tum mukhatib bhi ho qarib bhi ho tum ko dekhen ki tum se baat karen

you're in front and near me too should i converse or look at you? the couplet captures a tender confusion in the beloved’s immediate presence. the speaker is torn between the pleasure of simply seeing and the courage needed to begin conversation. the nearness makes desire stronger, yet it also intensifies shyness and fear of breaking the moment. love here becomes a choice between silent gaze and spoken words.

tumhari ankhon ki tauhin hai zara socho tumhara chahne vaala sharab piita hai

itni milti hai miri ghhazlon se surat teri log tujh ko mira mahbub samajhte honge

ham se koi taalluq-e-khatir to hai use vo yaar ba-vafa na sahi bevafa to hai

tum husn ki khud ik duniya ho shayad ye tumhen malum nahin mahfil men tumhare aane se har chiiz pe nuur aa jaata hai

phir usi bevafa pe marte hain phir vahi zindagi hamari hai

dying for that faithless one again my life, the same, does then remain the poet admits to a relapse in his romantic journey, acknowledging that he cannot help but adore the one who betrays him. by choosing to 'die' for the faithless beloved again, he confirms that his existence is defined by this cyclical pattern of pain and passion. it highlights the helplessness of a lover who finds his identity only in the familiar agony of unrequited love.

jis taraf tu hai udhar hongi sabhi ki nazren iid ke chand ka didar bahana hi sahi

ik tujh ko dekhne ke liye bazm men mujhe auron ki samt maslahatan dekhna pada

na ghharaz kisi se na vasta mujhe kaam apne hi kaam se tire zikr se tiri fikr se tiri yaad se tire naam se

dekha hilal-e-eid to aaya tera khayal vo asman ka chand hai tu mera chand hai

charag chand shafaq shaam phuul jhiil saba churain sab ne hi kuchh kuchh shabahaten teri

raushan jamal-e-yar se hai anjuman tamam dahka hua hai atish-e-gul se chaman tamam

kya sitam hai ki vo zalim bhi hai mahbub bhi hai yaad karte na bane aur bhulae na bane

kyuun vasl ki shab haath lagane nahin dete mashuq ho ya koi amanat ho kisi ki

the speaker complains that even at the promised moment of closeness, the beloved keeps a strict distance. by likening the beloved to an “amanat” (a trust kept for someone), he suggests she is bound by obligation, propriety, or another’s claim. the metaphor turns desire into a question of rights: if she truly belongs to love, why the refusal? the emotional core is frustration mixed with jealous doubt.

mujh ko na dil pasand na vo bevafa pasand donon hain khud-ghharaz mujhe donon hain na-pasand

tashbih tire chehre ko kya duun gul-e-tar se hota hai shagufta magar itna nahin hota

chand sa misra akela hai mire kaghhaz par chhat pe aa jaao mira sher mukammal kar do

nigah barq nahin chehra aftab nahin vo aadmi hai magar dekhne ki taab nahin

saans leti hai vo zamin 'firaq' jis pe vo naaz se guzarte hain

the poet personifies the earth as a living being, implying that the beloved’s presence animates even lifeless soil. “breathing” suggests a sudden awakening, freshness, and sanctity in the place touched by their steps. the beloved’s “naaz” (proud, graceful walk) heightens their radiance, while the speaker’s emotion is wonder mixed with reverent love.

ham khuda ke kabhi qaail hi na the un ko dekha to khuda yaad aaya

towards the creator, i was not inclined but then i saw her, and he came to mind

tum mukhatib bhi ho qarib bhi ho tum ko dekhen ki tum se baat karen

you're in front and near me too should i converse or look at you? the couplet captures a tender confusion in the beloved’s immediate presence. the speaker is torn between the pleasure of simply seeing and the courage needed to begin conversation. the nearness makes desire stronger, yet it also intensifies shyness and fear of breaking the moment. love here becomes a choice between silent gaze and spoken words.

tumhari ankhon ki tauhin hai zara socho tumhara chahne vaala sharab piita hai

itni milti hai miri ghhazlon se surat teri log tujh ko mira mahbub samajhte honge

ham se koi taalluq-e-khatir to hai use vo yaar ba-vafa na sahi bevafa to hai

tum husn ki khud ik duniya ho shayad ye tumhen malum nahin mahfil men tumhare aane se har chiiz pe nuur aa jaata hai

phir usi bevafa pe marte hain phir vahi zindagi hamari hai

dying for that faithless one again my life, the same, does then remain the poet admits to a relapse in his romantic journey, acknowledging that he cannot help but adore the one who betrays him. by choosing to 'die' for the faithless beloved again, he confirms that his existence is defined by this cyclical pattern of pain and passion. it highlights the helplessness of a lover who finds his identity only in the familiar agony of unrequited love.

jis taraf tu hai udhar hongi sabhi ki nazren iid ke chand ka didar bahana hi sahi

ik tujh ko dekhne ke liye bazm men mujhe auron ki samt maslahatan dekhna pada

na ghharaz kisi se na vasta mujhe kaam apne hi kaam se tire zikr se tiri fikr se tiri yaad se tire naam se

bahut dinon se mire saath thi magar kal shaam mujhe pata chala vo kitni khubsurat hai

dekha hilal-e-eid to aaya tera khayal vo asman ka chand hai tu mera chand hai

nigah barq nahin chehra aftab nahin vo aadmi hai magar dekhne ki taab nahin

saans leti hai vo zamin 'firaq' jis pe vo naaz se guzarte hain

the poet personifies the earth as a living being, implying that the beloved’s presence animates even lifeless soil. “breathing” suggests a sudden awakening, freshness, and sanctity in the place touched by their steps. the beloved’s “naaz” (proud, graceful walk) heightens their radiance, while the speaker’s emotion is wonder mixed with reverent love.

ham ko aksar ye khayal aata hai us ko dekh kar ye sitara kaise ghhalati se zamin par rah gaya

raushan jamal-e-yar se hai anjuman tamam dahka hua hai atish-e-gul se chaman tamam

ham khuda ke kabhi qaail hi na the un ko dekha to khuda yaad aaya

towards the creator, i was not inclined but then i saw her, and he came to mind

kya sitam hai ki vo zalim bhi hai mahbub bhi hai yaad karte na bane aur bhulae na bane

kyuun vasl ki shab haath lagane nahin dete mashuq ho ya koi amanat ho kisi ki

the speaker complains that even at the promised moment of closeness, the beloved keeps a strict distance. by likening the beloved to an “amanat” (a trust kept for someone), he suggests she is bound by obligation, propriety, or another’s claim. the metaphor turns desire into a question of rights: if she truly belongs to love, why the refusal? the emotional core is frustration mixed with jealous doubt.

kya jaane use vahm hai kya meri taraf se jo khvab men bhi raat ko tanha nahin aata

i wonder to what misgivings she is prone that even in my dreams she's not alone the poet humorously exaggerates the beloved's cautiousness and lack of trust. the beloved is so guarded that even in the lover's dream—a realm usually controlled by one's own subconscious desire for intimacy—he brings a companion (likely a rival or guard) to avoid being alone with the poet.

mujh ko na dil pasand na vo bevafa pasand donon hain khud-ghharaz mujhe donon hain na-pasand