An exploration and selection of the poetry of one of Persia's most influential poets. From The Houri and the Poet From the spark I seek star, from the star a sun: For if I stop, I die When I get up, having quaffed A cup of wine brewed by one spring breeze, Longing for yet another spring. I seek the end of that which hs no end -- With a restless eye, with a hopeful heart. The lover's heart dies in an eternal heaven -- I it no cry of a soul in affliction no sorrow, and no one to drive away sorrow

Muhammad Iqbal (1877 1938) is one of the pre-eminent writers of the Indian subcontinent and the attention he has received from writers, translators and critics in western as well as Islamic countries testifies to his stature as a world literary figure. In his translation of Iqbal s poetry, Mustansir Mir seeks to convey every level of meaning and mood in the poems, while making the text as readable and idiomatic as possible.

The Secrets of the Self is a book-length, philosophical poem rooted in metaphysical thought and ideology, as well as Islamic theology. Originally published in 1915, the poem speaks of the "Self" in relation to the universe, how it is the inner power and soul of each individual human. It instructs on how to improve the Self through Love and willpower, which can then help one control the forces within the universe. The poem includes stories that illustrate its points and promotes the spread of Islamic ideals. MUHAMMAD IQBAL (1877-1938) was a poet, prophet, and politician in British India. Born in Sialkot, Punjab, Iqbal converted to Islam with his family as a child. He studied literature and law at Cambridge, Munich, and Heidelberg before starting his own law practice and concentrating on his scholarly writing, which he authored primarily in Persian. Many of Iqbal's works promote Islamic revival, especially in South Asia, and he was a well-known leader of the All India Muslim League. Today, he is recognized as the official poet of Pakistan, and his birthday is celebrated as a national holiday.

An excellent work detailing with notes the thoughts of Allama Iqbal in his famous work. The text features extensive notes and gives an introduction to each poem.

This book makes the Qur'an accessible to the English-speaking student who lacks the linguistic background to read it in the original Arabic by offering accessible translations of, and commentary on, a series of selected passages that are representative of the Islamic scripture. Mustanstir Mir, Director of the Center for Islamic Studies at Youngstown State University, offers clear translations and analysis of 35 selected passages of the Qur'an that will help students understand what kind of book the Qur'an is, what the scripture says, and how it says it.

This selection of poetry and prose by Ghalib provides an accessible and wide-ranging introduction to the preeminent Urdu poet of the nineteenth century. Ghalib's poems, especially his ghazals, remain beloved throughout South Asia for their arresting intelligence and lively wit. His letters—informal, humorous, and deeply personal—reveal the vigor of his prose style and the warmth of his friendships. These careful translations allow readers with little or no knowledge of Urdu to appreciate the wide range of Ghalib's poetry, from his gift for extreme simplicity to his taste for unresolvable complexities of structure. Beginning with a critical introduction for nonspecialists and specialists alike, Frances Pritchett and Owen Cornwall present a selection of Ghalib's works, carefully annotating details of poetic form. Their translation maintains line-for-line accuracy and thereby preserves complex poetic devices that play upon the tension between the two lines of each verse. The book includes whole ghazals, selected individual verses from other ghazals, poems in other genres, and letters. The book also includes a glossary, the Urdu text of the original poetry, and an appendix containing Ghalib's comments on his own verses.

Annemarie Schimmel, one of the world's foremost authorities on Persian literature, provides a comprehensive introduction to the complicated and highly sophisticated system of rhetoric and imagery used by the poets of Iran, Ottoman Turkey, and Muslim India. She shows that these images have been used and refined over the centuries and reflect the changing conditions in the Muslim world. According to Schimmel, Persian poetry does not aim to be spontaneous in spirit or highly personal in form. Instead it is rooted in conventions and rules of prosody, rhymes, and verbal instrumentation. Ideally, every verse should be like a precious stone--perfectly formed and multifaceted--and convey the dynamic relationship between everyday reality and the transcendental. Persian poetry, Schimmel explains, is more similar to medieval European verse than Western poetry as it has been written since the Romantic period. The characteristic verse form is the ghazal--a set of rhyming couplets--which serves as a vehicle for shrouding in conventional tropes the poet's real intentions. Because Persian poetry is neither narrative nor dramatic in its overall form, its strength lies in an "architectonic" design; each precisely expressed image is carefully fitted into a pattern of linked figures of speech. Schimmel shows that at its heart Persian poetry transforms the world into a web of symbols embedded in Islamic culture.