kashtiyan sab ki kinare pe pahunch jaati hain nakhuda jin ka nahin un ka khuda hota hai

ai sanam jis ne tujhe chand si surat di hai usi allah ne mujh ko bhi mohabbat di hai

samne hai jo use log bura kahte hain jis ko dekha hi nahin us ko khuda kahte hain

itna khali tha andarun mera kuchh dinon to khuda raha mujh men

aata hai daghh-e-hasrat-e-dil ka shumar yaad mujh se mire gunah ka hisab ai khuda na maang

ghalib turns inner regret into a vivid image: the heart is covered with countless “stains” of unfulfilled desires. remembering their number already overwhelms him, so the thought of a divine audit feels unbearable. the plea is not denial but helplessness—his failings and disappointments are too many to be tallied. the couplet captures guilt, exhaustion, and a trembling appeal for mercy.

khuda aise ehsas ka naam hai rahe samne aur dikhai na de

mire gunah ziyada hain ya tiri rahmat karim tu hi bata de hisab kar ke mujhe

whether my sins are greater of your mercy pray? my lord take account and tell me this today

hai ghhalat gar guman men kuchh hai tujh siva bhi jahan men kuchh hai

teri bakhshish ke bharose pe khataen ki hain teri rahmat ke sahare ne gunahgar kiya

'mir' bandon se kaam kab nikla mangna hai jo kuchh khuda se maang

the couplet shifts trust away from human beings, who often fail or cannot help, toward god as the ultimate source of help. it carries the ache of repeated disappointment with people, yet turns that hurt into counsel: rely on prayer and divine support. the emotional core is surrender mixed with practical wisdom—seeking what is lasting instead of what is uncertain.

allah agar taufiq na de insan ke bas ka kaam nahin faizan-e-mohabbat aam sahi irfan-e-mohabbat aam nahin

are o asman vaale bata is men bura kya hai khushi ke chaar jhonke gar idhar se bhi guzar jaaen

main payambar tira nahin lekin mujh se bhi baat kar khuda mere

gunah gin ke main kyuun apne dil ko chhota karun suna hai tere karam ka koi hisab nahin

tamam paikar-e-badsurti hai mard ki zaat mujhe yaqin hai khuda mard ho nahin sakta

o mere masruf khuda apni duniya dekh zara

khuda se maang jo kuchh mangna hai ai 'akbar' yahi vo dar hai ki zillat nahin saval ke baad

mujh ko khvahish hi dhundne ki na thi mujh men khoya raha khuda mera

jag men aa kar idhar udhar dekha tu hi aaya nazar jidhar dekha

is bharose pe kar raha huun gunah bakhsh dena to teri fitrat hai

i keep on sinning as i do believe it is your nature to grant reprieve

kashtiyan sab ki kinare pe pahunch jaati hain nakhuda jin ka nahin un ka khuda hota hai

ai sanam jis ne tujhe chand si surat di hai usi allah ne mujh ko bhi mohabbat di hai

samne hai jo use log bura kahte hain jis ko dekha hi nahin us ko khuda kahte hain

itna khali tha andarun mera kuchh dinon to khuda raha mujh men

khuda se maang jo kuchh mangna hai ai 'akbar' yahi vo dar hai ki zillat nahin saval ke baad

aata hai daghh-e-hasrat-e-dil ka shumar yaad mujh se mire gunah ka hisab ai khuda na maang

ghalib turns inner regret into a vivid image: the heart is covered with countless “stains” of unfulfilled desires. remembering their number already overwhelms him, so the thought of a divine audit feels unbearable. the plea is not denial but helplessness—his failings and disappointments are too many to be tallied. the couplet captures guilt, exhaustion, and a trembling appeal for mercy.

mujh ko khvahish hi dhundne ki na thi mujh men khoya raha khuda mera

vafa jis se ki bevafa ho gaya jise but banaya khuda ho gaya

i was constant but she eschewed fidelity the one i idolized, alas, claimed divinity

hai ghhalat gar guman men kuchh hai tujh siva bhi jahan men kuchh hai

farishte hashr men puchhenge pak-bazon se gunah kyuun na kiye kya khuda ghhafur na tha

'mir' bandon se kaam kab nikla mangna hai jo kuchh khuda se maang

the couplet shifts trust away from human beings, who often fail or cannot help, toward god as the ultimate source of help. it carries the ache of repeated disappointment with people, yet turns that hurt into counsel: rely on prayer and divine support. the emotional core is surrender mixed with practical wisdom—seeking what is lasting instead of what is uncertain.

chal diye su-e-haram ku-e-butan se 'momin' jab diya ranj buton ne to khuda yaad aaya

from the streets of idols fair to the mosque did i repair when these beauties caused me pain then i thought of god again the couplet contrasts the beloveds/“idols” of worldly love with the “sanctuary” of faith. hurt by the very ones he adored, the speaker turns away and seeks refuge in god. the metaphor suggests that disillusionment becomes a spiritual wake-up call. emotionally, it carries regret and a sudden return to devotion after heartbreak.

aql men jo ghir gaya la-intiha kyunkar hua jo sama men aa gaya phir vo khuda kyunkar hua

jag men aa kar idhar udhar dekha tu hi aaya nazar jidhar dekha

is bharose pe kar raha huun gunah bakhsh dena to teri fitrat hai

i keep on sinning as i do believe it is your nature to grant reprieve

gul ghhunche aftab shafaq chand kahkashan aisi koi bhi chiiz nahin jis men tu na ho

main payambar tira nahin lekin mujh se bhi baat kar khuda mere

gunah gin ke main kyuun apne dil ko chhota karun suna hai tere karam ka koi hisab nahin

tamam paikar-e-badsurti hai mard ki zaat mujhe yaqin hai khuda mard ho nahin sakta

o mere masruf khuda apni duniya dekh zara