Poetry Collection
There are many words in Urdu poetry that have been treated in entirely different ways and contexts to create unusual kinds of meaning. A number of such words can be found in the domain of faith. Dua, or prayer, is one such word that has been used quite creatively and in multiple contexts. Here, you would find a lover praying for union and his prayers returned unanswered. Sometimes, being disappointed, he even prays for his release from love that brings only suffering. This and many other conditions of this kind can be found in this selection for the curious readers.
Total
73
Sher
50
Ghazal
23
Is collection se writer-diverse top picks for quick reading.
haya nahin hai zamane ki aankh men baaqi khuda kare ki javani tiri rahe be-daghh
the couplet laments a society where shamelessness has become normal, as if the world’s very “eye” no longer recognizes modesty. against this moral decline, the speaker turns to prayer, wishing the addressee’s youth to stay clean and uncorrupted. “stain” becomes a metaphor for moral blemish and compromise. the emotional core is concern, protective love, and ethical hope.
abhi zinda hai maan meri mujhe kuchh bhi nahin hoga main ghar se jab nikalta huun dua bhi saath chalti hai
abhi raah men kai mod hain koi aaega koi jaega tumhen jis ne dil se bhula diya use bhulne ki dua karo
dua ko haat uthate hue larazta huun kabhi dua nahin mangi thi maan ke hote hue
maraz-e-ishq jise ho use kya yaad rahe na dava 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 vaale hansi aa rahi hai tiri sadgi par
dua karo ki main us ke liye dua ho jaun vo ek shakhs jo dil ko dua sa lagta hai
hoti nahin qubul dua tark-e-ishq ki dil chahta na ho to zaban men asar kahan
maang luun tujh se tujhi ko ki sabhi kuchh mil jaae sau savalon se yahi ek saval achchha hai
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.
akhir dua karen bhi to kis muddaa ke saath kaise zamin ki baat kahen asman se ham
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
duur rahti hain sada un se balaen sahil apne maan baap ki jo roz dua lete hain
kyuun maang rahe ho kisi barish ki duaen tum apne shikasta dar-o-divar to dekho
jab lagen zakhm to qatil ko dua di jaae hai yahi rasm to ye rasm utha di jaae
sunte hain jo bahisht ki tarif sab durust lekin khuda kare vo tira jalva-gah ho
praises of paradise we hear are all true, i agree but i wish that god ordains, your parlour that it be ghalib concedes to the traditional descriptions of heaven's beauty but adds a lover's stipulation. he implies that the material delights of paradise are meaningless unless it becomes a venue for the beloved's manifestation. the poet elevates the sight of the beloved above the intrinsic rewards of heaven itself.
duaen yaad kara di gai thiin bachpan men so zakhm khate rahe aur dua diye gae ham
vo bada rahim o karim hai mujhe ye sifat bhi ata kare tujhe bhulne ki dua karun to miri dua men asar na ho
main ne din raat khuda se ye dua mangi thi koi aahat na ho dar par mire jab tu aae
koi to phuul khilae dua ke lahje men ajab tarah ki ghutan hai hava ke lahje men
haya nahin hai zamane ki aankh men baaqi khuda kare ki javani tiri rahe be-daghh
the couplet laments a society where shamelessness has become normal, as if the world’s very “eye” no longer recognizes modesty. against this moral decline, the speaker turns to prayer, wishing the addressee’s youth to stay clean and uncorrupted. “stain” becomes a metaphor for moral blemish and compromise. the emotional core is concern, protective love, and ethical hope.
abhi zinda hai maan meri mujhe kuchh bhi nahin hoga main ghar se jab nikalta huun dua bhi saath chalti hai
abhi raah men kai mod hain koi aaega koi jaega tumhen jis ne dil se bhula diya use bhulne ki dua karo
dua ko haat uthate hue larazta huun kabhi dua nahin mangi thi maan ke hote hue
jab bhi kashti miri sailab men aa jaati hai maan dua karti hui khvab men aa jaati hai
translation whenever my boat comes amidst tempest, mother comes praying in my dreams. sagar akbarabadi
maraz-e-ishq jise ho use kya yaad rahe na dava 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.
main kya karun mire qatil na chahne par bhi tire liye mire dil se dua nikalti hai
dua karo ki main us ke liye dua ho jaun vo ek shakhs jo dil ko dua sa lagta hai
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
maang luun tujh se tujhi ko ki sabhi kuchh mil jaae sau savalon se yahi ek saval achchha hai
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.
duaen yaad kara di gai thiin bachpan men so zakhm khate rahe aur dua diye gae ham
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
tum salamat raho qayamat tak aur qayamat kabhi na aae 'shad'
kyuun maang rahe ho kisi barish ki duaen tum apne shikasta dar-o-divar to dekho
is liye chal na saka koi bhi khanjar mujh par meri shah-rag pe miri maan ki dua rakkhi thi
jab lagen zakhm to qatil ko dua di jaae hai yahi rasm to ye rasm utha di jaae
main zindagi ki dua mangne laga huun bahut jo ho sake to duaon ko be-asar kar de
koi to phuul khilae dua ke lahje men ajab tarah ki ghutan hai hava ke lahje men
dua karo ki ye pauda sada hara hi lage udasiyon men bhi chehra khila khila hi lage
Dua se related curated sher, selected ghazal excerpts aur context-friendly reading flow milega.
Haan, collection links, writer links aur detail links sab Kuch Alfaaz ke internal routes par map kiye gaye hain.
Type filter (Sher/Ghazal/Nazm), featured picks aur similar collections rail use karke fast discovery kar sakte hain.
Poetry Collection
There are many words in Urdu poetry that have been treated in entirely different ways and contexts to create unusual kinds of meaning. A number of such words can be found in the domain of faith. Dua, or prayer, is one such word that has been used quite creatively and in multiple contexts. Here, you would find a lover praying for union and his prayers returned unanswered. Sometimes, being disappointed, he even prays for his release from love that brings only suffering. This and many other conditions of this kind can be found in this selection for the curious readers.
Total
73
Sher
50
Ghazal
23
Is collection se writer-diverse top picks for quick reading.
haya nahin hai zamane ki aankh men baaqi khuda kare ki javani tiri rahe be-daghh
the couplet laments a society where shamelessness has become normal, as if the world’s very “eye” no longer recognizes modesty. against this moral decline, the speaker turns to prayer, wishing the addressee’s youth to stay clean and uncorrupted. “stain” becomes a metaphor for moral blemish and compromise. the emotional core is concern, protective love, and ethical hope.
abhi zinda hai maan meri mujhe kuchh bhi nahin hoga main ghar se jab nikalta huun dua bhi saath chalti hai
abhi raah men kai mod hain koi aaega koi jaega tumhen jis ne dil se bhula diya use bhulne ki dua karo
dua ko haat uthate hue larazta huun kabhi dua nahin mangi thi maan ke hote hue
maraz-e-ishq jise ho use kya yaad rahe na dava 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 vaale hansi aa rahi hai tiri sadgi par
dua karo ki main us ke liye dua ho jaun vo ek shakhs jo dil ko dua sa lagta hai
hoti nahin qubul dua tark-e-ishq ki dil chahta na ho to zaban men asar kahan
maang luun tujh se tujhi ko ki sabhi kuchh mil jaae sau savalon se yahi ek saval achchha hai
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.
akhir dua karen bhi to kis muddaa ke saath kaise zamin ki baat kahen asman se ham
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
duur rahti hain sada un se balaen sahil apne maan baap ki jo roz dua lete hain
kyuun maang rahe ho kisi barish ki duaen tum apne shikasta dar-o-divar to dekho
jab lagen zakhm to qatil ko dua di jaae hai yahi rasm to ye rasm utha di jaae
sunte hain jo bahisht ki tarif sab durust lekin khuda kare vo tira jalva-gah ho
praises of paradise we hear are all true, i agree but i wish that god ordains, your parlour that it be ghalib concedes to the traditional descriptions of heaven's beauty but adds a lover's stipulation. he implies that the material delights of paradise are meaningless unless it becomes a venue for the beloved's manifestation. the poet elevates the sight of the beloved above the intrinsic rewards of heaven itself.
duaen yaad kara di gai thiin bachpan men so zakhm khate rahe aur dua diye gae ham
vo bada rahim o karim hai mujhe ye sifat bhi ata kare tujhe bhulne ki dua karun to miri dua men asar na ho
main ne din raat khuda se ye dua mangi thi koi aahat na ho dar par mire jab tu aae
koi to phuul khilae dua ke lahje men ajab tarah ki ghutan hai hava ke lahje men
haya nahin hai zamane ki aankh men baaqi khuda kare ki javani tiri rahe be-daghh
the couplet laments a society where shamelessness has become normal, as if the world’s very “eye” no longer recognizes modesty. against this moral decline, the speaker turns to prayer, wishing the addressee’s youth to stay clean and uncorrupted. “stain” becomes a metaphor for moral blemish and compromise. the emotional core is concern, protective love, and ethical hope.
abhi zinda hai maan meri mujhe kuchh bhi nahin hoga main ghar se jab nikalta huun dua bhi saath chalti hai
abhi raah men kai mod hain koi aaega koi jaega tumhen jis ne dil se bhula diya use bhulne ki dua karo
dua ko haat uthate hue larazta huun kabhi dua nahin mangi thi maan ke hote hue
jab bhi kashti miri sailab men aa jaati hai maan dua karti hui khvab men aa jaati hai
translation whenever my boat comes amidst tempest, mother comes praying in my dreams. sagar akbarabadi
maraz-e-ishq jise ho use kya yaad rahe na dava 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.
main kya karun mire qatil na chahne par bhi tire liye mire dil se dua nikalti hai
dua karo ki main us ke liye dua ho jaun vo ek shakhs jo dil ko dua sa lagta hai
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
maang luun tujh se tujhi ko ki sabhi kuchh mil jaae sau savalon se yahi ek saval achchha hai
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.
duaen yaad kara di gai thiin bachpan men so zakhm khate rahe aur dua diye gae ham
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
tum salamat raho qayamat tak aur qayamat kabhi na aae 'shad'
kyuun maang rahe ho kisi barish ki duaen tum apne shikasta dar-o-divar to dekho
is liye chal na saka koi bhi khanjar mujh par meri shah-rag pe miri maan ki dua rakkhi thi
jab lagen zakhm to qatil ko dua di jaae hai yahi rasm to ye rasm utha di jaae
main zindagi ki dua mangne laga huun bahut jo ho sake to duaon ko be-asar kar de
koi to phuul khilae dua ke lahje men ajab tarah ki ghutan hai hava ke lahje men
dua karo ki ye pauda sada hara hi lage udasiyon men bhi chehra khila khila hi lage
Dua se related curated sher, selected ghazal excerpts aur context-friendly reading flow milega.
Haan, collection links, writer links aur detail links sab Kuch Alfaaz ke internal routes par map kiye gaye hain.
Type filter (Sher/Ghazal/Nazm), featured picks aur similar collections rail use karke fast discovery kar sakte hain.
