kaise kah duun ki mujhe chhod diya hai us ne baat to sach hai magar baat hai rusvai ki

how can i say that i have been deserted by my beau its true but this will cause me to be shamed for evermore

nikalna khuld se aadam ka sunte aae hain lekin bahut be-abru ho kar tire kuche se ham nikle

from eden, of adam's exile, i am familiar, though greatly humiliated from your street didi have to go ghalib contrasts adam’s expulsion from heaven with the lover’s dismissal from the beloved’s street. paradise stands for ultimate honor, while the beloved’s lane becomes a personal heaven that the speaker is forced to leave. the core emotion is wounded pride: rejection in love feels more humiliating than the biblical fall itself. the exaggeration intensifies how crushing the beloved’s coldness is.

aziyyat musibat malamat balaen tire ishq men ham ne kya kya na dekha

ishq jab tak na kar chuke rusva aadmi kaam ka nahin hota

till love does not cause him disgrace in this world man has no place

khair badnam to pahle bhi bahut the lekin tujh se milna tha ki par lag gae rusvai ko

rusva hue zalil hue dar-ba-dar hue haq baat lab pe aai to ham be-hunar hue

dekhe hain bahut ham ne hangame mohabbat ke aghhaz bhi rusvai anjam bhi rusvai

ab to har haath ka patthar hamen pahchanta hai umr guzri hai tire shahr men aate jaate

kya mila tum ko mire ishq ka charcha kar ke tum bhi rusva hue akhir mujhe rusva kar ke

hamare ishq men rusva hue tum magar ham to tamasha ho gae hain

koi tohmat ho mire naam chali aati hai jaise bazar men har ghar se gali aati hai

kis qadar bad-namiyan hain mere saath kya bataun kis qadar tanha huun main

dafatan tark-e-taalluq men bhi rusvai hai uljhe daman ko chhudate nahin jhatka de kar

saari duniya hamen pahchanti hai koi ham sa bhi na tanha hoga

mujhe muskura muskura kar na dekho mire saath tum bhi ho rusvaiyon men

jis jagah baithe mira charcha kiya khud hue rusva mujhe rusva kiya

the couplet captures the irony of slander: people who gossip to ruin someone’s name expose their own smallness. the poet suggests that malicious talk rebounds on the speaker, turning their attempt at shaming into self-shame. the emotional core is a calm, cutting confidence that truth and dignity outlast backbiting.

main ise shohrat kahun ya apni rusvai kahun mujh se pahle us gali men mere afsane gae

ab tu darvaze se apne naam ki takhti utaar lafz nange ho gae shohrat bhi gaali ho gai

ahl-e-havas to khair havas men hue zalil vo bhi hue kharab, mohabbat jinhon ne ki

apni rusvai tire naam ka charcha dekhun ik zara sher kahun aur main kya kya dekhun

kaise kah duun ki mujhe chhod diya hai us ne baat to sach hai magar baat hai rusvai ki

how can i say that i have been deserted by my beau its true but this will cause me to be shamed for evermore

nikalna khuld se aadam ka sunte aae hain lekin bahut be-abru ho kar tire kuche se ham nikle

from eden, of adam's exile, i am familiar, though greatly humiliated from your street didi have to go ghalib contrasts adam’s expulsion from heaven with the lover’s dismissal from the beloved’s street. paradise stands for ultimate honor, while the beloved’s lane becomes a personal heaven that the speaker is forced to leave. the core emotion is wounded pride: rejection in love feels more humiliating than the biblical fall itself. the exaggeration intensifies how crushing the beloved’s coldness is.

aziyyat musibat malamat balaen tire ishq men ham ne kya kya na dekha

ishq jab tak na kar chuke rusva aadmi kaam ka nahin hota

till love does not cause him disgrace in this world man has no place

khair badnam to pahle bhi bahut the lekin tujh se milna tha ki par lag gae rusvai ko

ahl-e-havas to khair havas men hue zalil vo bhi hue kharab, mohabbat jinhon ne ki

meri rusvai ke asbab hain mere andar aadmi huun so bahut khvab hain mere andar

dekhe hain bahut ham ne hangame mohabbat ke aghhaz bhi rusvai anjam bhi rusvai

baat niklegi to phir duur talak jaegi log be-vajh udasi ka sabab puchhenge

apni rusvai tire naam ka charcha dekhun ik zara sher kahun aur main kya kya dekhun

hamare ishq men rusva hue tum magar ham to tamasha ho gae hain

yadon ki bauchharon se jab palken bhigne lagti hain sondhi sondhi lagti hai tab maazi ki rusvai bhi

kis qadar bad-namiyan hain mere saath kya bataun kis qadar tanha huun main

log kahte hain ki bad-nami se bachna chahiye kah do be is ke javani ka maza milta nahin

saari duniya hamen pahchanti hai koi ham sa bhi na tanha hoga

'qamar' zara bhi nahin tum ko khauf-e-rusvai chale ho chandni shab men unhen bulane ko

jis jagah baithe mira charcha kiya khud hue rusva mujhe rusva kiya

the couplet captures the irony of slander: people who gossip to ruin someone’s name expose their own smallness. the poet suggests that malicious talk rebounds on the speaker, turning their attempt at shaming into self-shame. the emotional core is a calm, cutting confidence that truth and dignity outlast backbiting.

har-chand tujhe sabr nahin dard va-lekin itna bhi na miliyo ki vo badnam bahut ho

main ise shohrat kahun ya apni rusvai kahun mujh se pahle us gali men mere afsane gae

ab tu darvaze se apne naam ki takhti utaar lafz nange ho gae shohrat bhi gaali ho gai