mazhabi bahs main ne ki hi nahin faltu aql mujh men thi hi nahin

from sectarian debate refrained for i was not so scatter-brained

'mir' ke din-o-mazhab ko ab puchhte kya ho un ne to qashqa khincha dair men baitha kab ka tark islam kiya

why is it you seek to know, of miir's religion, sect, for he sits in temples, painted brow, well on the road to heresy the couplet mocks the very question of the poet’s religious identity, because his actions already declare it. the “temple” and the “tilak-like mark” stand as symbols of crossing boundaries and adopting the beloved’s world. at heart it is an intense, defiant love that overturns conventional labels of faith. the tone is both ironic and resigned: the shift has happened long before anyone started asking.

mazhab ki kharabi hai na akhlaq ki pasti duniya ke masaib ka sabab aur hi kuchh hai

the couplet rejects the easy blame placed on faith or ethics for society’s suffering. it suggests that deeper, less admitted forces—like self-interest, power, and hypocrisy—drive worldly misery. the emotional core is a sober critique: stop scapegoating noble ideals and look at the hidden causes. it calls for honest diagnosis rather than convenient slogans.

rah gae sabha o zunnar ke jhagde baaqi dharm hindu men nahin diin musalman men nahin

shaikh apni rag ko kya karen reshe ko kya karen mazhab ke jhagde chhoden to peshe ko kya karen

agar mazhab khalal-andaz hai mulki maqasid men to shaikh o barhaman pinhan rahen dair o masajid men

mazhabi bahs main ne ki hi nahin faltu aql mujh men thi hi nahin

from sectarian debate refrained for i was not so scatter-brained

'mir' ke din-o-mazhab ko ab puchhte kya ho un ne to qashqa khincha dair men baitha kab ka tark islam kiya

why is it you seek to know, of miir's religion, sect, for he sits in temples, painted brow, well on the road to heresy the couplet mocks the very question of the poet’s religious identity, because his actions already declare it. the “temple” and the “tilak-like mark” stand as symbols of crossing boundaries and adopting the beloved’s world. at heart it is an intense, defiant love that overturns conventional labels of faith. the tone is both ironic and resigned: the shift has happened long before anyone started asking.

mujh se kaha jibril-e-junun ne ye bhi vahi-e-ilahi hai mazhab to bas mazhab-e-dil hai baaqi sab gumrahi hai

mazhab ki kharabi hai na akhlaq ki pasti duniya ke masaib ka sabab aur hi kuchh hai

the couplet rejects the easy blame placed on faith or ethics for society’s suffering. it suggests that deeper, less admitted forces—like self-interest, power, and hypocrisy—drive worldly misery. the emotional core is a sober critique: stop scapegoating noble ideals and look at the hidden causes. it calls for honest diagnosis rather than convenient slogans.

rah gae sabha o zunnar ke jhagde baaqi dharm hindu men nahin diin musalman men nahin

kuchh insan the kuchh mazhab the ek khuda tha aur us ek khuda ke karan sab jhagda tha