avaz de ke dekh lo shayad vo mil hi jaae varna ye umr bhar ka safar raegan to hai

lahja ki jaise subh ki khushbu azaan de ji chahta hai main tiri avaz chuum luun

vo khush-kalam hai aisa ki us ke paas hamen tavil rahna bhi lagta hai mukhtasar rahna

us ghhairat-e-nahid ki har taan hai dipak shoala sa lapak jaae hai avaz to dekho

the couplet praises a beloved singer whose artistry is so intense that it is imagined to ignite fire. “naheed” (venus) suggests celestial beauty, while “deepak” evokes the legendary idea of music that can light lamps. the emotional core is wonder: the poet feels her voice is not mere sound but burning radiance that sets the air aflame.

maut khamoshi hai chup rahne se chup lag jaegi zindagi avaz hai baten karo baten karo

bolte rahna kyunki tumhari baton se lafzon ka ye bahta dariya achchha lagta hai

koi aaya tiri jhalak dekhi koi bola suni tiri avaz

tafriq husn-o-ishq ke andaz men na ho lafzon men farq ho magar avaz men na ho

main jo bola kaha ki ye avaz usi khana-kharab ki si hai

the couplet captures a sting of recognition: the speaker’s own voice is identified with a “khana-kharab,” a person wrecked by sorrow and disgrace. “voice” becomes a metaphor for inner condition—pain leaks out even when one tries to speak normally. the emotional core is shame and self-reproach: the speaker feels branded by ruin, as if their identity has become nothing but brokenness.

haath jis ko laga nahin sakta us ko avaz to lagane do

tiri avaz ko is shahr ki lahren tarasti hain ghhalat number milata huun to pahron baat hoti hai

khamoshi ke nakhun se chhil jaaya karte hain koi phir in zakhmon par avazen malta hai

ye bhi ejaaz mujhe ishq ne bakhsha tha kabhi us ki avaz se main diip jala sakta tha

meri ye aarzu hai vaqt-e-marg us ki avaz kaan men aave

us pe qurban ki jis ne tiri avaz suni sadqe us aankh ke jis ne tira jalva dekha

khatm ho jaega jis din bhi tumhara intizar ghar ke darvaze pe dastak chikhti rah jaegi

gum raha huun tire khayalon men tujh ko avaz umr bhar di hai

phuul ki khushbu hava ki chaap shishe ki khanak kaun si shai hai jo teri khush-bayani men nahin

us ki avaz men the saare khad-o-khal us ke vo chahakta tha to hanste the par-o-bal us ke

khanak jaate hain jab saghhar to pahron kaan bajte hain are tauba badi tauba-shikan avaz hoti hai

avaz de ke dekh lo shayad vo mil hi jaae varna ye umr bhar ka safar raegan to hai

lahja ki jaise subh ki khushbu azaan de ji chahta hai main tiri avaz chuum luun

vo khush-kalam hai aisa ki us ke paas hamen tavil rahna bhi lagta hai mukhtasar rahna

us ghhairat-e-nahid ki har taan hai dipak shoala sa lapak jaae hai avaz to dekho

the couplet praises a beloved singer whose artistry is so intense that it is imagined to ignite fire. “naheed” (venus) suggests celestial beauty, while “deepak” evokes the legendary idea of music that can light lamps. the emotional core is wonder: the poet feels her voice is not mere sound but burning radiance that sets the air aflame.

khuda ki us ke gale men ajiib qudrat hai vo bolta hai to ik raushni si hoti hai

maut khamoshi hai chup rahne se chup lag jaegi zindagi avaz hai baten karo baten karo

gum raha huun tire khayalon men tujh ko avaz umr bhar di hai

chhup gae vo saz-e-hasti chhed kar ab to bas avaz hi avaz hai

tafriq husn-o-ishq ke andaz men na ho lafzon men farq ho magar avaz men na ho

dhime suron men koi madhur giit chhediye thahri hui havaon men jaadu bikheriye

main jo bola kaha ki ye avaz usi khana-kharab ki si hai

the couplet captures a sting of recognition: the speaker’s own voice is identified with a “khana-kharab,” a person wrecked by sorrow and disgrace. “voice” becomes a metaphor for inner condition—pain leaks out even when one tries to speak normally. the emotional core is shame and self-reproach: the speaker feels branded by ruin, as if their identity has become nothing but brokenness.

lai men duubi hui masti bhari avaz ke saath chhed de koi ghhazal ik nae andaz ke saath

charaghh jalte hain bad-e-saba mahakti hai tumhare husn-e-takallum se kya nahin hota

tiri avaz ko is shahr ki lahren tarasti hain ghhalat number milata huun to pahron baat hoti hai

mujh se jo chahiye vo dars-e-basirat liije main khud avaz huun meri koi avaz nahin

us ki avaz men the saare khad-o-khal us ke vo chahakta tha to hanste the par-o-bal us ke

meri ye aarzu hai vaqt-e-marg us ki avaz kaan men aave

khanak jaate hain jab saghhar to pahron kaan bajte hain are tauba badi tauba-shikan avaz hoti hai

us pe qurban ki jis ne tiri avaz suni sadqe us aankh ke jis ne tira jalva dekha

raat ik ujde makan par ja ke jab avaz di guunj utthe bam-o-dar meri sada ke samne