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 mil jae to mitti hai kho jae to sona 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.

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

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

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