vo afsana jise anjam tak laana na ho mumkin use ik khub-surat mod de kar chhodna achchha

main akela hi chala tha janib-e-manzil magar log saath aate gae aur karvan banta gaya

tire mathe pe ye anchal bahut hi khuub hai lekin tu is anchal se ik parcham bana leti to achchha tha

यह शे’र इसरार-उल-हक़ मजाज़ के मशहूर अशआर में से एक है। माथे पे आँचल होने के कई मायने हैं। उदाहरण के लिए शर्म व लाज का होना, मूल्यों का रख रखाव होना आदि और भारतीय समाज में इन चीज़ों को नारी का शृंगार समझा जाता है। मगर जब नारी के इस शृंगार को पुरुष सत्तात्मक समाज में नारी की कमज़ोरी समझा जाता है तो नारी का व्यक्तित्व संकट में पड़ जाता है। इसी तथ्य को शायर ने अपने शे’र का विषय बनाया है। शायर नारी को सम्बोधित करते हुए कहते हैं कि यद्यपि तुम्हारे माथे पर शर्म व हया का आँचल ख़ूब लगता है मगर उसे अपनी कमज़ोरी मत बना। वक़्त का तक़ाज़ा है कि आप अपने इस आँचल से क्रांति का झंडा बनाएं और इस ध्वज को अपने अधिकारों के लिए उठाएं। shafaq sopori

dushmani laakh sahi khatm na kiije rishta dil mile ya na mile haath milate rahiye

enmity however strong, the contact never break hearts and minds may be apart, the hands must ever shake

khincho na kamanon ko na talvar nikalo jab top muqabil ho to akhbar nikalo

neither bow and arrow nor a sword do you require pubish a newspaper when faced with cannon fire

baare duniya men raho ghham-zada ya shaad raho aisa kuchh kar ke chalo yaan ki bahut yaad raho

meer taqi meer contrasts life’s shifting states—grief and joy—with the one enduring demand: purposeful action. the couplet suggests emotions come and go, but what truly matters is leaving a mark. “walking from here” hints at life’s departure, so the speaker urges deeds that outlast the self. the emotional core is a sober, motivating call to make one’s life memorable through meaningful work.

ai 'zauq' takalluf men hai taklif sarasar aram men hai vo jo takalluf nahin karta

save trouble, in formality, zauq nothing else can be at ease he then remains he who, eschews formality the poet argues that social etiquette and formal behavior ('takalluf'), often adopted to please others, actually impose a heavy burden of suffering on the individual. true peace of mind is found only in simplicity, where one is free from the exhausting obligations of artificial manners and societal expectations.

bhanvar se lado tund lahron se uljho kahan tak chaloge kinare kinare

saaya hai kam khajur ke unche darakht ka ummid bandhiye na bade aadmi ke saath

kahan aa ke rukne the raste kahan mod tha use bhuul ja vo jo mil gaya use yaad rakh jo nahin mila use bhuul ja

dilon men hubb-e-vatan hai agar to ek raho nikharna ye chaman hai agar to ek raho

paida vo baat kar ki tujhe roen dusre rona khud apne haal pe ye zaar zaar kya

create that aspect in yourself that others cry for thee

baat ka zakhm hai talvar ke zakhmon se siva kijiye qatl magar munh se kuchh irshad na ho

dagh dehlvi contrasts physical injury with the deeper, lingering hurt of speech. the “sword” stands for visible pain, while “words” become an invisible blade that keeps cutting inside. the speaker begs for restraint: even extreme harm feels easier than being pierced by cruel remarks. the couplet’s emotional core is the fear of humiliation and the lasting sting of harsh language.

is se pahle ki log pahchanen khud ko pahchan lo to behtar hai

faraghhat se duniya men har dam na baitho agar chahte ho faraghhat ziyada

kabhi bhuul kar kisi se na karo suluk aisa ki jo tum se koi karta tumhen nagavar hota

khuda ne nek surat di to sikho nek baten bhi bure hote ho achchhe ho ke ye kya bad-zabani hai

fursat-e-kar faqat chaar ghadi hai yaaro ye na socho ki abhi umr padi hai yaaro

meri hi jaan ke dushman hain nasihat vaale mujh ko samjhate hain un ko nahin samjhate hain

vatan ki fikr kar nadan musibat aane vaali hai tiri barbadiyon ke mashvare hain asmanon men

fear for your country, trouble will soon arise words of your destruction have been spoken by the skies allama iqbal addresses the careless person with a stark warning: a nation’s safety depends on vigilance and concern for the homeland. “heavens” suggests higher powers, destiny, or the larger forces of the world already moving against you. the emotional core is urgency—wake up and take responsibility before decline becomes irreversible.

vo afsana jise anjam tak laana na ho mumkin use ik khub-surat mod de kar chhodna achchha

main akela hi chala tha janib-e-manzil magar log saath aate gae aur karvan banta gaya

tire mathe pe ye anchal bahut hi khuub hai lekin tu is anchal se ik parcham bana leti to achchha tha

यह शे’र इसरार-उल-हक़ मजाज़ के मशहूर अशआर में से एक है। माथे पे आँचल होने के कई मायने हैं। उदाहरण के लिए शर्म व लाज का होना, मूल्यों का रख रखाव होना आदि और भारतीय समाज में इन चीज़ों को नारी का शृंगार समझा जाता है। मगर जब नारी के इस शृंगार को पुरुष सत्तात्मक समाज में नारी की कमज़ोरी समझा जाता है तो नारी का व्यक्तित्व संकट में पड़ जाता है। इसी तथ्य को शायर ने अपने शे’र का विषय बनाया है। शायर नारी को सम्बोधित करते हुए कहते हैं कि यद्यपि तुम्हारे माथे पर शर्म व हया का आँचल ख़ूब लगता है मगर उसे अपनी कमज़ोरी मत बना। वक़्त का तक़ाज़ा है कि आप अपने इस आँचल से क्रांति का झंडा बनाएं और इस ध्वज को अपने अधिकारों के लिए उठाएं। shafaq sopori

vatan ki fikr kar nadan musibat aane vaali hai tiri barbadiyon ke mashvare hain asmanon men

fear for your country, trouble will soon arise words of your destruction have been spoken by the skies allama iqbal addresses the careless person with a stark warning: a nation’s safety depends on vigilance and concern for the homeland. “heavens” suggests higher powers, destiny, or the larger forces of the world already moving against you. the emotional core is urgency—wake up and take responsibility before decline becomes irreversible.

dushmani laakh sahi khatm na kiije rishta dil mile ya na mile haath milate rahiye

enmity however strong, the contact never break hearts and minds may be apart, the hands must ever shake

hayat le ke chalo kaenat le ke chalo chalo to saare zamane ko saath le ke chalo

baare duniya men raho ghham-zada ya shaad raho aisa kuchh kar ke chalo yaan ki bahut yaad raho

meer taqi meer contrasts life’s shifting states—grief and joy—with the one enduring demand: purposeful action. the couplet suggests emotions come and go, but what truly matters is leaving a mark. “walking from here” hints at life’s departure, so the speaker urges deeds that outlast the self. the emotional core is a sober, motivating call to make one’s life memorable through meaningful work.

zindagi yunhi bahut kam hai mohabbat ke liye ruuth kar vaqt ganvane ki zarurat kya hai

bhanvar se lado tund lahron se uljho kahan tak chaloge kinare kinare

bichhadne ka irada hai to mujh se mashvara kar lo mohabbat men koi bhi faisla zaati nahin hota

kahan aa ke rukne the raste kahan mod tha use bhuul ja vo jo mil gaya use yaad rakh jo nahin mila use bhuul ja

duniya to chahti hai yunhi fasle rahen duniya ke mashvaron pe na ja us gali men chal

paida vo baat kar ki tujhe roen dusre rona khud apne haal pe ye zaar zaar kya

create that aspect in yourself that others cry for thee

haan samundar men utar lekin ubharne ki bhi soch dubne se pahle gahrai ka andaza laga

is se pahle ki log pahchanen khud ko pahchan lo to behtar hai

bad-tar hai maut se bhi ghhulami ki zindagi mar jaiyo magar ye gavara na kijiyo

kabhi bhuul kar kisi se na karo suluk aisa ki jo tum se koi karta tumhen nagavar hota

itna na apne jaame se bahar nikal ke chal duniya hai chal-chalav ka rasta sambhal ke chal

bahadur shah zafar advises restraint and humility: don’t overreach or act as if you’re above your place. life is portrayed as a transient journey where everything moves on and slips away. because the road is unstable and short-lived, one must walk with caution, balance, and awareness of one’s mortality.

fursat-e-kar faqat chaar ghadi hai yaaro ye na socho ki abhi umr padi hai yaaro

itni kavish bhi na kar meri asiri ke liye tu kahin mera giraftar na samjha jaae