Poetry Collection

Bekhudi

Ecstasy, or trance, is a state of belonging beyond the limits of consciousness or self-obsession. This s a condition we generally associate with romantic and divine lovers. It also opens up ways to understand the philosophical meaning of human existence. Poets have developed fascinating perspectives on the experience of ecstasy. Here are some examples.

Total

58

Sher

50

Ghazal

8

Nazm

0

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achchha khasa baithe baithe gum ho jata hun ab main aksar main nahin rahta tum ho jata hun

hosh walon ko khabar kya be-khudi kya chiz hai ishq kije phir samajhiye zindagi kya chiz hai

be-khudi be-sabab nahin 'ghaalib' kuchh to hai jis ki parda-dari hai the speaker insists that his dazed, self-forgetful state has a real cause, not mere whim. “veiling” suggests a secret sorrow, love, or truth that cannot be openly named. the couplet captures an inner disturbance that shows itself as bewilderment while its source stays concealed. it turns confusion into evidence of a deeper, guarded reality.

achchha khasa baithe baithe gum ho jata hun ab main aksar main nahin rahta tum ho jata hun

hosh walon ko khabar kya be-khudi kya chiz hai ishq kije phir samajhiye zindagi kya chiz hai

be-khudi be-sabab nahin 'ghaalib' kuchh to hai jis ki parda-dari hai the speaker insists that his dazed, self-forgetful state has a real cause, not mere whim. “veiling” suggests a secret sorrow, love, or truth that cannot be openly named. the couplet captures an inner disturbance that shows itself as bewilderment while its source stays concealed. it turns confusion into evidence of a deeper, guarded reality.

ye kaisa nashsha hai main kis ajab khumar mein hun tu aa ke ja bhi chuka hai main intizar mein hun

chale to panw ke niche kuchal gai koi shai nashe ki jhonk mein dekha nahin ki duniya hai

be-khudi le gai kahan hum ko der se intizar hai apna the couplet presents self-forgetfulness as a force that makes the speaker lose direction and sense of identity. the striking metaphor is that “i” has become separated from “myself,” as if the real self stands elsewhere, waiting. it expresses regret and inner emptiness after being swept away by passion, grief, or intoxication. the emotional core is alienation from one’s own being and a late realization of what was left behind.

itni pi jae ki mit jae main aur tu ki tamiz yani ye hosh ki diwar gira di jae the formality of you and i should in wine be drowned meaning that these barriers of sobriety be downed

mai se gharaz nashat hai kis ru-siyah ko ik-guna be-khudi mujhe din raat chahiye ghalib rejects the common hedonistic view that people drink alcohol for joy or celebration. he argues that consciousness itself is a burden due to life's sorrows. therefore, he seeks wine not for delight, but as an anesthetic to attain a continuous state of oblivion and escape the pain of awareness.

jis mein ho yaad bhi teri shamil hae us be-khudi ko kya kahiye the couplet marvels at a trance-like condition where even losing oneself is not free of the beloved’s remembrance. the speaker feels overwhelmed: the very “unconsciousness” is colored by memory and love. this fusion of absence (self-forgetfulness) and presence (memory) creates a sweet, astonished pain that words fail to name.

allah re be-khudi ki tere pas baith kar tera hi intizar kiya hai kabhi kabhi o lord! there are times when such is my raptured state even though i am with you, and yet for you i wait

tera wasl hai mujhe be-khudi tera hijr hai mujhe aagahi tera wasl mujh ko firaq hai tera hijr mujh ko visal hai

na to hosh se taaruf na junun se aashnai ye kahan pahunch gae hain teri bazm se nikal ke what is this place that i have reached, having left your company

mohabbat nek-o-bad ko sochne de ghair-mumkin hai badhi jab be-khudi phir kaun darta hai gunahon se

yahan koi na ji saka na ji sakega hosh mein mita de nam hosh ka sharab la sharab la

mai-e-hayat mein shamil hai talkhi-e-dauran jabhi to pi ke taraste hain be-khudi ke liye

be-khudi mein hum to tera dar samajh kar jhuk gae ab khuda malum kaba tha ki wo but-khana tha

shah-e-be-khudi ne ata kiya mujhe ab libas-e-barahnagi na khirad ki bakhiya-gari rahi na junun ki parda-dari rahi

be-khudi ne kar diya jazbaat-e-dil se be-niyaz ab tera milna na milna sab barabar ho gaya

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