miir kya saade hain bimar hue jis ke sabab usi attar ke ladke se dava lete hain

the couplet uses the metaphor of illness and medicine for love and its pain. meer mocks his own naivety: he keeps turning for relief to the same source connected with his hurt. the “apothecary’s boy” hints at the beloved (or their circle) who both wounds and is expected to heal. the emotional core is ironic self-awareness mixed with helpless dependence.

jo launda chhod kar randi ko chahe vo kui ashiq nahin hai bul-havas hai

yaan talak khush huun amarid se ki ai rabb-e-karim kaash de huur ke badle bhi tu ghhilman mujh ko

liya main bosa ba-zor us sipahi-zade ka azizo ab bhi miri kuchh dilavari dekhi

husn tha tera bahut alam-fareb khat ke aane par bhi ik aalam raha

your beauty was deceptive and o! to such extent even after you matured this wonder never went meer contrasts the beloved’s world-bewitching beauty with the lover’s inner reality. “alam” suggests both the world and a state of feeling: her charm creates a whole ‘world’ of illusion, but the letter cannot fully bridge separation. the emotional core is bittersweet—contact happens, yet longing and emptiness still persist.

kaifiyyaten attar ke launde men bahut thiin is nuskhe ki koi na rahi haif dava yaad

meer taqi meer uses the apothecary-shop image to mock a world where showy “qualities” get noticed but the real cure is forgotten. the ‘attar’s boy’ stands for surface charm, talk, and performance, while the lost ‘dawa’ suggests true solution, wisdom, or sincerity slipping away. the emotional core is regret mixed with irony: much display, little actual healing.

gar thahre malak aage unhon ke to ajab hai phirte hain pade dilli ke launde jo pari se

meer taqi meer paints an exaggerated, playful picture of beauty and swagger: the beloved (or the city’s youth) carry such charm that even angels would pause in awe. by calling delhi’s boys “fairy-like,” he mocks and admires their fashionable airs at once. the emotional core is astonishment mixed with teasing—beauty so overwhelming it upends the usual hierarchy of angel and human.

dhaula chuke the mil kar kal launde mai-kade ke par sargiran ho vaaiz jaata raha satak kar

the couplet uses sharp irony: the tavern’s rough youngsters openly do violence, but the preacher—who should condemn wrongdoing—quietly slips away. “stak kar” suggests sneaking off to avoid being implicated, exposing moral cowardice or complicity. the emotional core is satire on religious posturing and selective outrage, where public piety hides convenient silence.

haath chadh jaiyo ai shaikh kisu ke na kabhu launde sab tere kharidar hain maikhane ke

meer taqi meer uses biting satire to warn the outwardly pious “sheikh” about his hidden vulnerability. “hand being put on someone” suggests getting trapped, controlled, or exposed. the “boys of the tavern” as his “buyers” implies he is already for sale—his desires make him purchasable and manipulable. the couplet mocks hypocrisy: moral preaching collapses when temptation arrives.

miir kya saade hain bimar hue jis ke sabab usi attar ke ladke se dava lete hain

the couplet uses the metaphor of illness and medicine for love and its pain. meer mocks his own naivety: he keeps turning for relief to the same source connected with his hurt. the “apothecary’s boy” hints at the beloved (or their circle) who both wounds and is expected to heal. the emotional core is ironic self-awareness mixed with helpless dependence.

jo launda chhod kar randi ko chahe vo kui ashiq nahin hai bul-havas hai

husn tha tera bahut alam-fareb khat ke aane par bhi ik aalam raha

your beauty was deceptive and o! to such extent even after you matured this wonder never went meer contrasts the beloved’s world-bewitching beauty with the lover’s inner reality. “alam” suggests both the world and a state of feeling: her charm creates a whole ‘world’ of illusion, but the letter cannot fully bridge separation. the emotional core is bittersweet—contact happens, yet longing and emptiness still persist.

kaifiyyaten attar ke launde men bahut thiin is nuskhe ki koi na rahi haif dava yaad

meer taqi meer uses the apothecary-shop image to mock a world where showy “qualities” get noticed but the real cure is forgotten. the ‘attar’s boy’ stands for surface charm, talk, and performance, while the lost ‘dawa’ suggests true solution, wisdom, or sincerity slipping away. the emotional core is regret mixed with irony: much display, little actual healing.

gar thahre malak aage unhon ke to ajab hai phirte hain pade dilli ke launde jo pari se

meer taqi meer paints an exaggerated, playful picture of beauty and swagger: the beloved (or the city’s youth) carry such charm that even angels would pause in awe. by calling delhi’s boys “fairy-like,” he mocks and admires their fashionable airs at once. the emotional core is astonishment mixed with teasing—beauty so overwhelming it upends the usual hierarchy of angel and human.

amrad-parast hai to gulistan ki sair kar har naunihal rashk hai yaan khurd-sal ka

yaan talak khush huun amarid se ki ai rabb-e-karim kaash de huur ke badle bhi tu ghhilman mujh ko

miir us qaazi ke launde ke liye akhir mua sab ko qaziya us ke jiine ka tha baare chuk gaya

the couplet is bitterly ironic: a person becomes the center of a “case” while he lives, as if his very existence is a problem to be argued and judged. when death arrives, the noise of accusations and proceedings ends automatically—death acts like a final verdict. meer conveys the cruelty of social judgment and the grim relief that comes only when life is extinguished.

haath chadh jaiyo ai shaikh kisu ke na kabhu launde sab tere kharidar hain maikhane ke

meer taqi meer uses biting satire to warn the outwardly pious “sheikh” about his hidden vulnerability. “hand being put on someone” suggests getting trapped, controlled, or exposed. the “boys of the tavern” as his “buyers” implies he is already for sale—his desires make him purchasable and manipulable. the couplet mocks hypocrisy: moral preaching collapses when temptation arrives.