mana ki teri did ke qabil nahin hun main
tu mera shauq dekh mera intizar dekh
agreed i am not worthy of your vision divine
behold my zeal, my passion see how i wait and pine
the speaker admits unworthiness before the beloved, showing humility rather than complaint. yet he presents his intense desire and steadfast waiting as his real “qualification.” the couplet turns worthiness into an emotional measure: sincerity, persistence, and love itself become the proof. its core feeling is hopeful, aching devotion that refuses to fade.
kabhi ai haqiqat-e-muntazar nazar aa libas-e-majaz mein
kabhi ai haqiqat-e-muntazar nazar aa libas-e-majaz men
ki hazaron sajde tadap rahe hain miri jabin-e-niyaz men
o long-awaited truth appear someday in metaphor's guise,
for on my brow of longing, a thousand prostrations writhe and rise.
tarab-ashna-e-kharosh ho tu nava hai mahram-e-gosh ho
vo sarod kya ki chhupa hua ho sukut-e-parda-e-saz men
let joy embrace the thrill of sound, you are melody, meet the ears,
what worth has a lute that lies concealed, in silence, shrouded, drears?
tu bacha bacha ke na rakh ise tira aaina hai vo aaina
ki shikasta ho to aziz-tar hai nigah-e-aina-saz men
guard not thy mirror with such care, nor fear its shattered face,
for the broken ones are dearer still, in the craftsman’s fond embrace.
dam-e-tauf kirmak-e-shama ne ye kaha ki vo asar-e-kuhan
na tiri hikayat-e-soz men na miri hadis-e-gudaz men
while circling around the candle’s glow, the grieving moth did say,
no trace of old kind remains in our tales of ardour and anguish today.
na kahin jahan men amaan mili jo amaan mili to kahan mili
mire jurm-e-khana-kharab ko tire afv-e-banda-navaz men
no refuge did i find anywhere in the world; if i did, then where?
only in thy divine forgiveness was my sin-ravaged soul given care.
na vo ishq men rahin garmiyan na vo husn men rahin shokhiyan
na vo ghhaznavi men tadap rahi na vo kham hai zulf-e-ayaz main
gone is the ardor that once lit love, gone the coquetry of the fair,
no more does ghaznavi ache with longing, nor is there a curl in ayaz’s hair.
jo main sar-ba-sajda hua kabhi to zamin se aane lagi sada
tira dil to hai sanam-ashna tujhe kya milega namaz men
when i bowed my head in solemn prayer, a whisper rose from the ground,
when thy heart adores the idols still—what blessing in prayer can be found?
kabhi ai haqiqat-e-muntazar nazar aa libas-e-majaz mein
ki hazaron sajde tadap rahe hain meri jabin-e-niyaz mein
o long-awaited truth appear someday in metaphor's guise,
for on my brow of longing, a thousand prostrations writhe and rise.
tarab-ashna-e-kharosh ho tu nawa hai mahram-e-gosh ho
wo sarod kya ki chhupa hua ho sukut-e-parda-e-saz mein
let joy embrace the thrill of sound, you are melody, meet the ears,
what worth has a lute that lies concealed, in silence, shrouded, drears?
tu bacha bacha ke na rakh ise tera aaina hai wo aaina
ki shikasta ho to aziz-tar hai nigah-e-aina-saz mein
guard not thy mirror with such care, nor fear its shattered face,
for the broken ones are dearer still, in the craftsman’s fond embrace.
dam-e-tauf kirmak-e-shama ne ye kaha ki wo asar-e-kuhan
na teri hikayat-e-soz mein na meri hadis-e-gudaz mein
while circling around the candle’s glow, the grieving moth did say,
no trace of old kind remains in our tales of ardour and anguish today.
na kahin jahan mein aman mili jo aman mili to kahan mili
mere jurm-e-khana-kharab ko tere afw-e-banda-nawaz mein
no refuge did i find anywhere in the world; if i did, then where?
only in thy divine forgiveness was my sin-ravaged soul given care.
na wo ishq mein rahin garmiyan na wo husn mein rahin shokhiyan
na wo ghaznawi mein tadap rahi na wo kham hai zulf-e-ayaz main
gone is the ardor that once lit love, gone the coquetry of the fair,
no more does ghaznavi ache with longing, nor is there a curl in ayaz’s hair.
jo main sar-ba-sajda hua kabhi to zamin se aane lagi sada
tera dil to hai sanam-ashna tujhe kya milega namaz mein
when i bowed my head in solemn prayer, a whisper rose from the ground,
when thy heart adores the idols still—what blessing in prayer can be found?
tahzeeb eik taaqatwar insaan ki fikr hai.
khudi ko kar buland itna ki har taqdir se pahle
khuda bande se khud puchhe bata teri raza kya hai
the couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. the striking image of god asking the servant highlights the dignity of human agency when aligned with higher values. emotionally, it is a call to confidence, effort, and responsible choice.
tere ishq ki intiha chahta hun
tire ishq ki intiha chahta huun
miri sadgi dekh kya chahta huun
sitam ho ki ho vada-e-be-hijabi
koi baat sabr-azma chahta huun
ye jannat mubarak rahe zahidon ko
ki main aap ka samna chahta huun
zara sa to dil huun magar shokh itna
vahi lan-tarani suna chahta huun
koi dam ka mehman huun ai ahl-e-mahfil
charaghh-e-sahar huun bujha chahta huun
bhari bazm men raaz ki baat kah di
bada be-adab huun saza chahta huun
tere ishq ki intiha chahta hun
meri sadgi dekh kya chahta hun
sitam ho ki ho wada-e-be-hijabi
koi baat sabr-azma chahta hun
ye jannat mubarak rahe zahidon ko
ki main aap ka samna chahta hun
zara sa to dil hun magar shokh itna
wahi lan-tarani suna chahta hun
koi dam ka mehman hun ai ahl-e-mahfil
charagh-e-sahar hun bujha chahta hun
bhari bazm mein raaz ki baat kah di
bada be-adab hun saza chahta hun
insaanon se milne waale sadmaat ke ilaawa insaan ki yaaddaasht aam taur par kharaab hoti hai.
tu shahin hai parwaz hai kaam tera
tere samne aasman aur bhi hain
the falcon symbolizes a courageous, self-reliant spirit whose nature is upward flight, not settling. the poet urges the listener to reject complacency and keep expanding their limits. “more skies” becomes a metaphor for endless possibilities and higher goals. the emotional core is hope mixed with a disciplined call to strive.
majnun ne shahr chhoda to sahra bhi chhod de
majnun ne shahr chhoda to sahra bhi chhod de
nazzare ki havas ho to laila bhi chhod de
vaaiz kamal-e-tark se milti hai yaan murad
duniya jo chhod di hai to uqba bhi chhod de
taqlid ki ravish se to behtar hai khud-kushi
rasta bhi dhund khizr ka sauda bhi chhod de
manind-e-khama teri zaban par hai harf-e-ghhair
begana shai pe nazish-e-beja bhi chhod de
lutf-e-kalam kya jo na ho dil men dard-e-ishq
bismil nahin hai tu to tadapna bhi chhod de
shabnam ki tarah phulon pe ro aur chaman se chal
is baaghh men qayam ka sauda bhi chhod de
hai ashiqi men rasm alag sab se baithna
but-khana bhi haram bhi kalisa bhi chhod de
sauda-gari nahin ye ibadat khuda ki hai
ai be-khabar jaza ki tamanna bhi chhod de
achchha hai dil ke saath rahe pasban-e-aql
lekin kabhi kabhi ise tanha bhi chhod de
jiina vo kya jo ho nafas-e-ghhair par madar
shohrat ki zindagi ka bharosa bhi chhod de
shokhi si hai saval-e-mukarrar men ai kalim
shart-e-raza ye hai ki taqaza bhi chhod de
vaaiz subut laae jo mai ke javaz men
'iqbal' ko ye zid hai ki piina bhi chhod de
majnun ne shahr chhoda to sahra bhi chhod de
nazzare ki hawas ho to laila bhi chhod de
waiz kamal-e-tark se milti hai yan murad
duniya jo chhod di hai to uqba bhi chhod de
taqlid ki rawish se to behtar hai khud-kushi
rasta bhi dhund khizr ka sauda bhi chhod de
manind-e-khama teri zaban par hai harf-e-ghair
begana shai pe nazish-e-beja bhi chhod de
lutf-e-kalam kya jo na ho dil mein dard-e-ishq
bismil nahin hai tu to tadapna bhi chhod de
shabnam ki tarah phulon pe ro aur chaman se chal
is bagh mein qayam ka sauda bhi chhod de
hai aashiqi mein rasm alag sab se baithna
but-khana bhi haram bhi kalisa bhi chhod de
sauda-gari nahin ye ibaadat khuda ki hai
ai be-khabar jaza ki tamanna bhi chhod de
achchha hai dil ke sath rahe pasban-e-aql
lekin kabhi kabhi ise tanha bhi chhod de
jina wo kya jo ho nafas-e-ghair par madar
shohrat ki zindagi ka bharosa bhi chhod de
shokhi si hai sawal-e-mukarrar mein ai kalim
shart-e-raza ye hai ki taqaza bhi chhod de
waiz subut lae jo mai ke jawaz mein
'iqbaal' ko ye zid hai ki pina bhi chhod de
insaaf eik bekaraan khazaana hai. lekin humein ise raham ke chor se mahfooz rakhna chaahiye.
sitaron se aage jahan aur bhi hain
abhi ishq ke imtihan aur bhi hain
the couplet urges the seeker not to stop at visible limits: even the farthest “stars” are not the end. “worlds beyond” symbolizes higher goals and deeper truths still to be reached. the second line frames love as a journey of continual testing—each stage brings new challenges. emotionally, it blends hope with resolve: keep moving forward, keep proving your love.
na tu zamin ke liye hai na aasman ke liye
na tu zamin ke liye hai na asman ke liye
jahan hai tere liye tu nahin jahan ke liye
ye aql o dil hain sharar shola-e-mohabbat ke
vo khar-o-khas ke liye hai ye nistan ke liye
maqam-e-parvarish-e-ah-o-lala hai ye chaman
na sair-e-gul ke liye hai na ashiyan ke liye
rahega raavi o niil o furat men kab tak
tira safina ki hai bahr-e-be-karan ke liye
nishan-e-rah dikhate the jo sitaron ko
taras gae hain kisi mard-e-rah-dan ke liye
nigah buland sukhan dil-navaz jaan pur-soz
yahi hai rakht-e-safar mir-e-karvan ke liye
zara si baat thi andesha-e-ajam ne use
badha diya hai faqat zeb-e-dastan ke liye
mire gulu men hai ik naghhma jibrail-ashob
sambhal kar jise rakkha hai la-makan ke liye
na tu zamin ke liye hai na aasman ke liye
jahan hai tere liye tu nahin jahan ke liye
ye aql o dil hain sharar shola-e-mohabbat ke
wo khar-o-khas ke liye hai ye nistan ke liye
maqam-e-parwarish-e-ah-o-lala hai ye chaman
na sair-e-gul ke liye hai na aashiyan ke liye
rahega rawi o nil o furaat mein kab tak
tera safina ki hai bahr-e-be-karan ke liye
nishan-e-rah dikhate the jo sitaron ko
taras gae hain kisi mard-e-rah-dan ke liye
nigah buland sukhan dil-nawaz jaan pur-soz
yahi hai rakht-e-safar mir-e-karwan ke liye
zara si baat thi andesha-e-ajam ne use
badha diya hai faqat zeb-e-dastan ke liye
mere gulu mein hai ek naghma jibrail-ashob
sambhaal kar jise rakkha hai la-makan ke liye
afraad aur qaumein khatm ho jaati hain. magar unke bachche yaani tasawwuraat kabhi khatm nahin hote.
ai tair-e-lahauti us rizq se maut achchhi
jis rizq se aati ho parwaz mein kotahi
the poet addresses the “bird of the higher realm” as a symbol of the noble human spirit. he warns that livelihood gained in a way that dulls courage, ambition, and inner freedom is worse than death. the core idea is dignity over survival: choose self-respect and high flight over comfort that clips one’s wings.
jab ishq sikhata hai aadab-e-khud-agahi
jab ishq sikhata hai adab-e-khud-agahi
khulte hain ghhulamon par asrar-e-shahanshahi
'attar' ho 'rumi' ho 'razi' ho 'ghhazali' ho
kuchh haath nahin aata be-ah-e-sahar-gahi
naumid na ho in se ai rahbar-e-farzana
kam-kosh to hain lekin be-zauq nahin raahi
ai tair-e-lahauti us rizq se maut achchhi
jis rizq se aati ho parvaz men kotahi
daara o sikandar se vo mard-e-faqir aula
ho jis ki faqiri men bu-e-asadul-lahi
ain-e-javan-mardan haq-goi o be-baki
allah ke sheron ko aati nahin rubahi
jab ishq sikhata hai aadab-e-khud-agahi
khulte hain ghulamon par asrar-e-shahanshahi
'attar' ho 'rumi' ho 'raazi' ho 'ghazali' ho
kuchh hath nahin aata be-ah-e-sahar-gahi
naumid na ho in se ai rahbar-e-farzana
kam-kosh to hain lekin be-zauq nahin rahi
ai tair-e-lahauti us rizq se maut achchhi
jis rizq se aati ho parwaz mein kotahi
dara o sikandar se wo mard-e-faqir aula
ho jis ki faqiri mein bu-e-asadul-lahi
aain-e-jawan-mardan haq-goi o be-baki
allah ke sheron ko aati nahin rubahi
yaqeen eik badi taaqat hai. jab main dekhta hun ki dusra bhi mere afkaar ka muayyid hai, to uski sadaaqat ke baare mein mera etimaad be-intiha badh jaata hai.
tere ishq ki intiha chahta hun
meri sadgi dekh kya chahta hun
the speaker’s desire is absolute: not a portion of love, but its final height. in the second line he recognizes, with a tender irony, how naive and audacious this wish is. “intiha” becomes a metaphor for total union or complete fulfillment, while “sadgi” admits human limitation. the emotion is a mix of longing, devotion, and self-aware humility.
dil soz se khaali hai nigah pak nahin hai
dil soz se khali hai nigah paak nahin hai
phir is men ajab kya ki tu bebak nahin hai
hai zauq-e-tajalli bhi isi khaak men pinhan
ghhafil tu nira sahib-e-idrak nahin hai
vo aankh ki hai surma-e-afrang se raushan
purkar o sukhan-saz hai namnak nahin hai
kya suufi o mulla ko khabar mere junun ki
un ka sar-e-daman bhi abhi chaak nahin hai
kab tak rahe mahkumi-e-anjum men miri khaak
ya main nahin ya gardish-e-aflak nahin hai
bijli huun nazar koh o bayaban pe hai meri
mere liye shayan khas-o-khashak nahin hai
aalam hai faqat momin-e-jan-baz ki miras
momin nahin jo sahib-e-laulak nahin hai
dil soz se khali hai nigah pak nahin hai
phir is mein ajab kya ki tu bebak nahin hai
hai zauq-e-tajalli bhi isi khak mein pinhan
ghafil tu nira sahib-e-idrak nahin hai
wo aankh ki hai surma-e-afrang se raushan
purkar o sukhan-saz hai namnak nahin hai
kya sufi o mulla ko khabar mere junun ki
un ka sar-e-daman bhi abhi chaak nahin hai
kab tak rahe mahkumi-e-anjum mein meri khak
ya main nahin ya gardish-e-aflak nahin hai
bijli hun nazar koh o bayaban pe hai meri
mere liye shayan khas-o-khashak nahin hai
aalam hai faqat momin-e-jaan-baz ki miras
momin nahin jo sahib-e-laulak nahin hai
hamaari rooh ko us waqt apnaa irfaan haasil hota hai, jab hum kisi mufakkir se rushanaas hote hain. jab tak main goete ke tasawwuraat ki la-mutanaahiyat se be-khabar tha. us waqt tak main apni kam-maaegi par muttala na tha.
faqat nigah se hota hai faisla dil ka
na ho nigah mein shokhi to dilbari kya hai
the couplet says that the first and deepest judgment of love is made through a glance. the eye becomes a language that reveals attraction, confidence, and intent without words. “shokhi” (playful boldness) in the gaze is presented as the very essence of allure; without it, beauty feels lifeless and persuasion fails.
la phir ek bar wahi baada o jam ai saqi
la phir ik baar vahi baada o jaam ai saaqi
haath aa jaae mujhe mera maqam ai saaqi
tiin sau saal se hain hind ke mai-khane band
ab munasib hai tira faiz ho aam ai saaqi
meri mina-e-ghhazal men thi zara si baaqi
shekh kahta hai ki hai ye bhi haram ai saaqi
sher mardon se hua besha-e-tehqiq tahi
rah gae suufi o mulla ke ghhulam ai saaqi
ishq ki teghh-e-jigar-dar uda li kis ne
ilm ke haath men khali hai niyam ai saaqi
siina raushan ho to hai soz-e-sukhan ain-e-hayat
ho na raushan to sukhan marg-e-davam ai saaqi
tu miri raat ko mahtab se mahrum na rakh
tire paimane men hai mah-e-tamam ai saaqi
la phir ek bar wahi baada o jam ai saqi
hath aa jae mujhe mera maqam ai saqi
tin sau sal se hain hind ke mai-khane band
ab munasib hai tera faiz ho aam ai saqi
meri mina-e-ghazal mein thi zara si baqi
shekh kahta hai ki hai ye bhi haram ai saqi
sher mardon se hua besha-e-tehqiq tahi
rah gae sufi o mulla ke ghulam ai saqi
ishq ki tegh-e-jigar-dar uda li kis ne
ilm ke hath mein khali hai niyam ai saqi
sina raushan ho to hai soz-e-sukhan ain-e-hayat
ho na raushan to sukhan marg-e-dawam ai saqi
tu meri raat ko mahtab se mahrum na rakh
tere paimane mein hai mah-e-tamam ai saqi
fun eik muqaddas jhoot hai.
andaz-e-bayan garche bahut shokh nahin hai
shayad ki utar jae tere dil mein meri baat
the speaker admits a plain, unornamented style, without rhetorical sparkle. still, he hopes the truth and sincerity in his message will penetrate the listener’s heart. the metaphor of “descending into the heart” suggests inner acceptance, not mere hearing. emotionally, it is a humble plea for understanding and impact beyond style.
aflak se aata hai nalon ka jawab aakhir
aflak se aata hai nalon ka javab akhir
karte hain khitab akhir uthte hain hijab akhir
ahval-e-mohabbat men kuchh farq nahin aisa
soz o tab-o-tab avval soz o tab-o-tab akhir
main tujh ko batata huun taqdir-e-umam kya hai
shamshir-o-sinan avval taus-o-rubab akhir
mai-khana-e-europe ke dastur nirale hain
laate hain surur avval dete hain sharab akhir
kya dabdaba-e-nadir kya shaukat-e-taimuri
ho jaate hain sab daftar ghharq-e-mai-e-nab akhir
khalvat ki ghadi guzri jalvat ki ghadi aai
chhutne ko hai bijli se aghhosh-e-sahab akhir
tha zabt bahut mushkil is sail-e-maani ka
kah daale qalandar ne asrar-e-kitab akhir
aflak se aata hai nalon ka jawab aakhir
karte hain khitab aakhir uthte hain hijab aakhir
ahwal-e-mohabbat mein kuchh farq nahin aisa
soz o tab-o-tab awwal soz o tab-o-tab aakhir
main tujh ko batata hun taqdir-e-umam kya hai
shamshir-o-sinan awwal taus-o-rubab aakhir
mai-khana-e-europe ke dastur nirale hain
late hain surur awwal dete hain sharab aakhir
kya dabdaba-e-nadir kya shaukat-e-taimuri
ho jate hain sab daftar gharq-e-mai-e-nab aakhir
khalwat ki ghadi guzri jalwat ki ghadi aai
chhutne ko hai bijli se aaghosh-e-sahab aakhir
tha zabt bahut mushkil is sail-e-maani ka
kah dale qalandar ne asrar-e-kitab aakhir
shaairi mein mantiqi sachchaai ki talaash bilkul be-kaar be-takhayyul ka nasb-ul-ain husn hai, na ki schchaai. isliye kisi funkaar ki azmat ko zaahir karne ke liye uski takhleeqaat mein se wo iqtibaasaat pesh na kijiye. jo aapki raaye mein sciency haqaaeq par mushtamil hon.
phul ki patti se kat sakta hai hire ka jigar
mard-e-nadan par kalam-e-narm-o-nazuk be-asar
allama iqbal contrasts physical hardness with moral stubbornness: a petal’s softness can still wound a diamond, yet a foolish person’s inner rigidity cannot be moved by polite speech. the “diamond’s heart” suggests extreme toughness, while “soft words” stand for refined counsel. the couplet’s emotional core is frustration that wisdom and tenderness fail against ignorance and obstinacy.
anokhi waza hai sare zamane se nirale hain
anokhi vaza hai saare zamane se nirale hain
ye ashiq kaun si basti ke ya-rab rahne vaale hain
ilaj-e-dard men bhi dard ki lazzat pe marta huun
jo the chhalon men kante nok-e-sozan se nikale hain
phala-phula rahe ya-rab chaman meri umidon ka
jigar ka khuun de de kar ye buute main ne paale hain
rulati hai mujhe raton ko khamoshi sitaron ki
nirala ishq hai mera nirale mere naale hain
na puchho mujh se lazzat khanaman-barbad rahne ki
nasheman saikdon main ne bana kar phunk daale hain
nahin beganagi achchhi rafiq-e-rah-e-manzil se
thahar ja ai sharar ham bhi to akhir mitne vaale hain
umid-e-hur ne sab kuchh sikha rakkha hai vaaiz ko
ye hazrat dekhne men sidhe-sadhe bhole bhale hain
mire ashar ai 'iqbal' kyuun pyare na hon mujh ko
mire tuute hue dil ke ye dard-angez naale hain
anokhi waza hai sare zamane se nirale hain
ye aashiq kaun si basti ke ya-rab rahne wale hain
ilaj-e-dard mein bhi dard ki lazzat pe marta hun
jo the chhaalon mein kante nok-e-sozan se nikale hain
phala-phula rahe ya-rab chaman meri umidon ka
jigar ka khun de de kar ye bute main ne pale hain
rulati hai mujhe raaton ko khamoshi sitaron ki
nirala ishq hai mera nirale mere nale hain
na puchho mujh se lazzat khanaman-barbaad rahne ki
nasheman saikdon main ne bana kar phunk dale hain
nahin beganagi achchhi rafiq-e-rah-e-manzil se
thahar ja ai sharar hum bhi to aakhir mitne wale hain
umid-e-hur ne sab kuchh sikha rakkha hai waiz ko
ye hazrat dekhne mein sidhe-sadhe bhole bhaale hain
mere ashaar ai 'iqbaal' kyun pyare na hon mujh ko
mere tute hue dil ke ye dard-angez nale hain
matthew arnold shaairi ko tnqeed-e-hayaat btaata hai. zindagi ko tanqeed-e-shaairi kahna bhi utnaa hi durust hai.
aql ayyar hai sau bhes badal leti hai
ishq bechaara na zahid hai na mulla na hakim
iqbal contrasts calculating intellect with unguarded love. “reason” is pictured as a trickster that adapts, justifies itself, and changes roles to suit advantage. “love” is called helpless because it cannot pretend or hide behind religious or scholarly titles. the emotional core is a praise of sincerity and inner devotion over clever, self-serving rationality.
hadsa wo jo abhi parda-e-aflak mein hai
hadsa vo jo abhi parda-e-aflak men hai
aks us ka mire aina-e-idrak men hai
na sitare men hai ne gardish-e-aflak men hai
teri taqdir mire nala-e-bebak men hai
ya miri aah men hi koi sharar zinda nahin
ya zara nam abhi tere khas-o-khashak men hai
kya ajab meri nava-ha-e-sahar-gahi se
zinda ho jaae vo atish jo tiri khaak men hai
tod dalegi yahi khaak tilsim-e-shab-o-roz
garche uljhi hui taqdir ke pechak men hai
hadsa wo jo abhi parda-e-aflak mein hai
aks us ka mere aaina-e-idrak mein hai
na sitare mein hai ne gardish-e-aflak mein hai
teri taqdir mere nala-e-bebak mein hai
ya meri aah mein hi koi sharar zinda nahin
ya zara nam abhi tere khas-o-khashak mein hai
kya ajab meri nawa-ha-e-sahar-gahi se
zinda ho jae wo aatish jo teri khak mein hai
tod dalegi yahi khak tilsim-e-shab-o-roz
garche uljhi hui taqdir ke pechaak mein hai
taareekh eik tarah ki amali akhlaaqiyaat hai. doosre uloom ki tarah agar akhlaaqiyaat eik tajurbaati ilm hai. to use insaani tajurbaat ke inkishaafaat par mabni hona chaahiye. is nuqta-e-nazar ke barmala izhaar se un logon ke bhi naazuk ehsaasaat ko yaqeenan sadma pahunchega. jo akhlaaq ke muaamle mein sakht-geer hone ke daawedaar hain. lekin jinkaa avaami kirdaar taareekhi taalimaat se mutayyan hota hai.