dekhne ke liye saara aalam bhi kam chahne ke liye ek chehra bahut

kuchh nazar aata nahin us ke tasavvur ke siva hasrat-e-didar ne ankhon ko andha kar diya

save visions of her, nothing comes to mind the longing for her sight surely turned me blind

ab vahi karne lage didar se aage ki baat jo kabhi kahte the bas didar hona chahiye

tu samne hai to phir kyuun yaqin nahin aata ye baar baar jo ankhon ko mal ke dekhte hain

kahte hain eid hai aaj apni bhi eid hoti ham ko agar mayassar janan ki diid hoti

janab ke rukh-e-raushan ki diid ho jaati to ham siyah-nasibon ki iid ho jaati

tum apne chand taare kahkashan chahe jise dena miri ankhon pe apni diid ki ik shaam likh dena

didar ki talab ke tariqon se be-khabar didar ki talab hai to pahle nigah maang

ignorant of mores when seeking visions bright if you want the vision, you first need the sight

hatao aaina ummid-var ham bhi hain tumhare dekhne valon men yaar ham bhi hain

kyuun jal gaya na tab-e-rukh-e-yar dekh kar jalta huun apni taqat-e-didar dekh kar

why didn't i turn to ashes seeing her face so glowing, bright by envy now i am inflamed, at strength of my own sight the poet expresses a paradox where his survival is a source of shame. he believes the beloved's beauty is so intense it should have annihilated him instantly; the fact that he survived proves he has an unfortunate resilience. he burns now not from the beauty itself, but from the realization that he had the audacity and strength to withstand it without dying.

ab aur der na kar hashr barpa karne men miri nazar tire didar ko tarasti hai

aap idhar aae udhar diin aur iman gae iid ka chand nazar aaya to ramzan gae

tira didar ho hasrat bahut hai chalo ki niind bhi aane lagi hai

mira ji to ankhon men aaya ye sunte ki didar bhi ek din aam hoga

the speaker is overwhelmed to the point of tears on hearing a promise of future ease: that the once-rare “didaar” will become attainable. “heart coming into the eyes” suggests emotion condensing into tears and a visible longing. the couplet balances past deprivation with a sudden surge of hope, imagining a day when distance and exclusivity will end.

us ko dekha to ye mahsus hua ham bahut duur the khud se pahle

uth ai naqab-e-yar ki baithe hain der se kitne ghharib dida-e-pur-nam liye hue

'dard' ke milne se ai yaar bura kyuun maana us ko kuchh aur siva diid ke manzur na tha

vo dushmani se dekhte hain dekhte to hain main shaad huun ki huun to kisi ki nigah men

is qamar ko kabhi to dekhenge tiis din hote hain mahine ke

afrin tujh ko hasrat-e-didar chashm-e-tar se zaban ka kaam liya

dekhne ke liye saara aalam bhi kam chahne ke liye ek chehra bahut

kuchh nazar aata nahin us ke tasavvur ke siva hasrat-e-didar ne ankhon ko andha kar diya

save visions of her, nothing comes to mind the longing for her sight surely turned me blind

ab vahi karne lage didar se aage ki baat jo kabhi kahte the bas didar hona chahiye

tu samne hai to phir kyuun yaqin nahin aata ye baar baar jo ankhon ko mal ke dekhte hain

kahte hain eid hai aaj apni bhi eid hoti ham ko agar mayassar janan ki diid hoti

janab ke rukh-e-raushan ki diid ho jaati to ham siyah-nasibon ki iid ho jaati

tum apne chand taare kahkashan chahe jise dena miri ankhon pe apni diid ki ik shaam likh dena

didar ki talab ke tariqon se be-khabar didar ki talab hai to pahle nigah maang

ignorant of mores when seeking visions bright if you want the vision, you first need the sight

hatao aaina ummid-var ham bhi hain tumhare dekhne valon men yaar ham bhi hain

kyuun jal gaya na tab-e-rukh-e-yar dekh kar jalta huun apni taqat-e-didar dekh kar

why didn't i turn to ashes seeing her face so glowing, bright by envy now i am inflamed, at strength of my own sight the poet expresses a paradox where his survival is a source of shame. he believes the beloved's beauty is so intense it should have annihilated him instantly; the fact that he survived proves he has an unfortunate resilience. he burns now not from the beauty itself, but from the realization that he had the audacity and strength to withstand it without dying.

vo dushmani se dekhte hain dekhte to hain main shaad huun ki huun to kisi ki nigah men

ab aur der na kar hashr barpa karne men miri nazar tire didar ko tarasti hai

jo aur kuchh ho tiri diid ke siva manzur to mujh pe khvahish-e-jannat haram ho jaae

tira didar ho hasrat bahut hai chalo ki niind bhi aane lagi hai

hasil us mah-laqa ki diid nahin eid hai aur ham ko eid nahin

kasa-e-chashm le ke juun nargis ham ne didar ki gadai ki

meer taqi meer pictures the lover’s eyes as an empty bowl, and the narcissus (with its cup-like center) becomes a metaphor for pleading vision. the desire is so intense that seeing the beloved is treated as alms—something granted, not claimed. the couplet carries humility and desperation: the lover has nothing to offer except yearning itself, held out through the eyes.

is qamar ko kabhi to dekhenge tiis din hote hain mahine ke

uth ai naqab-e-yar ki baithe hain der se kitne ghharib dida-e-pur-nam liye hue

afrin tujh ko hasrat-e-didar chashm-e-tar se zaban ka kaam liya

'dard' ke milne se ai yaar bura kyuun maana us ko kuchh aur siva diid ke manzur na tha