Abstract

Literature is the artistic menifestation of language. The beauty of literature

lies in the fact that the readers interpret it in the perspective of the social,
political, and religious condition of the period in which it is produced.
Language is more than just a mean of communication with others. It
reflects the ideologies of the world around us. This study is an attempt
to analyze the discourse of the poem “Khizar-e-Rah” written by renowned
literary and political figure of Subcontinent Dr. Allama Muhammad Iqbal in
the light of critical discourse analysis with an aim to identify the linguistic
choices made by Iqbal, his ideology and social, political and historical
events represented through the discourse of poem. The study examines
above-mentioned poem in the frame of reference to Fairclough’s three
dimensional model, i.e. Description, interpretation, and explanation. The
study is analytical in nature. Result of analysis shows
that Allama Muhammad Iqbal used poetic discourse as an instrument to
convey his ideology in an era of despair and despondency. Iqbal decorated
his poetic discourse with the ornaments of rhetorical devices like allusions,
symbolism, metaphors and imagery to convey his political and social
ideology. Unlike traditional rhetoric devices he used Quranic allusion,
historical symbols, new metaphors unique similes, Quranic intertextuality,
persian and Arabic code mixing and switching. He used novelty of
language as a discourse strategy to persuade his audience. The critical
analysis of poem Khizar-e-Rah shows that political and social events,
religious beliefs and cultural differences influence the linguistic choice of
speaker and writer.
Introduction
Language is one of the best attribute of mankind, without which we won't be able
to convey our thoughts and feelings. Literature, on the contrary, convey these
thoughts and feelings in written form in more artistic manners.
Literature is the best way to uncover the artistic nature of language. It add
something to the beauty of language. Both are inseparable. Literature is in fact
artistic use of words.
According to Deleuze G, et.al. (1997) Literature already presents two aspects:
through the creation of syntax, it not only brings about a decomposition or
destruction of the maternal language but also the invention of a new language
within language.
They further say that literature is the passage of life within language that
constitutes ideas. (pp. 229-230 ).
Literature represents the culture or traditions of not only people but also of a
language. Literature is the expressions of one's thoughts that he try to convey to
the readers and every writer expresses his mind through language. Literature and
language are not only linked but also inter related. Literature is bred in bone of
language and language get life through literature.
"In most cases, literature is referred to as the entirety of written expression, with
the restriction that not every written document can be categorized as literature in
the more exact sense of the word." (Klarer, 2013, p.1). The whole literature is
based on the language in which it is written. "a work of literature is a piece of
language in which a writer tries to visualize a given social reality, at a given period
of time, and in a given place of the world." (Khalifa, 2017, pp. 15-46)
Language manifests its absolute beauty in poetry. The language of poetry is much
denser in case that it displays an idea in just three to four lines that in other cases
needs a whole paragraph to explain.
It is a wisdom language because it relates the experiences and observations of
human life and the universe around us. It is also a vehicle of thought, feeling and
spirit dressed up in words which are often very subtle, vague and mysterious and
have several layers of meaning. In fact poetry can explode with meaning.(Hickey,
2007 para. 2)
Poetry in words of Paul Valery (1989) "a language within language." because
poetry often use unusual pattern of words order for metrical regularity. Poetic
language has a regular pattern of sound in contrast to ordinary language or
language of prose. "Poetry is an art of language". (Valery,1989) It can serve as a
framework to understand a language and know the beauty of that language.
Bailey (1971) showed, compared with ordinary language, higher frequencies of a
particular phoneme group can be shown to occur in poetry; it seems possible that
this can influence a reader's response. (pp. 16-37).

The word discourse is derived from a Latin word "discursus" which means
conversation or speech but modern definition of discourse is much broader than
that. Discourse now defines as "an abstract noun emphasis on large unit such as
paragraph, utterance, whole texts or genre."
"Discourse is the broadest term, referring to a variety of written and oral
manifestations which share common thematic or structural features. The
boundaries of these terms are not fixed and vary depending on the context in
which they appear." (Klarer, 2013, p.5 ).
Discourse analysis aims at revealing socio-psychological characteristics of a
person/persons rather than text structure.
Discourse is the way in which language is used socially to convey broad historical
meanings. It is language identified by the social conditions of its use, by who is
using it and under what conditions. Language can never be neutral because it
bridges our personal and social world. (Henry and Tator 2002 as cited in Richard,
2020).

In the past for the analysis of literary text two approaches were being applied:
literary criticism (the study of the content) and stylistic (the study of text).
“Roughly speaking, from the nineteenth century, literary studies implied a main
(or principal) frontier: On the one hand, the study of “context”, which is supposed
to be “outside” text; on the other hand, the study - stylistic or not - of texts
considered in themselves.” (Maingueneau, 2011, pp.147-157) In literary criticism
we have nothing to do with language. “a critic is sensitive to language, but his
concern is the underlying message and not the way signals are combined.”
(Abdulmughni, 2019 p.418) While stylistic is the study of style of text “Stylistics
aimed to interpret textual context, rather than simply describing the text's formal
characteristics. Additionally, the study discussed that stylistics was mean to
evaluate the impact of linguistics on literature.” (Abdulmughni, 2019 p. 413). Both
Stylistics and discourse analysis are concerned with linguistics analysis of a text.
However, discourse is concerned with linguistics analysis of a pattern above
sentences and language of a text in context. "Discourse Analysis is a relatively
new scientific paradigm for the study of language, and all of its components at a
level higher than that of the individual sentence." (Ponton & Larina, 2017 pp. 7-
21).

Critical Discourse Analysis:

In 1970 a group of linguists and educationaists came out with Critical Linguistic
that further gave birth to CDA. CL main purpose was to uncover hidden cultural
and ideological meanings same as CDA.
"CDA has actually started as a new direction of discourse analysis in the mid -
1980s by such works of a group of linguists, such as Fairclough, van Dijk, and
Wodak. It is originated to seek the relationship between discourse and society
and it was developed as a movement in 1992, at a meeting in Amsterdam with
participations by the same group, which were later published as a special issue of
"Discourse and Society" in 1993." (Elsharkawy, 2016, para. 9)
CDA sees discourse – language use in speech and writing – as a form of “social
practice”. Describing discourse as social practice implies a dialectical relationship
between a particular discursive event and the situation(s), institution(s), and
social structure(s) which frame it: the discursive event is shaped by them, but it
also shapes them. That is, discourse is socially constitutive as well as socially
conditioned; it constitutes situations, objects of knowledge, and the social
identities of and relationships between people and groups of people. (Fairclough
& Wodak, 1997, pp. 258- 284)

Critical Discourse Analysis term is derived from Critical Linguistic that is firstly
used by Fairclough in 1989 in his book Language and Power. In this book he
discussed the key concepts related to Critical Discourse Analysis. According to him
language must be seen as a social practice both in written and spoken form. In the
same year he gave his three dimensional model known as Fairclough's three
dimensional model as an approach to Crtical Discourse Analysis that has been
revised in 1992. According to him a discourse has three dimensions text,
interaction and context. His contribution to Critical Discourse Analysis marked
that a text should be analyzed as a social practice. According to him discursive
practices are influenced by social practices. (Liu & Guo, 2016).

Van Dijk combines cognitive theory with linguistic theory as well as with social
theory. His main concentration of discourse analysis was in cognitive approach.
He gave a triangle model of discourse cognition and society. By introducing
context model, he tried to pay more attention to bring forth the role of context on
discourse production and analysis. (Liu & Guo, 2016)

Wodak also describes discourse as social practice like Fairclough. Her main work
was related to social discrimination, prejudice, racism. She also developed
discourse analysis in historical context. Her main focus was power and ideology.
(Liu & Guo, 2016)
"The start of CDA network was marked by the launch of Van Dijk's journal
Discourse and Society (1990), as well as by several books which were
coincidentally published simultaneously and led by similar research goals."
(Wodak & Mayer, 2008, p. 3).

"Just as even a single sentence has traditionally been seen to imply a whole
language, so a single discourse implies a whole society." (Fairclough, 1989 p. 152)

Critical discourse analysis defined as "discourse analytical research that primarily

studies the way social-power abuse and inequality are enacted, reproduced,
legitimated, and resisted by text and talk in the social and political context." (Van
Dijk, 2015 p. 466 )

Fairclough and Wodak (1997) summarized the main tenets of CDA as follows:
1 CDA addresses social problems.
2 Power relations are discursive.
3 Discourse constitutes society and culture.
4 Discourse does ideological work.
5 Discourse is historical.
6 The link between text and society is mediated.
7 Discourse analysis is interpretative and explanatory.
8 Discourse is a form of social action. (as cited in Van Dijk, 2015, p. 467)

CDA develops discourse socially in such a way that it involves social conditions of
production (e.g., text) as well as social conditions of interpretation. It is the
linguistic form of social interaction that is either embedded in social context of
situation or that it interprets the social system that constitutes the culture of
institutions or society as a whole. (El-Sharkaway, 2016)
"CDA looks at a text as a piece of art that does not take place in isolation. The
analysis and interpretation of a text is carried out on the basis of socio-economic,
socio-political and socio-historical context." (Khan and Bibi, 2017 pp. 48-60 )

Critical research on discourse has the following general properties, among others:

 It focuses primarily on social problems and political issues rather than the
mere study of discourse structures outside their social and political
contexts.

 This critical analysis of social problems is usually multidisciplinary.

 Rather than merely describe discourse structures, it tries to explain them in

terms of properties of social interaction and especially social structure.

 More specifically, CDA focuses on the ways discourse structures enact,

confirm, legitimate, reproduce, or challenge relations of power abuse
(dominance) in society.
(Van Dijk, 2015, p. 467)

"CDA does not primarily aims to contribute to a specific discipline, paradigm,

school or theory. It is primarily interested and motivated by pressing social issues,
which it hopes to better understand through discourse analysis. (Van Dijk, 1993,
p. 252)
"One potential use of CDA is the analysis of a large textual corpus, as it can be
used to comb through long stretches of discourse (text, talk, image, and gesture)
to find patterns that create, circulate, reinforce, and reflect societal norms and
ideology." (Huckin et.al., 2012, p.119)

As discourse is a social practices so it cannot be seen and analyzed without

considering social, political and historical context. Literary discourse also been
shaped because of the thoughts of writers that are being influenced by some
social circumstances and observation.

"The literature that emerges from any culture can hardly be separated from its
historical, political and economic antecedents." (Aboh, 2012, para. 4)

The primary focus of CDA is to examine how power relations are exercised,
produced and negotiated through discourse.
(Fairclough &Wodak, 1997, p. 258)

“discourse (…) is always historical, that is, it is connected synchronically and

diachronically with other communicative events which are happening at the same
time or which have happened before”. (Wodak & Ludwig, 1999, pp.12-13)

To sum up, critical discourse analysis deals with social events and social, political
and historical factors influencing a written or spoken discourse, literature being
the image of society is also a product of social circumstances and critical discourse
analysis is the approach to deal with such factors.

Allama Muhammad Iqbal

Allama Muhammad Iqbal know as Sir Dr. Muhammad Iqbal born on November 9,
1877 in Sialkot. At the age of four, Iqbal was sent to Madarassa to learn Quran
and Arabic where he became the student of Syed Mir Hassan. He got his early
education from Scotch Mission college where Mir Hassan was the professor of
Arabic. He, then moved to Lahore to study English literature, Arabic and
philosophy at government college Lahore. He won a gold medal for getting first
position in philosophy. At master level he came under the influence of professor
Thomas Arnold. On his encouragement he traveled to Europe for higher
education. He obtained the degree of Becholar of arts from Trinity college an
Cambridge in 1907, he got the degree of law from Lincoln's Inn and qualified as a
barrister. While dividing his time between legal affairs and poetry, he also stayed
active in politics.
Iqbal started his poetical career from Bhati gate which was the place of
intellectual at that time. New poet often came there to recite their poetry.

This was the popular space where Iqbal was first publicly recognized for his
poetical talent. Iqbal’s poetry is, therefore, from its very beginning linked to the
public. Lahore being a majority Muslim city and the Urdu emphasis of the
Musha’ra in itself makes Iqbal into the popular voice of his people, the Muslims.
These early experiences define Iqbal of the future: a poet constantly in
conversation with his people, a poet attempting to retrieve a Muslim self to
counter the overwhelming ideological onslaught of the West. It is this public
imperative that forces Iqbal to articulate a peculiar view about the West and
prompts a deep introspective study of Islam itself. It is within these two important
points of reference that the idea of Muslim particularity takes shape in Iqbal’s
works. (Raja, 2008, pp.37-47)

Dr. Allama Muhammad Iqbal is one of the most renowned political and literary
figure in the history of Urdu speaking world. He is called as spiritual father of
Pakistan. He introduced a new world of philosophy and thoughts. He gave a new
vision to the minds. He achieved all this through poetry.
“Undoubtedly Iqbal is a great poet and is reckoned among the greatest. Those
who know Urdu very well and have written about Iqbal's Urdu poetry maintain
that Iqbal’s Urdu poems are among the best in Urdu.” (Khamane'i, 1986, p. 3).

Muhammad Iqbal (1877-1938), the poet-philosopher of the south Asian

subcontinent, is famous for his bold, uplifting and inspiring poetry. Iqbal was a
poet first, and remained that throughout his life, but he was also a thinker and a
philosopher. The combination of the two gave him the charisma that captured the
Muslim imagination. Iqbal was no doubt the most sought out Muslim figure of the
twentieth century; both the religiously inclined as well as the literary minded
drew inspiration from him. (Omar, 2004, pp. 39-50)

"Iqbal was a scholar and a philosopher, but at the same time other dimensions of
his life are so bright that if we consider him to be just a philosopher and a scholar,
we feel that we have belittled him." (Khamane'i, 1986 p. 3).

Muhammad Iqbal as a poet and philosopher known for his influential efforts to
direct his fellow Muslims in Sub Continent toward the establishment of separate
state for Muslims. He did this through his poetry in which he appealed Muslim to
work for the strength, development and revitalization of Muslim.

"It cannot be disputed that his Urdu poetry made a great impact on large number
of people living in the Sub Continent during the early decades of twentieth
century and motivate them to participate in struggle." (Khamane'i,1986 p. 3).

Ever since the establishment of Pakistan till today Iqbal has become an icon to his
own people and to the Muslim world at large. Iqbal who has been seen as a seer,
reformer, poet, philosopher, mystic, barrister, statesman and educationist, was
exalted to the position of a spiritual father by the people upon his death. Ever
since the world came to witness his intellectual potentials, his philosophy and
ideas have been researched and benefited by people all over the world, Muslims
as well as non-Muslims. (Razak, 2011, pp. 365-381)

Iqbal, as a poet, was blessed with a unique power of poetic art. His poetry, unlike
other poets, put a great influence on the mind of his reader not only in his age
and state but till now he is universally admired poet in the world. There will be no
hallucination if we call him as a poet of people. He writes as if he is providing the
cure for the diseases of people all over the world especially Muslim world, this is
the reason behind his title "Hakeem ul Ummat." To emphasize on his ideas in
poetry, Iqbal introduces novel and unique style. Novel diction, religious allusion,
intertextuality, used persian composition of words, new symbolism and new
poetic devices. All this he did for bringing rhetoricity in his poetry.

Iqbal here again demonstrated the creative and evocative power of poetry when
images, themes, and poems of the past are made to serve as the foundation for
other images, themes, or poems. With its wealth of allusion, its direct and indirect
echoes of other poets, and its wide background studded with poems and poets of
the past Iqbal’s poetry feels like a panorama of Persian, Urdu, Arabic, Sanskrit,
German and English poets of the past. And there is never any doubt as to who is
in control: the presiding genius is Iqbal and none else. He manipulates, uses,
abandons, re-embraces, refashions, approaches from unexpected angles. This is
not merely learned poetry. This is poetry whose wardrobe of jewels is like the
'metaphor of the mind'. (Farooqi, 2004, p. 21)

Khizar-e-Rah
Allama Muhammad Iqbal read "Khizar e Rah" in the 37th meeting of Anjam e
Hamayat e Islam on April 13, 1922.
This poem is a creation of the time when the conditions of Muslims after World
War 1 was unsatisfactory. Turk lost their war and their Caliph had been
imprisoned by enemies. First World War had a momentous impact on Muslim
World. With the end of Ottoman Empire, Islam lost its geopolitical expressions on
the stage of world. Arab joined hands with France and Britain to get rid from
Turks but later carved up by them. Muslim unity had been scattered that made
Muslims weak in every aspect. Historical Muslims' lands had been lost. World War
had made Iran lifeless. Back in Sub Continent, this war had created disruption.
Muslims of India stood up for for Turkish Caliphate, but British rule overrode this
Caliphate Movement. Many of the Muslims were been imprisoned.
In Jallianwalla bagh a massacre of innocent was being victimized by British ruler
with force.
This era of despair, hopelessness and pain is the background of this poem.

Research Objectives
The study aims to:
• Identify different linguistic choices by Iqbal.
• Describe the reflection of Iqbal’s ideology through the linguistic choices.
• Find out the representation of represents the social, political and historical
context in the discourse of the selected poems.
Research Questions
• What linguistic choices are made by Iqbal.
• How the ideology of Iqbal is reflected through the linguistic choices in the
poems?
• How does the discourse represent the social, political and historical
context.

Significance
The study has been conducted with an aim to bring forth the idea that literary
discourse is also influenced by social, political and historical events and to analyze
how the language of literary discourse influences these events at the same time.
The study is carried out with an aim to explore the motif behind the novelty of
language in Iqbal’s poetry. The study is significant in the way that it will contribute
to ongoing researches in the field of critical discourse analysis in general and
literary discourse analysis in particular. This study investigated critical discourse
analysis as a useful technique for literary text analysis especially poetry. The study
will be beneficial for the students and reader of linguistics and literature in a way
that they may go for in depth study of literary language. It will also be beneficial
for writers and poet to know the worth of literary discourse in influencing and
changing the mind of society. It will open new dimensions for researcher to study
language of Iqbal other than his philosophy.

Delimitation
Every research and every study has some limitations and delimitations. Following
are some limitations of this research.
The first limitation is that only one poem of Iqbal has been selected. Although his
many other poems are of much importance through the lense of critical discourse
analysis.
Secondly, researcher kept limited her work to three steps of Fairclough's model.
Researcher didn't go for in depth analysis of poem at textual, discursive and social
level of model. Only the prominent area of study is brought under light.
Thirdly, while going through the three stages of analysis, due to time constraints
researcher kept her research limited, otherwise the role of every figure of speech
and every discursive practice in poetic discourse can be analyzed and discussed in
more broader sense in future researches.
Literature Review
Critical discourse analysis as a linguistic strategy has been used in previous studies
in the analysis of literary discourse to unveil the hidden motif, purpose and
ideologies wrapped in the literary text.

Bezar et al., (2018) tried to bring the analysis of romantic poetry under the
umbrella of critical discourse analysis. They applied Norman Fairclough's three
dimensional model to analyze William Blake's poem "Ah Sun Flower!" The analysis
is carried out on three level; Description, Interpretation and Explanation. The
authoritative repressive ideology of 18th century has been explored through the
critical analysis of poem. The analysis shows that a type of ideological conflict was
present between patriarchy (parents, priest) and youth (lover, beloved) in 18th
century that has been reflected in the discourse of poem. Findings depicts that
the choice of discourse in the poem expresses the intense desire of poet to go to
golden age.

Mehdi (2016) applied Critical Discourse Analysis for the analysis of two poems
commemorating Hazrat Imam Hassan written by two Shia poets to shed light on
the religious ideology with a view that a poet who chooses to write a piece of
discourse on a certain character is definitely effected by the personality or he has
some perspective to share. As CDA pays attention to social structure and purpose
behind the use of certain text, such type of discourse requires historical
knowledge. The analysis expresses that discourse of poem is loaded with words
that reveals the conceptual content, ideology and beliefs of its advocaters. The
two poems manifest heavy use of figure of speech that makes the message of
poets more powerful and appealing.
Khan and Bibi (2017) analyzed a pashto poem "Faisala" by applying Fairclough's
three dimensional model of text, discourse practice and social practice to explore
the influence of marxist thoughts on modern pashto poetry. The study analyzed
the poem from Marxist perspective using Critical Discourse Analysis as a tool,
taking into account Karl Marx point that ideas don't exist separately from
language
Analysis shows that the tone, style and choice of words by Ajmal Khan explore
Marxist ideology. Through the use of symbols, images and choice of words poet
tried to depict the bitterness of social and political system of his time. The
ideology Ajmal Kattak manifested in his work is Pukhtoonwali, nationalism and a
criticism upon social structure. Critical analysis of the poem reveals that the the
content of the poem is made influential by the choice of enticing discourse.
However, this study pays more attention to the content of poem than linguistics
analysis.

Khalifa (2017) applied Critical Discourse Analysis framework to study literary

discourse to expose how racist ideologies and power relation are been structured
in Crane's "A dark brown dog". For analysis study used Van Dijk’s theoretical
triangulation of discourse and ideology analysis moving from the discursive
through the cognitive to the social. The analysis carried out in three steps
contextual analysis, textual analysis and at the level of evolution of racial identity.
The analysis shows that literary discourse exposes racial identity and racism at
various levels of language use. The critical investigation manifests that choice of
words, imagery and symbolism played vital role in depicting racist ideologies of
white supremacy and black inferiority. The analysis of "A black brown dog"
reveals that the way the dark brown dog is treated by white family is the
reflection of racism, a social practice that was common in America at the end of
19th century and during the beginning of 20th century. Racist ideology depicts the
unequal distribution of power among two racial groups that has been manifested
in the critical analysis of the discourse of A dark brown dog.
Sherwani (2020) studied famous Turkish novel "Forty rules of love" by Elif Shafak.
Through critical discourse analysis of novel, political, socio-cultural and historical
elements in two plots of the novel has been highlighted. The study tried to
highlight Sufi ideology through the conversation and dialogue analysis of Rumi in
the context of Sufism. Discourse techniques oversimplification, simplification of
Sufi ideology for western reader, and intertextuality I.e interconnecting a text to
another or the influence of a text over another are been used in the novel "Forty
rules of love". However, more importance has been given to the literary context
than text, discourse and language. More attention has been paid to
cosmopolitanism and orientalism.

Kiren and Awan (2007) applied Fairclough's three dimensional model to analyze
the problem of feminism; education and place of women in society in the novel of
Jane Austen "Pride and Prejudice". Critical discourse analysis of the novel carried
out by applying Fairclough's model at three level of novel discourse. Critical
analysis of the novel shows that author tried to encourage standard for women in
society. She tried to show unfairness of social standards between men and
women.

Syamasiah (2016) analyzed the discourse of "I am Malala" to describe how gender
based injustice is run out and produced in the text and the text of gender based
violence against women is presented in the novel by applying Fairclough's three
dimensional model.

Abdu and Khafaga applied critical discourse analysis to explore mind control
strategies in George Orwell's novel "Nighty eighty four". The analysis reveals that
CDA proves useful to explore mind control strategies that are wrapped in
discourse of the novel. Mind control strategies used in the novel are simplication,
euphemisms and morphologicalization. The discursive practices adopted in the
novel are used to change the attitudes and thinking of the readers. The analysis
explains how discourse reflects power and assert it.
To study hidden ideology in Robert Frost’s poem “Fire and Ice" Sabir and Kanwal
(2018) used Norman Fairclough’s model as a tool of research. The research
carried out in three steps text analysis, interpretation and explanation. The study
reveals that poet has concealed motif and deep seated ideology. Through the
virtue of Fairclough’s model, CDA thus exposed the hidden meanings of poem.
The poetry of Robert Frost is profound with moral values and didactic style which
is wrapped in symbols.

Khan (2014) in his article “Critical Discourse Analysis of William Blake’s poem The
Sick Rose" analyzed the poem by following three steps of Norman Fairclough’s
model i.e. text analysis, interpretation and explanation. The study is an attempt to
link social practices and linguistic practices. It has been observed in the paper that
text has a world of its own. The result shows that Blake’s choice of discourse was
to strengthen the notion of love and respect for women.

Hafeez (2018) applied ‘socio-cognitive model' proposed by Van Dijk to analyze the
hidden ideologies of literary discourse in the short story “Property of women” by
Sara Suleri. The result shows that the purpose of writing the short story in specific
diction is to make the readers aware from the social circumstances and to trace
their thoughts and imagination in the story. The specific lexicon used in the story
had a profound impact on readers' minds.

Dilpul (2016) in his study reveals that Bulleh Shah and Mast Tawakalli both use
different discourse in their poetry according to their socio psychological factors.
Bulleh Shah struggles against cast system and injustice in his society so the
discourse in his poetry consists of harsh words while Mast Tawakalli brings nature
into life so his expressions are much softer. The critical discourse analysis of the
text of both poems carried out by using Gee seven building blocks. The study
conducted with the aim to explore specific Sufi discourse and the purpose behind
such type of discourse.
Puspitasari & Liliani (2018) bring "Topeng Nalar" a short story written by Dewi Rita
Utari under the light of critical discourse analysis with an aim to analyze text,
discourse and sociocultural practices in the discourse of short story. She applied
Norman Fairclough's model along with feminism theory. The result of analysis
shows that text dimension reveals the tragic life of a single mother and her
hardship in society. At discursive level study analyzed the intertextual and
interdiscursive elements which are related to a movie North country aired in
2005. The sociocultural practices shows that social and cultural context affects the
discourse creation. Analysis of social practices reveals feminists ideology. The
study is carried out with an aim to bring forth the sad life of a single mother and
the problems she faced in society with a critical discourse analysis of the story.
The result shows that author of the story compiled discourse to highlight the
issues of single mother who feed her children by doing mask dance. However,
discourse also presents hope for women.
Zahoor (2014) analyzed the poem "Say this city has ten million souls" written by
poet W.H. Auden through the lense of Fairclough's CDA model. By analyzing text
in relation to social events, it has been revealed that poem is the voice of a
refugee written on the topic of displacement. Critical discourse analysis is used as
an instrument to bring forward the suffering of a human being as a refugee. The
analysis shows that displacement is a result of power games. However, this study
does not gives much importance to poetic discourse rather it deals with the
subject of displacement and its psychological impacts in more depth.

Gohar, et.al. (2016) critically evaluated frequently occurring metaphors in the

poetry of Pakistani English poets. They selected the work of sixty poets from
different parts of the country who belong to the 9/11 time. Fairclough's model
served as a methodology to study metaphors at three levels of analysis i.e
description, interpretation and explanation. The result of critical analysis shows
that the metaphors of heart, life and love are used by Pakistani English poets of
21st century in their work. The mode, however, in the poetry is of despair and
frustration. Study argues that their poetry seems away from socio-political
influences. But this claim in the study doesn't seem well constructed because the
mood of poems is of despair and frustration, the poets want to move away from
this frustration and despair that's why they used metaphors of love and life in
their poetry. We can't deny the role of socio-political influences on poetic
discourse.

Mahmood & Majeed (2019) carried out a study using Fairclough's model of critical
discourse analysis to study figurative language in the poetry of Langston Hughes.
Langston Hughes poems are selected randomly for critical discourse analysis.
Fairclough's model is applied as a research method with an aim to show implicit
figurative language in the poem and their implicit meanings. After analyzing they
bring forth the result that although frequency differences has been found among
different figures of speech. However, the role of every figure of speech in
communicating ideology in poetic discourse is same.

All these papers attempt to analyze the literary text by applying the strategies of
Critical Discourse Analysis. However, this research will be different in a way that it
tries to explore the aim and purpose behind the use of novel diction and
discourse and its profound impact on the minds of readers in the poem of Iqbal
"Khizar e Rah". Besides, this research paper will be conducted with an aim to
bring forth the idea that literary discourse is also influenced by social, political and
historical events and to analyze how the language of literary discourse influences
these events at the same time. The study will be carried out with an aim to
explore the motif behind the novelty of language in Iqbal’s poetry.
Methodology
Research Methodology
Research is “a scienctific and systematic search for pertinent
information on a specific topic. In fact research is an art of scientific
investigation.” (Kothari, 2004, p.1)

“Research methodology is a way to systematically solve the research

problem. It may be understood as a science of studying how research is
done scientifically. (Kothari, 2004, p. 8)

…….there are two basic approaches to research viz., quantitative

approach and qualitative approach. The former involves the generation
of data in quantitative form which can be subjected to rigorous
quantitative analysis in a formal and rigid fashion. (Kothari, 2004, pp. 5)

Qualitative approach to research is concerned with subjective

assessment of attitudes, opinions and behaviour. Research in such a
situation is a function of researcher’s insights and impressions. Such an
approach to research generates results either in non-quantitative form
or in the form which are not subjected to rigorous quantitative analysis.
Generally, the techniques of focus group interviews, projective
techniques and depth interviews are used. (Kothari, 2004, p.5)
Nature of the study:
Generally there are three types of reseaches; qualitative research, quantitative
research and mixed-method research.

The present study is qualitative because it is based on critical discourse analysis of

poem that has nothing to do with statistical data. The study will be analytical.
Critical discourse analysis is used as research methodology and Fairclough's three
dimensional model as a framework of the research.

“The qualitative research admits the researcher to discover the participants’ inner
experience and to figure out how meanings are shaped through and in culture.
(Kelin & Mayer, 1999 as cited in Rahman, 2017, pp. 102-112)
“the qualitative research admits the researchers to discover the participants’
inner experience, and to figure out how meanings are shaped through and in
culture (Corbin & Strauss, 2008 as cited in Rahman, 2017, pp. 102-112)
“CDA scholar commonly view language as a form of social practice and are
connected with systemically investigating hidden power relations and ideologies
embedded in discourse. They are likewise dedicated to examining the social
and material consequences of discourse. Sharing Foucault's dialectical view
of discourse, CDA researchers consider discourse to be socially shaped as
well as socially constitutive.” (Johnson and McLean, 2020, pp. 377-383)
They further claims that “Multiple CDA approaches explicitly or implicitly
attempt to make links between micro-, meso-, and macroscale social
phenomena, mapping discourse analyses across these scales
correspondingly. Fairclough conceptualized these scales as a three-
dimensional model consisting of discursive events (micro), discursive
practices (meso), and social structures (macro).( Johnson and McLean, 2020,
pp. 377-383)
“Critical discourse analysis challenges us to move from seeing language as an
abstract to seeing our words as having meaning in a particular, social and political
condition (McGregor, 2010 as cited in Mogashoa, 2014, pp. 104-113)
Research has been carried out using three steps of the Norman Fairclough’s three
dimensional model i.e.
1.Linguistic description of the text.
2.Interpretation of the relationship between discursive practices and text.
3.Explanation of the relationship between discursive practices and social
practices.

Source of data:
The object of this study is poem Khizar-e-Rah written by Allama Muhammad Iqbal
taken from his book Bang-e-Dara published in year 1924.

Framework

The main analytical tool of this research is “three-dimensional model of discourse

analysis” introduced by Norman Fairclough.

This three dimensional model is an analytical structure for analyzing the

relationship between language and society. Text cannot be analyzed alone, it can
be analyzed in relation to other text or social context.

Norman Fairclough is one of the founder CDA scholar. His main interest was how
social practices are discursively shaped.
Fairclough has presented a model in 1989 and revised it in 1995. His model is
considered a hub around which the wheel of critical discourse analysis revolves.
He was the first to design a theoretical framework for CDA and gave guidelines for
text interpretation.(Sabir & Kanwal, 2018, pp. 83-99)
Within the CDA feild the most dominant approaches for analyzing discourse was
developed by Fairclough in 1980s. Fairclough's method is based on the
formulation that the way people produce and interpret language is ultimately
affected and controlled by power.
(NaderiFarjad, 1989, p. 1)

Fairclough's (1989, 1995) model for CDA consists of three interrelated processes
of analysis which are tied to three interrelated dimensions of discourse. These
three dimensions are:
1. the object of analysis (including verbal, visual or verbal and visual texts);
2. the processes by which the object is produced and received(writing/speaking
designing and reading/listening/viewing) by human subjects;
3. the socio-historical conditions that govern these processes. According to
Fairclough each of these dimensions requires a different kind of analysis:
1. text analysis (description);
2. processing analysis (interpretation);
3. social analysis (explanation).
(Janks, 2006, pp. 329-342)

I see discourse as a complex of three element social practices, discoursal practices

(text production and distribution and consumption), and text and the analysis of
a specific discourse calls for analysis in each of these three dimensions and their
interrelations. The hypothesis is that significant connections exist between
features of texts, ways in which texts are put together and interpreted and the
nature of social practice.
(Fairclough, 1995, p. 74)
The approach I have adopted is based upon a three-dimensional conception of
discourse and correspondingly a three-dimensional method of discourse analysis.
Discourse, and any specific instance of discursive practice, is seen as
simultaneously (1) a language text spoken or written, (2) discourse practice (text
production interpretation) (3) sociocultural practices. (Fairclough, 1995, p. 97)
He further says that
The method of discourse analysis includes linguistic description of the language
text, interpretation of the relationship between the (productive and
interpretative) discursive process and the text and the explanation of the
relationship between the discursive process and social process. (Fairclough, 1995,
p. 97)

The first step in Fairclough's model is textual analysis.

According to Fairclough texual analysis is a part of discourse analysis and texual
analysis consist of two parts linguistics analysis and intertextual analysis. He
claims that
One cannot properly analyze content without simultaneously analyzing form
because contents are always neccesarily realized in form and different contents
entail different forms and vice versa. In brief, form is a part of content. He
elaborates and illustrates this claim below.
I regard texual analysis as subsuming two complementary types of analysis:
linguistics analysis and intertextual analysis. And I understand linguistic analysis in
an extender sense to cover not only the traditional level of analysis within
linguistics (phonology, grammar upto the level of sentence and vocabulary and
semantics) but also also analysis of textual organization above sentence, including
interstential cohesion and various aspects of the structure of text which have
been investigated by discourse analysts and conversational analysts.
(Fairclough, 1992 pp. 193-217)
It is based on the linguistic description of the formal properties of text. Text is a
form of data which is used for linguistic analysis. All the description of grammar is
based on text. The term „text‟ refers to a specimen of language in any medium
spoken or written that makes sense to someone who knows the language. When
people speak or write they produce text with which readers and listeners engage
end interpret. So text is a process of making meaning in context (Halliday and
Hassan, 1976, as cited in Sabir & Kanwal, 2018, pp. 83-99 )

The text, as the model argues, is the only concrete level (physically seen) which
concerns language forms and their meanings. The analysis of this level may be
organized into vocabulary, grammar, cohesion, and text structure. (Fairclough,
1989: 136, as cited in Mehdi, 2016 pp. 37-68)

The second level of analysis according to Fairclough's model is processing analysis

or social practice.

The discourse practice level includes the analysis of the composition of the text,
its readership or audience, and the manner in which the text may be interpreted
(i.e. "production, distribution and consumption" of the text). Additionally, the
second level involves considering a group of similar texts as a point of
comparison. Particularly, speech acts, coherence, and intertextuality are
important at this level because they "link a text to its context". (NaderiFarjad,
1989, p.1)

It shows the relationship between discourse processes and the text. Reading is a
product of an interface between the properties of the text and the interpretative
resources and practices which the interpreter brings to bear upon the text. The
range of potential interpretations will be constrained and delimited according to
the nature of the text. (Sabir & Kanwal, 2018, pp. 83-99)
The second level - discursive practice - is related to the production, distribution
and consumption of the text. One needs to consider who has produced the text,
for what purpose the text is produced, to whom the text is aimed at and in what
conditions is it read (Fairclough, 1992: 76, as cited in Mehdi, 2016)

Third level in Fairclough's model is social analysis or sociocultural practice.

This stage is a relationship between discourse and social and cultural reality. The
immediate condition, from which a text is evolved, is important for the authentic
interpretation of the text. This analysis focuses on the language and individual
words that shape a text. This approach does not mind if the analyst begins the
analysis by selecting the step of his own choice. One can select any stage to start
the analysis which ultimately collaborate all the three steps in the end of
discussion. Discourse is a part of social life is the main belief of this framework.
(Sabir & Kanwal, 2018, pp. 83-99)

Viewing language as a social practice implies, first, that it is a mode of action

(Austin 1962; Levinson, 1983) and secondly that it is always a socially and
historically situated mode of action in a dialectical relationships with other facets,
of 'the social' (its social context), it is socially shaped but it is also socially shaping
or constitutive. It is vital that critical discourse analysis explore the tension
between these two sides of language use, the socially shaped and socially
constitutive rather than opting one-sidedly for a structuralist or actionalist.
(Fairclough, 1995, p. 131)

In this step by step analysis and by studying the forms of language, one can
discover the social processes and the ideology that is embedded in the language.
Then the power relations that exist in the society can be found. (Sabir and
Kanwal, 2018, pp. 83-99)
"His belief that “the language is an irreducible part of social life” is the main part
of his framework. " (Mahmood & Majeed, 2019, pp. 68-73)

Fairclough’s (1989) analysis has shown that by studying the forms of the language,
we can discover the social processes and also the specific ideology embedded in
them. This leads to the exploration of power relations that exist in the society or
community. He believes in a “hidden agenda.” (cited in Mahmood and Majeed,
2019, pp. 68-73)

Procedure
The study starts with the selection of required data for qualitative analysis.
Researcher, for this purpose, read the famous poems of Iqbal to select the
required poem dense in novelty of language. Purpose behind selecting the poem
is because this poem is enriched with the specific ideology of famous urdu poet
Dr Allama Muhammad Iqbal known as Shair-e-Mashraq (poet of the east).

The critical analysis of the poem “Khizar-e-Rah” is carried out by applying theses
three steps.
•Text Analysis (Description)
The very first analytical attention of Fairclough’s model is text. Text analysis is
linguistic analysis and linguistic analysis according to Fairclough consists of
grammar, sound system, vocabulary, semantic cohesion.
"The description is the stage which is concerned with the formal properties of the
text." (Bezar et al., 2018, pp.59-75)
In this step the researcher found the text properties of the poem. Keeping in view
the research question of novel diction; novel words, diction, symbolism are
highlighted. The researcher described words choice of the poet, the grammar
and words meaning. Researcher described why poet preferred specific lexicon
over other.
•Processing Analysis (Interpretation)
This step interpreted the relationship between discourse process and text.
Interpretation is concerned with the relationship between text and interaction –
with seeing the text as a product of a process of production, and as a resource in
the process of interpretation.
This level analyzed the poem in further steps.

1. Intertextuality
Intertextuality is a discourse strategy used by a writer or poet in their work. The
poem Khizar-e-Rah is dense in intertextuality.

2. Code mixing and code switching

Code switching and code mixing is also applied as a discourse strategy by many
writer and poets to form ideological connection with readers.

•Social Analysis (Explanation)

This stage involves the relationship between text and social or cultural reality. In
this step the researcher will explain the reason why the poet introduced novelty
in his poem. The above properties of text and their relation to discourse practices
will be explained here according to the social context of their use.
Analysis
The analysis is carried out keeping forth the three questions of research.
What linguistics choices are made by Iqbal in poem Khizar-e-Rah?
How the ideology of Iqbal is reflected through the linguistic choices in poem?
How does the discourse represent the social, political and historical context??
Researcher applied Fairclough's three dimensional model to carry out the study.
First step in Fairclough's model is textual analysis.

Textual Analysis
The poem Khizar-e-Rah is written in the form of a dialogue between the poet and
Khizar. Khizar-e-Rah is a long poem having eleven stanza. Rhyming scheme of the
poem is
Every stanza in the poem is dealing with a different topic.

Tone of the poem

Tone of the poem is soft. However somewhere in the poem this tone becomes
enthusiastic.

Vocabulary
Poet use complex vocabulary to express his thoughts in the poem. There are
many examples in the poem where poet used compositions instead of simple
words. Composition is joing two or more words in Urdu language that serves as a
literary device in Urdu language. Even poem opens up with a composition ‫ساحِل‬
‫( دریا‬river bank) and then this chain of composition stretches to the end of poem.
Not only the use of composition is seen in the poem the analysis reveals that poet
even used complex compositions like ‫( جویائے اسراِر ازل‬the seeker of eternal
secrets), ‫( گرفتاِر طلسِم ماہتاب‬caught in the moon's spell) , ‫( نموِد اختر سیماب پا‬the
appearance of fast moving star), ‫( چشِم جہاں بیِن خلیل‬the insight of Khalil univers
envisaging eye), ‫( اندیشہ ء سود و زیاں‬the fear of profit and loss), ‫( شمشیر بے زنہار‬the
merciless sword), ‫( نغمہ بیدارِی جمہور‬music of masses renaissance) ‫سراِب رنگ و بو‬
(fake beauty), ‫( خشِت بنیاِد کلیسیا‬brick of church's foundation), ‫( ربط و ضبِط ملِت بیضا‬the
salvation of east).

Being the poet of unique language Iqbal used some novel compositions for
example ‫( شہیِد جستجو‬devoted to seeking the truth), ‫( ضمیر کن فکاں‬object of kun
fakun), ‫( قلزِم ہستی‬existence ocean), ‫( شمشیِر بے زنہارا‬merciless sword) and many
more.

All these examples shows that poet used complex vocabulary and novel
compositions to transfer his thoughts.

Rhetorical Devices
Rhetorical device also known as persuasive device used by writer or poet in their
work with the goal of persuading them toward considering a topic from a
perspective, using language designed to encourage or provoke
an emotional display of a given perspective or action. Rhetorical devices evoke an
emotional response in the audience through use of language, but that is not their
primary purpose. Rather, by doing so, they seek to make a position or argument
more compelling than it would otherwise be. (Crews-Anderson & Timothy (2007)
as cited in "Rhetorical devices", 2021)
Allusion:
Allusion is a figure of speech, in which an object or circumstance from unrelated
context is referred to covertly or indirectly. It is left to the audience to make the
direct connection. Where the connection is directly and explicitly stated by the
author, it is instead usually termed a reference. (“Allusions", n.d)

Khizar-e-Rah is enriched with allusion especially religious allusions. Unlike other

poet of the time Iqbal used religious allusions to clear his point of views. Also he
used historical allusions in a new sense to convey his message. Following are
some allusions used by Iqbal in the poem.

Khizar ‫خضر‬
Title of the poem and main character of the narrative poem is also an allusion. In
other literary works 'Khizar' is an allusion of immortal character However Iqbal
used his allusion as guide to immortality and spirtual guide.

’’‫‘‘کشتی مسکین‘‘ و ’’جان پاک‘‘ و ’’دیوار یتیم‬

(Kashti e maskeen wa jan e paak wa dewar e yateem)
Translation: The indigent's boat, the chaste soul, the orphan's wall.
This whole verse is an allusion to the Holy Quran verse presnt in Surah e Al Kahaf,
18: Verses 60-82. The story is:

Musa (Moses) said to him (Khidr) "May I follow you so that you teach me
something of that knowledge (guidance and true path) which you have been
taught (by Allah)?" He (Khidr) said: "Verily! You will not be able to have patience
with me! "And how can you have patience about a thing which you know not?"
Musa (Moses) said: "If Allah will, you will find me patient, and I will not disobey
you in aught." He (Khidr) said: "Then, if you follow me, ask me not about anything
till I myself mention it to you."

So they both proceeded, till, when they embarked the ship, he (Khidr) scuttled it.
Musa (Moses) said: "Have you scuttled it in order to drown its people? Verily, you
have committed a thing "Imra" (a Munkar - evil, bad, dreadful thing)." He (Khidr)
said: "Did I not tell you, that you would not be able to have patience with me?"
[Musa (Moses)] said: "Call me not to account for what I forgot, and be not hard
upon me for my affair (with you)."

Then they both proceeded, till they met a boy, he (Khidr) killed him. Musa
(Moses) said: "Have you killed an innocent person who had killed none? Verily,
you have committed a thing "Nukra" (a great Munkar - prohibited, evil, dreadful
thing)!" (Khidr) said: "Did I not tell you that you can have no patience with me?"
[Musa (Moses)] said: "If I ask you anything after this, keep me not in your
company, you have received an excuse from me."

Then they both proceeded, till, when they came to the people of a town, they
asked them for food, but they refused to entertain them. Then they found therein
a wall about to collapse and he (Khidr) set it up straight. [Musa (Moses)] said: If
you had

(Moses said to him (Khidr) "May I follow you so that you teach me something of
that knowledge (guidance and true path) which you have been taught (by Allah)?"

He (Khidr) said: "Verily! You will not be able to have patience with me! And how
can you have patience about a thing which you know not?"
Moses said: "If Allah will, you will find me patient, and I will not disobey you in
aught."

He (Khidr) said: "Then, if you follow me, ask me not about anything till I myself
mention it to you.

So they both proceeded, till, when they were in the ship, he (Khidr) scuttled it.
Moses said: "Have you scuttled it in order to drown its people? Verily, you have
done Imra - a Munkar (evil, bad, dreadful) thing."

He (Khidr) said: "Did I not tell you, that you would not be able to have patience
with me?"

(Moses) said: "Call me not to account for what I forgot, and be not hard upon me
for my affair (with you)."

Then they both proceeded, till they met a boy, he (Khidr) killed him. Moses said:
"Have you killed an innocent person who had killed none? Verily, you have done
Nukra a great Munkar (prohibited, evil, dreadful) thing!"

(Khidr) said: "Did I not tell you that you can have no patience with me?"

(Moses) said: "If I ask you anything after this, keep me not in your company, you
have received an excuse from me."

Then they both proceeded, till, when they came to the people of a town, they
asked them for food, but they refused to entertain them. Then they found therein
a wall about to collapse and he (Khidr) set it up straight. (Moses) said: "If you had
wished, surely you could have taken wages for it!"

(Khidr) said: "This is the parting between me and you. I will tell you the
interpretation of (those) things over which you were unable to hold patience.

'As for the ship, it belonged to poor people working in the sea. So I wished to
make a defective damage in it, as there was a king after them who seized every
ship by force.

"And as for the boy, his parents were believers, and we feared lest he should
oppress them by rebellion and disbelief. So we intended that their Lord should
change him for them for one better in righteousness and near to mercy.

"And as for the wall, it belonged to two orphan boys in the town; and there was
under it a treasure belonging to them; and their father was a righteous man, and
your Lord intended that they should attain their age of full strength and take out
their treasure as a mercy from your Lord. And I did it not of my own accord. That
is the interpretation of those (things) over which you could not hold patience.
Surah 18: 60-82 (Musa (Moses) - The Story Moses and Al-Khidr, n.d)

Musa ‫موسٰی‬
Musa is an allusion to the beloved Prophet of Allah also known as kaleemullah
(the one who spoke to Allah).

Fitrat e Sikandari ‫فطرت سکندری‬

(The nature of Alexander)
Sikandar or Alexander is an allusion to the great Alexander.
Hashmi ‫ہاشمی‬
Hashmi here is an allusion to the Hussain who is appointed as shareef by Ottoman
empire but he revolted against ottoman empire and joined hands with
opponents.

Turkaman Sakht kosh ‫ترکمان سخت کوش‬

(Hardworking turks)
It is an allusion to ottoman empire.

Ibrahim ‫ابراہیم‬
(Abraham)
Ibrahim is an allusion to the Prophet of Allah who was a monothiest.

Namrood ‫نمرود‬
Namrood was a powerful king of ancient time. He proclaimed himself as god.
Ibrahim, the Prophet of God, who was a monothiest didn't acknowledged him as
God. As a punishment he put Ibrahim in the fire but by the will of Allah fire
became cool for him.

Gabriel ‫جبرائیل‬
Is an allusion to the most closest angel of God.

Khalil ‫خلیل‬
Word khalil mean friend. Khaliluallah is an appellation to the Prophet Ibrahim.
Here it is an allusion that refers to him.
Salsabil ‫سلسبیل‬
It is an allusion to the spring of heaven as mentioned in Holy Quran.

Kohaikan ‫کوہکن‬
Kohaikan is an allusion to Farhad who is the hero character in Persian literature.
The story of his love with Shirin is one of the most loved stories in persian culture.

Jo-e-sheer wa thesha wa sang ‫جوئے شیر و تیشہ و سنگ‬

(The stream of milk and the chopper and stone)
It is also an allusion to the story of Farhad.
Farhad is a sculptor who falls in love with Shirin, the princess of Persian Armenia.
But Shirin is already in love with Khosrow Parviz, the king of Persia. Khosrow asks
Farhad to carve a staircase in a mountain and tells him if he manages to do so,
Khosrow will give up Shirin. Farhad tries hard day and night in the hope that
Khosrow will let him marry Shirin. Finally, Farhad builds the staircase but Khosrow
has a messenger falsely inform Farhad that Shirin has died. Farhad believes this
false and jumps to his death from the mountain. ("Farhad", 2019)

‫ان الملوک‬
An allusion to verse 34 of surah Namal in Quran.

۳۴﴿ ‫﴾َق اَلۡت ِاَّن اۡل ُم ُلۡو َک ِاَذ ا َد َخ ُلۡو ا َقۡر َی ًۃ َاۡف َس ُد ۡو َہ ا َو َج َع ُلۤۡو ا َاِع َّز َۃ َاۡہ ِلَہ ۤا َاِذ َّلًۃ ۚ َو َک ٰذ ِلَک َی ۡف َع ُلۡو َن‬

"She said: "Kings, when they enter a country, despoil it, and make the noblest of
its people its meanest thus do they behave." (Al-Namal 27:34)
Mehmood ‫محمود‬
Mehmood here refers to Mahmood Ghsznavi who was the first independent ruler
of Gaznavid dynasty.

Ayaz ‫ایاز‬
Ayaz was the slave of same ruler.

Sikandar o Jim ‫سکندر و جم‬

Sikandar here refers to great Alexander and Jim refers to king Jamshaid who in
Persian methology is referred as forth and greatest king of Pishdadian Dynasty.

Chasm e Jahan been e khalil ‫چشم جہاں بیِن خلیل‬

(The insight of Khalil universe envisaging eye.)

An allusion toward Surah e Anam where the story of Hazrat Ibrahim has been
narrated.

Adam ‫ٓادم‬
Adam is an Allusion to the first man and forefather of humanity.

Badakhshan ‫بدخشاں‬
This is a region present day Afghanistan which is famous for rubies and other
precious stones.

Tulsam-e-Samari ‫طلسِم سامری‬

Refers to the rebellious follower of Mosa Samiri who made the golden calf with
his magic and tried to lead the people to worship this calf. An allusion to the Holy
Quran 20:85

Sahir Alamut ‫ساحر الموط‬

(The magician of Almaut)
An allusion to Hassan-al-Sabbāh who created an artificial heaven in Alamut fort
where he intoxicate people with hemp and transport them to his artificial
paradise. When, after gaining conciousness, they become convinced of being in
paradise they accept him as their prophet.
Kula-e-lala-rang ‫کالِہ اللہ رنگ‬
Refers to Turkish Red Cap that was used as national cap in many of the Muslim
countries.

‫ال یخلف المیعاد‬

(God never fails in His promise).
Allusion to the Holy Quran verse 3:9

Symbolism:

Symbolism is the use of symbols to signify ideas and qualities by giving them
symbolic meanings that are different from their literal sense.
Symbolism can take different forms. Generally, it is an object representing
another, to give an entirely different meaning that is much deeper and more
significant. Sometimes, however, an action, an event or a word spoken by
someone may have a symbolic value. For instance, “smile” is a symbol of
friendship. Similarly, the action of someone smiling at you may stand as a symbol
of the feeling of affection which that person has for you. ("Symbolism", n.d)
Poem Khizar-e-Rah has different examples of symbols that are used to enhance
the meaning of ideas in the poem.
In first stanza the words that create images in the mind of readers have some
deeper meaning besides of their literal meanings. For example ‫ ہوا‬،‫شب سکوت افزا‬
‫دریا نرم سیر‬،‫( ٓاسودہ‬The tranquil night, calm air, gently flowing river)
All three compositions of words are the symbols of silence and peace. Same
words like ‫( گہوارہ‬cradle), ‫( طلسم ماہتاب‬moon's spell), ‫( مسِت خواب‬asleep), ‫افسوں‬
(spell), ‫( اسیر‬confined) symbolize inebriation, inadvertent and reckless.
On the other hand words like ‫( جہاِن اضطراب‬worls of restlessness), ‫( موج مضطرب‬the
restless wave), ‫( ہنگامہ محشر‬uproaring tumult), ‫( شہیِد جستجو‬devoted to seeking the
truth) symbolize the restlessness of poet heart.
The main word ‫( خضر‬Khizar) itself is a symbol which, in context of Muhammad
Iqbal, is an embodiment of the secret of immortality.
Further, word ‫( ٓاگ‬fire) in the last verse of second stanza is a symbol for adverse
situation while ‫( اوالد ابراھیم‬Ibrahim's progeny) symbolize Muslims. ‫( نمرود‬Nimrod)
is a symbol for western countries.
In forth stanza ‫( کوہکن‬kohkan) is a symbol for struggler, same the composition of
words ‫( جوئے شیر و تیشہ و سنگ‬the canal of milk, the axe and the heavy rock) is a
symbol of struggle. ‫( جوئے کم ٓاب‬trickling brook) is a symbol for confined life. ‫مٹی کا‬
‫ ( پیکر‬body of dust) symbolize the external body of human.
In fifth stanza ‫( پیکِر خاکی‬the body of dust) symbolize human who are made up of
mud. ‫( گھڑی محشر‬hour of judgment) is a symbol of adverse situation through
which the whole Muslim community is going.
In sixth stanza ‫( جادوئے محمود‬spell of Mahmood) is a symbolism for rulers'
attractive and fake speeches that entrappes the common people in their net. ‫ذاِت‬
‫( بےہمتا‬peerless essence) is a symbol used for Allah. ‫( نوئے قیصری‬Qaiser tune) is a
symbol for dectator. While ‫( دیو استبداد‬the monster of despotism) symbolize
dictatorship. ‫( سراِب رنگ و بو‬apparant beauty mirage) refers to western system.
‫( ساحر الموط‬the magician of Almaut) symbolizes capitalist.
In eighth stanza, poet to symbolize the revolution against capitalism used the
word ‫( ٓافتاب تازہ‬the new sun) to connect this revolution with new hope. This stanza
is full of words giving hope to the labourer against capitalism, so the word ‫کرمک‬
‫( نادان‬fire-fly) symbolize labourer. Poet when says ‫خشت بنیاِد کلیسیا بن گئی خاک حجاز‬
(the soil of Hijaz has became the brick of church's foundation) symbolize the role
of Arab countries in World War when they joined hand with western countries
against Muslim Caliphate. ‫( کالِہ اللہ رنگ‬the red cap) is Turkish cap. It was used as
national cap by Muslim in greater part of Muslim countries. Here it is a symbol
used for Muslim Caliphate. ‫( مے فروشان فرنگستاں‬European wine seller), ‫(پارس‬Iran),
‫( مئے سرکش‬strong wine) words in this verse of ninth stanza refers to immoderate
influences of west in Muslim's world politics and social life. Unlike other poet
Iqbal used word ‫( عشق‬love) in vast meanings. Other poet used ‫( عشق‬love) in the
context of hopelessness and desperation. However in context of Iqbal ‫( عشق‬love)
is a symbol of constant struggle and intense desire. ‫( سمندر‬salamander) and ‫جہاِن پیر‬
(the old word) both these world symbolize the present order of the world that
will get new life after revolution. Salamander is a symbol of hope for hopeless
Muslim world.

Metaphors:
A metaphor is a figure of speech that makes a comparison between two unlike
things. As a literary device, metaphor creates implicit comparisons without the
express use of “like” or “as.” Metaphor is a means of asserting that two things are
identical in comparison rather than just similar. This is useful in literature for using
specific images or concepts to state abstract truths.
("Metaphor", n.d)

Using metaphors in literature and speech appeals to the senses in a way that
straightforward language does not. Metaphor asks the listener or reader to use
their imaginations to conjure up connections between unlike things, as well as
asks the writer or speaker to create those same connections through their
arts. ("Metaphor", n.d)
Metaphor is another important device used by Iqbal to produce rhetorical effect
in Khizar-e-Rah.
In first stanza poet used ‫( دریا‬river) as a metaphor of time. ‫( چشم دل‬the eye of
heart) is a metaphor stands for sagacity and wisdom. For the situation in Muslim
world poet used metaphor ‫( ٓاگ‬fire) to show the intensity of adverse conditions.
‫( جوئے شیر و تیشہ و سنگ گراں‬the canal of milk, the axe and the heavy rock) used as
extended metaphor for life. ‫( جوئے کم ٓاب‬trickling brook) metaphorize limited life.
‫( بحر بے کراں‬boundless occean) is a metaphor for free life. ‫( زیاں خانہ‬loosing cell) is
a metaphor for world when poet see world from spiritual point of view. ‫شمشیر بے‬
‫( زنہار‬merciless sword) is a metaphor for mature human being. ‫( نیلم پری‬beautiful
ferry) in sixth stanza as a metaphor stands for democracy. ‫( دیو‬monster) is a
metaphor for dictatorship. ‫ ( سراِب رنگ و بو‬apparant beauty mirage) and ‫( قفس‬cage)
both are metaphors for western system. Eight stanza has three examples of
metaphors ‫( باغباں‬gardener) for capitalist, ‫( گل‬flower) for labourer, ‫( کرمک‬firefly)
for labourer.

Compound Simili:
Iqbal used unique and novel similes in Khizar-e-Rah, for example old Khizar is
compared with the morning light that has bright white colour as well as freshness.
‫دیکھتا ہوں وہ پیِک جہاں پیما خضر‬
‫جس کی پیری میں ہے ماننِد سحر رنگ شباب‬
(Suddenly I saw the globetrotting Khizar whose old age contained youth colour
like dawn)
The silence of restless wave is compared with the sleep of little child.
‫جیسے گہوارے میں سو جاتا ہے طفِل شیر خوار‬
‫موِج مضطرب تھی کہیں گہرایوں میں مسِت خواب‬
(As the suckling baby falls asleep in the cradle restless wave had fallen asleep
somewhere else).
In third stanza the caravan at the stream bank is compared with the believers
gathering round the heaven spring Salsabil.

‫اور وہ پانی کے چشمے پر مقام کارواں‬

‫اہل ایماں جس طرح جنت میں گرد سلسبیل‬
(And the halting of the carvan at the stream bank; as the believers gathering
round the Salsabil.

Imagery :
Imagery is painting pictures with words in the mind of readers. Iqbal in Khizar-e-
Rah paints the beautiful scene to show the restlessness of his heart and silence in
outer world. For example
‫ دریا نرم سیر‬،‫شب سکوت فزا ہوا آسودہ‬
‫!تھی نظر حیراں کہ یہ دریا ہے یا تصویر آب‬

(The night was tranquil, air calm, river gently flowing was; my eye was amazed
weather the river or a picture of water it was.)

‫جیسے گہوارے میں سو جاتا ہے طفِل شیر خوار‬

‫موج مضطر تھی کہیں گہرائیوں میں مست خواب‬
(As the suckling baby falls asleep in the cradle restless wave had fallen asleep
somewhere else.)

‫رات کے افسوں سے طائر آشیانوں میں اسیر‬

‫انجم کم ضو گرفتار طلسم ماہتاب‬
(With the spell of night the birds were confined in nest. The twinkling stars were
caught in the moon's spell.)
Antithesis

Antithesis, which literally means “opposite,” is a rhetorical device in which two

opposite ideas are put together in a sentence to achieve a contrasting effect.

Antithesis emphasizes the idea of contrast by parallel structures of the contrasted

phrases or clauses. The structures of phrases and clauses are similar, in order to
draw the attention of the listeners or readers. ("Antithesis”, n.d)

‫ساحل دریا پہ میں اک رات تھا محو نظر‬

‫گوشہ دل میں چھپائے اک جہان اضطراب‬
(One night at the river-bank I was absorbed in contemplation
With a world of restlessness concealed in the heart's recesses)

‫ دریا نرم سیر‬،‫ ہوا آسودہ‬،‫شب سکوت افزا‬

‫تھی نظر حیراں کہ یہ دریا ہے یا تصویر آب‬

(The night was tranquil, air calm, river gently flowing was.
My eye was amazed whether the river or a picture of water it was!)

‫جیسے گہوارے میں سو جاتا ہے طفل شیر خوار‬

‫موج مضطر تھی کہیں گہرائیوں میں مست خواب‬

(As the suckling baby falls asleep in the cradle

The restless wave had fallen asleep somewhere else!)

‫رات کے افسوں سے طائر آشیانوں میں اسیر‬

‫انجم کم ضو گرفتار طلسم ماہتاب‬

(With the spell of night the birds were confined in nests

The twinkling stars were caught in the moon's spell!)

‫دل میں یہ سن کر بپا ہنگامہ محشر ہوا‬

‫ یوں سخن گستر ہوا‬،‫میں شہید جستجو تھا‬
(On hearing this an uproaring tumult rose in my heart
Being devoted to seeking the Truth I started talking thus)

Here poet used two opposite set of words to show the disturbance in his heart in
contrast to calm and silent outer world.

Analysis of Discursive Practices

Intertextuality:

According to many critics, the term intertextuality was coined by Julia

Kristeva. For example, in Revolution in Poetic Language, Kristeva defines
intertextuality as “the transposition of one (or several) sign system(s) into
another” (D'Angelo, 2009, pp.31-47)
Intertextuality is "every text is connected to other texts by citations, quotations,
allusions, borrowings, adaptations, appropriations, parody, pastiche, imitation,
and the like. Every text is in a dialogical relationship with other texts. In sum,
intertextuality describes the relationships that exist between and among texts".
(D'Angelo, 2009, pp. 31-47)

Intertextuality is termed as literary discourse strategy used by writers in their

work.
"In her Revolution in Poetic Language (1941) Kristeva gives an analysis of
language, which helps understand intertextuality. By the term ‘intertextuality’ she
means the way in which one signifying practice is transposed into another."
(Zengin, 2016, pp.299-236)

Quranic intertextuality:
Iqbal uses Quranic intertextuality in his poetry. Khizar-e-Rah has many such
examples. For example the actual quranic Arabic text in Khizar-e-Rah are ,‫اّن الملوک‬
‫ کن فکاں‬،‫ المیعاد‬, ‫ال یخلف‬. In addition to this poet used many allusion in Urdu that
points towards Quranic quotes. For example, ‫( کشتی مسکین و جان پاک و دیوار یتیم‬the
indigent boat, the chaste soul, the orphan's wall), ‫( طلسِم سامری‬the spell of Samiri).

Rumi quotation
The last verse of ninth stanza is the exact quotation taken from rumi Persian
poetry.
‫"گفت رومی "ہر بناے کہنہ کآباداں کنند‬
‫"می ندانی "اول آں بنیاد را ویراں کنند‬

Code Switching
"Poplack (2000) states that code-switching is the alternation of two languages
within a single discourse, sentence or constituent." (as cited in Kim, 2006, pp. 43-
61)
Code switching in literature is defined as "the juxtaposition of two languages
within the same text, such as a play, poem or novel." (Weston & Gardner-Chloros,
2015, pp. 194-212)

In Khizar-e-Rah code switching between Urdu, Arabic and Persian has been been
observed. Example are:

‫از غالمی فطرت آزاد را رسوا مکن‬

‫تا تراشی خواجہ ے از برہمن کافر تری‬
(Do not disgrace your independent disposition with slavery, so that you dont mold
yourself into the master who would be a worse infidel the Barhman.)

‫اے کہ نشناسی خفی را از جلی ہشیار باش‬

‫اے گرفتار ابوبکر و علی ہشیار باش‬
(Oh You who do not distinguish between the tangible and the intangible, beware;
O the captive of Abu Bakr and Ali, beware.)

‫مسلم استی سینہ را از آرزو آباد دار‬

‫ 'الیخلف المیعاد' دار‬،‫ہر زماں پیش نظر‬
(You are a Muslim keep your chest happy with longing; every moment keep your
eye on 'La yukhlif-ul-Mi'ad')

Code Mixing:
Code mixing is mixing of two or more languages "It occurs when bilinguals
communicating in a language insert words or expressions from another language
into their sentences." (Ibhawaegbel and Edokpayi, 2012, pp. 12-19)

Khizar-e-Rah has many such examples like ‫( جویائے اسراِر ازل‬the seeker of eternal
secrets), ‫( پیک جہاں پیما‬globetrotting), ‫( شہیِد جستجو‬devoted to seeking the truth),
‫( سخن گستر‬to speak), ‫( صحرانورد‬wanderer, fielder), ‫( پیرایہ پوش‬adorned with
ornaments), ‫( ترکماِن سخت کوش‬Hardworking turks), ‫( ٓاھو‬deer), ‫( سود و زیاں‬profit and
loss), ‫( امروز و فردا‬today and tomorrow), ‫( خاکستر‬soil), ‫( گیتی‬world). All these words
are taken from persian language.

The reason behind code switching and code mixing of Arabic and Persian
language is that these two languages had a great importance for the Muslim of
Sub Continent. Arabic was the language of Quran and Persian was the official
language of sub continent during the era of Muslim rule.

Novelty as a discourse strategy

In literary discourse writer and poet used literary devices as discourse strategy or
rhetorical or persuasive strategy. Iqbal, however also employed another discourse
strategy in his poetry that is novelty of language. Iqbal not only changed the old
and usual topics of poetry but also bring novelty in language. Iqbal poetic
language is unique and novel in term of topic, in term of language and expression
and also in term of provoking tone. In the analysis of rhetorical devices we have
seen many examples that are not very common in other poetic works. New
allusion, new symbol, new metaphors make the discourse of Iqbal more
persuasive and attractive. Same the case with diction and vocabulary.
Composition of words is used as a literary device in Urdu, iqbal made new and
unique compositions for example ‫( ضمیر کن فکاں‬object of Kun fayakun), ‫قلزِم ہستی‬
(ocean of existence), ‫( شمشیِر بے زنہار‬merciless sword). Along with new
compositions, Iqbal also used the indispensable compositions and words used in
Urdu poetry over the years. But he changed their meanings. For example, the
word ‫" عشق‬love." The nature of love seems virtual to most poets. But in Iqbal's
case, the word is not only aesthetically pleasing but also glorious.
In case of vocabulary, Iqbal uses high lexicon than common and usual words. In
Khizar-e-Rah, there are many words which are not commonly used for example,
‫( شہید جستجو‬seeker of eternal secrets), ‫( پیرایہ پوش‬adorned with ornaments), ‫فطرت‬
‫( اسکندری‬nature of Alexander, stands for imperials). ‫( رہیِن خانہ‬confined to home).
‫( امروز و فردا‬time). ‫( نالہ شب گیر‬nighty wailing)
Besides this Khizar-e-Rah has many unique and novel similes for example
Khizar is compared with the morning light that has bright white colour as well as
freshness.
‫دیکھتا ہوں وہ پیِک جہاں پیما خضر‬
‫جس کی پیری میں ہے ماننِد سحر رنگ شباب‬
(Suddenly I saw the globetrotting Khizar whose old age contained youth colour
like dawn)
The silence of restless wave is compared with the sleep of little child.
‫جیسے گہوارے میں سو جاتا ہے طفِل شیر خوار‬
‫موِج مضطرب تھی کہیں گہرایوں میں مسِت خواب‬
(As the suckling baby falls asleep in the cradle restless wave had fallen asleep
somewhere else).

The caravan at the stream bank is compared with the believers gathering round
the heaven spring Salsabil.

‫اور وہ پانی کے چشمے پر مقام کارواں‬

‫اہل ایماں جس طرح جنت میں گرد سلسبیل‬
(And the halting of the carvan at the stream bank; as the believers gathering
round the Salsabil.
When it comes to allusion Iqbal again stays unique and novel. For example ‫ساحر‬
‫( الموط‬magician of Almaut), ‫( ان الملوک‬an allusion to the verse 27:34). ‫طلسِم سامری‬
( the spell of Samiri) ‫( خون اسرائیل‬the blood of Israel).
Iqbal used new symbols for example ‫( کوہکن‬kohkan) is a symbol of constant
struggle and efforts. ‫( نیلم پری‬beautiful fairy) a symbol for democracy, ‫( دیو‬monster)
a symbol of dictatorship. ‫( سراِب رنگ و بو‬the apparent beauty mirage) symbolize
world.
Also dramatic nature of Iqbal's poetry set him apart other poets.

Social Analysis:
The poem Khizar-e-Rah, an imaginative dialogue between the poet and mystical
character Khizar(considers as spirtual guide in many religions including Islam), is
written during a very critical period of time. It was the time just after first world
war, when the Muslims of the whole world was under severe despondency.
Muslim Osman empire which has ruled almost major part of the world ended
after six hundred years of rule. Arab countries divided into many pieces. On the
other hand, the conditions of the Muslims of India was very pitiable as a result of
the decline of Muslim Caliphate and recklessness of Muslim leaders. In 1919
Jallianwala Bagh incident in Amritsar add fuel to fire when on the command of
Brigadier-General Reginald 1500 innocent were being killed by British Army
troops and martial law was imposed in Punjab which added to the hardships of
Muslim of India.

Ideology
"Discourse, a construct with the personal thought which reflects personal
behavior and attitude, is known as the ideology. The socially conditioned and
socially constructed ideas are considered as ideology." (Gyawali, 2020, para. 1)
ideologies are the basic frameworks for organizing the social cognitions shared by
members of social groups, organizations or institutions. In this respect, ideologies
are both cognitive and social. They essentially function as the interface between
the cognitive representations and processes underlying discourse and action, on
the one hand, and the societal position and interests of social groups, on the
other hand. This conception of ideology also allows us to establish the crucial link
between macrolevel analyses of groups, social formations and social structure,
and microlevel studies of situated, individual interaction and discourse. (Van Dijk,
1995, pp. 17-18)

Ideology of poet wrapped in the discourse of Khizar e Rah:

The downfall of of Muslim filled the heart of poet with pain and sorrow. He being
the very sensitive person is very restless in that situation. He chooses two set of
antonyms and imagery to show the contrast in his heart and stillness of outer
world like world of restlessness, tranquil night, calm air, gently flowing river,
restless wave, birds confined in nests, moon spell, uproaring tumult. However,
poet convert this state of hopelessness toward hope by introducing the character
of "Khizar " in the poem. Khizar, in many religions including Islam, is a mystical
character who guide the unguided, who show path to pathless, and provides
spiritual guidance to the seeker. Through the character of Khizar Iqbal tried to
convey his message of hope to Muslim world. Besides this, there are many
instances in Khizar-e-Rah which shows how poet use poetry as a mean of
conveying hope to His people in that state of hopelessness.
‫تو اسے پیمانہ امروز و فردا سے نہ ناپ‬
‫ ہر دم جواں ہے زندگی‬،‫جاوداں پیہم دواں‬
(Do not measure it on the scale of today and tomorrow; eternal, incessantly
increasing, ever young is life.)

‫اپنی دنیا ٓاپ پیدا کر اگر زندوں میں ہے‬

(Create your own world if you claim to be among the living)
For Iqbal real life and it's success is hidden in constant struggle. He clear this point
of view with following allusion

‫زندگانی کی حقیقت کوہکن کے دل سے پوچھ‬

‫جوئے شیر و تیشہ و سنگ گراں ہے زندگی‬

(Ask the mountain digger the reality of life, the canal of milk, the axe, the heavy
rock is life.)

Standing on the debris of Muslim magnificent building, he ask Muslim to create a

new world from these ashes
‫پھونک ڈالے یہ زمین و آسمان مستعار‬
‫اور خاکستر سے آپ اپنا جہاں پیدا کرے‬
(Should burn down this borrowed universe and from the ashes his own universe
should create.)

‫اپنی خاکستر سمندر کو ہے سامان وجود‬

‫ دیکھ‬،‫مر کے پھر ہوتا ہے پیدا یہ جہان پیر‬
(Its own ashes are a mean of existence to salamander; you should watch the
resurrection of this world after death.)

Against the British colonialism, he gave hope to Muslim of India using another
allusion from Quran
‫خون اسرائیل آجاتا ہے آخر جوش میں‬
‫توڑ دیتا ہے کوئی موسی طلسم سامری‬
(At last the blood of Israel boils up with anger, the blood of Samiri is smashed up
by some Musa.)

This was a time just after Russian Revolution that brought an end to monarchy
and imperial rule. In twentieth century, it was the most violent political
revolution. Russian revolution gave new hope to the labourer of the world.
Worldwide labour movement has been had been started at that time that was
given credit to communism however, for Iqbal, the basis of this movement lies in
Islam. He considers it as a new ray of hope for the labour community of whole
world in following discourse of poetry
‫اٹھ کہ اب بزم جہاں کا اور ہی اندازہے‬
‫مشرق و مغرب میں تیرے دور کا آغاز ہے‬
(Rise, as the world assembly has adopted different ways; in the East and West is
the beginning of your age.)

Other than the symbol of Khizar, poet wrapped his message in ‫صحرا نوردی‬
(Nomadism). Nomadism has a deep link with the philosophy of Iqbal. He has a
great love for desert and Bedunism because he considers nomadism as necessary
element for soul building. He was the great opponent of western materialistic
system that is in fact the death of spirt and spirtual life. In Khizar-e-Rah word
'nomadism' has been used to condemn the materilaistic ways of life in west.

Iqbal political and social ideology lies its foundation in Islam and Quran. His
ideology has been depicted through the use of religious and Quranic allusion. He
condemns imperialism and capitalism. For capitalists and imperialists he used
words like ‫( جادوگری‬magic), ‫( سحر‬fascination), ‫( طلسِم سامری‬Tulsam e Samiri), ‫ساز‬
‫( دلبری‬accoutrement of loveliness). ‫( ساحر الموط‬Magician of Almaut).

For him imperialism is

‫سلطنت اقوام غالب کی ہے اک جادوگری‬
(Imperialism is an enchantment of victorious nations).
For imperialist he used allusion of Mahmood and for poor nations he used
allusion "Ayaz". The Ayaz is staying under the spell of Mahmood that's is why he
is unable to awake and recognize its self.

For capitalists he used allusion of 'Magician of Almaut'. Addressing to labourer he

says

‫اے کہ تجھ کو کھا گیا سرمایہ دار حیلہ گر‬

‫شاخ آہو پر رہی صدیوں تلک تیری برات‬
(Oh whom the feaudalist capitalist has destroyed, your destiny has remained a
figurative for centuries. )

He was a supporter of Islamic democratic system, where every individual enjoy

equal rights but he condemns western democratic system which he called as a
''monster of dictatorship in disguise of beautiful fairy(democracy)''. The reason to
denounce democracy according to Iqbal is that it was promoting nationalism.
Democracy gives supreme authority to public while Iqbal think

‫سروری زیبا فقط اس ذات بے ہمتا کو ہے‬

‫ باقی بتان آزری‬،‫حکمراں ہے اک وہی‬
(Sovereignty befits only the Peerless essence(God), only he is sovereign, the rest
are azar's idols.)

Discourse of Khizar-e-Rah representing social, political and historical

context:
“the term "context" can be used in a broad and narrow sense. In the narrow
sense, it refers to (knowledge of) factors outside the text under consideration. In
the broad sense, it refers to (knowledge of) these factors and to (knowledge of)
other parts of the text under consideration, sometimes referred to as "co-text".
(Guy Cook, 1999, p. 24 as cited in Song, 2010, pp. 876-879.)

Khizar-e-Rah was written by Iqbal in 1922. At that time, the condition of the
Islamic world had deteriorated from bad to worse. World War I brought a
message of destruction and misery to Muslims around the world. The Ottoman
Empire was shattered, the Arab world was divided into different parts, ruled by
the puppet of the colonial powers. Britain provided the Jews with the basis for the
establishment of a Zionist state in Palestine. Turkey's internal turmoil had
escalated. Mustafa Kemal and his associates formed a parallel government in
Ankara. The so-called Khilafat was a guest for a few days.

On the other hand, the condition of the Muslims in India was very pitiable
because many people were suffering as a result of the disorder of the migration
movement and the recklessness of the leaders. Hundreds of people were killed in
the tragic tragedy of Jallianwala Bagh in Amritsar in the year 1919 when General
Dyer opened fire and martial law was imposed in Punjab, which added to the
hardships of Indians.

Historical context
The analysis of discourse in Khizar-e-Rah shows that discourse of the poem
represents historical contex. The discourse of Khizar-e-Rah is carrier of many
historical events like World War, Labour movement, abolition of Muslim
Caliphate, Russian Revolution. Besides this, the use of allusion in the poem shows
that the discourse of poem is the representative of major events took place in
history.

Social Context:
The poem has been taken place in a very critical period of history when the social
conditions of the nation of poet was much deprived. Like the whole nation this
deprivation filled the heart of poet with pain and sorrow. This pain and
disappointment with a message of hope carry a major part in the poem. Discourse
of Khizar-e-Rah represents many societal events like the downfall of Muslim,
labour distress, dilemma and chaos in Muslim world and a change in western
countries.

Political Context:
Iqbal poetry deals with philosophy, social and political issues. Poem Khizar-e-Rah
also written after a great political instability in Muslim World as well as in Sub
Continent. This instability has been depicted in the discourse of poem. In the form
of Allusions and symbolism many political issues has been opinionated by poet.
Discussion and Conclusion

Discussion

Research Analysis has been carried out keeping in view the three objectives of
research which are
to identify different linguistic choices by Iqbal.
to describe the reflection of Iqbal's ideology through the linguistic choices.
to find out how discourse represent social, political and historical context.
After analyzing the poem "Khizar-e-Rah" through the lens of Fairclough's three
dimensional model, it has been revealed that the poem is written in an adverse
and critical period of time. The choice of words and words relation in the poem
shows that how this period of despondency influenced the mind of poet and how
the stillness in outer world add to this calamity. However, Khizar, a metaphor of
hope, a symbol of activness, an allusion of spirtual guidance, appears to break this
stillness and silence and aids the poet with his lessons of hope.
Nineteenth and Twentieth centuries were the centuries of many changes in the
world. Especially the time of poet Iqbal marks many universal changes including
world wars, Russian revolution, labourer movements, Muslim Caliphate abolition,
controversies between labourer and capitalists. This changing era was a period of
hopelessness, disappointment and despondency for the whole world especially
Muslim and more specifically Muslim of Sub Continent who were under the
colonial administration. The poets and writers, during this period overwhelmed by
these changes. Change either good or bad, can never be welcome instantly. The
reflection of this era of disappointment began to appear in the work of writers
and poet. However, Iqbal being the medician of his nation came forward with a
message of hope. As social changes influence a language, same language
influences social change. Language when appears in literature changes the minds
of reader. These minds than bring social changes. Keeping such views in mind,
Iqbal used new vocabulary, not only gave new meanings to old rhetorical devices
but introduce new allusion, new symbols, new metaphors and similes. The word
which, in previous literature was a symbol of hoplessness, iqbal used it in the
meaning of hope. No doubt social changes insisted writer to bring a change in
language as well to persuade his audience. This novelty of language stands as a
persuasive strategy in Iqbal's poetry specially in the poem Khizar-e-Rah.

As far as ideology is concerned, the use of figurative language and rhetorical

devices helped the poet to clear his message and ideas. Poet wrapped his
ideology in the form of allusions, symbols and imagery. Use of Quranic allusion
and intertextuality shows that ideology of poet was to bring Creator's world-order
on earth. Discourse of the poem reveals that poet believes sovereignty belongs to
God only, man made laws are full of flaws and defects. Human made laws can't
keep justice and equality among people. All other man made system weather
democracy, feudalism, capitalism, colonialism, monarchy, nationalism,
imperialism are full of weaknesses. A change need to bring against such systems.
And he gives hope that it's the same time because when a thing is at the last stage
of destruction there are more chances of its revival like salamander. New world
order should be created through the ashes of present systems.
He has repeatedly used allusions in Khizar-e-Rah to inspire audience. He created
optimism and hope in the nation by using these allusions as examples from the
past. His symbols stands for constant struggle and hope. His metaphors and
similes serves as a vehicle to carry his ideas more clearly to the minds of readers.
Tone of poem is soft, enthusiastic and provoking. Poet changes his tone according
to the context. Being a student of Khizar he used soft tone to ask question and to
explain his state of heart and its contradictions with outer world. However, when
Khizar replies to his question, somewhere he became enthusiastic and provoking.

Although the discourse of our study was a poetic discourse that reflects the inner
and personal experiences of the poet. However, this poem is written with a
diadectic purpose. Being influenced by social, political and historical events,
discourse of Khizar-e-Rah doesn't reflect personal experiences but the ideology of
poet over different political and social issues. Discourse of Khizar-e-Rah is a carrier
of many social, political events and views of poet on these events. The analysis
shows that weather its literary or non literary discourse, we can't deny the role of
society in shaping discourse. However, literary or poetic discourse reflects society
through figurative language and literary devices as it is reflected in the poem
Khizar-e-Rah.

Iqbal's poetic discourse uses novelty of language as a persuasive and rhetorical

strategy in his poetry. Although literary devices served as persuasive strategy in
Khizar-e-Rah but besides this Iqbal uniqueness and novelty of language is the
powerful strategy to provoke the readers.

Research Analysis has been carried out keeping in view the three objectives of
research which are
to identify different linguistic choices by Iqbal.
to describe the reflection of Iqbal's ideology through the linguistic choices.
to find out how discourse represent social, political and historical context.
After analyzing the poem "Khizar-e-Rah" through the lens of Fairclough's three-
dimensional model, it has been revealed that the poem is written in an adverse
and critical period of time. The choice of words and words relation in the poem
shows that how this period of despondency influenced the mind of poet and how
the stillness in outer world add to this calamity. However, Khizar, a metaphor of
hope, a symbol of activness, an allusion of spiritual guidance, appears to break
this stillness and silence and aids the poet with his lessons of hope.
Nineteenth and Twentieth centuries were the centuries of many changes in the
world. Especially the time of poet Iqbal marks many universal changes including
world wars, Russian revolution, labourer movements, Muslim Caliphate abolition,
controversies between labourer and capitalists. This changing era was a period of
hopelessness, disappointment and despondency for the world especially Muslim
and more specifically Muslim of Sub Continent who were under the colonial
administration. The poets and writers, during this period overwhelmed by these
changes. Change either good or bad, can never be welcome instantly. The
reflection of this era of disappointment began to appear in the work of writers
and poet. However, Iqbal being the medician of his nation came forward with a
message of hope. As social changes influence a language, same language
influences social change. Language when appears in literature changes the minds
of reader. These minds than bring social changes. Keeping such views in mind,
Iqbal used new vocabulary, not only gave new meanings to old rhetorical devices
but introduce new allusion, new symbols, new metaphors and similes. The word
which, in earlier literature was a symbol of hoplessness, iqbal used it in the
meaning of hope. No doubt social changes insisted writer to bring a change in
language as well to persuade his audience. This novelty of language stands as a
persuasive strategy in Iqbal's poetry specially in the poem Khizar-e-Rah.

As far as ideology is concerned, the use of figurative language and rhetorical

devices helped the poet to clear his message and ideas. Poet wrapped his
ideology in the form of allusions, symbols and imagery. Use of Quranic allusion
and intertextuality shows that ideology of poet was to bring Creator's world-order
on earth. Discourse of the poem reveals that poet believes sovereignty belongs to
God only, man-made laws are full of flaws and defects. Human-made laws can't
keep justice and equality among people. All other man made system weather
democracy, feudalism, capitalism, colonialism, monarchy, nationalism,
imperialism are full of weaknesses. A change need to bring against such systems.
And he gives hope that it's the same time because when a thing is at the last stage
of destruction there are more chances of its revival like salamander. New world
order should be created through the ashes of present systems.
He has repeatedly used allusions in Khizar-e-Rah to inspire audience. He created
optimism and hope in the nation by using these allusions as examples from the
past. His symbols stand for constant struggle and hope. His metaphors and similes
serves as a vehicle to carry his ideas more clearly to the minds of readers.
Tone of poem is soft, enthusiastic and provoking. Poet changes his tone according
to the context. Being a student of Khizar he used soft tone to ask question and to
explain his state of heart and its contradictions with outer world. However, when
Khizar replies to his question, somewhere he became enthusiastic and provoking.

Although the discourse of our study was a poetic discourse that reflects the inner
and personal experiences of the poet. However, this poem is written with a
diadectic purpose. Being influenced by social, political and historical events,
discourse of Khizar-e-Rah doesn't reflect personal experiences but the ideology of
poet over different political and social issues. Discourse of Khizar-e-Rah is a carrier
of many social, political events and views of poet on these events. The analysis
shows that wether its literary or non literary discourse, we can't deny the role of
society in shaping discourse. However, literary or poetic discourse reflects society
through figurative language and literary devices as it is reflected in the poem
Khizar-e-Rah.

Iqbal's poetic discourse uses novelty of language as a persuasive and rhetorical

strategy in his poetry. Although literary devices served as persuasive strategy in
Khizar-e-Rah but besides this Iqbal uniqueness and novelty of language is the
powerful strategy to provoke the readers.
Conclusion
Language and literature are two main tools for influencing social, and political
events in society. If we claim literature as the image of society, we can't deny the
role of literary language or literary discourse in shaping these images. Language
and society are two mutually indispensable elements. As language is used to
express speaker's beliefs and ideas, literary language expresses the beliefs and
ideas of writers and poets. Studying poetic discourse gives us the opportunity to
recognize how poets use figurative language in discourse of poetry to express
their ideas. This research aimed to bring forth linguistics choices made by Iqbal in
poem Khizar-e-Rah, his ideology wrapped in these linguistic choices and to
highlight the social, political and historical events reflecting through the discourse
of poem.Critical discourse analysis is used as a research tool to study poetic
discourse of Sir Allama Muhammad Iqbal by applying three-dimensional model of
Fairclough to answer three research questions.
To conclude, it can verily be said that Muhammad Iqbal used poetic discourse as
an instrument to convey his ideology to the people in an era of great
despondency and hopelessness. The analysis showed a number of instances
where ideology of poet has been reflected at textual, discursive and social level of
analysis. He decorated his poetic discourse with the ornaments of rhetorical
devices and used novelty in language as a persuasive discourse strategy to attract
the attention of his readers. Religious and historical allusions, symbolism,
metaphors and imagery represents the ideology of Allama Muhammad Iqbal that
lies its basis in Quran, Sunnah and Islamic teachings. His divine ideology denies all
other political and social systems on earth except Creator's world order. His
figurative language not only a carrier of his divine ideology but also the source of
hope and enthusiasm. Although the subject of Iqbal's poem is philosophical but
the use of historical allusion and symbolism, the art of imagery, the unique and
novel vocabulary doesn't let the readers to separate themselves from the charm
of his artistic language. The critical discourse analysis of poem Khizar-e-Rah shows
that political and social events, religious beliefs and cultural differences influences
the linguistic choices of speaker and writer. Like non literary discourse, literary
and poetic discourse also conveys social and political experiences so we can't turn
down the role of social and political context while analyzing literary and poetic
discourse. The researcher kept her work limited to just one poem written by Iqbal
and three-dimensional model of Fairclough. However, future researcher can carry
out other researches in the area using socio-cognitive model by Teun A. Van Dijk
to study the role of mind besides social and political factors behind the usage of
novel discourse in literature.
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‫‪Appendix‬‬
‫‪Appendix‬‬
‫‪Poem Khizar-e-Rah‬‬

‫شاعر‬

‫ساحل دریا پہ میں اک رات تھا محو نظر‬

‫گوشۂ دل میں چھپائے اک جہان اضطراب‬

‫شب سکوت افزا ہوا آسودہ دریا نرم سیر‬

‫تھی نظر حیراں کہ یہ دریا ہے یا تصوير آب‬

‫جیسے گہوارے میں سو جاتا ہے طفل شیر خوار‬

‫موج مضطر تھی کہیں گہرائیوں میں مست خواب‬

‫رات کے افسوں سے طائر آشیانوں میں اسیر‬

‫انجم کم ضو گرفتار طلسم ماہتاب‬

‫دیکھتا کیا ہوں کہ وہ پيک جہاں پيما خضر‬

‫جس کی پیری میں ہے مانند سحر رنگ شباب‬

‫جويائے اسرار ازل‬

‫‌‬ ‫کہہ رہا ہے مجھ سے اے‬

‫چشم دل وا ہو تو ہے تقدیر عالم بے حجاب‬

‫دل میں یہ سن کر بپا ہنگامۂ محشر ہوا‬

‫میں شہید جستجو تھا یوں سخن گستر ہوا‬

‫اے تری چشم جہاں بیں پر وہ طوفاں آشکار‬

‫جن کے ہنگامے ابھی دریا میں سوتے ہیں خموش‬

‫کشتٔي مسکين و جان پاک و ديوار يتيم‬

‫علم‌ موسٰی بھی ہے ترے سامنے حیرت فروش‬

‫چھوڑ کر آبادیاں رہتا ہے تو صحرا نورد‬

‫زندگی تیری ہے بے روز و شب و فردا و دوش‬

‫زندگی کا راز کیا ہے سلطنت کیا چیز ہے‬

‫اور یہ سرمایہ و محنت میں ہے کیسا خروش‬

‫ہو رہا ہے ایشیا کا خرقۂ دیرینہ چاک‬

‫نوجواں اقوام‌ نو دولت کے ہیں پيرايہ پوش‬

‫گرچہ اسکندر رہا محروم آب زندگی‬

‫فطرت اسکندری اب تک ہے گرم ناؤنوش‬

‫‌‬

‫بیچتا ہے ہاشمی ناموس دين مصطفٰی‬

‫خاک و خوں میں مل رہا ہے ترکمان سخت کوش‬

‫آگ ہے اوالد ابراہیم ہے نمرود ہے‬

‫کیا کسی کو پھر کسی کا امتحاں مقصود ہے‬

‫جواب خضر‬
‫‌‬

‫صحرا نوردی‬
‫کیوں تعجب ہے مری صحرا نوردی پر تجھے‬

‫یہ تگا پوئے دمادم زندگی کی ہے دلیل‬

‫اے رہين خانہ تو نے وہ سماں دیکھا نہیں‬

‫گونجتی ہے جب فضائے دشت میں بانگ رحیل‬

‫ریت کے ٹیلے پہ وہ آہو کا بے پروا خرام‬

‫وہ حضر بے برگ و ساماں وہ سفر بے سنگ و ميل‬

‫وہ نمود‌ اختر سیماب پا ہنگام صبح‬

‫یا نمایاں بام گردوں سے جبین جبرئيل‬

‫سکوت شام صحرا میں غروب آفتاب‬

‫‌‬ ‫وہ‬

‫جس سے روشن تر ہوئی چشم جہاں بين خليل‬

‫اور وہ پانی کے چشمے پر مقام کارواں‬

‫اہل ایماں جس طرح جنت میں گرد سلسبيل‬

‫تازہ ویرانے کی سودائے محبت کو تالش‬

‫اور آبادی میں تو زنجيري کشت و نخيل‬

‫پختہ تر ہے گردش پیہم سے جام زندگی‬

‫ہے یہی اے بے خبر راز دوام زندگی‬

‫زندگی برتر از سود و زیاں ہے زندگی‬

‫زندگی برتر از اندیشۂ سود و زیاں ہے زندگی‬

‫ہے کبھی جاں اور کبھی تسليم جاں ہے زندگی‬

‫تو اسے پیمانۂ امروز و فردا سے نہ ناپ‬

‫جاوداں پیہم دواں ہر دم جواں ہے زندگی‬

‫اپنی دنیا آپ پیدا کر اگر زندوں میں ہے‬

‫سر آدم ہے ضمیر کن فکاں ہے زندگی‬

‫زندگانی کی حقیقت کوہ کن کے دل سے پوچھ‬

‫جوئے شير و تيشہ و سنگ گراں ہے زندگی‬

‫بندگی میں گھٹ کے رہ جاتی ہے اک جوئے کم آب‬

‫اور آزادی میں بحر بیکراں ہے زندگی‬

‫آشکارا ہے یہ اپنی قوت تسخیر سے‬

‫گرچہ اک مٹی کے پیکر میں نہاں ہے زندگی‬

‫قلزم ہستی سے تو ابھرا ہے مانند حباب‬

‫اس زیاں خانے میں تیرا امتحاں ہے زندگی‬

‫خام ہے جب تک تو ہے مٹی کا اک انبار تو‬

‫پختہ ہو جائے تو ہے شمشير بے زنہار تو‬

‫ہو صداقت کے لیے جس دل میں مرنے کی تڑپ‬

‫پہلے اپنے پیکر خاکی میں جاں پیدا کرے‬

‫پھونک ڈالے یہ زمین و آسماں مستعار‬

‫اور خاکستر سے آپ اپنا جہاں پیدا کرے‬

‫زندگی کی قوت پنہاں کو کر دے آشکار‬

‫تا یہ چنگاری فروغ جاوداں پیدا کرے‬

‫خاک مشرق پر چمک جائے مثال آفتاب‬

‫تا بدخشاں پھر وہی لعل گراں پیدا کرے‬

‫سوئے گردوں نالۂ شبگیر کا بھیجے صفیر‬

‫رات کے تاروں میں اپنے رازداں پیدا کرے‬

‫یہ گھڑی محشر کی ہے تو عرصٔہ محشر میں ہے‬

‫پیش کر غافل عمل کوئی اگر دفتر میں ہے‬

‫سلطنت‬

‫آ بتاؤں تجھ کو رمز آئہ ان الملوک‬

‫سلطنت اقوام غالب کی ہے اک جادوگری‬

‫خواب سے بے دار ہوتا ہے ذرا محکوم اگر‬

‫پھر سال دیتی ہے اس کو حکمراں کی ساحری‬

‫جادوئے محمود کی تاثیر سے چشم اياز‬

‫دیکھتی ہے حلقٔہ گردن میں ساز دل بری‬

‫خون اسرائيل آ جاتا ہے آخر جوش میں‬

‫توڑ دیتا ہے کوئی موسٰی طلسم سامری‬

‫سروری زیبا فقط اس ذات بے ہمتا کو ہے‬

‫حکمراں ہے اک وہی باقی بتان آذری‬

‫از غالمی فطرت آزاد را رسوا مکن‬

‫تا تراشی خواجٔہ از برہمن کافر تری‬

‫ہے وہی ساز کہن مغرب کا جمہوری نظام‬

‫جس کے پردوں میں نہیں غير از نوائے قيصري‬

‫دیو استبداد جمہوری قبا میں پائے کوب‬

‫تو سمجھتا ہے یہ آزادی کی ہے نیلم پری‬

‫مجلس آئين و اصالح و رعايات و حقوق‬

‫طب‌ مغرب میں مزے میٹھے اثر خواب آوری‬

‫گرمئ گفتار اعضائے مجالس االماں‬

‫یہ بھی اک سرمایہ داروں کی ہے جنگ زرگری‬

‫اس سراب رنگ و بو کو گلستاں سمجھا ہے تو‬

‫آہ اے ناداں قفس کو آشیاں سمجھا ہے تو‬

‫سرمایہ و محنت‬

‫بندۂ مزدور کو جا کر مرا پیغام دے‬

‫خضر کا پیغام کیا ہے یہ پيام کائنات‬

‫سرمايہ دار حيلہ گر‬

‫‌‬ ‫اے کہ تجھ کو کھا گیا‬

‫شاخ آہو پر رہی صدیوں تلک تیری برات‬

‫دست دولت آفريں کو مزد یوں ملتی رہی‬

‫اہل ثروت جیسے دیتے ہیں غریبوں کو زکٰو ۃ‬

‫ساحر الموط نے تجھ کو دیا برگ حشيش‬

‫اور تو اے بے خبر سمجھا اسے شاخ نبات‬

‫نسل قومیت کلیسا سلطنت تہذیب رنگ‬

‫خواجگی نے خوب چن چن کے بنائے مسکرات‬

‫کٹ مرا ناداں خیالی دیوتاؤں کے لیے‬

‫سکر کی لذت میں تو لٹوا گیا نقد حیات‬

‫مکر کی چالوں سے بازی لے گیا سرمایہ دار‬

‫انتہائے سادگی سے کھا گیا مزدور مات‬

‫اٹھ کہ اب بزم جہاں کا اور ہی انداز ہے‬

‫مشرق و مغرب میں تیرے دور کا آغاز ہے‬

‫ہمت عالی تو دریا بھی نہیں کرتی قبول‬

‫غنچہ ساں غافل ترے دامن میں شبنم کب تلک‬

‫نغمٔہ بيدارٔی جمہور ہے سامان عیش‬

‫قصٔہ خواب آور اسکندر و جم کب تلک‬

‫آفتاب تازہ پیدا بطن گیتی سے ہوا‬

‫آسمان ڈوبے ہوئے تاروں کا ماتم کب تلک‬

‫توڑ ڈالیں فطرت انساں نے زنجیریں تمام‬

‫دورٔی جنت سے روتی چشم آدم کب تلک‬

‫باغبان چارہ فرما سے یہ کہتی ہے بہار‬

‫زخم گل کے واسطے تدبیر مرہم کب تلک‬

‫کرمک ناداں طواف شمع سے آزاد ہو‬

‫اپنی فطرت کے تجلی زار میں آباد ہو‬

‫دنیائے اسالم‬

‫کیا سناتا ہے مجھے ترک و عرب کی داستاں‬

‫مجھ سے کچھ پنہاں نہیں اسالمیوں کا سوز و ساز‬

‫لے گئے تثلیث کے فرزند ميراث خليل‬

‫خشت بنیاد کلیسا بن گئی خاک حجاز‬

‫ہو گئی رسوا زمانے میں کالہ اللہ رنگ‬

‫جو سراپا ناز تھے ہیں آج مجبور نياز‬

‫لے رہا ہے مے فروشان فرنگستاں سے پارس‬

‫وہ مے سرکش حرارت جس کی ہے مينا گداز‬

‫حکمت مغرب سے ملت کی یہ کیفیت ہوئی‬

‫ٹکڑے ٹکڑے جس طرح سونے کو کر دیتا ہے گاز‬

‫ہو گیا مانند‌ آب ارزاں مسلماں کا لہو‬

‫مضطرب ہے تو کہ تیرا دل نہیں دانائے راز‬

‫گفت رومی ہر بنائے کہنہ کآباداں کنند‬

‫می نداني اول آں بنیاد را ویراں کنند‬

‫ملک ہاتھوں سے گیا ملت کی آنکھیں کھل گئیں‬

‫حق ترا چشمے عطا کر دست غافل در نگر‬

‫مومیائی کی گدائی سے تو بہتر ہے شکست‬

‫بے پر حاجتے پیش سلیمانے مبر‬

‫مور ‌‬

‫ربط و ضبط ملت بيضا ہے مشرق کی نجات‬

‫ایشیا والے ہیں اس نکتے سے اب تک بے خبر‬

‫پھر سیاست چھوڑ کر داخل حصار ديں میں ہو‬

‫ملک و دولت ہے فقط حفظ حرم کا اک ثمر‬

‫ایک ہوں مسلم حرم کی پاسبانی کے لئے‬

‫نیل کے ساحل سے لے کر تا‌ بخاک کاشغر‬

‫جو کرے گا امتياز رنگ و خوں مٹ جائے گا‬

‫ترک خرگاہی ہو یا اعرابٔی واال گہر‬

‫نسل اگر مسلم کی مذہب پر مقدم ہو گئی‬

‫اڑ گیا دنیا سے تو مانند خاک رہ گزر‬

‫تا خالفت کی بنا دنیا میں ہو پھر استوار‬

‫ال کہیں سے ڈھونڈ کر اسالف کا قلب و جگر‬

‫اے کہ نشناسی خفی را از جلی ہشیار باش‬

‫اے گرفتار‌ ابوبکر و علي ہشيار باش‬

‫عشق کو فریاد الزم تھی سو وہ بھی ہو چکی‬

‫اب ذرا دل تھام کر فریاد کی تاثیر دیکھ‬

‫رفتار دريا کا عروج‬

‫‌‬ ‫تو نے دیکھا سطوت‬

‫موج مضطر کس طرح بنتی ہے اب زنجیر دیکھ‬

‫عام حریت کا جو دیکھا تھا خواب اسالم نے‬

‫اے مسلماں آج تو اس خواب کی تعبیر دیکھ‬

‫اپنی خاکستر سمندر کو ہے سامان وجود‬

‫مر کے پھر ہوتا ہے پیدا یہ جہان پیر دیکھ‬

‫کھول کر آنکھیں مرے آئينٔہ گفتار میں‬

‫آنے والے دور کی دھندلی سی اک تصویر دیکھ‬

‫آزمودہ فتنہ ہے اک اور بھی گردوں کے پاس‬

‫سامنے تقدیر کے رسوائی تدبير دیکھ‬

‫مسلم استی سینہ را از آرزو آباد دار‬

‫ہر زماں پیش نظر الیخلف المیعاد دار‬

‫‪English Translation‬‬

‫) ‪SHAIR ( THE POET‬‬

‫‪One night at the river-bank I was absorbed in contemplation‬‬

‫‪With a world of restlessness concealed in the heart's recesses‬‬
The night was tranquil, air calm, river gently flowing was
My eye was amazed whether the river or a picture of water it was!

As the suckling baby falls asleep in the cradle

The restless wave had fallen asleep somewhere else!

With the spell of night the birds were confined in nests

The twinkling stars were caught in the moon's spell!

Suddenly I saw that the globe-trotting Khizar

Whose old age contained youth's color like dawn

Was saying to me O seeker of the eternal secrets

If the inner eye be open world's destiny would be unveiled'!

On hearing this an uproaring tumult rose in my heart

Being devoted to seeking the Truth I started talking thus

O you whose world-encompassing eye sees those storms

Whose tumults are still sleeping quietly in the river

The indigent's boat the chaste soul, the orphans wall

Even the knowledge of Musa before you is in amazement
Leaving habitations you remain wandering in wilderness
No day and night, no yesterday and tomorrow is in your life

What is the secret of life? What is imperialism ?

And what is this struggle between labor and capital ?

The ancient patched garment of Asia is being torn

The youth of parvenu nations are adorned with ornaments!

Though Alexander remained deprived of eternitys water

The nature of Alexander is busy still in merry-making!

The Holy Prophet's progeny is selling his din's honor

And the struggling Turk is smeared in dust and blood!

There is fire, there is Ibrahim's progeny, there is Namrud!

Does someone desire someone's test again

JAWAB-I-KHIZAR
( THE RESPONSE OF KHIAAR )

Sahra Navardi ( Wandering in Deserts )

Why are you amazed at my wandering in the deserts ?

This incessant toil is demonstration of life

O the one confined to home, you have not seen that sight
When the call for battle march resounds in the desert air!

That care-free stroll of the deer on the mound of sand

That home without chattel, that journey without distance and destination!

That appearance of the fast-moving star at the dawn

Or the forehead of Jibreel manifest from the sky!

That setting of the sun in the silence of the desert air

By which increased the insight of Khalal's universe-envisaging eye!

And that halting of the caravan at the stream bank

As the believers gathering round the Salsabil !

The ardent Love is in search of an ever new wild land

And in city your effort is in farming and horticulture

The cup of life becomes more mature by revolving

O negligent one, this alone is the secret of life's permanence!
Zindagi ( Life )

Much above the fear of profit and loss is life!

Now the soul now the surrender of soul is life!

Do not measure it on the scale of today and tomorrow

Eternal, incessantly struggling, ever young is life!

Create your own world if you claim to be among the living

The secret of Adam and the object of Kun fikun is life

Ask the mountain digger for the reality of life

The canal of milk, the axe, the heavy rock is life

In slavery it is choked to a mere trickling brook

And in freedom like the boundless ocean is life

It is manifested by its power of subduing

Though concealed in a body of dust is life

You have emerged from the existence ocean like a bubble

In this losing battle your examination is life
While you are immature only a heap of dust you are
On attaining maturity a merciless sword you are!

The heart which is restless for death in defense of Truth

Should first life in his own body must create

Should burn down this borrowed universe

And from the ashes his own universe should create

Should demonstrate the potential power of life

So that this spark may the eternal light create

Should shine like the sun over the lands of the East
So that Badakhshan the same invaluable rubies may again create

Should send heaven-ward the emissary of nightly wailing

And in the night's stars its confidantes should create

This is the hour of Judgment you in the Judgement's field are

O negligent one, present actions if some in your treasure are!

Saltanat ( Imperialism )

Come, I shall tell you the secret of the verse Inn al-muluk
Imperialism is an enchantment of the victorious nations

If the ruled from his stupor slightly wakes up

The ruler's spell lulls him back to sleep again

From the effect of the spell of Mahmud the eye of Ayaz

Sees the accouterments of loveliness round his neck

At last the blood of Israil boils up with anger

The spell of Samiri is smashed up by some Musa

Sovereignty befits only that Peerless Essence

Only He is the sovereign, the rest are Azar's idols

Do not disgrace your independent disposition with slavery

So that you do not mold yourself into the master who would be a worse infidel
than the Brahman

The Western democratic system is the same old orchestra

In whose frets is nothing different from the Qaisar's tune

The monster of despotism is treading in democracy's robe

You consider it as the beautiful ferry of independence!

The legislative assembly, the reforms, the rights and concessions

In Western medicine the tastes are sweet, the effect is soporific!

May God protect us from the fervor of speeches of members of assemblies

This also is the capitalists sham quarreling to deceive the poor!

You have taken this apparent beauty's mirage as a garden!

Ah ! O ignorant one! You have taken the cage to be the nest!

Sarmayah-O-Mehnat ( Capital and Labor )

Go and deliver my message to the laboring person

Not only Khizar's message, this is the universal message!

O whom the fraudulent capitalist has destroyed

Your destiny has remained a fugitive for centuries

The wealth-creating hand had been paid wages

As the rich pay charity to the poor!

The magician of Alamut gave you the hashish leaves

And you, O negligent one, took it as a tuft of candy!
Race, nation, church, empire, civilization, color
This assortment of intoxicants is made by "imperialism"

The ignorant one gave up his life for mythical gods

You destroyed your life's capital under intoxicants love

The capitalist has won with deceitful stratagems

Due to extreme naivete the laborer is checkmated

Rise, as the world's assembly has adopted different ways

In the East and the West is the beginning of your age

Those with elegant courage do not accept even the ocean

O negligent one, how long would you hold dew in your skirt like the flower bud?

Music of masses renaissance is a means of pleasure

The soporific tale of Alexander and Jam how long ?

A new sun has arisen from the bowels of the earth

O Sky ! Mourning of stars which have set how long?

Human nature has broken down all the chains

Man's eye would weep for the lost Paradise how long?
The spring says this to the helping gardener
You would apply ointment to the rose wounded heart how long?

O simple fire-fly, be free of revolving round the candle

And be living in the illuminated place of your own nature!

Dunya-i-Islam ( The World of Islam )

Why are you relating to me the story of Turks and Arabs

Nothing of the grief and joys of Muslims is hidden from me

The sons of the Cross have taken away the heritage of Khalil
The soil of Hijaz has become the brick of the church's foundation!

The red cap has become disgraced in the world

Those who were formerly proud are in need of others!

From the wine sellers of Europe Iran is purchasing

That strong wine by whose heat the decanter is melted

The politics of the West has reduced the nation such

As gold is rendered to pieces by scissors

The blood of the Muslim has become cheap like water

You are restless as your heart is unaware of their fate

Rumi said that every old building that is to be rebuilt

Do you not know that the building is first demolished ?

The homeland has been lost, the nation has been jolted
O negligent one, look deep as God has granted you insight!

Defeat is better than helplessly begging for momiyai

O helpless ant ! Do not take your requests to a Sulaiman

The salvation of the East is in organization of the Muslim nations

The people of Asia are still unaware of this mystery

Relinquishing politics enter the fort of din again

Country and wealth is only a reward for Haram's defense

The Muslims should unite into one body for Haram'sdefense

From the banks of the Nile to the City of Kashghar!

Whoever would discriminate for color and race would perish

Whether he be the tent-dwelling Turk or the high ranking Arab!

If race would become more important than din to the Muslim

He would be blown away from the world like the dust of the road!

To establish the Khilafah's foundations in the world again

The need is to bring from somewhere the ancestors mettle

O You who do not distinguish between the tangible and the intangible, beware
O the captive of Abu Bakr and Ali, beware

Shaair ( The Poet )

Complaint was incumbent on Love and it has been lodged

With a cool heart now watch the effect of the complaint!

You have witnessed the zenith of the majesty of the river's flow
Now watch how the restless wave becomes a chain in which it gets entangled

The dream of universal freedom which was seen by Islam

O Muslim, you should watch the interpretation of that dream today!

Its own ashes are a means of existence to salamander

You should watch the resurrection of this world after death!

With open eyes in the mirror or my discourses

You should watch a faint image of the coming age

The sky has one more tested trick preserved in its store
Watch the disgrace of planning in face of destiny's strength

You are a Muslim keep your breast happy with Longing

Every moment keep your eye on La yukhlif-ul-Miad