ab bhi barsat ki raton men badan tutta hai jaag uthti hain ajab khvahishen angdai ki

till even now in rainy climes, my limbs are aching, sore the yen to stretch out languidly then comes to the fore

angdai bhi vo lene na paae utha ke haath dekha jo mujh ko chhod diye muskura ke haath

she couldn't even stretch out with her arms upraised seeing me she smiled and composed herself all fazed

ilahi kya ilaqa hai vo jab leta hai angdai mire siine men sab zakhmon ke tanke tuut jaate hain

tum phir usi ada se angdai le ke hans do aa jaega palat kar guzra hua zamana

donon hathon se lutti hai hamen kitni zalim hai teri angdai

kaun angdai le raha hai 'adam' do jahan ladkhadae jaate hain

kaun ye le raha hai angdai asmanon ko niind aati hai

the poet turns a small human act—stretching—into a cosmic event. by personifying the heavens as drowsy, he suggests a wave of languor spreading through the universe, as though the beloved’s movement or the night’s hush has cast a spell. the couplet holds playful wonder and romantic awe, enlarging an intimate moment into vast imagery.

dil ka kya haal kahun subh ko jab us but ne le ke angdai kaha naaz se ham jaate hain

how to describe my state when at the crack of dawn she stretched in lagour and said it was time to be gone the speaker’s pain peaks at morning—the moment of parting. calling the beloved an “idol” suggests overwhelming beauty and emotional worship, but also coldness. her leisurely stretch and coy “i’m going” show indifference masked as charm, turning farewell into a wound. the couplet captures helpless heartbreak against graceful cruelty.

dariya-e-husn aur bhi do haath badh gaya angdai us ne nashshe men li jab utha ke haath

be-sakhta bikhar gai jalvon ki kaenat aina tuut kar tiri angdai ban gaya

ab bhi barsat ki raton men badan tutta hai jaag uthti hain ajab khvahishen angdai ki

till even now in rainy climes, my limbs are aching, sore the yen to stretch out languidly then comes to the fore

angdai bhi vo lene na paae utha ke haath dekha jo mujh ko chhod diye muskura ke haath

she couldn't even stretch out with her arms upraised seeing me she smiled and composed herself all fazed

tum phir usi ada se angdai le ke hans do aa jaega palat kar guzra hua zamana

apne markaz ki taraf mail-e-parvaz tha husn bhulta hi nahin aalam tiri angdai ka

kaun angdai le raha hai 'adam' do jahan ladkhadae jaate hain

sun chuke jab haal mera le ke angdai kaha kis ghhazab ka dard zalim tere afsane men tha

dil ka kya haal kahun subh ko jab us but ne le ke angdai kaha naaz se ham jaate hain

how to describe my state when at the crack of dawn she stretched in lagour and said it was time to be gone the speaker’s pain peaks at morning—the moment of parting. calling the beloved an “idol” suggests overwhelming beauty and emotional worship, but also coldness. her leisurely stretch and coy “i’m going” show indifference masked as charm, turning farewell into a wound. the couplet captures helpless heartbreak against graceful cruelty.

lut gae ek hi angdai men aisa bhi hua umr-bhar phirte rahe ban ke jo hoshiyar bahut

shayad vo din pahla din tha palken bojhal hone ka mujh ko dekhte hi jab us ki angdai sharmai hai

shayad vo din pahla din tha palken bojhal hone ka mujh ko dekhte hi jab us ki angdai sharmai hai

ab bhi barsat ki raton men badan tutta hai jaag uthti hain ajab khvahishen angdai ki

till even now in rainy climes, my limbs are aching, sore the yen to stretch out languidly then comes to the fore

ab bhi barsat ki raton men badan tutta hai jaag uthti hain ajab khvahishen angdai ki

till even now in rainy climes, my limbs are aching, sore the yen to stretch out languidly then comes to the fore

angdai bhi vo lene na paae utha ke haath dekha jo mujh ko chhod diye muskura ke haath

she couldn't even stretch out with her arms upraised seeing me she smiled and composed herself all fazed

ab to us ke baare men tum jo chaho vo kah daalo vo angdai mere kamre tak to badi ruhani thi

ilahi kya ilaqa hai vo jab leta hai angdai mire siine men sab zakhmon ke tanke tuut jaate hain

tum phir usi ada se angdai le ke hans do aa jaega palat kar guzra hua zamana

apne markaz ki taraf mail-e-parvaz tha husn bhulta hi nahin aalam tiri angdai ka

apne markaz ki taraf mail-e-parvaz tha husn bhulta hi nahin aalam tiri angdai ka

donon hathon se lutti hai hamen kitni zalim hai teri angdai

kaun angdai le raha hai 'adam' do jahan ladkhadae jaate hain

sun chuke jab haal mera le ke angdai kaha kis ghhazab ka dard zalim tere afsane men tha

sun chuke jab haal mera le ke angdai kaha kis ghhazab ka dard zalim tere afsane men tha

kaun ye le raha hai angdai asmanon ko niind aati hai

the poet turns a small human act—stretching—into a cosmic event. by personifying the heavens as drowsy, he suggests a wave of languor spreading through the universe, as though the beloved’s movement or the night’s hush has cast a spell. the couplet holds playful wonder and romantic awe, enlarging an intimate moment into vast imagery.

dil ka kya haal kahun subh ko jab us but ne le ke angdai kaha naaz se ham jaate hain

how to describe my state when at the crack of dawn she stretched in lagour and said it was time to be gone the speaker’s pain peaks at morning—the moment of parting. calling the beloved an “idol” suggests overwhelming beauty and emotional worship, but also coldness. her leisurely stretch and coy “i’m going” show indifference masked as charm, turning farewell into a wound. the couplet captures helpless heartbreak against graceful cruelty.

lut gae ek hi angdai men aisa bhi hua umr-bhar phirte rahe ban ke jo hoshiyar bahut

lut gae ek hi angdai men aisa bhi hua umr-bhar phirte rahe ban ke jo hoshiyar bahut

dariya-e-husn aur bhi do haath badh gaya angdai us ne nashshe men li jab utha ke haath

shayad vo din pahla din tha palken bojhal hone ka mujh ko dekhte hi jab us ki angdai sharmai hai

be-sakhta bikhar gai jalvon ki kaenat aina tuut kar tiri angdai ban gaya

be-sakhta bikhar gai jalvon ki kaenat aina tuut kar tiri angdai ban gaya