Besabati

le sans bhi aahista ki nazuk hai bahut kaam aafaq ki is kargah-e-shishagari ka breathe here softly as with fragility here all is fraught in this workshop of the world where wares of glass are wrought meer taqi meer portrays the world as a fragile glass workshop: a place of beauty, but easily shattered. the advice to “breathe softly” is a metaphor for living with extreme care, because a small disturbance can cause harm. the couplet carries a quiet awe and anxiety—existence is precious, yet breakable. it urges mindfulness in speech, action, and desire within a delicate cosmos.

duniya jise kahte hain jadu ka khilauna hai

duniya jise kahte hain jaadu ka khilauna hai mil jaae to mitti hai kho jaae to sona hai achchha sa koi mausam tanha sa koi aalam har vaqt ka rona to be-kar ka rona hai barsat ka badal to divana hai kya jaane kis raah se bachna hai kis chhat ko bhigona hai ye vaqt jo tera hai ye vaqt jo mera hai har gaam pe pahra hai phir bhi ise khona hai ghham ho ki khushi donon kuchh duur ke sathi hain phir rasta hi rasta hai hansna hai na rona hai avara-mizaji ne phaila diya angan ko akash ki chadar hai dharti ka bichhauna hai duniya jise kahte hain jadu ka khilauna hai mil jae to mitti hai kho jae to sona hai achchha sa koi mausam tanha sa koi aalam har waqt ka rona to be-kar ka rona hai barsat ka baadal to diwana hai kya jaane kis rah se bachna hai kis chhat ko bhigona hai ye waqt jo tera hai ye waqt jo mera hai har gam pe pahra hai phir bhi ise khona hai gham ho ki khushi donon kuchh dur ke sathi hain phir rasta hi rasta hai hansna hai na rona hai aawara-mizaji ne phaila diya aangan ko aakash ki chadar hai dharti ka bichhauna hai

duniya jise kahte hain jadu ka khilauna hai mil jae to mitti hai kho jae to sona hai

sansar ki har shai ka itna hi fasana hai

sansar ki har shai ka itna hi fasana hai ik dhund se aana hai ik dhund men jaana hai ye raah kahan se hai ye raah kahan tak hai ye raaz koi raahi samjha hai na jaana hai ik pal ki palak par hai thahri hui ye duniya ik pal ke jhapakne tak har khel suhana hai kya jaane koi kis par kis mod pe kya biite is raah men ai raahi har mod bahana hai ham log khilauna hain ik aise khiladi ka jis ko abhi sadiyon tak ye khel rachana hai sansar ki har shai ka itna hi fasana hai ek dhund se aana hai ek dhund mein jaana hai ye rah kahan se hai ye rah kahan tak hai ye raaz koi rahi samjha hai na jaana hai ek pal ki palak par hai thahri hui ye duniya ek pal ke jhapakne tak har khel suhana hai kya jaane koi kis par kis mod pe kya bite is rah mein ai rahi har mod bahana hai hum log khilauna hain ek aise khiladi ka jis ko abhi sadiyon tak ye khel rachana hai

kaha main ne kitna hai gul ka sabaat kali ne ye sun kar tabassum kiya the speaker reflects on the fleeting life of the rose as a symbol of beauty and existence. the bud’s smile carries gentle irony: it already knows this truth and still chooses to bloom. the couplet suggests quiet acceptance of impermanence, and a tender courage to live despite inevitable fading.

koi nahin hai aane wala phir bhi koi aane ko hai

koi nahin hai aane vaala phir bhi koi aane ko hai aate jaate raat aur din men kuchh to ji bahlane ko hai chalo yahan se apni apni shakhon pe laut aae parinde bhuli-bisri yadon ko phir tanhai dohrane ko hai do darvaze ek haveli aamad rukhsat ek paheli koi ja kar aane ko hai koi aa kar jaane ko hai din bhar ka hangama saara shaam dhale phir bistar pyara mera rasta ho ya tera har rasta ghar jaane ko hai abadi ka shor-sharaba chhod ke dhundo koi kharaba tanhai phir shama jala kar koi harf sunane ko hai koi nahin hai aane wala phir bhi koi aane ko hai aate jate raat aur din mein kuchh to ji bahlane ko hai chalo yahan se apni apni shakhon pe laut aae parinde bhuli-bisri yaadon ko phir tanhai dohrane ko hai do darwaze ek haweli aamad rukhsat ek paheli koi ja kar aane ko hai koi aa kar jaane ko hai din bhar ka hangama sara sham dhale phir bistar pyara mera rasta ho ya tera har rasta ghar jaane ko hai aabaadi ka shor-sharaba chhod ke dhundo koi kharaba tanhai phir shama jala kar koi harf sunane ko hai

duniya hai khwab hasil-e-duniya khayal hai insan khwab dekh raha hai khayal mein

hamein khabar hai wo mehman ek raat ka hai

hamen khabar hai vo mehman ek raat ka hai hamare paas bhi saman ek raat ka hai safine barson na rakkhenge sahilon pe qadam tumhen guman hai ki tufan ek raat ka hai hai ek shab ki iqamat sara-e-duniya men ye saara khel miri jaan ek raat ka hai khulegi aankh to samjhoge khvab dekha tha ye saara khel miri jaan ek raat ka hai tumhari shaan hamari bisat kya hai yahan shikoh-e-khusrav-e-khaqan ek raat ka hai bas ek shab ka ujala hai us ke daman men ki ye charaghh nigahban ek raat ka hai hamein khabar hai wo mehman ek raat ka hai hamare pas bhi saman ek raat ka hai safine barson na rakkhenge sahilon pe qadam tumhein guman hai ki tufan ek raat ka hai hai ek shab ki iqamat sara-e-duniya mein ye sara khel meri jaan ek raat ka hai khulegi aankh to samjhoge khwab dekha tha ye sara khel meri jaan ek raat ka hai tumhaari shan hamari bisat kya hai yahan shikoh-e-khusraw-e-khaqan ek raat ka hai bas ek shab ka ujala hai us ke daman mein ki ye charagh nigahban ek raat ka hai

sunta hun bade ghaur se afsana-e-hasti kuchh khwab hai kuchh asl hai kuchh tarz-e-ada hai

ye musht-e-khak apne ko jahan chahe tahan le ja

ye musht-e-khak apne ko jahan chahe tahan le ja par is 'alam ko is 'alam se mat bar-e-garan le ja 'adam se jis tarah tanha chala aaya tha phir vaan ko munasib hai isi surat se surat chhod jaan le ja kudurat ma-siva ki dho le khatir-khvah khatir se ba-juz nam-e-khuda hamrah mat nam-o-nishan le ja aziz-o-aqriba ne mal-o-milkiyyat ba-kar aave kisi ki dosti ki ai dila hasrat na vaan le ja gadai badshahi bhi masavi vaqt marne ke tayaqqun kar sukhan meri par hargiz mat guman le ja isi duniya men duniya se kinara kar jo 'aqil hai mohabbat phir kisi shai ki na saath ai mehrban le ja na koi le gaya kuchh aur na le jaave koi hargiz yaqin gor-o-kafan milne pe kya tashkik haan le ja gai baghh-e-jahan se khalq khali haath le par tu bahar-e-zindagi se zikr ka gul be-khizan le ja bakheda yaan ka yaan par chhod 'afridi' 'adam akhir na ye dard-o-bala ranj-o-alam ah-o-fughhan le ja ye musht-e-khak apne ko jahan chahe tahan le ja par is 'alam ko is 'alam se mat bar-e-garan le ja 'adam se jis tarah tanha chala aaya tha phir wan ko munasib hai isi surat se surat chhod jaan le ja kudurat ma-siwa ki dho le khatir-khwah khatir se ba-juz nam-e-khuda hamrah mat nam-o-nishan le ja aziz-o-aqriba ne mal-o-milkiyyat ba-kar aawe kisi ki dosti ki ai dila hasrat na wan le ja gadai baadshahi bhi masawi waqt marne ke tayaqqun kar sukhan meri par hargiz mat guman le ja isi duniya mein duniya se kinara kar jo 'aqil hai mohabbat phir kisi shai ki na sath ai mehrban le ja na koi le gaya kuchh aur na le jawe koi hargiz yaqin gor-o-kafan milne pe kya tashkik han le ja gai bagh-e-jahan se khalq khali hath le par tu bahaar-e-zindagi se zikr ka gul be-khizan le ja bakheda yan ka yan par chhod 'afridi' 'adam aakhir na ye dard-o-bala ranj-o-alam aah-o-fughan le ja

be-sabaati chaman-e-dahr ki hai jin pe khuli hawas-e-rang na wo khwahish-e-bu karte hain

be-sabaati zamane ki na-chaar karni mujh ko bayan padti hai

ab jaan jism-e-khaki se tang aa gai bahut kab tak is ek tokari mitti ko dhoiye the couplet contrasts soul and body: the “earthy body” is felt as heavy, limiting, and worn-out. calling the body a “basket of soil” reduces it to mere matter, stressing its fragility and eventual return to dust. the speaker’s exhaustion hints at a longing for release from bodily burdens—an intimate meditation on mortality and detachment.

pal mein manush hai ram pujari pal mein chela rawan ka pap aur pun ke bich ka dhaga dekho kitna kachcha hai