़र

मिस्र  ओ हिजाज़  से   गुज़र,पारसओ  शाम  से   गुज़र

You are currently a traveller on the path and stuck in this world. Transcend this intervening period. Your mind roams from east to west and seeks gold (wealth). Transcend these limitations.

 

1(a) लैला भी हमनशीं ( together) हो, तो मेहमिल (support, friendship) न कर क़बूल

The worldly glitters or distractions (symbolized by Laila) should not be accepted but rejected with great disdain.

 

(The second line is symbolic of rejecting temptations that may hinder the pursuit of a higher purpose or Divine Love)

 

2 सुबह-ए-अज़ल (beginning of the creation) मुझ से कहा जिब्राईल ( angel jabreel) ने

जो अकल का ग़ुलाम है वो दिल न कर क़बूल

 

Iqbal portrays a conversation between him and the angel Jibraeel (who blessed spiritual enlightenment to the Prophet). He cautions the sincere seeker not to accept a heart enslaved by the mind, intellect and senses.

 

(Do not follow the rational mind, as its understanding is limited and deceptive. It acts as a deterrent in embracing one's emotions and desires for the Lord)

 

3 खोया न जाए सनम- कदा (temple or temporal) ए कायनात में

महफ़िल गुदाजी-गरमएआ( heated with fire) ,महफ़िल न कर कबूल

Oh seeker, do not get lost in devotions of Idols, Temples, masjids, religious places or worldly relationships—abundant in this universe. This creation is aflame with the fire of worldly desires and passions, and stay away from them.

 

In another Ghazal of Iqbal he also endorses the same view of  avoiding externalizing the devotion--

मैं जो सर-ब-सज्दा हुआ कभी तो ज़मीं से आने लगी सदा

तिरा दिल तो है सनम-आश्ना तुझे क्या मिलेगा नमाज़ में॥ 

 

सर-ब-सज्दा =Head bowed in prostration,  सदा= advice in the form of voice, सनम-आश्ना= devoted to the material word, idol worshipper, नमाज़= devotion ibadat

 

When I bowed my head in prostration for prayer, I heard a voice from the earth (or my conscience) saying that surely my worship, devotion, is for worldly desires or idol worship or worldly relationships-- meaning for my physical or mental needs, and not for the love of God. Therefore, Reality cannot be realized through false prostrations and temperamental actions.

 

4 ऐ जू-ए-आब (stream of water) बढ़ के हु दरिया-तंद-ओ-तेज़ ( transformed  into a river)

के साहिल ( embankment) तुझे अता (given) हो तौ; साहिल न कर क़बूल

 

Iqbal uses the metaphor of a stream transforming into a mighty river, urging it to reject being confined to banks if the opportunity presents itself.

 

He urges the seeker to continue one's path with determination and not succumb to limitations or obstacles, even if they seem easily attainable.

 

5 बातिल दो ई पसंद है; हक़ ला शरीक है

शिरकत में हक़-ओ-बातिल न कर क़बूल

(बातिल (untruth, falsehood) दुयी (duality) पसंद है; हक़ (God or the Truth) ला-शरीक (oneness) है

शिरकत ( God’s company)  में आना है तो हक़-ओ-बातिल ( truth mixed with untruth) न कर क़बूल)

 

Iqbal underscores the concept of Truth and falsehood. It highlights the dichotomy between Truth and untruth, asserting that Truth and God are unique and cannot be equated or blended with falsehood. He encourages rejecting any partnership or collaboration between the Truth and falsehood.

 

 

 

ESSENCE OF THE GHAZAL

 

 

1        Continuous Striving in the Path of Love (Verses 1 and 1a):

The seeker on the path of love for God should not be content with their current state and must strive towards the ultimate goal of love.

Reject worldly distractions and temptations, symbolized by Laila, and disdainfully avoid anything that hinders pursuing a higher purpose or Divine Love.

2        Caution Against a Rational Mind (Verse 2):

In a conversation with the angel Jibraeel, the poet advises against accepting a heart enslaved by the mind, intellect, and senses.

The rational mind may have limitations and can be deceptive, hindering the genuine emotions and desires for the Divine.

3        Avoiding Worldly Desires and Passions (Verse 3):

The seeker is warned not to get lost in external devotions or worldly relationships.

The world is depicted as aflame with the fire of desires, and the advice is to stay away from the heated gatherings of worldly passions.

4        Urging to Break Confinements (Verse 4):

Using the metaphor of a stream transforming into a river, the poet urges the seeker to reject confinement and limitations.

Even if the opportunity for an easy path presents itself, the seeker is encouraged to continue the journey with determination.

5        Rejecting Partnership Between Truth and Falsehood (Verse 5):

The poet emphasizes the dichotomy between Truth and falsehood.

Truth (Haq) is unique and cannot be blended or equated with falsehood (Bātil).

The seeker is encouraged to reject any collaboration or partnership between the two.

In summary, the ghazal guides the seeker to persevere in pursuing Divine Love, cautioning against distractions, the rational mind, and worldly desires and urging them to break free from limitations while steadfastly upholding the principles of Truth and rejecting any mixture with falsehood.