aur bhi dukh hain zamane men mohabbat ke siva rahaten aur bhi hain vasl ki rahat ke siva

sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ujale apni yadon ke hamare saath rahne do na jaane kis gali men zindagi ki shaam ho jaae

us ki yaad aai hai sanso zara ahista chalo dhadkanon se bhi ibadat men khalal padta hai

mohabbat men nahin hai farq jiine aur marne ka usi ko dekh kar jiite hain jis kafir pe dam nikle

in love there is no difference 'tween life and death do know the very one for whom i die, life too does bestow the couplet says that true love dissolves the boundary between life and death: both become equally acceptable states. the lover’s survival depends on the beloved’s presence, yet that same beloved is so cruel or powerful that a single look can kill. this tension—being sustained and destroyed by the same sight—captures the intensity and helpless devotion of عشق.

hosh valon ko khabar kya be-khudi kya chiiz hai ishq kiije phir samajhiye zindagi kya chiiz hai

aziiz itna hi rakkho ki ji sambhal jaae ab is qadar bhi na chaho ki dam nikal jaae

saari duniya ke ghham hamare hain aur sitam ye ki ham tumhare hain

chupke chupke raat din aansu bahana yaad hai ham ko ab tak ashiqi ka vo zamana yaad hai

dil dhadakne ka sabab yaad aaya vo tiri yaad thi ab yaad aaya

aap ke baa'd har ghadi ham ne aap ke saath hi guzari hai

ai mohabbat tire anjam pe rona aaya jaane kyuun aaj tire naam pe rona aaya

love your sad conclusion makes me weep wonder why your mention makes me weep

hamen bhi niind aa jaegi ham bhi so hi jaenge abhi kuchh be-qarari hai sitaro tum to so jaao

koi samjhe to ek baat kahun ishq taufiq hai gunah nahin

if someone were to listen, one thing i will opine love is not a crime forsooth it is grace divine the speaker feels surrounded by misunderstanding and offers a single, clarifying truth to anyone capable of insight. by calling love “taufiq,” he frames it as a gift that elevates the heart rather than a moral offense. the couplet defends love against social or religious blame, turning accusation into spiritual dignity. its emotional core is quiet insistence: love deserves reverence, not condemnation.

maktab-e-ishq ka dastur nirala dekha us ko chhutti na mile jis ko sabaq yaad rahe

tire ishq ki intiha chahta huun miri sadgi dekh kya chahta huun

the speaker’s desire is absolute: not a portion of love, but its final height. in the second line he recognizes, with a tender irony, how naive and audacious this wish is. “intiha” becomes a metaphor for total union or complete fulfillment, while “sadgi” admits human limitation. the emotion is a mix of longing, devotion, and self-aware humility.

kuchh to majburiyan rahi hongi yuun koi bevafa nahin hota

she would have had compulsions surely faithless without cause no one can be in this couplet, the speaker softens a painful truth: if someone became unfaithful or left, there must have been some compulsion or helpless circumstance behind it. the line “yun koi bewafa nahin hota” is not a factual claim so much as an emotional stance — refusing to reduce a complex human act to sheer cruelty. it carries empathy and self-protection at once: the lover tries to preserve the beloved’s dignity (and their own love) by imagining unavoidable pressures rather than deliberate betrayal.

aur kya dekhne ko baaqi hai aap se dil laga ke dekh liya

what else is there now for me to view i have experienced being in love with you

zindagi kis tarah basar hogi dil nahin lag raha mohabbat men

hua hai tujh se bichhadne ke baa'd ye ma'lum ki tu nahin tha tire saath ek duniya thi

kis kis ko bataenge judai ka sabab ham tu mujh se khafa hai to zamane ke liye aa

aur bhi dukh hain zamane men mohabbat ke siva rahaten aur bhi hain vasl ki rahat ke siva

sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ujale apni yadon ke hamare saath rahne do na jaane kis gali men zindagi ki shaam ho jaae

us ki yaad aai hai sanso zara ahista chalo dhadkanon se bhi ibadat men khalal padta hai

mohabbat men nahin hai farq jiine aur marne ka usi ko dekh kar jiite hain jis kafir pe dam nikle

in love there is no difference 'tween life and death do know the very one for whom i die, life too does bestow the couplet says that true love dissolves the boundary between life and death: both become equally acceptable states. the lover’s survival depends on the beloved’s presence, yet that same beloved is so cruel or powerful that a single look can kill. this tension—being sustained and destroyed by the same sight—captures the intensity and helpless devotion of عشق.

vo to khush-bu hai havaon men bikhar jaega masala phuul ka hai phuul kidhar jaega

hosh valon ko khabar kya be-khudi kya chiiz hai ishq kiije phir samajhiye zindagi kya chiiz hai

inhin pattharon pe chal kar agar aa sako to aao mire ghar ke raste men koi kahkashan nahin hai

na ji bhar ke dekha na kuchh baat ki badi aarzu thi mulaqat ki

aur kya dekhne ko baaqi hai aap se dil laga ke dekh liya

what else is there now for me to view i have experienced being in love with you

zindagi kis tarah basar hogi dil nahin lag raha mohabbat men

hua hai tujh se bichhadne ke baa'd ye ma'lum ki tu nahin tha tire saath ek duniya thi

chupke chupke raat din aansu bahana yaad hai ham ko ab tak ashiqi ka vo zamana yaad hai

kis kis ko bataenge judai ka sabab ham tu mujh se khafa hai to zamane ke liye aa

dil dhadakne ka sabab yaad aaya vo tiri yaad thi ab yaad aaya

karunga kya jo mohabbat men ho gaya nakam mujhe to aur koi kaam bhi nahin aata

what will i do in love / if i don't succeed i know no other task, i have to concede

ai mohabbat tire anjam pe rona aaya jaane kyuun aaj tire naam pe rona aaya

love your sad conclusion makes me weep wonder why your mention makes me weep

gila bhi tujh se bahut hai magar mohabbat bhi vo baat apni jagah hai ye baat apni jagah

koi samjhe to ek baat kahun ishq taufiq hai gunah nahin

if someone were to listen, one thing i will opine love is not a crime forsooth it is grace divine the speaker feels surrounded by misunderstanding and offers a single, clarifying truth to anyone capable of insight. by calling love “taufiq,” he frames it as a gift that elevates the heart rather than a moral offense. the couplet defends love against social or religious blame, turning accusation into spiritual dignity. its emotional core is quiet insistence: love deserves reverence, not condemnation.

maktab-e-ishq ka dastur nirala dekha us ko chhutti na mile jis ko sabaq yaad rahe

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