Mehboob

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.

tumhaari aankhon ki tauhin hai zara socho tumhaara chahne wala sharab pita hai

kal chaudhwin ki raat thi shab bhar raha charcha tera kuchh ne kaha ye chand hai kuchh ne kaha chehra tera t'was a full moon out last night, all evening there was talk of you some people said it was the moon,and some said that it was you

itni milti hai meri ghazlon se surat teri log tujh ko mera mahbub samajhte honge

hum se koi talluq-e-khatir to hai use wo yar ba-wafa na sahi bewafa to hai

suna hai us ke badan ki tarash aisi hai ki phul apni qabaen katar ke dekhte hain

tum husn ki khud ek duniya ho shayad ye tumhein malum nahin mahfil mein tumhaare aane se har chiz pe nur aa jata hai

phir usi bewafa pe marte hain phir wahi 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 bhi fankar ka shahkar ho tum us ne sadiyon tumhein socha hoga

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

ek tujh ko dekhne ke liye bazm mein mujhe auron ki samt maslahatan dekhna pada

jab main chalun to saya bhi apna na sath de jab tum chalo zamin chale aasman chale

na gharaz kisi se na wasta mujhe kaam apne hi kaam se tere zikr se teri fikr se teri yaad se tere nam se

bahut dinon se mere sath thi magar kal sham mujhe pata chala wo kitni khubsurat hai

chand sa misra akela hai mere kaghaz par chhat pe aa jao mera sher mukammal kar do

dekha hilal-e-eid to aaya tera khayal wo aasman ka chand hai tu mera chand hai

nigah barq nahin chehra aaftab nahin wo aadmi hai magar dekhne ki tab nahin

meri nigah-e-shauq bhi kuchh kam nahin magar phir bhi tera shabab tera hi shabab hai

sans leti hai wo zamin 'firaq' jis pe wo naz 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.

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

charag chand shafaq sham phul jhil saba churain sab ne hi kuchh kuchh shabahaten teri

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

hum khuda ke kabhi qail 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

panw sakit ho gae 'sarwat' kisi ko dekh kar ek kashish mahtab jaisi chehra-e-dilbar mein thi

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

kyun wasl ki shab hath 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.

wo chandni mein phirte hain ghar ghar ye shor hai nikla hai aaftab shab-e-mahtab mein

kya jaane use wahm hai kya meri taraf se jo khwab mein 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 wo bewafa pasand donon hain khud-gharaz mujhe donon hain na-pasand

tashbih tere chehre ko kya dun gul-e-tar se hota hai shagufta magar itna nahin hota