Mayoosi

sham bhi thi dhuan dhuan husn bhi tha udas udas dil ko kai kahaniyan yaad si aa ke rah gain the couplet links outer scenery with inner feeling: a smoky dusk mirrors a dim, heavy mood. even “beauty” appears depressed, suggesting love itself has lost its shine. in that atmosphere, old memories and unfinished tales rise inside the heart and linger, not becoming clear words—only a persistent ache.

duniya ki mahfilon se ukta gaya hun ya rab kya lutf anjuman ka jab dil hi bujh gaya ho the speaker confesses a deep fatigue with worldly entertainments and social circles. “gatherings” symbolize external glitter, while the “extinguished heart” points to inner deadness—loss of passion, meaning, or faith. without an awakened inner self, even the liveliest assembly feels hollow. the couplet’s emotional core is disillusionment turning into a prayerful yearning for a truer, inward light.

hum to samjhe the ki hum bhul gae hain un ko kya hua aaj ye kis baat pe rona aaya

tera milna khushi ki baat sahi tujh se mil kar udas rahta hun

khuda ki itni badi kaenat mein main ne bas ek shakhs ko manga mujhe wahi na mila

hum to kuchh der hans bhi lete hain dil hamesha udas rahta hai

koi kyun kisi ka lubhae dil koi kya kisi se lagae dil wo jo bechte the dawa-e-dil wo dukan apni badha gae bahadur shah zafar voices deep disillusionment with love and dependence. the first line questions the very point of pleasing others or forming emotional bonds, as if all such efforts end in pain. in the second line, the “heart-healers” are a metaphor for trusted consolers—beloveds, friends, or hope itself—who have withdrawn, leaving no remedy. the mood is resigned: the speaker turns toward detachment because solace has disappeared.

kabhi khud pe kabhi haalat pe rona aaya baat nikli to har ek baat pe rona aaya

chand kaliyan nashat ki chun kar muddaton mahw-e-yas rahta hun tera milna khushi ki baat sahi tujh se mil kar udas rahta hun

bhari duniya mein ji nahin lagta jaane kis chiz ki kami hai abhi

na jaane kis liye ummid-war baitha hun ek aisi rah pe jo teri rahguzar bhi nahin

kisi ke tum ho kisi ka khuda hai duniya mein mere nasib mein tum bhi nahin khuda bhi nahin

lagta nahin hai dil mera ujde dayar mein kis ki bani hai aalam-e-na-paedar mein my heart, these dismal ruins, cannot now placate who can find sustenance in this unstable state the speaker feels estranged in a place that has been devastated, so even home no longer feels like home. the “ruined land” becomes a metaphor for loss—of belonging, peace, and former life. the second line widens the pain into a universal truth: the world is impermanent, and lasting fulfillment is rare. together, the couplet holds private sorrow and philosophical resignation in one breath.

hamare ghar ki diwaron pe 'nasir' udasi baal khole so rahi hai

mujhe ye dar hai teri aarzu na mit jae bahut dinon se tabiat meri udas nahin

kabhi kabhi to chhalak padti hain yunhi aankhen udas hone ka koi sabab nahin hota

hamare ghar ka pata puchhne se kya hasil udasiyon ki koi shahriyat nahin hoti

dil to mera udas hai 'nasir' shahr kyun saen saen karta hai

hum gham-zada hain laen kahan se khushi ke git denge wahi jo paenge is zindagi se hum

abhi na chhed mohabbat ke git ai mutrib abhi hayat ka mahaul khush-gawar nahin

na-umidi maut se kahti hai apna kaam kar aas kahti hai thahar khat ka jawab aane ko hai

hum ko na mil saka to faqat ek sukun-e-dil ai zindagi wagarna zamane mein kya na tha

raat aa kar guzar bhi jati hai ek hamari sahar nahin hoti

koi khud-kushi ki taraf chal diya udasi ki mehnat thikane lagi

gham hai na ab khushi hai na ummid hai na yas sab se najat pae zamane guzar gae

aaj to be-sabab udas hai ji ishq hota to koi baat bhi thi

rone lagta hun mohabbat mein to kahta hai koi kya tere ashkon se ye jangal hara ho jaega

na-umidi badh gai hai is qadar aarzu ki aarzu hone lagi the couplet captures a peak of despair where hope has eroded so much that even desire itself feels absent. “longing for longing” is a paradox that shows emotional numbness and exhaustion: the speaker misses the very spark of wanting. the metaphor suggests a life drained of possibility, where the heart is reduced to wishing for its own feelings back.

un ka gham un ka tasawwur un ke shikwe ab kahan ab to ye baaten bhi ai dil ho gain aai gai

koi to aisa ghar hota jahan se pyar mil jata wahi begane chehre hain jahan jaen jidhar jaen