Mohabbat

aur bhi dukh hain zamane mein mohabbat ke siwa rahaten aur bhi hain wasl ki rahat ke siwa sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ujale apni yaadon ke hamare sath rahne do na jaane kis gali mein zindagi ki sham ho jae

ranjish hi sahi dil hi dukhane ke liye aa aa phir se mujhe chhod ke jaane ke liye aa

us ki yaad aai hai sanso zara aahista chalo dhadkanon se bhi ibaadat mein khalal padta hai

mohabbat mein nahin hai farq jine aur marne ka usi ko dekh kar jite 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.

kuchh to majburiyan rahi hongi yun koi bewafa 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.

wo to khush-bu hai hawaon mein bikhar jaega masala phul ka hai phul kidhar jaega

hosh walon ko khabar kya be-khudi kya chiz hai ishq kije phir samajhiye zindagi kya chiz hai

aziz itna hi rakkho ki ji sambhal jae ab is qadar bhi na chaho ki dam nikal jae

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

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

sari duniya ke gham hamare hain aur sitam ye ki hum tumhaare hain

aur kya dekhne ko baqi 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 mein

ishq par zor nahin hai ye wo aatish 'ghaalib' ki lagae na lage aur bujhae na bane one has no power over love, it is that flame, to wit, which neither can be set alight, nor extinguished once lit the couplet presents love as an uncontrollable inner blaze. it arrives on its own terms and refuses to obey the lover’s will, so both starting and stopping it lie beyond human power. the metaphor of “fire” captures love’s consuming intensity and the speaker’s helpless surrender to it.

hua hai tujh se bichhadne ke ba'd ye ma'lum ki tu nahin tha tere sath ek duniya thi

chupke chupke raat din aansu bahana yaad hai hum ko ab tak aashiqi ka wo zamana yaad hai

ishq nazuk-mizaj hai behad aql ka bojh utha nahin sakta

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

dil dhadakne ka sabab yaad aaya wo teri yaad thi ab yaad aaya

aap ke ba'd har ghadi hum ne aap ke sath hi guzari hai

karunga kya jo mohabbat mein ho gaya nakaam 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 tere anjam pe rona aaya jaane kyun aaj tere nam pe rona aaya love your sad conclusion makes me weep wonder why your mention makes me weep

hamein bhi nind aa jaegi hum bhi so hi jaenge abhi kuchh be-qarari hai sitaro tum to so jao

gila bhi tujh se bahut hai magar mohabbat bhi wo 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.

donon jahan teri mohabbat mein haar ke wo ja raha hai koi shab-e-gham guzar ke

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

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

tere ishq ki intiha chahta hun meri sadgi dekh kya chahta hun 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.