chale to panw ke niche kuchal gai koi shai nashe ki jhonk mein dekha nahin ki duniya hai
Poetry Collection
Nasha
The idea and experience of intoxication has been represented variously in poetry. It does not necessarily refer to a condition one reaches after consuming wine. In mystical poetry, intoxication is a state of rapport with the divine. In both the cases, intoxication is a higher state of being. Here are some verses on this experience.
Total
42
Sher
25
Ghazal
17
Nazm
0
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itni pi jae ki mit jae main aur tu ki tamiz yani ye hosh ki diwar gira di jae the formality of you and i should in wine be drowned meaning that these barriers of sobriety be downed
na tum hosh mein ho na hum hosh mein hain chalo mai-kade mein wahin baat hogi neither are you in your senses nor am i in mine let us now go to the tavern and talk while we have wine
chale to panw ke niche kuchal gai koi shai nashe ki jhonk mein dekha nahin ki duniya hai
itni pi jae ki mit jae main aur tu ki tamiz yani ye hosh ki diwar gira di jae the formality of you and i should in wine be drowned meaning that these barriers of sobriety be downed
na tum hosh mein ho na hum hosh mein hain chalo mai-kade mein wahin baat hogi neither are you in your senses nor am i in mine let us now go to the tavern and talk while we have wine
tark-e-mai hi samajh ise naseh itni pi hai ki pi nahin jati
hum intizar karen hum ko itni tab nahin pila do tum hamein pani agar sharab nahin
log kahte hain raat bit chuki mujh ko samjhao! main sharabi hun
khushk baaton mein kahan hai shaikh kaif-e-zindagi wo to pi kar hi milega jo maza pine mein hai o priest where is the pleasure in this world when dry and sere tis only when one drinks will then the joy truly appear
ai gardisho tumhein zara takhir ho gai ab mera intizar karo main nashe mein hun
mai-khana-e-europe ke dastur nirale hain late hain surur awwal dete hain sharab aakhir allama iqbal uses the ‘tavern’ as a metaphor for european civilization and its ways. he suggests europe gives people the feeling of pleasure, progress, or excitement upfront, while the real substance and its consequences come afterward. the couplet hints at a reversed order: effects are marketed first, while causes and costs are hidden. emotionally, it is a sharp critique of alluring appearances and subtle manipulation.
aalam se be-khabar bhi hun aalam mein bhi hun main saqi ne is maqam ko aasan bana diya
meri sharab ki tauba pe ja na ai waiz nashe ki baat nahin e'tibar ke qabil
naseh khata muaf sunen kya bahaar mein hum ikhtiyar mein hain na dil ikhtiyar mein
ye waqia meri aankhon ke samne ka hai sharab nach rahi thi gilas baithe rahe
nashsha tha zindagi ka sharabon se tez-tar hum gir pade to maut utha le gai hamein
yahan koi na ji saka na ji sakega hosh mein mita de nam hosh ka sharab la sharab la
itni pi hai ki baad-e-tauba bhi be-piye be-khudi si rahti hai
aankhon ko dekhte hi bole bin piye koi madhosh aaya
ab main hudud-e-hosh-o-khirad se guzar gaya thukrao chahe pyar karo main nashe mein hun
ye waiz kaisi bahki bahki baaten hum se karte hain kahin chadh kar sharab-e-ishq ke nashshe utarte hain
ta-marg mujh se tark na hogi kabhi namaz par nashsha-e-sharab ne majbur kar diya
nasha tuta nahin hai mar kha kar ki hum ne pi hai kam khai bahut hai
mai-kade mein nashsha ki ainak dikhati hai mujhe aasman mast o zamin mast o dar-o-diwar mast
nashshe mein sujhti hai mujhe dur dur ki naddi wo samne hai sharab-e-tuhur ki
tauba bhi kar li thi ye bhi nashsha ki thi ek tarang aap samjhe the ki 'bekhud' parsa ho jaega
mast hain nashsha-e-jawani se kya khabar aap ko kisi dil ki
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