“Devatā. The word devatā means born of light in the Sanskrit language. It denotes a being made of light. This gives us to understand that the ancient Hindus regarded the devatās as created like all other creation and did not think of them as eternal beings. It meant for them, probably, the same that we denote by the word angel because angels, though having a luminous nature, are nevertheless created beings. Therefore, according to my lights, it would not be correct to accuse Hinduism guilty of polytheism.” (Iqbal)
Iqbal’s poetry for children is unique in both in terms of its form as well as its content. The collection of his poems, Iqbal Za Sve (Iqbal for All), written primarily for children and the youth, is a unique example of a literary form yet largely unattended within the Balkans. In other words,
Great Literature is an institution and it defines relationship that it forms with the emerging possibilities of future and the never entombed past. Pasts and futures reflect in great literary works. Shakespeare and AllamaIqbal share spiritual lineage and it is most visibly evident in their verbal decorum and thematic patterns. AllamaIqbal’s construction of dialogue is similar to that of Shakespeare’s in its nature and thus it distances him from both Indian and Persian forms of dialogue composition. Dialogue is Shakespeare’s creative agency. Every time we go back to a work of Shakespeare, the dialogue formation seems, as if, rearranged and automatically situationalized as derivative form of the plight of existence and we look at the play every time as a new discovery, a newly found document about our own past. Iqbalian dialogue is of psychological and political nature, it is revelatory not just in traditional sense of speculating character’s inner world but it simultaneously involves study of historical and geographical locale. While reading ‘Siddique’, for instance, we cannot keep ourselves aloof of the atmosphere and find ourselves within the mosque fourteen centuries ago where the dialogue originally took place. The order in which internal constitution of the speeches takes place but also theatrical turn-taking, character’s having ‘access to the floor’, everything well secured. Iqbal here establishes communication in real situations and transports the readers’ imagination to the world apparently lost to us in the flood of time. Both the poets are Ishraqi in their approach towards their fundamental thematic issues and both encourage inverse reading of their texts. Iqbal’sJawab-e-Shikwa is among the best of his works to offer an inverse reading to understand the meaning of his central philosophical-poetic concern, Self (Khudi).
Allama Iqbal is a great poet and research and criticism is being done on his thoughts all over the world. Several indexes are compiled upon Iqbal’s Urdu and Persian poetry consisted of words, phrases, metaphors, topics, lines and verses. Certainly, these indexes are very beneficial for the readers and researchers of Iqbal’s poetry. If any Urdu or Persian poem is to be searched, these books do not prove to be helpful, so I compiled this index of Iqbal’s poems in accordance to the wish of Dr. Rafi-ud-Din Hashmi. Sub titles of poems are also mentioned along with title of poem in bracket, and starting lines are mentioned along with the poems having same title.