sair kar duniya ki ghhafil zindagani phir kahan zindagi gar kuchh rahi to ye javani phir kahan

haya nahin hai zamane ki aankh men baaqi khuda kare ki javani tiri rahe be-daghh

the couplet laments a society where shamelessness has become normal, as if the world’s very “eye” no longer recognizes modesty. against this moral decline, the speaker turns to prayer, wishing the addressee’s youth to stay clean and uncorrupted. “stain” becomes a metaphor for moral blemish and compromise. the emotional core is concern, protective love, and ethical hope.

kahte hain umr-e-rafta kabhi lautti nahin ja mai-kade se meri javani utha ke la

tis said this fleeting life once gone never returns go to the tavern and bring back my youth again

ada aai jafa aai ghhurur aaya hijab aaya hazaron afaten le kar hasinon par shabab aaya

talaq de to rahe ho itab-o-qahr ke saath mira shabab bhi lauta do meri mahr ke saath

zikr jab chhid gaya qayamat ka baat pahunchi tiri javani tak

safar pichhe ki janib hai qadam aage hai mera main budha hota jaata huun javan hone ki khatir

javan hone lage jab vo to ham se kar liya parda haya yak-lakht aai aur shabab ahista ahista

as she came of age she started to be veiled from me shyness came to her at once, beauty then slowly

ik ada mastana sar se paanv tak chhai hui uf tiri kafir javani josh par aai hui

the speaker marvels at a beloved whose every gesture carries a drunken, uninhibited grace. “from head to toe” suggests the charm is total, not just in face or speech. calling the youth “kafir” is a metaphor for beauty so overwhelming it makes one lose self-control and “belief.” the emotional core is awed desire mixed with helpless admiration.

bach jaae javani men jo duniya ki hava se hota hai farishta koi insan nahin hota

ab jo ik hasrat-e-javani hai umr-e-rafta ki ye nishani hai

meer taqi meer turns “desire for youth” into evidence of aging: you only miss youth when it is no longer yours. the couplet links present longing with past loss, making nostalgia itself a mark of time’s departure. the emotional core is quiet regret—feeling youth not as a memory, but as an ache that proves it’s gone.

log kahte hain ki bad-nami se bachna chahiye kah do be is ke javani ka maza milta nahin

tasavvur men bhi ab vo be-naqab aate nahin mujh tak qayamat aa chuki hai log kahte hain shabab aaya

bala hai qahr hai aafat hai fitna hai qayamat hai hasinon ki javani ko javani kaun kahta hai

gudaz-e-ishq nahin kam jo main javan na raha vahi hai aag magar aag men dhuan na raha

no longer am i young, love's passion still remains the fire as yet burns, no smoke tho it contains

vaqt-e-piri shabab ki baten aisi hain jaise khvab ki baten

in old age talk of youth now seems to be just like the stuff of dreams the poet expresses how distant and unreal the past feels when one reaches old age. recalling the vigor and energy of youth becomes a melancholic experience, as those memories seem so far removed from the current reality of frailty that they resemble a fleeting dream rather than actual life events.

piiri men valvale vo kahan hain shabab ke ik dhuup thi ki saath gai aftab ke

sambhala hosh to marne lage hasinon par hamen to maut hi aai shabab ke badle

javani ko bacha sakte to hain har daaghh se vaaiz magar aisi javani ko javani kaun kahta hai

javani ki dua ladkon ko na-haq log dete hain yahi ladke mitate hain javani ko javan ho kar

sair kar duniya ki ghhafil zindagani phir kahan zindagi gar kuchh rahi to ye javani phir kahan

haya nahin hai zamane ki aankh men baaqi khuda kare ki javani tiri rahe be-daghh

the couplet laments a society where shamelessness has become normal, as if the world’s very “eye” no longer recognizes modesty. against this moral decline, the speaker turns to prayer, wishing the addressee’s youth to stay clean and uncorrupted. “stain” becomes a metaphor for moral blemish and compromise. the emotional core is concern, protective love, and ethical hope.

kahte hain umr-e-rafta kabhi lautti nahin ja mai-kade se meri javani utha ke la

tis said this fleeting life once gone never returns go to the tavern and bring back my youth again

ada aai jafa aai ghhurur aaya hijab aaya hazaron afaten le kar hasinon par shabab aaya

talaq de to rahe ho itab-o-qahr ke saath mira shabab bhi lauta do meri mahr ke saath

zikr jab chhid gaya qayamat ka baat pahunchi tiri javani tak

safar pichhe ki janib hai qadam aage hai mera main budha hota jaata huun javan hone ki khatir

javan hone lage jab vo to ham se kar liya parda haya yak-lakht aai aur shabab ahista ahista

as she came of age she started to be veiled from me shyness came to her at once, beauty then slowly

ik ada mastana sar se paanv tak chhai hui uf tiri kafir javani josh par aai hui

the speaker marvels at a beloved whose every gesture carries a drunken, uninhibited grace. “from head to toe” suggests the charm is total, not just in face or speech. calling the youth “kafir” is a metaphor for beauty so overwhelming it makes one lose self-control and “belief.” the emotional core is awed desire mixed with helpless admiration.

bach jaae javani men jo duniya ki hava se hota hai farishta koi insan nahin hota

ab jo ik hasrat-e-javani hai umr-e-rafta ki ye nishani hai

meer taqi meer turns “desire for youth” into evidence of aging: you only miss youth when it is no longer yours. the couplet links present longing with past loss, making nostalgia itself a mark of time’s departure. the emotional core is quiet regret—feeling youth not as a memory, but as an ache that proves it’s gone.

log kahte hain ki bad-nami se bachna chahiye kah do be is ke javani ka maza milta nahin

vo kuchh muskurana vo kuchh jhenp jaana javani adaen sikhati hain kya kya

tasavvur men bhi ab vo be-naqab aate nahin mujh tak qayamat aa chuki hai log kahte hain shabab aaya

javani ki dua ladkon ko na-haq log dete hain yahi ladke mitate hain javani ko javan ho kar

haae 'simab' us ki majburi jis ne ki ho shabab men tauba

hai javani khud javani ka singar sadgi gahna hai is sin ke liye

youthfullness is itself an ornament forsooth innocence is the only jewel needed in ones youth

vaqt-e-piri shabab ki baten aisi hain jaise khvab ki baten

in old age talk of youth now seems to be just like the stuff of dreams the poet expresses how distant and unreal the past feels when one reaches old age. recalling the vigor and energy of youth becomes a melancholic experience, as those memories seem so far removed from the current reality of frailty that they resemble a fleeting dream rather than actual life events.

piiri men valvale vo kahan hain shabab ke ik dhuup thi ki saath gai aftab ke

sambhala hosh to marne lage hasinon par hamen to maut hi aai shabab ke badle