Javed Nama and Divine Comedy

 THE NATURE OF DANTE'S INFLUENCE
ON IQBAL by S. M. Abdullah

Excerpts from http://www.allamaiqbal.com/publications/journals/review/apr83/3.htm

Almost all the important writers on Iqbal have referred to Dante's influence on Iqbal, so far as the Javid Nama is concerned.

This has left an impression in the minds of some students of Iqbal that Javid Nama is an imitation, and lacks originality because of it's resemblances with the Divine Comedy.

Javid Nama has some similarities with the Divine Comedy, there-is no doubt. But mere resemblance in a few details or even imitation of certain aspects does not necessarily prove that Iqbal was an imitator having no scheme of his own, conceptual as well as artistic. In fact, Iqbal's work is almost original in ideational approach as also in the architecture of his story.

. Yet, Dante's masterpiece, the corn media stands aloft as a wonderful piece of originality. Similarly, Iqbal's claim to originality and greatness is not vitiated because of a few resemblances, or for reasons of casual inspiration from Dante.

Similarities

 (1) the starting point (an incident in the D.C. (Divine Comedy), mis-track in a Jungle),

(2) sudden appearance of a guide (Rumi in the case of the Jawid Nama., and Virgil in the case of the D. C.),

(3) Ascension of both poets stage by stage, according to the Astronomical (or theological) arrangement,

(4) Interviews with several men or personalities in Hell and Heaven,

 (5) Various kinds of torments and tortures and rewards to the sinners and the righteous men respectively,

(6) description of several places providing an atmosphere to each situation (rivers of gold and silver, mountains covered with snow, landscape, characters and mythological figures and several other things.

This is a list of similarities but as already observed differences are more glaring and are of a basic nature.

Differences

·         As against Dante, who takes deeper interest in the spiritual conversion of the individual on theological basis of the Catholic-ism, in vogue in the 14th Century, A. D., Iqbal is more concerned with the metaphysical questions of his own age, and political questions of the Muslim world during the twentieth century.

·         The age of Dante was that of scholastic rationalism as expounded by St. Thomas Aquinas but Iqbal belonged to the age of Science, Mathematics and Space—Physics. While Dante insists on the identity of Religion and Reason, Iqbal emphasises the unity of spirit and Matter, hence of Religion and Science. So, the interpretation of Reality is different in both cases.

·         In a sense, we come across two different voices while going through the texts of these two poets. In Dante, we have a Christian voice while in Iqbal, we find a Muslim voice expressing ideas, characterstically Muslim.

·         Generally speaking Dante is always seen frightened, depressed, terrified, confused and panicstricken throughout his heavenly journey, while Iqbal even in a very grave situation looks calm and composed, although enthusiastic and eager to know more. Again, Dante is too much submissive, even timid.

 ·         When Dante accompanies his guide he puts very few questions, and when he has ever the courage of asking about anything, he is snubbed and is satisfied with one or two casual remarks of his guide. As against this, Iqbal is very inquisitive, goes deep into delicate questions, and, in most cases argues with `heavenly personalities', nay even with his Guide.

·         Javid Nama begins with Muaajat (prayer in Quietude or whispering with the Lord, in which the poet expresses his craving for a vision of Reality. Here Iqbal's approach is positive. His passion for Higher Knowledge is intense. In such a state of Mind, he prays that he may be granted light, yet more light.

·         Dante's attitude throughout his journey smacks of his conviction in the Christian idea of the `original sin', whereas Iqbal's idea of human dignity and glorious destiny is based on God's declaration on the eve of Adam's mission to earth that Man is going to be the Deputy of God on earth (خلیفہ) and has a great future. There is no guilt complex, no indication of inferiority, no wavering, no defeatism.

·         In a section of the Javid Nama, there is an assurance from the Angels about the superiority of Man (of Naghma-i-Mala'ik—the Song of the Angels), after which the great Rumi appears on the scene with a surer and more confident voice.

·        . While Ideal Love is the chief motive with Dante, with Iqbal it is love for the knowledge of Reality which is the main motivating force.

·         Another great difference between the two poets lies in their treatment of the super-natural element as a means of the development of the story, In Dante, this element is very strong He creates an atmosphere completely flouting the law of probability. He wishes his reader to believe what is not believable. He carries his reader through his undoubtedly superior power of description and delineation which captures the imagination not allowing him to ponder rationally. However, Iqbal does not lose his rational sense under any situation. In most difficult situations necessitating the intervention of the super-natural element, his regard for the law of causality and probability never fails him. For instance, if we compare the episode of the Heavens, appearance of the suburbs of the inferno in the Divine. Comedy. and of reaching the lower limits of the sphere of the Moon in the Javid. Nama., we will at once find that while Iqbal's approach is gradual and almost natural and therefore intelligible, Dante's approach is sudden like a jerk. :)

·          Iqbal passes through the various stages methodically : for instance, after the first prayer  there is (1) Tamhid-i-Asmani, (2) the Song of the Angels, (3) Tanshid-i-Zamini, (4) Rumi's Appearnce and sudden emergence of Zarwan—(the Higher spirit controlling time and space—and then enterance of the two poets) (the Guide and the Disciple) into the Afiak-i- Falak-i-Qamar, Falak-i-Utarad, Falak-i-Zuhra and so on : All this process is gradual and therefore credible.

But in Dante, in the 3^rd canto (of the Inferno), Caronte refuses to take poets further, a severe whirlwind takes over, an earthquake sets in along with lightening and lashing winds. Here Dante falls down unconscious. But after a thunder, when he regains his consciousness, he finds that someone has carried him across the chasm which was hitherto impassible. Now this is sheer 'phantasy' overloaded with fiction of the most violent type :)Usually we find Dante crossing one stage after the other in a state of unconsciousness.

·         As observed before, the differences of the two are those of the age—and also those of the religious tradition.

·         Iqbal follows the Holy Quran which maintains that nobody from the Earth could peneterate into the Heavens, except with the essential (spiritual or divine) powers (Quranic words: الابسلطان)). This means that the Heavens could through Sultan be pierced through by human being—and the Holy Prophet set an example of that.

The recent Space Conquest has further strengthened the view, but Iqbal's reference may be read in a wider context. Dante could not conceive that Heavens could be pierced through. Therefore he proceeded fictionally.

·         Yet another sphere of distinction between Dante and Iqbal is found in the handling of the mythological materials. Dante has utilized Greek mythology to the fullest extent,—three-headed demons, some creatures, half human and half animal and so many other things. But in Iqbal use of mythology is rare. It exists only in the episode dealing with the Hindu saint Jahandost (Vishwa Mitr) and the Hindu poet Bhartari Hari.

 ·        Dante is allegorical throughout while Iqbal's statements are factual, logical, with allegorical significance only rarely.

·         One thing, however is certain that Iqbal's job was decidedly more difficult because he belonged to the age of scientific thought in which concrete reality rather than fiction reigned supreme.

Anyhow, in the words of Robert H. Lynn, (Notes on the Divine Comedy, vol. 1 p. 9) "the Commedia is a cathedral in language and is unique in several ways" and so is Jawid Nama unique in certain other ways.

Iqbal did not follow the pattern of the Isra and the Miraj out of respect for the Holy Prophet  whose special privilege it was to have ascended the Heavens with prophteic dignity and sublimity.

No other human being according to Muslims can have that honour.

This also accounts for Iqbal's interpretation of the ascension (معراج) that it could only be a higher state of Ordinary human conciousness (and not specific), without involving any physical implication. This refers to men other than the Holy Prophet . Others can attain to some sort of superconciousness but the Ascension of the Holy Prophet's is a unique experience and without parallel.

In any case, Iqbal owes a bit to Dante but only to the extent indicated in this article.

But with all his indebtedness to Dante he has his one scheme and his own ideals.