maana ki teri diid ke qabil nahin huun main tu mera shauq dekh mira intizar dekh

agreed i am not worthy of your vision divine behold my zeal, my passion see how i wait and pine the speaker admits unworthiness before the beloved, showing humility rather than complaint. yet he presents his intense desire and steadfast waiting as his real “qualification.” the couplet turns worthiness into an emotional measure: sincerity, persistence, and love itself become the proof. its core feeling is hopeful, aching devotion that refuses to fade.

ham aah bhi karte hain to ho jaate hain badnam vo qatl bhi karte hain to charcha nahin hota

i do suffer slander, when i merely sigh she gets away with murder, no mention of it nigh

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.

tum takalluf ko bhi ikhlas samajhte ho 'faraz' dost hota nahin har haath milane vaala

ye jabr bhi dekha hai tarikh ki nazron ne lamhon ne khata ki thi sadiyon ne saza paai

shaam tak subh ki nazron se utar jaate hain itne samjhauton pe jiite hain ki mar jaate hain

safar men dhuup to hogi jo chal sako to chalo sabhi hain bhiid men tum bhi nikal sako to chalo

tumhare paaon ke niche koi zamin nahin kamal ye hai ki phir bhi tumhen yaqin nahin

chehre pe saare shahr ke gard-e-malal hai jo dil ka haal hai vahi dilli ka haal hai

sach ghate ya badhe to sach na rahe jhuut ki koi intiha hi nahin

dopahar tak bik gaya bazar ka har ek jhuut aur main ik sach ko le kar shaam tak baitha raha

zindagi di hai to jiine ka hunar bhi dena paanv bakhshen hain to taufiq-e-safar bhi dena

ham ko un se vafa ki hai ummid jo nahin jante vafa kya hai

from her i hope for constancy who knows it not, to my dismay the poet mocks his own naivety in expecting loyalty from a beloved who is completely oblivious to the concept. it highlights a tragic irony where the lover's intense expectations are directed at someone incapable of fulfilling them, either due to innocence or cruel indifference.

nasha pila ke girana to sab ko aata hai maza to jab hai ki girton ko thaam le saaqi

the couplet contrasts easy cruelty with difficult kindness. intoxication stands for any temptation or influence that weakens a person, and the “saqi” symbolizes the one with power to give or withhold. the poet says it’s common to push people into a downfall; true greatness is to take responsibility and support them at their weakest.

shohrat ki bulandi bhi pal bhar ka tamasha hai jis daal pe baithe ho vo tuut bhi sakti hai

saare jahan se achchha hindostan hamara ham bulbulen hain is ki ye gulsitan hamara

the couplet expresses deep love and pride for the homeland, declaring it unsurpassed. by calling the people “nightingales” and the country a “garden,” it uses a nature metaphor to show a living bond: the land nourishes them, and they, in turn, fill it with song and life. the emotional core is gratitude, belonging, and collective identity.

maana ki teri diid ke qabil nahin huun main tu mera shauq dekh mira intizar dekh

agreed i am not worthy of your vision divine behold my zeal, my passion see how i wait and pine the speaker admits unworthiness before the beloved, showing humility rather than complaint. yet he presents his intense desire and steadfast waiting as his real “qualification.” the couplet turns worthiness into an emotional measure: sincerity, persistence, and love itself become the proof. its core feeling is hopeful, aching devotion that refuses to fade.

ham aah bhi karte hain to ho jaate hain badnam vo qatl bhi karte hain to charcha nahin hota

i do suffer slander, when i merely sigh she gets away with murder, no mention of it nigh

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.

tum takalluf ko bhi ikhlas samajhte ho 'faraz' dost hota nahin har haath milane vaala

ye jabr bhi dekha hai tarikh ki nazron ne lamhon ne khata ki thi sadiyon ne saza paai

ham ko un se vafa ki hai ummid jo nahin jante vafa kya hai

from her i hope for constancy who knows it not, to my dismay the poet mocks his own naivety in expecting loyalty from a beloved who is completely oblivious to the concept. it highlights a tragic irony where the lover's intense expectations are directed at someone incapable of fulfilling them, either due to innocence or cruel indifference.

mazhab nahin sikhata aapas men bair rakhna hindi hain ham vatan hai hindostan hamara

allama iqbal rejects religious division and says that faith is not a license for mutual hostility. the couplet places a shared homeland above sectarian identities, reminding people that living together with respect is the real moral demand. its emotional core is a call for unity and brotherhood rooted in common belonging.

shohrat ki bulandi bhi pal bhar ka tamasha hai jis daal pe baithe ho vo tuut bhi sakti hai

saare jahan se achchha hindostan hamara ham bulbulen hain is ki ye gulsitan hamara

the couplet expresses deep love and pride for the homeland, declaring it unsurpassed. by calling the people “nightingales” and the country a “garden,” it uses a nature metaphor to show a living bond: the land nourishes them, and they, in turn, fill it with song and life. the emotional core is gratitude, belonging, and collective identity.

tum se pahle vo jo ik shakhs yahan takht-nashin tha us ko bhi apne khuda hone pe itna hi yaqin tha

tumhare paaon ke niche koi zamin nahin kamal ye hai ki phir bhi tumhen yaqin nahin

yaqin ho to koi rasta nikalta hai hava ki ot bhi le kar charaghh jalta hai

sach ghate ya badhe to sach na rahe jhuut ki koi intiha hi nahin

kisi ke vaste rahen kahan badalti hain tum apne aap ko khud hi badal sako to chalo

dopahar tak bik gaya bazar ka har ek jhuut aur main ik sach ko le kar shaam tak baitha raha

zindagi di hai to jiine ka hunar bhi dena paanv bakhshen hain to taufiq-e-safar bhi dena