Mashwara

wo afsana jise anjam tak lana na ho mumkin use ek khub-surat mod de kar chhodna achchha

main akela hi chala tha jaanib-e-manzil magar log sath aate gae aur karwan banta gaya

apne man mein dub kar pa ja suragh-e-zindagi tu agar mera nahin banta na ban apna to ban the couplet urges deep self-exploration: the “clue of life” is not outside, but within one’s own consciousness. the speaker refuses shallow dependence and asks for inner sovereignty—if you can’t be mine, don’t be anyone’s tool. the emotional core is a call to awaken selfhood and live with purpose. freedom here means becoming truly oneself.

tere mathe pe ye aanchal bahut hi khub hai lekin tu is aanchal se ek 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

watan ki fikr kar nadan musibat aane wali hai teri barbaadiyon ke mashware hain aasmanon mein 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.

tamanna dard-e-dil ki ho to kar khidmat faqiron ki nahin milta ye gauhar baadshahon ke khazinon mein serve mendicants if you desire empathy to gain treasuries of emperors do not this wealth contain iqbal contrasts inner, spiritual insight with worldly power. “heart’s pain” is not mere suffering but a refined sensitivity that awakens through compassion. serving the faqirs becomes the path to that priceless “gem,” while royal wealth symbolizes riches that cannot purchase empathy or truth. the couplet urges humility and service as the real source of inner treasure.

dushmani lakh sahi khatm na kije rishta dil mile ya na mile hath 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 sare zamane ko sath le ke chalo

khincho na kamanon ko na talwar 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

bare duniya mein raho gham-zada ya shad raho aisa kuchh kar ke chalo yan 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 ruth kar waqt ganwane ki zarurat kya hai

ai 'zauq' takalluf mein hai taklif sarasar aaram mein hai wo 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.

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

bichhadne ka irada hai to mujh se mashwara kar lo mohabbat mein koi bhi faisla zati nahin hota

saya hai kam khajur ke unche darakht ka ummid bandhiye na bade aadmi ke sath

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

duniya to chahti hai yunhi fasle rahen duniya ke mashwaron pe na ja us gali mein chal

dilon mein hubb-e-watan hai agar to ek raho nikhaarna ye chaman hai agar to ek raho

paida wo baat kar ki tujhe roen dusre rona khud apne haal pe ye zar zar kya create that aspect in yourself that others cry for thee

han samundar mein utar lekin ubharne ki bhi soch dubne se pahle gahrai ka andaza laga

baat ka zakhm hai talwar ke zakhmon se siwa 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

bad-tar hai maut se bhi ghulami ki zindagi mar jaiyo magar ye gawara na kijiyo

faraghat se duniya mein har dam na baitho agar chahte ho faraghat ziyaada

kabhi bhul kar kisi se na karo suluk aisa ki jo tum se koi karta tumhein nagawar hota

itna na apne jame se bahar nikal ke chal duniya hai chal-chalaw 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.

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

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

itni kawish bhi na kar meri asiri ke liye tu kahin mera giraftar na samjha jae

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