Poetry: Zarb-i-Kalim
Overview
Zarb-i-Kalim (1936), literally "The Rod of Moses", is Muhammad Iqbal's late Urdu collection that wields poetry as a prophetic instrument against the illusions of the modern age. Subtitled a declaration of war on the present epoch, it condenses his lifelong project, reviving Muslim selfhood and civilizational purpose, into compact, fiery utterances. The title invokes Moses' staff that swallowed the magicians' tricks and split the sea, signaling Iqbal's ambition to expose the sorcery of materialism and open a path for moral-spiritual deliverance. Across brief, epigrammatic poems, he diagnoses the maladies of his time and prescribes a strenuous ethic rooted in Qur'anic vision, love, and action.
Historical Moment
Composed amid late-colonial India, economic depression, and the rise of rival ideologies, the book answers a world disordered by imperial capitalism, secular nationalism, and militant atheism. The Khilafat's fall, Turkey's secular reforms, and global polarizations sharpen Iqbal's urgency. After the Allahabad Address (1930), his poetry turns more openly programmatic: he argues that Indian Muslims require political self-assertion grounded in Islam's ethical sovereignty, not borrowed European models. Zarb-i-Kalim thus reads as a compact manifesto for spiritual democracy under divine law, animated by social justice and human dignity.
Themes and Arguments
At the core stands khudi, the self raised to God-consciousness, disciplined by love (ishq) and tested by struggle. Intellect alone, he warns, becomes sterile calculation; love channels intellect toward creative freedom, courage, and service. He confronts the West's technological might as a power without a soul, and the East's inherited mysticism as a soul without sinew; the remedy is the fusion of scientific mastery with prophetic ethics.
He condemns exploitation through usury and class privilege, rejecting both laissez-faire capitalism and doctrinaire communism as materialist mirrors of one another. In their place he advances an Islamic social order, zakat, justice, limits on greed, where economic life is tethered to the common good. Territorial nationalism appears as an idol that fractures the ummah and enthrones tribe over truth; Iqbal calls for a brotherhood organized by faith, law, and shared responsibility.
Much invective falls on clerical formalism and slavish imitation. He summons ijtihad, independent juristic reasoning, to reopen the creative springs of law, insisting that Sharia is a living guidance for changing times. Youth, workers, peasants, mothers, and teachers receive direct counsel: cultivate self-reliance, disdain servitude, and make knowledge a jihad of character. The Prophet is the highest exemplar; Abraham’s surrender, Ishmael’s resolve, Husayn’s defiance of tyranny, and Moses’ staff become paradigms of principled action.
Imagery and Symbols
Iqbal’s emblematic bestiary and landscape reappear with concentrated force. The shaheen (eagle) embodies austere freedom and disdain for carrion comforts; the tulip, streaked with the blood of martyrs, flowers in barren soil to prove that beauty springs from sacrifice. Deserts, caravans, mountains, and storm-tossed seas stage the believer’s journey from lethargy to sovereignty. Pharaoh and magicians stand for oppressive systems and their dazzling lies; the rod of Moses is truth armed with resolve, shattering disguises and carving escape channels through history’s waters.
Form and Style
The collection favors short, titled pieces, gnomic, satirical, and imperative in tone. Plainspoken Urdu collides with Qur'anic diction and classical resonance, forging a terseness that reads like a string of verdicts. Rhetorical questions, sudden apostrophes, and lapidary maxims give the book its oracular cadence. Prayers, parables, and polemics sit side by side, each tightening the same argument: faith must be made deed.
Legacy
Zarb-i-Kalim, following Bal-e-Jibril and preceding Armaghan-e-Hijaz, is the clearest distillation of Iqbal’s political theology. Its critique of modern idols and summons to moral sovereignty nourished Muslim self-awareness in South Asia and fed the intellectual current that would shape demands for a distinct polity. Beyond its immediate context, the book remains a compact arsenal, verses that test institutions, quicken consciences, and measure civilizations by the vigor of their souls.
Zarb-i-Kalim (1936), literally "The Rod of Moses", is Muhammad Iqbal's late Urdu collection that wields poetry as a prophetic instrument against the illusions of the modern age. Subtitled a declaration of war on the present epoch, it condenses his lifelong project, reviving Muslim selfhood and civilizational purpose, into compact, fiery utterances. The title invokes Moses' staff that swallowed the magicians' tricks and split the sea, signaling Iqbal's ambition to expose the sorcery of materialism and open a path for moral-spiritual deliverance. Across brief, epigrammatic poems, he diagnoses the maladies of his time and prescribes a strenuous ethic rooted in Qur'anic vision, love, and action.
Historical Moment
Composed amid late-colonial India, economic depression, and the rise of rival ideologies, the book answers a world disordered by imperial capitalism, secular nationalism, and militant atheism. The Khilafat's fall, Turkey's secular reforms, and global polarizations sharpen Iqbal's urgency. After the Allahabad Address (1930), his poetry turns more openly programmatic: he argues that Indian Muslims require political self-assertion grounded in Islam's ethical sovereignty, not borrowed European models. Zarb-i-Kalim thus reads as a compact manifesto for spiritual democracy under divine law, animated by social justice and human dignity.
Themes and Arguments
At the core stands khudi, the self raised to God-consciousness, disciplined by love (ishq) and tested by struggle. Intellect alone, he warns, becomes sterile calculation; love channels intellect toward creative freedom, courage, and service. He confronts the West's technological might as a power without a soul, and the East's inherited mysticism as a soul without sinew; the remedy is the fusion of scientific mastery with prophetic ethics.
He condemns exploitation through usury and class privilege, rejecting both laissez-faire capitalism and doctrinaire communism as materialist mirrors of one another. In their place he advances an Islamic social order, zakat, justice, limits on greed, where economic life is tethered to the common good. Territorial nationalism appears as an idol that fractures the ummah and enthrones tribe over truth; Iqbal calls for a brotherhood organized by faith, law, and shared responsibility.
Much invective falls on clerical formalism and slavish imitation. He summons ijtihad, independent juristic reasoning, to reopen the creative springs of law, insisting that Sharia is a living guidance for changing times. Youth, workers, peasants, mothers, and teachers receive direct counsel: cultivate self-reliance, disdain servitude, and make knowledge a jihad of character. The Prophet is the highest exemplar; Abraham’s surrender, Ishmael’s resolve, Husayn’s defiance of tyranny, and Moses’ staff become paradigms of principled action.
Imagery and Symbols
Iqbal’s emblematic bestiary and landscape reappear with concentrated force. The shaheen (eagle) embodies austere freedom and disdain for carrion comforts; the tulip, streaked with the blood of martyrs, flowers in barren soil to prove that beauty springs from sacrifice. Deserts, caravans, mountains, and storm-tossed seas stage the believer’s journey from lethargy to sovereignty. Pharaoh and magicians stand for oppressive systems and their dazzling lies; the rod of Moses is truth armed with resolve, shattering disguises and carving escape channels through history’s waters.
Form and Style
The collection favors short, titled pieces, gnomic, satirical, and imperative in tone. Plainspoken Urdu collides with Qur'anic diction and classical resonance, forging a terseness that reads like a string of verdicts. Rhetorical questions, sudden apostrophes, and lapidary maxims give the book its oracular cadence. Prayers, parables, and polemics sit side by side, each tightening the same argument: faith must be made deed.
Legacy
Zarb-i-Kalim, following Bal-e-Jibril and preceding Armaghan-e-Hijaz, is the clearest distillation of Iqbal’s political theology. Its critique of modern idols and summons to moral sovereignty nourished Muslim self-awareness in South Asia and fed the intellectual current that would shape demands for a distinct polity. Beyond its immediate context, the book remains a compact arsenal, verses that test institutions, quicken consciences, and measure civilizations by the vigor of their souls.
Zarb-i-Kalim
Original Title: ضرب کلیم
Zarb-i-Kalim is a collection of Urdu poems by Iqbal. The book contains Iqbal's thoughts on problems faced by Muslims, their position in the world, and their need to reform themselves spiritually, intellectually, and socially.
- Publication Year: 1936
- Type: Poetry
- Genre: Social issues, Philosophy, Poetry
- Language: Urdu
- View all works by Muhammad Iqbal on Amazon
Author: Muhammad Iqbal

More about Muhammad Iqbal
- Occup.: Poet
- From: Pakistan
- Other works:
- Asrar-e-Khudi (1915 Poetry)
- Rumuz-i-Bekhudi (1917 Poetry)
- The Secrets of the Self (1920 Poetry)
- Bang-i-Dra (1924 Poetry)
- Javid Nama (1932 Epic Poem)