ik tarz-e-taghhaful hai so vo un ko mubarak ik arz-e-tamanna hai so ham karte rahenge

kahin vo aa ke mita den na intizar ka lutf kahin qubul na ho jaae iltija meri

let her not come to me and this pleasure destroy let not my prayers be answered, for waiting is a joy

aao mil jaao ki ye vaqt na paoge kabhi main bhi ham-rah zamane ke badal jaunga

dagh dehlvi urges the beloved to seize the present, warning that time does not return. the second line deepens the urgency: the speaker himself is not fixed, but will be reshaped by the passing world. the couplet turns time into a quiet threat—delay will transform people and feelings. its emotional core is a plea against missed chances and future regret.

aadhi se ziyada shab-e-ghham kaat chuka huun ab bhi agar aa jaao to ye raat badi hai

mere ghar ke tamam darvaze tum se karte hain pyaar aa jaao

na durveshon ka khirqa chahiye na taj-e-shahana mujhe to hosh de itna rahun main tujh pe divana

the speaker rejects both extremes: saintly renunciation and royal grandeur. what he asks for is a balanced “hush” (awareness) that keeps his love from becoming empty show or total self-loss. the metaphor contrasts robe and crown to say: status, whether spiritual or worldly, is irrelevant. the emotional core is a plea to love intensely, but with steadiness and conscious devotion.

bahut duur to kuchh nahin ghar mira chale aao ik din tahalte hue

qubul is bargah men iltija koi nahin hoti ilahi ya mujhi ko iltija karna nahin aata

ye iltija dua ye tamanna fuzul hai sukhi nadi ke paas samundar na jaega

ab to aa jaao rasm-e-duniya ki main ne divar bhi gira di hai

tera ashiq tere qadmon se lipat jaega ruthne vaale tujhe aaj manane ke liye

un se milne ki iltija ki hai dil-e-nadan ne ye khata ki hai

mujh se ai dost phir khafa ho ja ishq ko niind aai jaati hai

bas itna soch kar hi mujh ko apne paas tum rakh lo tumhare vaste main hukmarani chhod aaya huun

sitam hi karna jafa hi karna nigah-e-ulfat kabhi na karna tumhen qasam hai hamare sar ki hamare haq men kami na karna

the lover speaks with bitter irony: he can bear cruelty, but a single loving look would awaken hope and make the pain sharper. by invoking an oath “by my head,” he turns suffering into a kind of right—asking the beloved to be consistent and not reduce even that share. the emotional core is wounded pride mixed with helpless devotion, where even rejection has become a familiar contract.

ik tarz-e-taghhaful hai so vo un ko mubarak ik arz-e-tamanna hai so ham karte rahenge

gulon men rang bhare bad-e-nau-bahar chale chale bhi aao ki gulshan ka karobar chale

इस शे’र का मिज़ाज ग़ज़ल के पारंपरिक स्वभाव के समान है। चूँकि फ़ैज़ ने प्रगतिशील विचारों के प्रतिनिधित्व में भी उर्दू छंदशास्त्र की परंपरा का पूरा ध्यान रखा इसलिए उनकी रचनाओं में प्रतीकात्मक स्तर पर प्रगतिवादी सोच दिखाई देती है इसलिए उनकी शे’री दुनिया में और भी संभावनाएं मौजूद हैं। जिसका सबसे बड़ा उदाहरण ये मशहूर शे’र है। बाद-ए-नौ-बहार के मायने नई बहार की हवा है। पहले इस शे’र की व्याख्या प्रगतिशील विचार को ध्यान मे रखते हुए करते हैं। फ़ैज़ की शिकायत ये रही है कि क्रांति होने के बावजूद शोषण की चक्की में पिसने वालों की क़िस्मत नहीं बदलती। इस शे’र में अगर बाद-ए-नौबहार को क्रांति का प्रतीक मान लिया जाये तो शे’र का अर्थ ये बनता है कि गुलशन (देश, समय आदि) का कारोबार तब तक नहीं चल सकता जब तक कि क्रांति अपने सही मायने में नहीं आती। इसीलिए वो क्रांति या परिवर्तन को सम्बोधित करते हुए कहते हैं कि जब तुम प्रगट हो जाओगे तब फूलों में नई बहार की हवा ताज़गी लाएगी। और इस तरह से चमन का कारोबार चलेगा। दूसरे शब्दों में वो अपने महबूब से कहते हैं कि तुम अब आ भी जाओ ताकि गुलों में नई बहार की हवा रंग भरे और चमन खिल उठे। shafaq sopori

ab to mil jaao hamen tum ki tumhari khatir itni duur aa gae duniya se kinara karte

aao mil jaao ki ye vaqt na paoge kabhi main bhi ham-rah zamane ke badal jaunga

dagh dehlvi urges the beloved to seize the present, warning that time does not return. the second line deepens the urgency: the speaker himself is not fixed, but will be reshaped by the passing world. the couplet turns time into a quiet threat—delay will transform people and feelings. its emotional core is a plea against missed chances and future regret.

maani hain main ne saikadon baten tamam umr aaj aap ek baat miri maan jaiye

all my life i have agreed to everything you say merely one request of mine please accept today

mere ghar ke tamam darvaze tum se karte hain pyaar aa jaao

sitam hi karna jafa hi karna nigah-e-ulfat kabhi na karna tumhen qasam hai hamare sar ki hamare haq men kami na karna

the lover speaks with bitter irony: he can bear cruelty, but a single loving look would awaken hope and make the pain sharper. by invoking an oath “by my head,” he turns suffering into a kind of right—asking the beloved to be consistent and not reduce even that share. the emotional core is wounded pride mixed with helpless devotion, where even rejection has become a familiar contract.

ishq men shikva kufr hai aur har iltija haram tod de kasa-e-murad ishq gadagari nahin

qubul is bargah men iltija koi nahin hoti ilahi ya mujhi ko iltija karna nahin aata

ishq ko naghhma-e-ummid suna de aa kar dil ki soi hui qismat ko jaga de aa kar

ab to aa jaao rasm-e-duniya ki main ne divar bhi gira di hai

mere kahne men hai dil jab tak mire pahlu men hai aap le liije ise ye aap ka ho jaega

un se milne ki iltija ki hai dil-e-nadan ne ye khata ki hai

ham is lambe-chaude ghar men shab ko tanha hote hain dekh kisi din aa mil ham se ham ko tujh se kaam hai chand

bas itna soch kar hi mujh ko apne paas tum rakh lo tumhare vaste main hukmarani chhod aaya huun