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.

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

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.

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