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
and after Persian fashion he invokes the Saki to fill his cup with wine and pour moonbeams into the dark night of his thought,
I am the voice of the poet of To-morrow"
And imbue the idle looker-on with restless impatience,
And advance hotly on a new quest,
And become known as the champion of a new spirit."
The cry "Back to the Koran! Back
The Asrár-i Khudí is composed in the metre and modelled on the style of the famous Masnaví. In the prologue Iqbal relates how Jaláluddín 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 Sufism exhibited by Hafiz, he pays homage to the pure and profound genius of Jaláluddín, though he rejects the doctrine of self-abandonment taught by the great Persian
"'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
"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. 2 The moral and religious ideal of man is not self-negation but self-affirmation, and he attains to this ideal
"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
"The Ego is fortified by love (ishq). 1 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
"In another part of the poem 2 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:
(c) Divine vicegerency. 2 "This (divine vicegerency, niyábat-i iláhí) is the third and last stage of human development on earth. The náib (vicegerent) is the vicegerent of God on earth. He is the completest Ego, the goal of humanity, 3 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
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
vii:1 The present translation follows the text of the second edition. xiii:1 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. xiv:1 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. xvii:1 This view was held by the orthodox Imám Ahmad ibn Hanbal in its extreme (anthropomorphic) form. xviii:1 Kor. ch. 23, v. 14: "Blessed is God, the best of those who create." xviii:2 Cf. his note on "Islam and Mysticism" (The New Era, 1916, p. 250). xix:1 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 Halima was almost beside herself with grief, but while roaming the desert in search of the boy she heard a voice saying: xx:1 Transl. l. 289 foll. xxi:1 According to the Tradition, "The true Faith is between predestination and freewill." xxii:1 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 Lifeglorious, 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." xxii:2 Ibid. l. 537 foll. xxii:3 Ibid. l. 631 foll. xxiii:1 Ibid. l. 1531 foll. xxiv:1 Kor. ch. 23, v. 102. xxiv:2 Transl. 1. 1549 foll. xxv:1 Ibid. l. 323 foll. xxvi:1 Ibid. l. 435 foll. xxvi:2 Ibid. l. 815 foll. xxvii:1 Ibid. l. 849 foll. xxvii:2 Ibid. l. 893 foll. xxvii:3 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. xxix:1 Writing of "Muslim Democracy" in The New Era, 1916, p. 251, Iqbal says: "The Democracy of Europeovershadowed by socialistic agitation and anarchical fearoriginated 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?""1. The Philosophical Basis of the Asrár-i Khudí
"2. The Ego and Continuation of Personality
Footnotes