jaate ho khuda-hafiz haan itni guzarish hai jab yaad ham aa jaaen milne ki dua karna

dua ko haat uthate hue larazta huun kabhi dua nahin mangi thi maan ke hote hue

mujhe zindagi ki dua dene vaale hansi aa rahi hai tiri sadgi par

main kya karun mire qatil na chahne par bhi tire liye mire dil se dua nikalti hai

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

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

hazar baar jo manga karo to kya hasil dua vahi 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 akhir to dushmani hai asar ko dua ke saath 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.

baaqi hi kya raha hai tujhe mangne ke baad bas ik dua men chhut gae har dua se ham

na charagar ki zarurat na kuchh dava ki hai dua ko haath uthao ki ghham ki raat kate

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

dhuup saae ki tarah phail gai in darakhton ki dua lene se

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

jaate ho khuda-hafiz haan itni guzarish hai jab yaad ham aa jaaen milne ki dua karna

dua ko haat uthate hue larazta huun kabhi dua nahin mangi thi maan ke hote hue

mujhe zindagi ki dua dene vaale hansi aa rahi hai tiri sadgi par

main kya karun mire qatil na chahne par bhi tire liye mire dil se dua nikalti hai

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

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

hazar baar jo manga karo to kya hasil dua vahi 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 akhir to dushmani hai asar ko dua ke saath 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.

mangi thi ek baar dua ham ne maut ki sharminda aaj tak hain miyan zindagi se ham 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 huun bahut jo ho sake to duaon ko be-asar kar de

na charagar ki zarurat na kuchh dava ki hai dua ko haath uthao ki ghham ki raat kate

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

dhuup saae ki tarah phail gai in darakhton ki dua lene se