Poetry Collection
Beauty is a thing to see, observe, and enjoy. It is, however, too difficult to configure it in words. Poetry is an art of representing beauty which poets do with their well-chosen words and literary tools and figures of speech. Some examples that represent beauty can be seen here in this section.
Total
100
Sher
50
Ghazal
50
Is collection se writer-diverse top picks for quick reading.
shaam bhi thi dhuan dhuan husn bhi tha udaas udaas dil ko kai kahaniyan yaad si aa ke rah gaiin
the couplet links outer scenery with inner feeling: a smoky dusk mirrors a dim, heavy mood. even “beauty” appears depressed, suggesting love itself has lost its shine. in that atmosphere, old memories and unfinished tales rise inside the heart and linger, not becoming clear words—only a persistent ache.
husn ke samajhne ko umr chahiye janan do ghadi ki chahat men ladkiyan nahin khultin
tumhari ankhon ki tauhin hai zara socho tumhara chahne vaala sharab piita hai
na puchho husn ki tarif ham se mohabbat jis se ho bas vo hasin hai
aaina dekh ke kahte hain sanvarne vaale aaj be-maut marenge mire marne vaale
on seeing her own reflection she is moved to say ere their time, my paramours shall perish this day the speaker hears admirers/beautifiers praising themselves in the mirror, and turns that scene into a sharp boast. he implies his charm and presence are so overpowering that even his rivals’ ill-wishing rebounds on them. “dying without death” is a metaphor for being consumed by envy and frustration. the couplet’s emotional core is proud, taunting irony.
kaun si ja hai jahan jalva-e-mashuq nahin shauq-e-didar agar hai to nazar paida kar
where in this world does ones beloved's beauty not reside if the zeal for sight you have, the vision too provide
hasin to aur hain lekin koi kahan tujh sa jo dil jalae bahut phir bhi dilruba hi lage
suna hai us ke badan ki tarash aisi hai ki phuul apni qabaen katar ke dekhte hain
tire jamal ki tasvir khinch duun lekin zaban men aankh nahin aankh men zaban nahin
ishq bhi ho hijab men husn bhi ho hijab men ya to khud ashkar ho ya mujhe ashkar kar
allama iqbal portrays a world where both the seeker’s love and the sought-after beauty remain veiled, so true encounter cannot happen. the speaker pleads for clarity: either the beloved/truth should manifest openly, or the speaker’s inner self should be unveiled. the ‘hijab’ symbolizes barriers of perception, ego, and confusion. the emotional core is restless yearning for direct vision and self-recognition.
ishq ka zauq-e-nazara muft men badnam hai husn khud be-tab hai jalva dikhane ke liye
love is needlessly defamed that for vision it is keen beauty is impatient too for its splendour to be seen
tum husn ki khud ik duniya ho shayad ye tumhen malum nahin mahfil men tumhare aane se har chiiz pe nuur aa jaata hai
tujhe kaun janta tha miri dosti se pahle tira husn kuchh nahin tha miri shairi se pahle
jis bhi fankar ka shahkar ho tum us ne sadiyon tumhen socha hoga
ilahi kaisi kaisi suraten tu ne banai hain ki har surat kaleje se laga lene ke qabil hai
jis taraf tu hai udhar hongi sabhi ki nazren iid ke chand ka didar bahana hi sahi
ajab teri hai ai mahbub surat nazar se gir gae sab khubsurat
kya husn ne samjha hai kya ishq ne jaana hai ham khak-nashinon ki thokar men zamana hai
tera chehra kitna suhana lagta hai tere aage chand purana lagta hai
kisi ka yuun to hua kaun umr bhar phir bhi ye husn o ishq to dhoka hai sab magar phir bhi
the couplet carries a resigned wisdom: lasting, complete belonging in love is rare, yet the heart keeps returning to it. calling beauty and love a “deception” points to their promise of fulfillment that often slips away. still, the repeated “yet even then” shows an unwillingness to stop hoping—despite knowing the truth. it captures the tug between clear-eyed disillusionment and stubborn desire.
shaam bhi thi dhuan dhuan husn bhi tha udaas udaas dil ko kai kahaniyan yaad si aa ke rah gaiin
the couplet links outer scenery with inner feeling: a smoky dusk mirrors a dim, heavy mood. even “beauty” appears depressed, suggesting love itself has lost its shine. in that atmosphere, old memories and unfinished tales rise inside the heart and linger, not becoming clear words—only a persistent ache.
husn ke samajhne ko umr chahiye janan do ghadi ki chahat men ladkiyan nahin khultin
tumhari ankhon ki tauhin hai zara socho tumhara chahne vaala sharab piita hai
na puchho husn ki tarif ham se mohabbat jis se ho bas vo hasin hai
aaina dekh ke kahte hain sanvarne vaale aaj be-maut marenge mire marne vaale
on seeing her own reflection she is moved to say ere their time, my paramours shall perish this day the speaker hears admirers/beautifiers praising themselves in the mirror, and turns that scene into a sharp boast. he implies his charm and presence are so overpowering that even his rivals’ ill-wishing rebounds on them. “dying without death” is a metaphor for being consumed by envy and frustration. the couplet’s emotional core is proud, taunting irony.
kaun si ja hai jahan jalva-e-mashuq nahin shauq-e-didar agar hai to nazar paida kar
where in this world does ones beloved's beauty not reside if the zeal for sight you have, the vision too provide
hasin to aur hain lekin koi kahan tujh sa jo dil jalae bahut phir bhi dilruba hi lage
suna hai us ke badan ki tarash aisi hai ki phuul apni qabaen katar ke dekhte hain
tire jamal ki tasvir khinch duun lekin zaban men aankh nahin aankh men zaban nahin
ishq bhi ho hijab men husn bhi ho hijab men ya to khud ashkar ho ya mujhe ashkar kar
allama iqbal portrays a world where both the seeker’s love and the sought-after beauty remain veiled, so true encounter cannot happen. the speaker pleads for clarity: either the beloved/truth should manifest openly, or the speaker’s inner self should be unveiled. the ‘hijab’ symbolizes barriers of perception, ego, and confusion. the emotional core is restless yearning for direct vision and self-recognition.
itne hijabon par to ye aalam hai husn ka kya haal ho jo dekh len parda utha ke ham
ishq ka zauq-e-nazara muft men badnam hai husn khud be-tab hai jalva dikhane ke liye
love is needlessly defamed that for vision it is keen beauty is impatient too for its splendour to be seen
uf vo marmar se tarasha hua shaffaf badan dekhne vaale use taj-mahal kahte hain
tujhe kaun janta tha miri dosti se pahle tira husn kuchh nahin tha miri shairi se pahle
ajab teri hai ai mahbub surat nazar se gir gae sab khubsurat
kya husn ne samjha hai kya ishq ne jaana hai ham khak-nashinon ki thokar men zamana hai
ilahi kaisi kaisi suraten tu ne banai hain ki har surat kaleje se laga lene ke qabil hai
jis taraf tu hai udhar hongi sabhi ki nazren iid ke chand ka didar bahana hi sahi
tera chehra kitna suhana lagta hai tere aage chand purana lagta hai
kisi ka yuun to hua kaun umr bhar phir bhi ye husn o ishq to dhoka hai sab magar phir bhi
the couplet carries a resigned wisdom: lasting, complete belonging in love is rare, yet the heart keeps returning to it. calling beauty and love a “deception” points to their promise of fulfillment that often slips away. still, the repeated “yet even then” shows an unwillingness to stop hoping—despite knowing the truth. it captures the tug between clear-eyed disillusionment and stubborn desire.
Husn 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
Beauty is a thing to see, observe, and enjoy. It is, however, too difficult to configure it in words. Poetry is an art of representing beauty which poets do with their well-chosen words and literary tools and figures of speech. Some examples that represent beauty can be seen here in this section.
Total
100
Sher
50
Ghazal
50
Is collection se writer-diverse top picks for quick reading.
shaam bhi thi dhuan dhuan husn bhi tha udaas udaas dil ko kai kahaniyan yaad si aa ke rah gaiin
the couplet links outer scenery with inner feeling: a smoky dusk mirrors a dim, heavy mood. even “beauty” appears depressed, suggesting love itself has lost its shine. in that atmosphere, old memories and unfinished tales rise inside the heart and linger, not becoming clear words—only a persistent ache.
husn ke samajhne ko umr chahiye janan do ghadi ki chahat men ladkiyan nahin khultin
tumhari ankhon ki tauhin hai zara socho tumhara chahne vaala sharab piita hai
na puchho husn ki tarif ham se mohabbat jis se ho bas vo hasin hai
aaina dekh ke kahte hain sanvarne vaale aaj be-maut marenge mire marne vaale
on seeing her own reflection she is moved to say ere their time, my paramours shall perish this day the speaker hears admirers/beautifiers praising themselves in the mirror, and turns that scene into a sharp boast. he implies his charm and presence are so overpowering that even his rivals’ ill-wishing rebounds on them. “dying without death” is a metaphor for being consumed by envy and frustration. the couplet’s emotional core is proud, taunting irony.
kaun si ja hai jahan jalva-e-mashuq nahin shauq-e-didar agar hai to nazar paida kar
where in this world does ones beloved's beauty not reside if the zeal for sight you have, the vision too provide
hasin to aur hain lekin koi kahan tujh sa jo dil jalae bahut phir bhi dilruba hi lage
suna hai us ke badan ki tarash aisi hai ki phuul apni qabaen katar ke dekhte hain
tire jamal ki tasvir khinch duun lekin zaban men aankh nahin aankh men zaban nahin
ishq bhi ho hijab men husn bhi ho hijab men ya to khud ashkar ho ya mujhe ashkar kar
allama iqbal portrays a world where both the seeker’s love and the sought-after beauty remain veiled, so true encounter cannot happen. the speaker pleads for clarity: either the beloved/truth should manifest openly, or the speaker’s inner self should be unveiled. the ‘hijab’ symbolizes barriers of perception, ego, and confusion. the emotional core is restless yearning for direct vision and self-recognition.
ishq ka zauq-e-nazara muft men badnam hai husn khud be-tab hai jalva dikhane ke liye
love is needlessly defamed that for vision it is keen beauty is impatient too for its splendour to be seen
tum husn ki khud ik duniya ho shayad ye tumhen malum nahin mahfil men tumhare aane se har chiiz pe nuur aa jaata hai
tujhe kaun janta tha miri dosti se pahle tira husn kuchh nahin tha miri shairi se pahle
jis bhi fankar ka shahkar ho tum us ne sadiyon tumhen socha hoga
ilahi kaisi kaisi suraten tu ne banai hain ki har surat kaleje se laga lene ke qabil hai
jis taraf tu hai udhar hongi sabhi ki nazren iid ke chand ka didar bahana hi sahi
ajab teri hai ai mahbub surat nazar se gir gae sab khubsurat
kya husn ne samjha hai kya ishq ne jaana hai ham khak-nashinon ki thokar men zamana hai
tera chehra kitna suhana lagta hai tere aage chand purana lagta hai
kisi ka yuun to hua kaun umr bhar phir bhi ye husn o ishq to dhoka hai sab magar phir bhi
the couplet carries a resigned wisdom: lasting, complete belonging in love is rare, yet the heart keeps returning to it. calling beauty and love a “deception” points to their promise of fulfillment that often slips away. still, the repeated “yet even then” shows an unwillingness to stop hoping—despite knowing the truth. it captures the tug between clear-eyed disillusionment and stubborn desire.
shaam bhi thi dhuan dhuan husn bhi tha udaas udaas dil ko kai kahaniyan yaad si aa ke rah gaiin
the couplet links outer scenery with inner feeling: a smoky dusk mirrors a dim, heavy mood. even “beauty” appears depressed, suggesting love itself has lost its shine. in that atmosphere, old memories and unfinished tales rise inside the heart and linger, not becoming clear words—only a persistent ache.
husn ke samajhne ko umr chahiye janan do ghadi ki chahat men ladkiyan nahin khultin
tumhari ankhon ki tauhin hai zara socho tumhara chahne vaala sharab piita hai
na puchho husn ki tarif ham se mohabbat jis se ho bas vo hasin hai
aaina dekh ke kahte hain sanvarne vaale aaj be-maut marenge mire marne vaale
on seeing her own reflection she is moved to say ere their time, my paramours shall perish this day the speaker hears admirers/beautifiers praising themselves in the mirror, and turns that scene into a sharp boast. he implies his charm and presence are so overpowering that even his rivals’ ill-wishing rebounds on them. “dying without death” is a metaphor for being consumed by envy and frustration. the couplet’s emotional core is proud, taunting irony.
kaun si ja hai jahan jalva-e-mashuq nahin shauq-e-didar agar hai to nazar paida kar
where in this world does ones beloved's beauty not reside if the zeal for sight you have, the vision too provide
hasin to aur hain lekin koi kahan tujh sa jo dil jalae bahut phir bhi dilruba hi lage
suna hai us ke badan ki tarash aisi hai ki phuul apni qabaen katar ke dekhte hain
tire jamal ki tasvir khinch duun lekin zaban men aankh nahin aankh men zaban nahin
ishq bhi ho hijab men husn bhi ho hijab men ya to khud ashkar ho ya mujhe ashkar kar
allama iqbal portrays a world where both the seeker’s love and the sought-after beauty remain veiled, so true encounter cannot happen. the speaker pleads for clarity: either the beloved/truth should manifest openly, or the speaker’s inner self should be unveiled. the ‘hijab’ symbolizes barriers of perception, ego, and confusion. the emotional core is restless yearning for direct vision and self-recognition.
itne hijabon par to ye aalam hai husn ka kya haal ho jo dekh len parda utha ke ham
ishq ka zauq-e-nazara muft men badnam hai husn khud be-tab hai jalva dikhane ke liye
love is needlessly defamed that for vision it is keen beauty is impatient too for its splendour to be seen
uf vo marmar se tarasha hua shaffaf badan dekhne vaale use taj-mahal kahte hain
tujhe kaun janta tha miri dosti se pahle tira husn kuchh nahin tha miri shairi se pahle
ajab teri hai ai mahbub surat nazar se gir gae sab khubsurat
kya husn ne samjha hai kya ishq ne jaana hai ham khak-nashinon ki thokar men zamana hai
ilahi kaisi kaisi suraten tu ne banai hain ki har surat kaleje se laga lene ke qabil hai
jis taraf tu hai udhar hongi sabhi ki nazren iid ke chand ka didar bahana hi sahi
tera chehra kitna suhana lagta hai tere aage chand purana lagta hai
kisi ka yuun to hua kaun umr bhar phir bhi ye husn o ishq to dhoka hai sab magar phir bhi
the couplet carries a resigned wisdom: lasting, complete belonging in love is rare, yet the heart keeps returning to it. calling beauty and love a “deception” points to their promise of fulfillment that often slips away. still, the repeated “yet even then” shows an unwillingness to stop hoping—despite knowing the truth. it captures the tug between clear-eyed disillusionment and stubborn desire.
Husn 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.
