Self-Praise

hain aur bhi duniya mein sukhan-war bahut achchhe kahte hain ki 'ghaalib' ka hai andaz-e-bayan aur this couplet is a classic example of 'ta'alli' or poetic self-praise. while ghalib acknowledges the existence of other talented poets, he subtly asserts his superiority by citing public opinion. the focus is on the distinctiveness of his 'andaz-e-bayan' (style), suggesting that artistic identity matters more than mere technical skill.

bazicha-e-atfal hai duniya mere aage

bazicha-e-atfal hai duniya mire aage hota hai shab-o-roz tamasha mire aage just like a child's playground this world appears to me every single night and day, this spectacle i see ik khel hai aurang-e-sulaiman mire nazdik ik baat hai ejaz-e-masiha mire aage the throne of mighty solomon's a trifle merely the messiah's miracle's just another thing to me juz naam nahin surat-e-alam mujhe manzur juz vahm nahin hasti-e-ashiya mire aage except in name the world exists, i do not agree and objects of this life cannot but a delusion be hota hai nihan gard men sahra mire hote ghista hai jabin khaak pe dariya mire aage deserts are interned in sand in my presence see rivers rub their foreheads in dust in front of me mat puchh ki kya haal hai mera tire pichhe tu dekh ki kya rang hai tera mire aage ask not, in your absence, what my state is apt to be you see your own condition when you're in front of me sach kahte ho khud-bin o khud-ara huun na kyuun huun baitha hai but-e-aina-sima mire aage 'tis true i preen, why should i not, self indulgently? when the beauty, mirror-faced, sits in front of me phir dekhiye andaz-e-gul-afshani-e-guftar rakh de koi paimana-e-sahba mire aage only then, my eloquence, will you chance to see let first a cup of wine be placed there in front of me nafrat ka guman guzre hai main rashk se guzra kyunkar kahun lo naam na un ka mire aage i refrain from envy lest it's deemed antipathy how can i ask anyone "don't speak of her to me"? iman mujhe roke hai jo khinche hai mujhe kufr kaaba mire pichhe hai kalisa mire aage faith restrains me while i am tugged at by heresy behind me stands the mosque, the church in front of me ashiq huun pa mashuq-farebi hai mira kaam majnun ko bura kahti hai laila mire aage though a lover i seduce my loved ones craftily laila speaks ill of majnuun when in front of me khush hote hain par vasl men yuun mar nahin jaate aai shab-e-hijran ki tamanna mire aage although in union happy you don't die of ecstacy the wish for night of separation comes in front of me hai maujzan ik qulzum-e-khun kaash yahi ho aata hai abhi dekhiye kya kya mire aage if only did this ocean of blood rage relentlessly what else lies in store for me i have yet to see go haath ko jumbish nahin ankhon men to dam hai rahne do abhi saghhar-o-mina mire aage let the cup and flask of wine remain in front of me though my hands are motionless, my eyes as yet can see ham-pesha o ham-mashrab o hamraz hai mera 'ghhalib' ko bura kyuun kaho achchha mire aage colleague, coimbiber and my confidante is he tell me why you criticize ghalib in front of me bazicha-e-atfal hai duniya mere aage hota hai shab-o-roz tamasha mere aage just like a child's playground this world appears to me every single night and day, this spectacle i see ek khel hai aurang-e-sulaiman mere nazdik ek baat hai ejaz-e-masiha mere aage the throne of mighty solomon's a trifle merely the messiah's miracle's just another thing to me juz nam nahin surat-e-alam mujhe manzur juz wahm nahin hasti-e-ashiya mere aage except in name the world exists, i do not agree and objects of this life cannot but a delusion be hota hai nihan gard mein sahra mere hote ghista hai jabin khak pe dariya mere aage deserts are interned in sand in my presence see rivers rub their foreheads in dust in front of me mat puchh ki kya haal hai mera tere pichhe tu dekh ki kya rang hai tera mere aage ask not, in your absence, what my state is apt to be you see your own condition when you're in front of me sach kahte ho khud-bin o khud-ara hun na kyun hun baitha hai but-e-aina-sima mere aage 'tis true i preen, why should i not, self indulgently? when the beauty, mirror-faced, sits in front of me phir dekhiye andaz-e-gul-afshani-e-guftar rakh de koi paimana-e-sahba mere aage only then, my eloquence, will you chance to see let first a cup of wine be placed there in front of me nafrat ka guman guzre hai main rashk se guzra kyunkar kahun lo nam na un ka mere aage i refrain from envy lest it's deemed antipathy how can i ask anyone "don't speak of her to me"? iman mujhe roke hai jo khinche hai mujhe kufr kaba mere pichhe hai kalisa mere aage faith restrains me while i am tugged at by heresy behind me stands the mosque, the church in front of me aashiq hun pa mashuq-farebi hai mera kaam majnun ko bura kahti hai laila mere aage though a lover i seduce my loved ones craftily laila speaks ill of majnuun when in front of me khush hote hain par wasl mein yun mar nahin jate aai shab-e-hijran ki tamanna mere aage although in union happy you don't die of ecstacy the wish for night of separation comes in front of me hai maujzan ek qulzum-e-khun kash yahi ho aata hai abhi dekhiye kya kya mere aage if only did this ocean of blood rage relentlessly what else lies in store for me i have yet to see go hath ko jumbish nahin aankhon mein to dam hai rahne do abhi saghar-o-mina mere aage let the cup and flask of wine remain in front of me though my hands are motionless, my eyes as yet can see ham-pesha o ham-mashrab o hamraaz hai mera 'ghaalib' ko bura kyun kaho achchha mere aage colleague, coimbiber and my confidante is he tell me why you criticize ghalib in front of me

aur 'faraaz' chahiyen kitni mohabbaten tujhe maon ne tere nam par bachchon ka nam rakh diya

zaban sukhan ko sukhan bankpan ko tarsega

zaban sukhan ko sukhan bankpan ko tarsega sukhan-kada miri tarz-e-sukhan ko tarsega nae piyale sahi tere daur men saaqi ye daur meri sharab-e-kuhan ko tarsega mujhe to khair vatan chhod kar amaan na mili vatan bhi mujh se ghharib-ul-vatan ko tarsega inhi ke dam se farozan hain millaton ke charaghh zamana sohbat-e-arbab-e-fan ko tarsega badal sako to badal do ye baghhban varna ye baaghh saya-e-sarv-o-saman ko tarsega hava-e-zulm yahi hai to dekhna ik din zamin paani ko suraj kiran ko tarsega zaban sukhan ko sukhan bankpan ko tarsega sukhan-kada meri tarz-e-sukhan ko tarsega nae piyale sahi tere daur mein saqi ye daur meri sharab-e-kuhan ko tarsega mujhe to khair watan chhod kar aman na mili watan bhi mujh se gharib-ul-watan ko tarsega inhi ke dam se farozan hain millaton ke charagh zamana sohbat-e-arbab-e-fan ko tarsega badal sako to badal do ye baghban warna ye bagh saya-e-sarw-o-saman ko tarsega hawa-e-zulm yahi hai to dekhna ek din zamin pani ko suraj kiran ko tarsega

hoga koi aisa bhi ki 'ghaalib' ko na jaane shair to wo achchha hai pa badnam bahut hai ghalib uses wit and irony to comment on his own public persona. he acknowledges his mastery over poetry but simultaneously admits to his scandalous lifestyle, suggesting that while people admire his art, they disapprove of his character. it highlights the paradox of being celebrated for talent yet condemned for conduct.

ishq hi tanha nahin shorida-sar mere liye

ishq hi tanha nahin shorida-sar mere liye husn bhi betab hai aur kis qadar mere liye haan mubarak ab hai mearaj-e-nazar mere liye jis qadar vo dur-tar nazdik-tar mere liye khel hai bazicha-e-sham-o-sahar mere liye do gul-e-bazi hain ye shams o qamar mere liye vaqf hai sayyad ki ik ik nazar mere liye haan mubarak ye shikast-e-bal-o-par mere liye garm hai hangama-e-sham-o-sahar mere liye raat din gardish men hain shams o qamar mere liye main huun vahshi aah kis sahra-e-afat-khez ka hai gul-e-virana bhi begana-tar mere liye us maqam-e-ishq men huun marhaba ai be-khudi zarra zarra hai jahan garm-e-safar mere liye jazb ho kar rah gaya huun main jamal-e-dost men ishq hai tabinda-tar painda-tar mere liye main nahin kahta ki main huun tu ho teri khalvaten haan magar sab se juda khaas ik nazar mere liye allah allah main bhi kya nazuk-dimaghh-e-ishq huun nikhat-e-gul bhi hai vajh-e-dard-e-sar mere liye phir bhi ankhen dhundhti hain ik sarapa naaz ko main ne maana kuchh nahin hadd-e-nazar mere liye rahrav-e-rah-e-talab ko khizr ki hajat nahin zarra zarra hai charaghh-e-rah-guzar mere liye apne dil men juz tire main bhi sama sakta nahin mera har har saans hai zanjir-e-dar mere liye mujh ko jannat hi jo duniya hai to ya-rab bakhsh de bas yahi daman-e-tar chashman-e-tar mere liye tark-e-mai se aur bhi main to sharabi ban gaya roz aa jaata hai mina-e-sahar mere liye jis ne zahid se bhi kafir ke uda daale hain hosh us se bhi kuchh aur saaqi tez-tar mere liye vo mira saghhar-ba-kaf hona pashemani ke saath abr-e-rahmat ka vo uthna jhuum kar mere liye kal shab-e-mahtab men ik bulbul-e-afat-nava markaz-e-ghham ban raha tha raat bhar mere liye na-gahan lab-ha-e-barg-e-gul se ye aai nida naale karta hai abas ai be-khabar mere liye main bhi huun apni jagah khunin-jigar khunin-kafan tu na apni jaan kho ai musht-e-par mere liye bas ye sunna tha ki pa-e-gul pe gir kar mar mita ban gaya ik naqsh-e-ibrat umr bhar mere liye zindagi ik tohmat-e-beja hai meri zaat par maut ik ilzam-e-na-jaez 'jigar' mere liye main to har halat men khush huun lekin us ka kya ilaaj dabdaba aati hain vo ankhen 'jigar' mere liye ishq hi tanha nahin shorida-sar mere liye husn bhi betab hai aur kis qadar mere liye han mubarak ab hai mearaj-e-nazar mere liye jis qadar wo dur-tar nazdik-tar mere liye khel hai bazicha-e-sham-o-sahar mere liye do gul-e-bazi hain ye shams o qamar mere liye waqf hai sayyaad ki ek ek nazar mere liye han mubarak ye shikast-e-baal-o-par mere liye garm hai hangama-e-sham-o-sahar mere liye raat din gardish mein hain shams o qamar mere liye main hun wahshi aah kis sahra-e-afat-khez ka hai gul-e-virana bhi begana-tar mere liye us maqam-e-ishq mein hun marhaba ai be-khudi zarra zarra hai jahan garm-e-safar mere liye jazb ho kar rah gaya hun main jamal-e-dost mein ishq hai tabinda-tar painda-tar mere liye main nahin kahta ki main hun tu ho teri khalwaten han magar sab se juda khas ek nazar mere liye allah allah main bhi kya nazuk-dimagh-e-ishq hun nikhat-e-gul bhi hai wajh-e-dard-e-sar mere liye phir bhi aankhen dhundhti hain ek sarapa naz ko main ne mana kuchh nahin hadd-e-nazar mere liye rahraw-e-rah-e-talab ko khizr ki hajat nahin zarra zarra hai charagh-e-rah-guzar mere liye apne dil mein juz tere main bhi sama sakta nahin mera har har sans hai zanjir-e-dar mere liye mujh ko jannat hi jo duniya hai to ya-rab bakhsh de bas yahi daman-e-tar chashman-e-tar mere liye tark-e-mai se aur bhi main to sharabi ban gaya roz aa jata hai mina-e-sahar mere liye jis ne zahid se bhi kafir ke uda dale hain hosh us se bhi kuchh aur saqi tez-tar mere liye wo mera saghar-ba-kaf hona pashemani ke sath abr-e-rahmat ka wo uthna jhum kar mere liye kal shab-e-mahtab mein ek bulbul-e-afat-nawa markaz-e-gham ban raha tha raat bhar mere liye na-gahan lab-ha-e-barg-e-gul se ye aai nida nale karta hai abas ai be-khabar mere liye main bhi hun apni jagah khunin-jigar khunin-kafan tu na apni jaan kho ai musht-e-par mere liye bas ye sunna tha ki pa-e-gul pe gir kar mar mita ban gaya ek naqsh-e-ibrat umr bhar mere liye zindagi ek tohmat-e-beja hai meri zat par maut ek ilzam-e-na-jaez 'jigar' mere liye main to har haalat mein khush hun lekin us ka kya ilaj dabdaba aati hain wo aankhen 'jigar' mere liye

aane wali naslen tum par fakhr karengi ham-asro jab bhi un ko dhyan aaega tum ne 'firaq' ko dekha hai the poet addresses his peers and turns a simple meeting into a badge of honor. seeing the poet becomes a kind of “witness” to greatness, something later generations will admire. the couplet blends self-aware fame with the idea of legacy: a moment of presence today becomes pride and memory tomorrow.

sare aalam par hun main chhaya hua mustanad hai mera farmaya hua meer taqi meer presents a bold, almost kingly self-portrait: his influence “shades” the entire world. the second line turns that influence into linguistic authority—his utterance is treated as proof. the metaphor suggests the poet’s word has become a standard people trust, mixing pride with a deep faith in the power of speech.

kabhi 'faraaz' se aa kar milo jo waqt mile ye shakhs khub hai ashaar ke alawa bhi

dhundoge agar mulkon mulkon milne ke nahin nayab hain hum jo yaad na aae bhul ke phir ai ham-nafaso wo khwab hain hum

teri zamin se uthenge to aasman honge hum aise log zamane mein phir kahan honge

meri ghutti mein padi thi ho ke hal urdu zaban jo bhi main kahta gaya husn-e-bayan banta gaya the poet (firaq gorakhpuri) claims urdu is so deeply ingrained in him that it feels like it was part of his earliest nourishment. “ghutti” suggests something given at the start of life, and “husn-e-bayan” points to elegance and charm in expression. the emotion is pride and intimacy with the language: eloquence is presented not as effort, but as an inborn, effortless flow.

yaadgar-e-zamana hain hum log sun rakho tum fasana hain hum log

apna lahu bhar kar logon ko bant gae paimane log duniya bhar ko yaad rahenge hum jaise diwane log

aur hote hain jo mahfil mein khamosh aate hain aandhiyan aati hain jab hazrat-e-'josh' aate hain

meri shaeri mein na raqs-e-jam na mai ki rang-fishaniyan wahi dukh-bharon ki hikayaten wahi dil-jalon ki kahaniyan

mera har sher hai ek raaz-e-haqiqat 'bekhud' main hun urdu ka 'naziri' mujhe tu kya samjha

na dekhe honge rind-e-la-ubaali tum ne 'bekhud' se ki aise log ab aankhon se ojhal hote jate hain

'mir' ka tarz apnaya sab ne lekin ye andaz kahan 'azmi'-sahib aap ki ghazlen sun sun kar sab hairan hain