Dua

haya nahin hai zamane ki aankh mein baqi khuda kare ki jawani teri rahe be-dagh 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 man meri mujhe kuchh bhi nahin hoga main ghar se jab nikalta hun dua bhi sath chalti hai

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

abhi rah mein kai mod hain koi aaega koi jaega tumhein jis ne dil se bhula diya use bhulne ki dua karo

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

auron ki burai ko na dekhun wo nazar de han apni burai ko parakhne ka hunar de

jab bhi kashti meri sailab mein aa jati hai man dua karti hui khwab mein aa jati 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 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

aakhir dua karen bhi to kis muddaa ke sath kaise zamin ki baat kahen aasman se 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

tum salamat raho qayamat tak aur qayamat kabhi na aae 'shad'

dur rahti hain sada un se balaen sahil apne man bap ki jo roz dua lete hain

kyun mang rahe ho kisi barish ki duaen tum apne shikasta dar-o-diwar to dekho

is liye chal na saka koi bhi khanjar mujh par meri shah-rag pe meri man ki dua rakkhi thi

wo bada rahim o karim hai mujhe ye sifat bhi ata kare tujhe bhulne ki dua karun to meri dua mein asar na ho

jab lagen zakhm to qatil ko dua di jae hai yahi rasm to ye rasm utha di jae

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

main ne din raat khuda se ye dua mangi thi koi aahat na ho dar par mere jab tu aae

koi to phul khilae dua ke lahje mein ajab tarah ki ghutan hai hawa ke lahje mein

dua karo ki ye pauda sada hara hi lage udasiyon mein bhi chehra khila khila hi lage

sunte hain jo bahisht ki tarif sab durust lekin khuda kare wo tera jalwa-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.