MACMILLAN AND CO., Limited
LONDON · BOMBAY · CALCUTTA · MADRAS
MELBOURNE
THE MACMILLAN COMPANY
NEW YORK · BOSTON · CHICAGO
DALLAS · SAN FRANCISCO
THE MACMILLAN CO. OF CANADA, Ltd.
TORONTO
The Project Gutenberg EBook of The Secrets of the Self, by Muhammad Iqbal
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms of
the Project Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United States, you'll have
to check the laws of the country where you are located before using this ebook.
Title: The Secrets of the Self
Asrar-i Khudi -- A Philosophical Poem
Author: Muhammad Iqbal
Translator: Reynold A. Nicholson
Release Date: June 13, 2018 [EBook #57317]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK THE SECRETS OF THE SELF ***
Produced by Fritz Ohrenschall, Emmanuel Ackerman and the
Online Distributed Proofreading Team at http://www.pgdp.net
(This file was produced from images generously made
available by The Internet Archive/Canadian Libraries)
THE SECRETS OF THE SELF
(ASRÁR-I KHUDÍ)
MACMILLAN AND CO., Limited
LONDON · BOMBAY · CALCUTTA · MADRAS
MELBOURNE
THE MACMILLAN COMPANY
NEW YORK · BOSTON · CHICAGO
DALLAS · SAN FRANCISCO
THE MACMILLAN CO. OF CANADA, Ltd.
TORONTO
A PHILOSOPHICAL POEM
BY
SHEIKH MUHAMMAD IQBAL
OF LAHORE
TRANSLATED FROM THE ORIGINAL PERSIAN
WITH INTRODUCTION AND NOTES BY
REYNOLD A. NICHOLSON, Litt.D., LL.D.
LECTURER ON PERSIAN IN THE UNIVERSITY OF CAMBRIDGE
MACMILLAN AND CO., LIMITED
ST. MARTIN’S STREET, LONDON
1920
COPYRIGHT
The Asrár-i Khudí was first published at Lahore in 1915. I read it soon afterwards and thought so highly of it that I wrote to Iqbal, whom I had the pleasure of meeting at Cambridge some fifteen years ago, asking leave to prepare an English translation. My proposal was cordially accepted, but in the meantime I found other work to do, which caused the translation to be laid aside until last year. Before submitting it to the reader, a few remarks are necessary concerning the poem and its author.[1]
Iqbal is an Indian Moslem. During his stay in the West he studied modern philosophy, in which subject he holds degrees from the Universities of Cambridge and Munich. His dissertation on the development of metaphysics in Persia—an illuminating sketch—appeared as a book in 1908. Since then he has developed a philosophy of his own, on which I am able to give some extremely interesting notes communicated by himself. Of this, however, the Asrár-i Khudí gives no systematic account, though it puts his ideas in a popular and attractive form. While the Hindu philosophers, in explaining the doctrine of the unity of being, addressed themselves to the head, Iqbal, like the Persian poets who teach the same doctrine, takes a more dangerous course and aims at the heart. He is no mean poet, and his verse can rouse or persuade even if his logic fail to[Pg ix] convince. His message is not for the Mohammedans of India alone, but for Moslems everywhere: accordingly he writes in Persian instead of Hindustani—a happy choice, for amongst educated Moslems there are many familiar with Persian literature, while the Persian language is singularly well adapted to express philosophical ideas in a style at once elevated and charming.
Iqbal comes forward as an apostle, if not to his own age, then to posterity—
and after Persian fashion he invokes the Saki to fill his cup with wine and pour moonbeams into the dark night of his thought,
Let us begin at the end. What is the far-off goal on which his eyes are fixed? The answer to that question will discover his true character, and we shall be less likely to stumble on the way if we see whither we are going. Iqbal has drunk deep of European literature, his philosophy owes much to Nietzsche and Bergson, and his poetry often reminds us of Shelley; yet he thinks and feels as a Moslem, and just for this reason his influence may be great. He is a religious enthusiast, inspired by the vision of a New Mecca, a world-wide, theocratic, Utopian state in which all Moslems, no longer divided by the barriers of race and country, shall be one. He will have nothing to do with nationalism and imperialism. These, he says, “rob us of Paradise”: they make us strangers to each other, destroy feelings of brotherhood, and sow the bitter seed of war. He dreams[Pg xi] of a world ruled by religion, not by politics, and condemns Machiavelli, that “worshipper of false gods,” who has blinded so many. It must be observed that when he speaks of religion he always means Islam. Non-Moslems are simply unbelievers, and (in theory, at any rate) the Jihád is justifiable, provided that it is waged “for God’s sake alone.” A free and independent Moslem fraternity, having the Ka´ba as its centre and knit together by love of Allah and devotion to the Prophet—such is Iqbal’s ideal. In the Asrár-i Khudí and the Rumúz-i Békhudí he preaches it with a burning sincerity which we cannot but admire, and at the same time points out how it may be attained. The former poem deals with the life of the individual Moslem, the latter with the life of the Islamic community.
The cry “Back to the Koran! Back[Pg xii] to Mohammed!” has been heard before, and the responses have hitherto been somewhat discouraging. But on this occasion it is allied with the revolutionary force of Western philosophy, which Iqbal hopes and believes will vitalise the movement and ensure its triumph. He sees that Hindu intellectualism and Islamic pantheism have destroyed the capacity for action, based on scientific observation and interpretation of phenomena, which distinguishes the Western peoples “and especially the English.” Now, this capacity depends ultimately on the conviction that khudí (selfhood, individuality, personality) is real and is not merely an illusion of the mind. Iqbal, therefore, throws himself with all his might against idealistic philosophers and pseudo-mystical poets, the authors, in his opinion, of the decay prevailing in Islam, and argues that[Pg xiii] only by self-affirmation, self-expression, and self-development can the Moslems once more become strong and free. He appeals from the alluring raptures of Hafiz to the moral fervour of Jalálu´ddín Rúmí, from an Islam sunk in Platonic contemplation to the fresh and vigorous monotheism which inspired Mohammed and brought Islam into existence.[2] Here, perhaps, I should guard against a possible misunderstanding. Iqbal’s philosophy is religious, but he does not treat philosophy as the handmaid of religion. Holding that the full development of the individual presupposes a society, he finds the ideal society in what he considers to be the Prophet’s conception of Islam. Every Moslem, in striving to make himself a[Pg xiv] more perfect individual, is helping to establish the Islamic kingdom of God upon earth.[3]
The Asrár-i Khudí is composed in the metre and modelled on the style of the famous Masnaví. In the prologue Iqbal relates how Jalálu´ddín Rúmí, who is to him almost what Virgil was to Dante, appeared in a vision and bade him arise and sing. Much as he dislikes the type of Súfism exhibited by Hafiz, he pays homage to the pure and profound genius of Jalálu´ddín, though he rejects the doctrine of self-abandonment taught by the great Persian[Pg xv] mystic and does not accompany him in his pantheistic flights.
To European readers the Asrár-i Khudí presents certain obscurities which no translation can entirely remove. These lie partly in the form and would not be felt, as a rule, by any one conversant with Persian poetry. Often, however, the ideas themselves, being associated with peculiarly Oriental ways of thinking, are hard for our minds to follow. I am not sure that I have always grasped the meaning or rendered it correctly; but I hope that such errors are few, thanks to the assistance so kindly given me by my friend Muhammad Shafi, now Professor of Arabic at Lahore, with whom I read the poem and discussed many points of difficulty. Other questions of a more fundamental character have been solved for me by the author himself. At my request he drew up a statement of his philosophical[Pg xvi] views on the problems touched and suggested in the book. I will give it in his own words as nearly as possible, it is not, of course, a complete statement, and was written, as he says, “in a great hurry,” but apart from its power and originality it elucidates the poetical argument far better than any explanation that could have been offered by me.
“‘That experience should take place in finite centres and should wear the form of finite this-ness is in the end inexplicable.’ These are the words of Prof. Bradley. But starting with these inexplicable centres of experience, he ends in a unity which he calls Absolute and in which the finite centres lose their finiteness and distinctness. According to him, therefore, the finite centre is only an appearance. The test[Pg xvii] of reality, in his opinion, is all-inclusiveness; and since all finiteness is ‘infected with relativity,’ it follows that the latter is a mere illusion. To my mind, this inexplicable finite centre of experience is the fundamental fact of the universe. All life is individual; there is no such thing as universal life. God himself is an individual: He is the most unique individual.[4] The universe, as Dr. McTaggart says, is an association of individuals; but we must add that the orderliness and adjustment which we find in this association is not eternally achieved and complete in itself. It is the result of instinctive or conscious effort. We are gradually travelling from chaos to cosmos and are helpers in this achievement. Nor are the members of the association fixed; new members are ever coming to birth to[Pg xviii] co-operate in the great task. Thus the universe is not a completed act: it is still in the course of formation. There can be no complete truth about the universe, for the universe has not yet become ‘whole.’ The process of creation is still going on, and man too takes his share in it, inasmuch as he helps to bring order into at least a portion of the chaos. The Koran indicates the possibility of other creators than God.[5]
“Obviously, this view of man and the universe is opposed to that of the English Neo-Hegelians as well as to all forms of pantheistic Súfism which regard absorption in a universal life or soul as the final aim and salvation of man.[6] The moral and religious ideal of man is not self-negation but self-affirmation, and he attains to this ideal[Pg xix] by becoming more and more individual, more and more unique. The Prophet said, ‘Takhallaqú bi-akhláq Allah,’ ‘Create in yourselves the attributes of God.’ Thus man becomes unique by becoming more and more like the most unique Individual. What then is life? It is individual: its highest form, so far, is the Ego (Khudí) in which the individual becomes a self-contained exclusive centre. Physically as well as spiritually man is a self-contained centre, but he is not yet a complete individual. The greater his distance from God, the less his individuality. He who comes nearest to God is the completest person. Not that he is finally absorbed in God. On the contrary, he absorbs God into himself.[Pg xx][7] The true person not only absorbs the world of matter; by mastering it he absorbs God Himself into his Ego. Life is a forward assimilative movement. It removes all obstructions in its march by assimilating them. Its essence is the continual creation of desires and ideals, and for the purpose of its preservation and expansion it has invented or developed out of itself certain instruments, e.g. senses, intellect, etc., which help it to assimilate obstructions.[8] The greatest obstacle in the way of life is matter, Nature; yet Nature is not evil, since it enables the inner powers of life to unfold themselves.
“The Ego attains to freedom by the removal of all obstructions in its way. It is partly free, partly determined,[9] and reaches fuller freedom by approaching the Individual who is most free—God. In one word, life is an endeavour for freedom.
“In man the centre of life becomes an Ego or Person. Personality is a state of tension and can continue only if that state is maintained. If the state of tension is not maintained, relaxation will ensue. Since personality, or the state of tension, is the most valuable achievement of man, he should see that he does not revert to a state of relaxation. That which tends to maintain[Pg xxii] the state of tension tends to make us immortal. Thus the idea of personality gives us a standard of value: it settles the problem of good and evil. That which fortifies personality is good, that which weakens it is bad. Art,[10] religion, and ethics[11] must be judged from the standpoint of personality. My criticism of Plato[12] is directed against those philosophical systems which hold up death rather than life as their ideal—systems which ignore the greatest obstruction to life, namely, matter, and[Pg xxiii] teach us to run away from it instead of absorbing it.
“As in connexion with the question of the freedom of the Ego we have to face the problem of matter, similarly in connexion with its immortality we have to face the problem of time.[13] Bergson has taught us that time is not an infinite line (in the spatial sense of the word ‘line’) through which we must pass whether we wish it or not. This idea of time is adulterated. Pure time has no length. Personal immortality is an aspiration: you can have it if you make an effort to achieve it. It depends on our adopting in this life modes of thought and activity which tend to maintain the state of tension. Buddhism, Persian Súfism, and allied forms of ethics will not serve our purpose. But they are not wholly useless, because after periods of great activity we need[Pg xxiv] opiates, narcotics, for some time. These forms of thought and action are like nights in the days of life. Thus, if our activity is directed towards the maintenance of a state of tension, the shock of death is not likely to affect it. After death there may be an interval of relaxation, as the Koran speaks of a barzakh, or intermediate state, which lasts until the Day of Resurrection.[14] Only those Egos will survive this state of relaxation who have taken good care during the present life. Although life abhors repetition in its evolution, yet on Bergson’s principles the resurrection of the body too, as Wildon Carr says, is quite possible. By breaking up time into moments we spatialise it and then find difficulty in getting over it. The true nature of time is reached when we look into our deeper self.[15] Real time is life itself, which can preserve itself[Pg xxv] by maintaining that particular state of tension (personality) which it has so far achieved. We are subject to time so long as we look upon time as something spatial. Spatialised time is a fetter which life has forged for itself in order to assimilate the present environment. In reality we are timeless, and it is possible to realise our timelessness even in this life. This revelation, however, can be momentary only.
“The Ego is fortified by love (’ishq).[16] This word is used in a very wide sense and means the desire to assimilate, to absorb. Its highest form is the creation of values and ideals and the endeavour to realise them. Love individualises the lover as well as the beloved. The effort to realise the most unique individuality individualises the seeker[Pg xxvi] and implies the individuality of the sought, for nothing else would satisfy the nature of the seeker. As love fortifies the Ego, asking (su´ál) weakens it.[17] All that is achieved without personal effort comes under su´ál. The son of a rich man who inherits his father’s wealth is an ‘asker’ (beggar); so is every one who thinks the thoughts of others. Thus, in order to fortify the Ego we should cultivate love, i.e. the power of assimilative action, and avoid all forms of ‘asking,’ i.e. inaction. The lesson of assimilative action is given by the life of the Prophet, at least to a Mohammedan.
“In another part of the poem[18] I have hinted at the general principles of Moslem ethics and have tried to reveal their meaning in connexion with the idea of personality. The Ego in its movement towards uniqueness has to pass through three stages:
(a) Obedience to the Law.
(b) Self-control, which is the highest form of self-consciousness or Ego-hood.[19]
(c) Divine vicegerency.[20]
“This (divine vicegerency, niyábat-i iláhí) is the third and last stage of human development on earth. The ná´ib (vicegerent) is the vicegerent of God on earth. He is the completest Ego, the goal of humanity,[21] the acme of life both in mind and body; in him the discord of our mental life becomes a harmony. The highest power is united in him with the highest knowledge. In his life, thought and action, instinct and reason, become one. He is the last fruit of the tree of humanity, and all the trials of a painful evolution[Pg xxviii] are justified because he is to come at the end. He is the real ruler of mankind; his kingdom is the kingdom of God on earth. Out of the richness of his nature he lavishes the wealth of life on others, and brings them nearer and nearer to himself. The more we advance in evolution, the nearer we get to him. In approaching him we are raising ourselves in the scale of life. The development of humanity both in mind and body is a condition precedent to his birth. For the present he is a mere ideal; but the evolution of humanity is tending towards the production of an ideal race of more or less unique individuals who will become his fitting parents. Thus the Kingdom of God on earth means the democracy of more or less unique individuals, presided over by the most unique individual possible on this earth. Nietzsche had a glimpse of this ideal race, but his atheism and[Pg xxix] aristocratic prejudices marred his whole conception.”[22]
Every one, I suppose, will acknowledge that the substance of the Asrár-i Khudí is striking enough to command attention. In the poem, naturally, this philosophy presents itself under a different aspect. Its audacity of thought and phrase is less apparent, its logical brilliancy dissolves in the glow of feeling and imagination, and it wins the heart before taking possession of the[Pg xxx] mind. The artistic quality of the poem is remarkable when we consider that its language is not the author’s own. I have done my best to preserve as much of this as a literal prose translation would allow. Many passages of the original are poetry of the kind that, once read, is not easily forgotten, e.g. the description of the Ideal Man as a deliverer for whom the world is waiting, and the noble invocation which brings the book to an end. Like Jalálu´ddín Rúmí, Iqbal is fond of introducing fables and apologues to relieve the argument and illustrate his meaning with more force and point than would be possible otherwise.
On its first appearance the Asrár-i Khudí took by storm the younger generation of Indian Moslems. “Iqbal,” wrote one of them, “has come amongst us as a Messiah and has stirred the dead with life.” It remains to be seen in[Pg xxxi] what direction the awakened ones will march. Will they be satisfied with a glorious but distant vision of the City of God, or will they adapt the new doctrine to other ends than those which its author has in view? Notwithstanding that he explicitly denounces the idea of nationalism, his admirers are already protesting that he does not mean what he says.
How far the influence of his work may ultimately go I will not attempt to prophesy. It has been said of him that “he is a man of his age and a man in advance of his age; he is also a man in disagreement with his age.” We cannot regard his ideas as typical of any section of his co-religionists. They involve a radical change in the Moslem mind, and their real importance is not to be measured by the fact that such a change is unlikely to occur within a calculable time.
[1] The present translation follows the text of the second edition.
[2] His criticism of Hafiz called forth angry protests from Súfí circles in which Hafiz is venerated as a master-hierophant. Iqbal made no recantation, but since the passage had served its purpose and was offensive to many, he cancelled it in the second edition of the poem. It is omitted in my translation.
[3] The principles of Islam, regarded as the ideal society, are set forth in the author’s second poem, the Rumúz-i Békhudí or “Mysteries of Selflessness.” He explains the title by pointing out that the individual who loses himself in the community reflects both the past and the future as in a mirror, so that he transcends mortality and enters into the life of Islam, which is infinite and everlasting. Among the topics discussed are the origin of society, the divine guidance of man through the prophets, the formation of collective life-centres, and the value of History as a factor in maintaining the sense of personal identity in a people.
[4] This view was held by the orthodox Imám Ahmad ibn Hanbal in its extreme (anthropomorphic) form.
[5] Kor. ch. 23, v. 14: “Blessed is God, the best of those who create.”
[6] Cf. his note on “Islam and Mysticism” (The New Era, 1916, p. 250).
[7] Here Iqbal adds: “Mauláná Rúmí has very beautifully expressed this idea. The Prophet, when a little boy, was once lost in the desert. His nurse Halíma was almost beside herself with grief, but while roaming the desert in search of the boy she heard a voice saying:
The true individual cannot be lost in the world; it is the world that is lost in him. I go a step further and say, prefixing a new half-verse to a hemistich of Rúmí (Transl. l. 1325):
[9] According to the Tradition, “The true Faith is between predestination and freewill.”
[10] Transl. l. 673 foll. In a note on “Our Prophet’s criticism of contemporary Arabian poetry” (The New Era, 1916, p. 251) Iqbal writes: “The ultimate end of all human activity is Life—glorious, powerful, exuberant. All human art must be subordinated to this final purpose, and the value of everything must be determined in reference to its life-yielding capacity. The highest art is that which awakens our dormant will-force and nerves us to face the trials of life manfully. All that brings drowsiness and makes us shut our eyes to Reality around, on the mastery of which alone Life depends, is a message of decay and death. There should be no opium-eating in Art. The dogma of Art for the sake of Art is a clever invention of decadence to cheat us out of life and power.”
[14] Kor. ch. 23, v. 102.
[21] Man already possesses the germ of vicegerency, as God says in the Koran (ch. 2, v. 28): “Lo, I will appoint a khalifa (vicegerent) on the earth.” Cf. Transl. l. 434.
[22] Writing of “Muslim Democracy” in The New Era, 1916, p. 251, Iqbal says: “The Democracy of Europe—overshadowed by socialistic agitation and anarchical fear—originated mainly in the economic regeneration of European societies. Nietzsche, however, abhors this ‘rule of the herd’ and, hopeless of the plebeian, he bases all higher culture on the cultivation and growth of an Aristocracy of Supermen. But is the plebeian so absolutely hopeless? The Democracy of Islam did not grow out of the extension of economic opportunity; it is a spiritual principle based on the assumption that every human being is a centre of latent power, the possibilities of which can be developed by cultivating a certain type of character. Out of the plebeian material Islam has formed men of the noblest type of life and power. Is not, then, the Democracy of early Islam an experimental refutation of the ideas of Nietzsche?”
[23] Jamshíd, one of the mythical Persian kings, is said to have possessed a marvellous cup in which the whole world was displayed to him.
[24] The Sea of Omán is a name given by the Arabs to the Persian Gulf.
[25] The holy well at Mecca.
[26] Jalálu´ddín Rúmí, the greatest mystical poet of Persia (a.d. 1207-1273). Most of his life was passed at Iconium in Galatia, for which reason he is generally known as “Rúmí,” i.e. “the Anatolian.”
[27] This refers to the famous Masnaví of Jalálu´ddín Rúmí.
[28] Rue-seed, which is burned for the purpose of fumigation, crackles in the fire.
[29] “Wine” signifies the mysteries of divine love.
[30] Majnún is the Orlando Furioso of Arabia.
[31] Khánsár, which lies about a hundred miles northwest of Isfahan, was the birth-place of several Persian poets.
Showing that the system of the universe originates in the Self and that the continuation of the life of all individuals depends on strengthening the Self.
[32] Shírín was loved by the Persian emperor Khusrau Parwíz. Farhád fell in love with her and cast himself down a precipice on hearing a false rumour of her death.
[33] Abraham is said to have been cast on a burning pile by order of Nimrod and miraculously preserved from harm.
Showing that the life of the Self comes from forming desires and bringing them to birth.
[34] Cf. Koran, ch. 18, vv. 64-80. Khizr represents the mystic seer whose actions are misjudged by persons of less insight.
[35] I.e. the reed was made into a flute.
Showing that the Self is strengthened by Love.[36]
[36] For the sense which Iqbal attaches to the word “love,” see the Introduction, section 3. The Education of the Ego.
[37] A prophet or saint.
[38] See note 26 on l. 95. Tabríz is an allusion to Shams-i Tabríz, the spiritual director of Jalálu’ddín Rúmí.
[39] Najd, the Highlands of Arabia, is celebrated in love-romance. I need only mention Lailá and Majnún.
[40] Her father, Hátim of Tai, is proverbial in the East for his hospitality.
[41] The story of the pulpit that wept when Mohammed descended from it occurs, I think, in the Masnaví.
[42] When, according to Mohammedan belief, the sun will rise in the west.
[43] A quotation from the Masnaví. The Prophet was buried at Medina.
[44] Báyazíd of Bistám died in a.d. 875. He refused to eat a water-melon, saying he had no assurance that the Prophet had ever tasted that fruit.
[45] Mohammed used to retire to a cave on Mount Hirá, near Mecca, for the purpose of solitary meditation and other ascetic observances.
[46] Lát and Uzzá were goddesses worshipped by the heathen Arabs.
[47] Fárán, name of a mountain in the neighbourhood of Mecca.
[48] Koran, ch. 2, v. 28. In these words, which were addressed to the angels, God foretold the creation of Adam.
Showing that the Self is weakened by asking.
[49] The Caliph Omar was a man of simple habits and self-reliant character.
[50] Khizr is supposed to have drunk of the Fountain of Life.
[51] The bubble is compared to an inverted cup, which of course receives nothing.
Showing that when the Self is strengthened by Love it gains dominion over the outward and inward forces of the universe.
[52] Sheikh Sharafu’ddín of Pánípat, who is better known as Bú Ali Qalandar, was a great saint. He died about a.d. 1325.
[53] Amír Khusrau of Delhi, the most celebrated of the Persian poets of India.
A tale of which the moral is that negation of the Self is a doctrine invented by the subject races of mankind in order that by this means they may sap and weaken the character of their rulers.
To the effect that Plato, whose thought has deeply influenced the mysticism and literature of Islam, followed the sheep’s doctrine, and that we must be on our guard against his theories.[56]
[56] The direct influence of Platonism on Moslem thought has been comparatively slight. When the Moslems began to study Greek philosophy, they turned to Aristotle. The genuine writings of Aristotle, however, were not accessible to them. They studied translations of books passing under his name, which were the work of Neoplatonists, so that what they believed to be Aristotelian doctrine was in fact the philosophy of Plotinus, Proclus, and the later Neoplatonic school. Indirectly, therefore, Plato has profoundly influenced the intellectual and spiritual development of Islam and may be called, if not the father of Mohammedan mysticism, at any rate its presiding genius.
[57] I.e. it is worthless in either case. The egg-shaped wine-jar is supported by bricks in order to keep it in an upright position.
Concerning the true nature of poetry and the reform of Islamic literature.
[58] I.e. in his body.
[59] Khizr, according to the legend, discovered the Fountain of Life in the Land of Darkness.
[60] In this passage the author assails the Persian and Urdu poetry so much in favour with his contemporaries.
[61] Arabic odes usually begin with a prelude in which the poet makes mention of his beloved; and her name is often Salmá. Here “the Salmá of Araby” refers to the Koran and the ideals for which it stands.
[62] It is related that an ignorant Kurd came to some students and besought them to instruct him in the mysteries of Súfism. They told him that he must fasten a rope to the roof of his house, then tie the loose end to his feet and suspend himself, head downwards; and that he must remain in this posture as long as possible, reciting continually some words of gibberish which they taught him. The poor man did not perceive that he was being mocked. He followed their instructions and passed the whole night repeating the words given him. God rewarded his faith and sincerity by granting him illumination, so that he became a saint and could discourse learnedly on the most abstruse matters of mystical theology. Afterwards he used to say, “In the evening I was a Kurd, but the next morning I was an Arab.”
Showing that the education of the Self has three stages: Obedience, Self-control, and Divine Vicegerency.
[63] The religious law of Islam.
[64] I.e. water is an indispensable element in the life of the body.
[65] The first article of the Mohammedan creed.
[66] Like Abraham when he was about to sacrifice Isaac or (as Moslems generally believe) Ishmael.
[67] The lesser pilgrimage (’umra) is not obligatory like the greater pilgrimage (hajj).
[68] The original quotes part of a verse in the Koran (ch. 3, v. 86), where it is said, “Ye shall never attain unto righteousness until ye give in alms of that which ye love.”
[69] I.e. overcome the lusts of the flesh.
[70] Here Iqbal interprets in his own way the Súfí doctrine of the Insán al-kámil or Perfect Man, which teaches that every man is potentially a microcosm, and that when he has become spiritually perfect, all the Divine attributes are displayed by him, so that as saint or prophet he is the God-man, the representative and vicegerent of God on earth.
[71] I.e. his appearance marks the end of an epoch.
[72] Koran, ch. 2, v. 29. The Ideal Man is the final cause of creation.
[73] Koran, ch. 17, v. 1, referring to the Ascension of the Prophet.
[74] For the white hand (of Moses) cf. Koran, ch. 7, v. 105, ch. 26, v. 32, and Exodus, ch. 4, v. 6.
[75] These four lines may allude to Jesus, regarded as a type of the Perfect Man.
Setting forth the inner meanings of the names of Ali.
[76] Murtazá, “he whom with God is pleased,”(—See Transcriber’s Note) is a name of Ali. Bú Turáb means literally “father of earth.”
[77] A miracle of the Prophet.
[78] The fortress of Khaibar, a village in the Hijáz, was captured by the Moslems in a.d. 628. Ali performed great feats of valour on this occasion.
[79] A river of Paradise.
[81] The burning pyre on which Abraham was thrown lost its heat and was transformed into a rose-garden.
[82] The “trust” which God offered to Man and which Man accepted, after it had been refused by Heaven and Earth (Koran, ch. 33, v. 72), is the divine vicegerency, i.e. the duty of displaying the divine attributes.
Story of a young man of Merv who came to the saint Ali Hujwírí—God have mercy on him!—and complained that he was oppressed by his enemies.
[84] Hujwírí, author of the oldest Persian treatise on Súfism, was a native of Ghazna in Afghanistan. He died at Lahore about a.d. 1072. Pír-i Sanjar is the renowned saint, Mu`ínuddín, head of the Chishtí order of dervishes, who died in a.d. 1235 at Ajmír.
[85] These lines correct the Súfí doctrine that by means of passing away from individuality the mystic attains to everlasting life in God.
[86] I.e. allegorically. This verse occurs in the Masnaví.
Story of the bird that was faint with thirst.
[87] I.e. if he swallow a diamond, he will die.
Story of the diamond and the coal.
Story of the Sheikh and the Brahmin, followed by a conversation between Ganges and Himalaya to the effect that the continuation of social life depends on firm attachment to the characteristic traditions of the community.
[88] A mysterious bird, of which nothing is known except its name.
[89] Rue-seed is burned for the purpose of fumigation.
[90] “The badge of unbelief”: here the original has zunnár ([Greek: ζωναριον: zônarion]), i.e. the sacred thread worn by Zoroastrians and other non-Moslems.
[91] Ázar, the father of Abraham, was an idolater.
Showing that the purpose of the Moslem’s life is to exalt the Word of Allah, and that the Jihád (war against unbelievers), if it be prompted by land-hunger, is unlawful in the religion of Islam.
[92] See Introduction, note 7 in Section 1. The Philosophical Basis of the Asrár-i Khudí.
[93] A celebrated Moslem saint, who died at Lahore in a.d. 1635.
[94] Aurangzíb.
[95] Koran, ch. 50, v. 29.
Precepts written for the Moslems of India by Mír Naját Nakshband, who is generally known as Bábá Sahrá’í.[96]
[96] This appears to be a pseudonym assumed by the author.
[97] Jalálu’ddín Rúmí.
[98] Bábá Kamáluddín Jundí. For Shams-i Tabríz and his relation to Jalálu’ddín Rúmí see my Selected Poems from the Diváni Shamsi Tabríz (Cambridge, 1898).
[99] Abraham refused to worship the sun, moon, and stars, saying, “I love not them that set” (Koran, ch. 6, v. 76).
[101] In the Masnaví Love is called “the physician of our pride and self-conceit, our Plato and our Galen.”
[102] The famous idol of Somnath was destroyed by Sultan Mahmúd of Ghazna.
[103] The pilgrims are forbidden to kill game.
Time is a sword.
[105] Founder of one of the four great Mohammedan schools of law.
[106] The Prophet said, “I have a time with God of such sort that neither angel nor prophet is my peer,” meaning (if we interpret his words according to the sense of this passage) that he felt himself to be timeless.
[107] The glorious days when Islam first set out to convert and conquer the world.
[108] The takbír is the cry “Allah akbar,” “Allah is most great.”
An invocation.
[109] Salmán was a Persian, Bilál an Abyssinian. Both had been slaves and were devoted henchmen of the Prophet.
THE END
Printed by R. & R. Clark, Limited, Edinburgh.
Obsolete, archaic, inconsistent and unusual spellings have been maintained from the original text. The only changes to the text were:
I also changed internal cross-references from notes and pages to line number (or section of the Introduction) and footnote number.
The cover was produced by the transcriber and is hereby placed in the public domain.
Footnote 76 gives the meaning of the name Murtazá as “he whom with God is pleased.” This translation is awkward, so awkward that it appears to me likely that it is wrong, i.e. “with whom” rather than “whom with.” However I checked other sources, and the meaning as stated is correct, although “he who is pleased with God,” or “he who is content with God,” or “he for whom God is sufficient” might be easier to read.
Footnote 90 includes a word in Greek. When the original book has text in another alphabet, I include both the text in the other alphabet and a transliteration, because some reading platforms are not able to display the other alphabet.
Footnote 98 refers to another book by the translator: _Selected Poems from the Diváni Shamsi Tabríz_. This is the title as published, although elsewhere in this work the author is referred to as Shams-i Tabríz.
End of Project Gutenberg's The Secrets of the Self, by Muhammad Iqbal
*** END OF THIS PROJECT GUTENBERG EBOOK THE SECRETS OF THE SELF ***
***** This file should be named 57317-h.htm or 57317-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/5/7/3/1/57317/
Produced by Fritz Ohrenschall, Emmanuel Ackerman and the
Online Distributed Proofreading Team at http://www.pgdp.net
(This file was produced from images generously made
available by The Internet Archive/Canadian Libraries)
Updated editions will replace the previous one--the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for the eBooks, unless you receive
specific permission. If you do not charge anything for copies of this
eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given
away--you may do practically ANYTHING in the United States with eBooks
not protected by U.S. copyright law. Redistribution is subject to the
trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full
Project Gutenberg-tm License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg-tm electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg-tm electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg-tm electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the
person or entity to whom you paid the fee as set forth in paragraph
1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg-tm
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the
Foundation" or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg-tm electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg-tm mission of promoting
free access to electronic works by freely sharing Project Gutenberg-tm
works in compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg-tm License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg-tm work. The Foundation makes no
representations concerning the copyright status of any work in any
country outside the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg-tm License must appear
prominently whenever any copy of a Project Gutenberg-tm work (any work
on which the phrase "Project Gutenberg" appears, or with which the
phrase "Project Gutenberg" is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
eBook or online at www.gutenberg.org. If you are not located in the
United States, you'll have to check the laws of the country where you
are located before using this ebook.
1.E.2. If an individual Project Gutenberg-tm electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase "Project
Gutenberg" associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg-tm
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg-tm License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg-tm work in a format
other than "Plain Vanilla ASCII" or other format used in the official
version posted on the official Project Gutenberg-tm web site
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original "Plain
Vanilla ASCII" or other form. Any alternate format must include the
full Project Gutenberg-tm License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works
provided that
* You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg-tm trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, "Information about donations to the Project Gutenberg
Literary Archive Foundation."
* You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg-tm
works.
* You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
* You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg-tm electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from both the Project Gutenberg Literary Archive Foundation and The
Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
trademark. Contact the Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
electronic works, and the medium on which they may be stored, may
contain "Defects," such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg-tm
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg-tm work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg-tm work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at
www.gutenberg.org Section 3. Information about the Project Gutenberg
Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state's laws.
The Foundation's principal office is in Fairbanks, Alaska, with the
mailing address: PO Box 750175, Fairbanks, AK 99775, but its
volunteers and employees are scattered throughout numerous
locations. Its business office is located at 809 North 1500 West, Salt
Lake City, UT 84116, (801) 596-1887. Email contact links and up to
date contact information can be found at the Foundation's web site and
official page at www.gutenberg.org/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
[email protected]
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular
state visit www.gutenberg.org/donate
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg-tm electronic works.
Professor Michael S. Hart was the originator of the Project
Gutenberg-tm concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg-tm eBooks with only a loose network of
volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our Web site which has the main PG search
facility: www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.