Poetry Collection
Many of us are mesmerized by our own dear selves just by instinct. This is a kind of narcissism which takes us to indulge in self-praise. It may not be a very healthy way of conducting oneself but it affords us an opportunity to study human characters. Urdu poetry has developed a discourse of its own kind around this subject. Some cases in point are here for you to appraise.
Total
19
Sher
16
Ghazal
3
Is collection se writer-diverse top picks for quick reading.
hain aur bhi duniya men sukhan-var bahut achchhe kahte hain ki 'ghhalib' 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.
aur 'faraz' chahiyen kitni mohabbaten tujhe maaon ne tere naam par bachchon ka naam rakh diya
saare aalam par huun 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.
dhundoge agar mulkon mulkon milne ke nahin nayab hain ham jo yaad na aae bhuul ke phir ai ham-nafaso vo khvab hain ham
yadgar-e-zamana hain ham log sun rakho tum fasana hain ham log
apna lahu bhar kar logon ko baant gae paimane log duniya bhar ko yaad rahenge ham jaise divane log
mera har sher hai ik raz-e-haqiqat 'bekhud' main huun urdu ka 'naziri' mujhe tu kya samjha
'mir' ka tarz apnaya sab ne lekin ye andaz kahan 'azmi'-sahib aap ki ghhazlen sun sun kar sab hairan hain
kabhi 'faraz' se aa kar milo jo vaqt mile ye shakhs khuub hai ashar ke alava bhi
meri ghutti men 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.
na dekhe honge rind-e-la-ubali tum ne 'bekhud' se ki aise log ab ankhon se ojhal hote jaate hain
hain aur bhi duniya men sukhan-var bahut achchhe kahte hain ki 'ghhalib' 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.
aur 'faraz' chahiyen kitni mohabbaten tujhe maaon ne tere naam par bachchon ka naam rakh diya
aane vaali 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.
saare aalam par huun 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.
dhundoge agar mulkon mulkon milne ke nahin nayab hain ham jo yaad na aae bhuul ke phir ai ham-nafaso vo khvab hain ham
tiri zamin se uthenge to asman honge ham aise log zamane men phir kahan honge
yadgar-e-zamana hain ham log sun rakho tum fasana hain ham log
apna lahu bhar kar logon ko baant gae paimane log duniya bhar ko yaad rahenge ham jaise divane log
miri shaeri men na raqs-e-jam na mai ki rang-fishaniyan vahi dukh-bharon ki hikayaten vahi dil-jalon ki kahaniyan
mera har sher hai ik raz-e-haqiqat 'bekhud' main huun urdu ka 'naziri' mujhe tu kya samjha
'mir' ka tarz apnaya sab ne lekin ye andaz kahan 'azmi'-sahib aap ki ghhazlen sun sun kar sab hairan hain
You have reached the end.
Self-Praise se related curated sher, selected ghazal excerpts aur context-friendly reading flow milega.
Haan, collection links, writer links aur detail links sab Kuch Alfaaz ke internal routes par map kiye gaye hain.
Type filter (Sher/Ghazal/Nazm), featured picks aur similar collections rail use karke fast discovery kar sakte hain.
Poetry Collection
Many of us are mesmerized by our own dear selves just by instinct. This is a kind of narcissism which takes us to indulge in self-praise. It may not be a very healthy way of conducting oneself but it affords us an opportunity to study human characters. Urdu poetry has developed a discourse of its own kind around this subject. Some cases in point are here for you to appraise.
Total
19
Sher
16
Ghazal
3
Is collection se writer-diverse top picks for quick reading.
hain aur bhi duniya men sukhan-var bahut achchhe kahte hain ki 'ghhalib' 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.
aur 'faraz' chahiyen kitni mohabbaten tujhe maaon ne tere naam par bachchon ka naam rakh diya
saare aalam par huun 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.
dhundoge agar mulkon mulkon milne ke nahin nayab hain ham jo yaad na aae bhuul ke phir ai ham-nafaso vo khvab hain ham
yadgar-e-zamana hain ham log sun rakho tum fasana hain ham log
apna lahu bhar kar logon ko baant gae paimane log duniya bhar ko yaad rahenge ham jaise divane log
mera har sher hai ik raz-e-haqiqat 'bekhud' main huun urdu ka 'naziri' mujhe tu kya samjha
'mir' ka tarz apnaya sab ne lekin ye andaz kahan 'azmi'-sahib aap ki ghhazlen sun sun kar sab hairan hain
kabhi 'faraz' se aa kar milo jo vaqt mile ye shakhs khuub hai ashar ke alava bhi
meri ghutti men 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.
na dekhe honge rind-e-la-ubali tum ne 'bekhud' se ki aise log ab ankhon se ojhal hote jaate hain
hain aur bhi duniya men sukhan-var bahut achchhe kahte hain ki 'ghhalib' 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.
aur 'faraz' chahiyen kitni mohabbaten tujhe maaon ne tere naam par bachchon ka naam rakh diya
aane vaali 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.
saare aalam par huun 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.
dhundoge agar mulkon mulkon milne ke nahin nayab hain ham jo yaad na aae bhuul ke phir ai ham-nafaso vo khvab hain ham
tiri zamin se uthenge to asman honge ham aise log zamane men phir kahan honge
yadgar-e-zamana hain ham log sun rakho tum fasana hain ham log
apna lahu bhar kar logon ko baant gae paimane log duniya bhar ko yaad rahenge ham jaise divane log
miri shaeri men na raqs-e-jam na mai ki rang-fishaniyan vahi dukh-bharon ki hikayaten vahi dil-jalon ki kahaniyan
mera har sher hai ik raz-e-haqiqat 'bekhud' main huun urdu ka 'naziri' mujhe tu kya samjha
'mir' ka tarz apnaya sab ne lekin ye andaz kahan 'azmi'-sahib aap ki ghhazlen sun sun kar sab hairan hain
You have reached the end.
Self-Praise se related curated sher, selected ghazal excerpts aur context-friendly reading flow milega.
Haan, collection links, writer links aur detail links sab Kuch Alfaaz ke internal routes par map kiye gaye hain.
Type filter (Sher/Ghazal/Nazm), featured picks aur similar collections rail use karke fast discovery kar sakte hain.
