Top 20 Sher by There are many words

jate ho khuda-hafiz han itni guzarish hai jab yaad hum aa jaen milne ki dua karna

dua ko hat uthate hue larazta hun kabhi dua nahin mangi thi man ke hote hue

maraz-e-ishq jise ho use kya yaad rahe na dawa yaad rahe aur na dua yaad rahe he who is stricken by love, remembers naught at all no cure will come to mind, nor prayer will recall zauq depicts love as an all-consuming malady that erases the lover's connection to the ordinary world. the absorption in the beloved is so intense that the sufferer forgets both material remedies (medicine) and spiritual pleas (prayer), indicating a state of total surrender and self-forgetfulness.

mujhe zindagi ki dua dene wale hansi aa rahi hai teri sadgi par

main kya karun mere qatil na chahne par bhi tere liye mere dil se dua nikalti hai

dua karo ki main us ke liye dua ho jaun wo ek shakhs jo dil ko dua sa lagta hai

hoti nahin qubul dua tark-e-ishq ki dil chahta na ho to zaban mein asar kahan

koi chaara nahin dua ke siwa koi sunta nahin khuda ke siwa translation there’s no option but to pray with piety, as no one listens, except the almighty. sagar akbarabadi

mang lun tujh se tujhi ko ki sabhi kuchh mil jae sau sawalon se yahi ek sawal achchha hai

hazar bar jo manga karo to kya hasil dua wahi hai jo dil se kabhi nikalti hai the couplet says that repetition alone does not make a request effective. prayer is portrayed as something living and spontaneous: it must come from genuine feeling, not mere habit or display. the emotional core is a gentle criticism of mechanical worship and a call for inner sincerity. what matters is the heart’s truth, not the count of words.

manga karenge ab se dua hijr-e-yar ki aakhir to dushmani hai asar ko dua ke sath to be parted from my dearest i will pray now hence as after all prayers bear enmity with consequence the speaker flips the usual logic of prayer: since prayers may “take effect” in a way that defeats one’s own desire, he decides to ask for separation itself. the word “enemy” suggests a bitter distrust of fate—what you want and what happens stand opposed. the emotional core is irony mixed with helplessness: even devotion turns into a strategy to protect oneself from disappointment.

duaen yaad kara di gai thin bachpan mein so zakhm khate rahe aur dua diye gae hum

mangi thi ek bar dua hum ne maut ki sharminda aaj tak hain miyan zindagi se hum once upon a time for death i did pray i am ashamed of life my friend to this very day

main zindagi ki dua mangne laga hun bahut jo ho sake to duaon ko be-asar kar de

baqi hi kya raha hai tujhe mangne ke baad bas ek dua mein chhut gae har dua se hum

na chaaragar ki zarurat na kuchh dawa ki hai dua ko hath uthao ki gham ki raat kate

dushman-e-jaan hi sahi dost samajhta hun use bad-dua jis ki mujhe ban ke dua lagti hai

abhi dilon ki tanabon mein sakhtiyan hain bahut abhi hamari dua mein asar nahin aaya

dhup sae ki tarah phail gai in darakhton ki dua lene se