maana ki teri diid ke qabil nahin huun main tu mera shauq dekh mira 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.

tahzeeb eik taaqatwar insaan ki fikr hai.

insaanon se milne waale sadmaat ke ilaawa insaan ki yaaddaasht aam taur par kharaab hoti hai.

tu shahin hai parvaz hai kaam tera tire samne asman 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.

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.

afraad aur qaumein khatm ho jaati hain. magar unke bachche yaani tasawwuraat kabhi khatm nahin hote.

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.

tire ishq ki intiha chahta huun miri sadgi dekh kya chahta huun

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.

faqat nigah se hota hai faisla dil ka na ho nigah men 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.

fun eik muqaddas jhoot hai.

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.

phuul ki patti se kat sakta hai hiire 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.

aql ayyar hai sau bhes badal leti hai ishq bechara 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.

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.

maana ki teri diid ke qabil nahin huun main tu mera shauq dekh mira 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.

tahzeeb eik taaqatwar insaan ki fikr hai.

insaanon se milne waale sadmaat ke ilaawa insaan ki yaaddaasht aam taur par kharaab hoti hai.

tu shahin hai parvaz hai kaam tera tire samne asman 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.

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.

afraad aur qaumein khatm ho jaati hain. magar unke bachche yaani tasawwuraat kabhi khatm nahin hote.

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.

tire ishq ki intiha chahta huun miri sadgi dekh kya chahta huun

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.

faqat nigah se hota hai faisla dil ka na ho nigah men 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.

fun eik muqaddas jhoot hai.

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.

phuul ki patti se kat sakta hai hiire 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.

aql ayyar hai sau bhes badal leti hai ishq bechara 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.

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.