Qasid

qasid ke aate aate khat ek aur likh rakhun main jaanta hun jo wo likhenge jawab mein ere the messenger returns, another letter i should prepare,i am aware, what she will reply the poet anticipates that the reply coming from the beloved will be a rejection or unsatisfactory. knowing the beloved's cruel nature, he prepares a counter-argument or a new plea in advance, so he can send it immediately without wasting time, showcasing his persistence in the face of certain refusal.

na diya us kun ya diya qasid

na diya us kuun ya diya qasid sach bata naama kya kiya qasid na phira aah koi le ke javab jo gaya vaan so gum hua qasid aaj avega ya na avega mere ghar men vo dil-ruba qasid dil ko hai sakht intizar-e-javab kah shitabi se kya kaha qasid kucha-e-yar men mire zinhar jaiyo mat barahna-pa qasid khar-e-mizhgan-e-kushtagan-e-vafa vaan hain uftada ja-ba-ja qasid nama-e-shauq ko mire le kar yaar ke paas jab gaya qasid mohr ko khat ki dekh kahne laga kaun 'bedar' hai bata qasid jis ne bheja hai tere haath ye khat main nahin us se ashna qasid na diya us kun ya diya qasid sach bata nama kya kiya qasid na phira aah koi le ke jawab jo gaya wan so gum hua qasid aaj aawega ya na aawega mere ghar mein wo dil-ruba qasid dil ko hai sakht intizar-e-jawab kah shitabi se kya kaha qasid kucha-e-yar mein mere zinhaar jaiyo mat barahna-pa qasid khar-e-mizhgan-e-kushtagan-e-wafa wan hain uftada ja-ba-ja qasid nama-e-shauq ko mere le kar yar ke pas jab gaya qasid mohr ko khat ki dekh kahne laga kaun 'bedar' hai bata qasid jis ne bheja hai tere hath ye khat main nahin us se aashna qasid

kya jaane kya likha tha use iztirab mein qasid ki lash aai hai khat ke jawab mein the couplet turns a simple exchange of letters into a tragedy: the lover’s anxious words remain unknown, yet the response arrives as death itself. the dead courier becomes a metaphor for fate’s cruelty and for communication breaking down at the worst moment. emotionally, it conveys dread, helplessness, and the sense that love’s message has been punished or cut off forever.

nama-bar tu hi bata tu ne to dekhe honge kaise hote hain wo khat jin ke jawab aate hain o messenger do tell me you surely have espied what sort of messages are those that get replied

qasid payam-e-shauq ko dena bahut na tul kahna faqat ye un se ki aankhen taras gain

koi nam-o-nishan puchhe to ai qasid bata dena takhallus 'dagh' hai wo aashiqon ke dil mein rahte hain the speaker instructs the messenger to give a special “address” if anyone inquires: not a physical location, but a place in feeling. by naming his takhallus as “dagh” and claiming residence in lovers’ hearts, he turns identity into a metaphor for lasting emotional presence. the couplet blends pride and tenderness: true recognition comes through love, not through worldly markers.

ek muddat se na qasid hai na khat hai na payam apne wade ko to kar yaad mujhe yaad na kar

mera khat us ne padha padh ke nama-bar se kaha yahi jawab hai is ka koi jawab nahin

aati hai baat baat mujhe bar bar yaad kahta hun daud daud ke qasid se rah mein the lover is so restless that every small trigger revives the same thought, and the longing turns into physical haste. the “messenger” becomes a symbol of hope and delay: he might bring news, yet he also prolongs waiting. running and repeated questioning show impatience, anxiety, and a heart unable to stay still.

qasid nahin ye kaam tera apni rah le us ka payam dil ke siwa kaun la sake

maza jab tha ki mere munh se sunte dastan meri kahan se laega qasid dahan mera zaban meri

tu dekh raha hai jo mera haal hai qasid mujh ko yahi kahna hai ki main kuchh nahin kahta

ashkon ke nishan parcha-e-sada pe hain qasid ab kuchh na bayan kar ye ibarat hi bahut hai

mazmun sujhte hain hazaron nae nae qasid ye khat nahin mere gham ki kitab hai

wo aur wada wasl ka qasid nahin nahin sach sach bata ye lafz unhi ki zaban ke hain

khat dekh kar mera mere qasid se yun kaha kya gul nahin hua wo charagh-e-sahar hanuz

aah qasid to ab talak na phira dil dhadakta hai kya hua hoga

kya mere haal pe sach-much unhen gham tha qasid tu ne dekha tha sitara sar-e-mizhgan koi

kya bhul gae hain wo mujhe puchhna qasid nama koi muddat se mere kaam na aaya

aaya na phir ke ek bhi kuche se yar ke qasid gaya nasim gai nama-bar gaya

kisi ko bhej ke khat hae ye kaisa azab aaya ki har ek puchhta hai nama-bar aaya jawab aaya

phad kar khat us ne qasid se kaha koi paigham-e-zabani aur hai

zaban qasid ki 'muztar' kat li jab un ko khat bheja ki aakhir aadmi hai tazkira shayad kahin kar de

wo kab sunne lage qasid magar yun hi suna dena mila kar dusron ki dastan mein dastan meri

phirta hai mere dil mein koi harf-e-muddaa qasid se kah do aur na jae zara si der dagh dehlvi shows the lover’s inner turmoil: the heart is full of a half-formed confession that won’t settle. the “harf-e-mudda’a” suggests a delicate message—perhaps love or a plea—that is hard to put into words. so the poet asks the messenger to pause, because emotion needs one more moment to become speech. the core feeling is anxious longing caught between silence and sending the message.

qayamat hai ye kah kar us ne lautaya hai qasid ko ki un ka to har ek khat aakhiri paigham hota hai

khat-e-shauq ko padh ke qasid se bole ye hai kaun diwana khat likhne wala

ya us se jawab-e-khat lana ya qasid itna kah dena bachne ka nahin bimar tera irshad agar kuchh bhi na hua

pahunche na wahan tak ye dua mang raha hun qasid ko udhar bhej ke dhyan aae hai kya kya

jab us ne mera khat na chhua hath se apne qasid ne bhi chipka diya diwar se kaghaz