Nazir Jahangir
When a person recognizes God, he or she becomes a mystic, and their language transforms into one of mysticism. Consequently, when we read the words of mystics—regardless of their affiliation with any religion, color, race, nation, or sect—we find remarkable similarities among their expressions.
It is important to note that mystical knowledge is entirely different from creative power or imaginative skill. So, one needs to know that intuition is not tuition or philosophy but a distinct form of realization. Sight and insight have two different meanings. Thus, for those who attain mysticism and intuition, languages, borders, and national identities do not pose barriers in their words.
When I use the term “mystic” here, I refer to a person who is deeply immersed in the love of God and seeks unity with the Deity or the absolute through contemplation and self-surrender, believing in the spiritual understanding of profound truths.
Allama Iqbal was born nearly six hundred years after the Kashmiri mystic Lal Ded, and Iqbal did not know the Kashmiri language. Yet, when we examine and evaluate the poetry of Iqbal and Lal Ded, we discover a kind of similarity because both were mystics.
Faith lies between hope and fear. Whoever possesses both, possesses faith. The central theme of Lal Ded and Iqbal’s poetry is divine love, which embodies both hope and fear.
There are many commonalities in the works of Lal Ded and Iqbal. Both are concerned with the well-being and salvation of humanity. Both are sincere, their poetry instructive, impactful, and inspiring towards self-awareness and the recognition of God. Their words do not reflect the mysticism of Omar Khayyam, but rather the mysticism of Hafiz.
Omar Khayyam views fate as a merciless force and considers grief over the past or worry about the future to be futile, emphasizing only the present moment as worthy of enjoyment. But in the poetry of Iqbal and Lal Ded, there is no encouragement for shallow hedonism or mental indulgence; rather, they offer the promise of spiritual survival. Their poetry does not reflect the pessimism of Thomas Hardy. Both, under the shelter of divine knowledge, teach detachment and self-sufficiency. They peered into realms beyond the reach of ordinary sight. Under the shadow of divine knowledge, they seem to sway in bliss. Both poets emphasize reform, and the essence of their poetry is divine love. If there is any difference, it lies merely in their style of expression.
For example, Iqbal says:
“Jina woh kya jo nafs ghair par mudar,
Shoharat ki zindagi ka bharosa bhi chhod de.”
(What is life if it depends on others,
Even the reliance on a life of fame should be abandoned.)
Lal Ded expresses this same idea in her own way: “Gaal kadi nam bol padi neem,
Dapi nam ti yeh yas rotche.
Siz kasmo pozi kari neem,
Bo ami lainah teh kas kiya notche.”
(Let them defame me or blame me,
Let anyone say whatever they want.
Let them praise me or worship me,
Such things have no effect on me.)
In other words, whether they defame or praise me, these things are meaningless to me. What benefit can anyone gain from them?
(In Sufism, such a state is referred to as the perfection of ethics.)
Whereas Iqbal states:
“Jis aik sajda ko bekaraan samjha hai tu,
Woh hazar sajdon se deta hai aadmi ko nijat.”
(The single prostration you consider boundless,
It saves a person from a thousand prostrations.)
Lal Ded conveys the same thought:
“Akh swi mantra tcheits kariye,
Tas sas mantra kya kariye.”
(If you remember that one mantra,
What need do you have for a thousand mantras?)
In other words, whoever remembers that one mantra becomes independent of a thousand others.
Where Lal Ded says:
“Diyo wita dior wita,
Peeth boon chhuvi ekah waath.
Poz kas karkh hote bata,
Kar mans teh paunas singhaath.”
(The stone god is in the stone temple,
The stone dweller sits inside.
Why worship the stones,
If you desire something, unite heart and soul.)
In other words, in a stone house, there is a stone dweller. O stubborn priest, worshiping stones is futile. If you seek fulfillment, then unite the heart and soul.
The meaning of Iqbal’s verse is similar:
“Jo kabhi main sar ba sajda hua,
To zameen se aane lagi sada.
Tera dil to hai sanam aashna,
Tujhe kya milega namaz mein.”
(When I once bowed in prostration,
A voice arose from the earth.
Your heart is already acquainted with the idol,
What will you gain from prayer?)
Lal Ded’s verse is:
“Chandas vochham haar na ate,
Naav taaras kya dima bo.”
(If my pocket is empty, how can I undertake the journey? I have no fare for the ride.)
This reflects the state of annihilation, where a person considers themselves worthless.
Regarding this state, Sheikh-ul-Alam states:
“Pans yus mol kar na haare,
Swi dippi zi hai Musalman.”
(The one who considers themselves worthless has attained salvation.)
Allama Iqbal also expresses this idea in one of his verses:
“Zaban se keh bhi diya la ilaha to kya hasil,
Dil o nigah Musalman nahi to kuch bhi nahi.”
(What does it matter if you verbally declare ‘there is no god’ (La illaha….) if your heart and gaze are not that of a Muslim? Nothing at all.)
Lal Ded conveys the same sentiment in her own way:
“Shu shiv karan shiv na toshay.”
(Merely chanting the name of God does not please Him.)
In another instance, Lal Ded says:
“Dil kar saaf mili zeere,
Nata shala tongeyo neeri na keenh.”
(Cleanse your heart of all impurities, and you will find God; otherwise, crying like a jackal will yield nothing.)
A thinker once said there is a significant difference between a thing and its symbol, such as its name, concept, or nature. The name or concept of something is not equivalent to its reality. For instance, the word ‘hunger’ is not hunger itself, and the idea of ‘food’ is not food itself. Similarly, merely chanting ‘God, God’ does not lead to an understanding of His reality. Whatever concept of reality we form is a product of our imagination and merely another of its complexities.
Iqbal states:
“Aankh jo kuch dekhti hai lab pe aa sakta nahin
Mehv-e-hairat hoon ke duniya kya se kya ho jaaye gi.”
(The eye sees things that the lips cannot express,
I stand in wonder at how the world will transform.)
Lal Ded expresses the same idea:
“Konir hai bozakh kunah no rozakh
Konirn kornum hani aakar.”
(If you truly understand the essence of unity, your very existence will become nullified. The profound depths of this unity have set my being aflame.)
Lal Ded has a verse:
“Lulakhi narah wanij bozum.”
(I have burned myself in the fire of love.)
Iqbal conveys the same idea of love and the heart with these words:
“Ishq ke daam mein phans kar ye hara hota hai
Barq girti hai to ye nakhl hara hota hai.”
(Caught in the trap of love, it comes alive;
When lightning strikes, this tree becomes green.)
Another verse by Lal Ded is:
“Wuchhum pandit panuni gareye
Nishe chhui te te parze nawun.”
(I saw the Sage in his own house. He is close to you.)
Iqbal expresses the same thought:
“Apne man mein doob kar paa ja suragh-e-zindagi
Tu agar mera nahi banta na ban, apna to ban.”
(Dive into your own heart and find the meaning of life.
If you cannot be mine, at least be your own.)
Sheikh-ul-Alam said:
“Ha nondo jungle khuson gayim khami
Me aas pata chh yeh ba’d ibadat
So ha aasayi ba’d badnami
Sarh aas kairni kuni kath”
Means:
O Noordin, going deep into the forest was your flaw;
I thought this was a great act of worship,
But it turned out to be a disgrace.
What was required was to become Knower of the Truth.)
(Your wandering into the forest in search of God was your flaw. I thought this was a great act of worship, but it proved to be disgraceful. The truth is that I was supposed to be initiated about the Truth)
Iqbal said:
“Aashna apni haqeeqat se ho aye dehqaan zara
Daana bhi tu, kheti bhi tu, baaran bhi tu, haasil bhi tu.”
(“Become acquainted with your own reality, O farmer;
You are the seed, the field, the rain, and the harvest.”)
Lal Ded expresses a similar thought:
“Gagan zeh, bhootal zeh
Zeh din, pawan te raat
Arg, zindun, posh, pooni zeh
Zeh chuk, sooray lagi zi kyaah.”
(You are the sky, and you are the earth. You are the day, and you are the night. What offering, then, can one present to you?)
Some critics link this verse of Lal Ded to the philosophy of Wahdat-ul-Wujood (Unity of Being). Whatever the case, I am sharing these verses here for the resemblance in thought. It’s possible that the backgrounds of these two poets may be different, or perhaps critics have imposed their own beliefs onto this verse of Lal Ded. For in the journey of spiritual practice, Wahdat-ul-Wujood is a stage that some seekers and mystics encounter. As they progress, their belief may evolve towards Wahdat-ush-Shuhud (Unity of Witnessing), where the Creator and creation are understood as separate. At the stage of Wahdat-ul-Wujood, the seeker does not truly dissolve but perceives their own existence as nullified. When this stage is crossed, they attain the realization of themselves as a servant and God as the Master. Upon examining, analyzing, and evaluating all of Lal Ded’s poetry, it appears she was traversing various stages in her spiritual journey, ultimately affirming a bond of servant and Lord with God. Allah knows best.
There is a vak (saying) of Lal Ded:
“Pareth pan yame soam man
Yame heov mon deen kyov raath
Yame se man ode saanin
Temi dyothuye Sur Guru Nath.”
(One who has regarded everyone, both self and others, as one and the same; one who has not distinguished between day and night; one whose heart is free from duality—only such a person truly worships the Deity of all deities.)
Iqbal states:
“Mashriq se ho bezar na maghrib se uzr kar
Fitrat ka taqaza hai ke har shab ko sahar kar.”
(Do not turn away from the East, nor make excuses to avoid the West. Nature demands that you turn every night into dawn.)
In another place, Allama (Iqbal) says:
Bar amad az mashriq khud jalwa ash
Ta hama aafaaq ra aarad ba dast
Nazrash az mashriq o maghrib bari ast
Garche az rooye nisbat khavari ast
Meaning: Just as the sun rises in the East yet is not limited to being Eastern—it is also called Western—likewise, people of the homeland can embody a universal brotherhood.
Lal Ded’s Wakh:
Aamin taaken poeni zan shamaan
Dil chhumm bramaan gereh gzh ha
Translation:
Lal Ded’s Saying:
I am an unbaked clay pot from which water is leaking. My soul is eager to return abode.
(Meaning, in this saying, Lal Ded expresses a longing for death.)
Death’s reference here will not be devoid of interest.
There are four types of people in the world.
The first type is those who do not want to die. Such people are afraid of death because they remain strongly glued to this material world with their body, mind, and wealth. They are not willing to leave this world. Since God can only be met after death, it is believed that such people do not desire to meet God. Consequently, God also does not like to meet such people. In Sufi belief, such individuals are considered infidels.
The second type is those who also do not want to die, but their fear of death arises from different reasons. They are not afraid of death due to their love for the material world; rather, they do not wish to die because they feel they have nothing reliable virtues for the Hereafter. They panic at the thought of what they will take to God and the account they will face after death. Such people are called believers but of a lower degree.
The third type is those who are eager for death because they long to meet their Lord, their beloved, as Lal Ded expresses her eagerness for death in the above verse. Such people have a desire to meet their God and are very little attached to this material world. They are counted among the ascetics, Sufis, and the righteous.
The fourth type is those who have perfectly surrendered their will to God’s will. These individuals have no desire to live or die. They are obedient to God’s pleasure. If God wants them to live, they are happy to live, and if God wishes for them to die, they are content with death. This fourth level is considered the highest spiritually.
So when we look at this verse of Lal Ded in which she said:
Aamin taaken poeni zan shamaan
Dil chhum bramaan gareh gzh ha
Meaning, in this verse, Lal Ded expresses a longing for death. From this perspective, Lal Ded’s spiritual insight reflects the third level. But later, when she attains a higher spiritual status, she says:
“Marah neechh teh lasah neechh”
Meaning, “It’s fine if I die, and it’s fine if I live.”
Here, her spiritual insight points to the fourth level.
Iqbal says:
Marne wale marte nahi lekin fana hote hain
Yeh haqeeqat mein kabhi hum se juda hote nahi
Marne walon ki jabeen roshan hai is zulmaat mein
Jis tarah taare chamakte hain andheri raat mein
Allama Iqbal was in a state of severe illness. In his final days, he suffered from dropsy, causing swelling in his face and feet. When Dr. Jamiyat Singh examined him, he expressed a sense of hopelessness. Allama’s elder brother, Sheikh Ata Muhammad, tried to console him, to which Allama replied, “I am a Muslim; I am not afraid of death.”
“Nishan-e-mard-e-momin bato goyam
Chun marg aayad tabassum bar lab-e-ost”
“Zindagi ki aag ka anjaam khaakstar nahi
Tootna jis ka muqaddar ho yeh woh gohar nahi”
In this text, Lal Ded’s verses illustrate the journey of spiritual elevation. Initially, she longs for death, symbolizing a third level of spiritual awareness. But later, her understanding deepens to embrace both life and death equally, marking a higher, fourth level of enlightenment.
Iqbal’s verses, reflecting on the undying spirit of those who have passed, suggest that true believers achieve a radiance that outshines even darkness, like stars in a night sky. This eternal wisdom underlines the belief that death does not signify the end but a transformation that leaves a lasting light. In his final days, Iqbal expressed courage in facing death, reinforcing his faith and embodying the qualities of a true believer.
Lal Ded’s verse is:
Babr-e-langas mushk no mori
Honi basta kaafoor nere na zaanh
Man bodh garahan phere zeer sethi
Natha shala tonge neri kya
Meaning, fragrance will always come from a fragrant branch. Expecting the scent of camphor from a dog’s skin is pointless. If you remember Him with sincerity and devotion, you will achieve union. Otherwise, barking like a jackal will bring you nothing.
Iqbal expresses a similar idea in these words:
“Mann ki daulat haath aati hai phir jaati nahin
Tann ki daulat chhaaon hai aata hai dhann jaata hai dhann”
Means: “The wealth of the heart, once attained, is never lost,
But the wealth of the body is like a fleeting shadow—
It comes quickly and vanishes just as fast.”
This captures Iqbal’s idea that spiritual richness is enduring, while material wealth is temporary and insubstantial.
Another verse by Lal Ded is:
“Azheen aaye teh gazheen gazhe
Pakan gazhe deen kya raat
Yure aaye ture gazhen gazhe
Kinha natha kinha natha kinha natha kya”
Some have translated this verse of Lal Ded as:
“He kept coming and going repeatedly; this cycle of coming and going continues.”
I have translated this verse of Lal Ded as follows in Urdu:
“Laayi hayaat aaye qaza le chali chale”.
Means: “Life brought us here, and death will take us away as we depart.”
This reflects the idea of life and death as inevitable cycles, suggesting that we come into this world with life and leave when death calls us away.
In any case, the meaning of Iqbal’s verse aligns with Lal Ded’s verse:
“Gul us shaakh se tootte bhi rahe
Usi shaakh se phootte bhi rahe
Samajhte hain nadaan ise be-sabaat
Ubharta hai mit mit ke naqsh-e-hayaat
Bari tez jolan bari zor ras
Azal se abad tak ram yak nafas
Zamana ki zanjeer-e-ayyam hai
Damon ke ulat pher ka naam hai”
Means:
“Flowers keep falling from that branch,
And yet, from the same branch, new buds keep blooming.
The ignorant perceive this as impermanent,
But life’s image emerges, erasing itself repeatedly.
There is fierce momentum, a powerful force,
A single breath moving from eternity to eternity.
It’s the chain of time’s passing,
The endless cycle of rise and fall.”
This translation reflects the theme of life’s ongoing, cyclical nature, where loss and renewal, creation and destruction, are constantly intertwined.
Lal Ded’s first verse suggests that true qualities remain inherent. A fragrant branch will always emit fragrance, whereas it is pointless to expect the same from a worthless source. Only with sincerity can one attain spiritual unity, while empty actions yield nothing.
Iqbal captures a similar concept, comparing inner wealth to true, lasting value, while outward material wealth is as fleeting as a shadow.
In her second verse, Lal Ded reflects on the endless cycle of life and death, of coming and going, which I have interpreted through the Urdu verse, Laayi hayaat aaye qaza le chali chale.
Iqbal’s lines further elaborate on this theme:
The flower keeps breaking off from the branch, yet new blooms keep appearing.
Fools see it as temporary, but life’s image emerges anew each time it fades.
It moves swiftly, with great force, in a single breath from eternity to eternity.
Time is a chain of days, the name given to the cycle of each passing moment.
Both Lal Ded and Iqbal emphasize the impermanence of life and the eternal nature of existence, with Iqbal adding a note on life’s continuity despite constant change.
Lal Ded’s verse is:
Goruh shabdas yus yizh patch baray
Gyan h wagah rati zeeth turgas
Yandare shomrath aanand karay
Adah kas marah teh maran kas
Translation:
“One who holds steadfast belief in the Guru’s teachings
And reins in the horse of the mind with the bridle of wisdom,
Who continually wins over the mind through self-realization,
And keeps bodily impulses in check, unaffected by their heat—
Only such a person can attain eternal peace,
And find liberation from the cycle of life and death.
Death is of the body, not of the mind or soul.”
Iqbal expresses a similar idea in a different way:
“Amal se zindagi banti hai jannat bhi, jahannam bhi
Yeh khaki apni fitrat mein na noori hai, na naari hai”
Translation:
“Through actions, life becomes either paradise or hell.
In its essence, this being of dust is neither angelic nor demonic.”
This reflects the shared perspective of both Lal Ded and Iqbal, emphasizing the transformative power of inner discipline and wisdom.
Nazir Jahangir is a noted journalist, writer and columnist
