Ghaus Sivani

Allama Muhammad Iqbal is counted among the great thinkers and poets of the Indian subcontinent who viewed religion, culture, humanity and spirituality from a broad perspective. Although he was a devout Muslim and a strong proponent of Islamic renaissance, he held the great figures and ideas of other faiths in high regard. Whenever he found their teachings and thoughts worthy of admiration, he did not hesitate to praise them.

Among the Hindu figures whom Iqbal mentioned with profound respect was Maryada Purushottam Lord Ram—a figure whose name and deeds are familiar to generations of Indians and whose story is known in many parts of the world. Iqbal paid tribute to Ram with remarkable reverence, presenting him not merely as a religious figure but as a towering symbol of India's moral and cultural heritage.

Who Was Lord Ram?

The story of Lord Ram has been told in India for centuries. Although the Ramayana is an epic, the story of Ram has been transmitted from generation to generation through storytelling, performance and oral tradition. The Ramayana is its principal literary source and was also translated into Persian during the Mughal era.

According to the Ramayana, Shri Ramchandra was the eldest son of King Dasharatha of Ayodhya. He was married to Sita, a woman renowned for her virtue. Ram was destined to ascend the throne after his father, but his stepmother, Kaikeyi, sought to have her own son, Bharat, made king and sent Ram into exile.

A Painting depicting Ram, Sita and laxman in exile

Ram's younger brother Lakshman and his wife Sita accompanied him into the forest. During their exile, Ravana, the King of Lanka, abducted Sita and carried her away to Lanka. With the help of Hanuman and his army, Ram rescued Sita. After 14 years in exile, he returned to Ayodhya. During his absence, Bharat administered the kingdom, placing Ram's wooden sandals upon the throne as a symbol of his brother's rightful sovereignty.

Ram's valour, humanity and unwavering commitment to his parents' wishes are central to his story. This is why his tale has remained deeply embedded in Indian culture for centuries and is enacted every year as Ramlila during Dussehra. The story of Ram has also travelled far beyond India and is known in countries including Indonesia, Malaysia, Cambodia and Thailand.

For Iqbal, Ram Was a Real Figure

Allama Iqbal regarded Ram as a historical figure and referred to him with respect not only in his poetry but also in his prose. In the preface to Asrar-e-Khudi, he wrote:

“The ‘Bride of Meaning’ (Arus-e-Ma'ani) whom Sri Krishna, Sri Ram, and Ramanuja sought to unveil was veiled again by the logical enchantment of Sri Shankar, and the community of Sri Krishna remained deprived of the fruits of that renewal.”

Allama Iqbal (Left)  in Osmania University

This passage indicates that Iqbal did not treat Sri Ram and Sri Krishna merely as fictional characters. Rather, he placed them within his broader intellectual understanding of India's philosophical and spiritual traditions.

Iqbal was distinguishing two currents within Hindu philosophy. In his interpretation, the teachings associated with Sri Krishna, Sri Ram and Ramanuja were rooted in life, morality, action (karma) and a heartfelt relationship with the Divine. These figures, in his view, taught humanity about spiritual elevation, love, self-sacrifice and the pursuit of a meaningful relationship with God through practical life.

Iqbal described this deeper spiritual truth as Arus-e-Ma'ani, or the “Bride of Meaning”—an enduring truth capable of giving meaning and purpose to human existence.

Iqbal’s Poem “Ram”

Iqbal's poetry makes his admiration for Ram particularly clear. A fictional character, in Iqbal's view, could hardly have been accorded the exalted title of Imam-e-Hind—“Leader of India”—that he bestowed upon Ram.

His famous poem “Ram”, included in Bang-e-Dara, is perhaps the clearest expression of this admiration. In it, Iqbal presents Ram not simply as a revered Hindu figure, but as a great personality within India's cultural, ethical and spiritual tradition.

A scene from Ramleela

He begins the poem:

Labrez hai sharab-e-haqiqat se jaam-e-Hind
Sab falsafi hain khitta-e-Maghrib ke Ram-e-Hind

Iqbal portrays India's cultural and spiritual heritage as a goblet filled to the brim with the wine of truth. In this imagery, Ram emerges as one of the greatest symbols of that heritage.

The second line elevates Ram's stature even further, suggesting that the philosophers of the West appear insignificant before the greatness of India's Ram. The emphasis is not merely on philosophical knowledge but on Ram's moral and spiritual stature. For Iqbal, his significance extended beyond abstract thought to the practical realms of morality, leadership and human conduct.

In another celebrated couplet, he writes:

Hai Ram ke wajood pe Hindostan ko naaz
Ahl-e-nazar samajhte hain usko Imam-e-Hind

This is regarded as one of the finest passages in Urdu poetry devoted to Lord Ram. Iqbal calls him Imam-e-Hind. Here, the word Imam need not be understood in a narrowly religious sense; rather, it conveys the idea of a guide, leader and source of moral direction.

By using this expression, Iqbal places Ram among the towering figures of Indian civilisation whose character and conduct provided society with an ethical example.

Iqbal further writes:

Hai is ke shan-e-karamat se Hindostan ka chiragh
Sham-e-Hindustan se bhi roshan hai sahar-e-Hind

Here, Rama is presented as a “Lamp of Guidance” (Chiragh-e-Hidayat), symbolising the light his character and teachings cast upon India's moral and spiritual life. The imagery reflects Iqbal's belief that truly great individuals illuminate society through their character and conduct.

The concluding lines of the poem celebrate both Ram's physical courage and his inner virtues:

Talwar ka dhani tha, shuja'at mein fard tha
Pakeezgi mein aur josh-e-mohabbat mein fard tha

Iqbal portrays Ram as a master of the sword, unmatched in courage and valour. Yet his admiration does not end with martial strength. He equally emphasises Ram's purity and fervour of love.

A scene from Ramleela in Thailand

The reference to pakeezgi, or purity, points to noble character, truthfulness, honesty and moral integrity. Josh-e-mohabbat, or the fervour of love, suggests compassion, empathy, self-sacrifice and devotion. Thus, Ram's greatness, in Iqbal's portrayal, lies not simply in his prowess as a warrior but in the virtues of his character and the depth of his humanity.

Ram’s Personality

Iqbal's portrayal of Ram goes beyond that of a historical or religious figure. He presents him as a symbol of truth, sacrifice, justice, devotion, patience and high moral character. Virtues such as obedience to one's parents, keeping one's word, upholding justice and serving one's people are central to the traditional portrayal of Ram, and these are precisely the qualities that Iqbal associated with true greatness.

The concept of Khudi—or Selfhood—is central to Iqbal's philosophy. Khudi does not simply mean self-interest or thinking about oneself. It signifies the development of a strong and morally disciplined personality grounded in character, self-restraint, sacrifice and steadfastness in the pursuit of truth.

In Iqbal's interpretation, Ram embodies many of these qualities. His life therefore offered an example of the kind of moral strength and self-discipline that Iqbal valued deeply.

Iqbal's poem “Ram” is consequently more than a tribute to a revered figure. It is also an example of religious tolerance, cultural harmony and mutual respect. By honouring Ram as Imam-e-Hind, Iqbal acknowledged him as a great moral and cultural figure whose significance extended beyond the boundaries of a particular faith.

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The poem stands as a testament to Iqbal's intellectual breadth and his belief that greatness is ultimately measured not by religious identity, but by character, morality, courage, sacrifice and service to humanity.