Sharab

zahid sharab pine de masjid mein baith kar ya wo jagah bata de jahan par khuda na ho priest i know this is a mosque, let me drink inside or point me to a place where god does not reside

ab to utni bhi mayassar nahin mai-khane mein jitni hum chhod diya karte the paimane mein the tavern does not even give that much wine to me that i was wont to waste in the goblet casually

tumhaari aankhon ki tauhin hai zara socho tumhaara chahne wala sharab pita hai

aae the hanste khelte mai-khane mein 'firaq' jab pi chuke sharab to sanjida ho gae we came to the tavern all gay and frolicsome now having drunk the wine, somber have become the couplet shows an ironic reversal: the place associated with lightness and revelry becomes a doorway to gravity. “wine” works as a metaphor for experience and truth—once tasted, it strips away easy laughter. the emotional core is sobering self-awareness: joy gives way to reflection, as if the intoxication awakens, rather than numbs, the mind.

'ghaalib' chhuti sharab par ab bhi kabhi kabhi pita hun roz-e-abr o shab-e-mahtab mein the couplet captures a relapse of desire: a “quit” habit is not fully gone, it merely sleeps. cloudy day and moonlit night become metaphors for two moods—gloom and romantic softness—both of which awaken the old taste for wine. beneath the wit is confession: solitude and atmosphere make the heart vulnerable.

gham-e-duniya bhi gham-e-yar mein shamil kar lo nashsha badhta hai sharaben jo sharabon mein milen let love's longing with the ache of existence compound when spirits intermingle the euphoria is profound

kuchh bhi bacha na kahne ko har baat ho gai aao kahin sharab piyen raat ho gai

barish sharab-e-arsh hai ye soch kar 'adam' barish ke sab huruf ko ulta ke pi gaya

be piye hi sharab se nafrat ye jahaalat nahin to phir kya hai without drinking, to abhor wine so what is this if not igorant stupidity

aakhir gil apni sarf-e-dar-e-mai-kada hui pahunche wahan hi khak jahan ka khamir ho

shab ko mai khub si pi subh ko tauba kar li rind ke rind rahe hath se jannat na gai

zahid sharab pine se kafir hua main kyun kya dedh chullu pani mein iman bah gaya the poet challenges the rigid religious ascetic (zahid) who judges faith based solely on rituals and prohibitions. zauq uses sarcasm to ask how deep spiritual belief (imaan) can be so fragile that a trivial amount of wine—metaphorically described as a mere 'handful of water'—could destroy it completely.

shab jo hum se hua muaf karo nahin pi thi bahak gae honge

ai 'zauq' dekh dukhtar-e-raz ko na munh laga chhutti nahin hai munh se ye kafar lagi hui the poet personifies wine as 'dukhtar-e-raz' (daughter of the grape) and warns against tasting it. by calling it 'kafir' (infidel or cruel one), he suggests that wine is an enchanting but dangerous mistress. the core theme is the difficulty of breaking an addiction; once one indulges, the habit refuses to leave.

saqi mujhe sharab ki tohmat nahin pasand mujh ko teri nigah ka ilzam chahiye the charge of being affected by wine, i do despise i want to be accused of feasting from your eyes

itni pi jae ki mit jae main aur tu ki tamiz yani ye hosh ki diwar gira di jae the formality of you and i should in wine be drowned meaning that these barriers of sobriety be downed

lutf-e-mai tujh se kya kahun zahid hae kam-bakht tu ne pi hi nahin you've never drunk o hapless priest the joys of wine how will you see the speaker addresses a moralizing “zaahid” who condemns wine, and says its delight cannot be explained to someone who has never tried it. wine becomes a metaphor for lived joy, ecstasy, and inner freedom. the couplet carries gentle mockery: judgment without experience is portrayed as misfortune. emotionally, it blends pity with witty defiance of dry piety.

aae kuchh abr kuchh sharab aae is ke ba'd aae jo azab aae

pita hun jitni utni hi badhti hai tishnagi saqi ne jaise pyas mila di sharab mein

pahle sharab zist thi ab zist hai sharab koi pila raha hai piye ja raha hun main

tark-e-mai hi samajh ise naseh itni pi hai ki pi nahin jati

shikan na dal jabin par sharab dete hue ye muskuraati hui chiz muskura ke pila जबीं अर्थात माथा। जबीं पर शिकन डालने के कई मायने हैं। जैसे ग़ुस्सा करना, किसी से रूठ जाना आदि। शायर मदिरापान कराने वाले अर्थात अपने महबूब को सम्बोधित करते हुए कहता है कि शराब एक मुस्कुराती हुई चीज़ है और उसे किसी को देते हुए माथे पर बल डालना अच्छी बात नहीं क्योंकि अगर साक़ी माथे पर बल डालकर किसी को शराब पिलाता है तो फिर उस मदिरा का असली मज़ा जाता रहता है। इसलिए मदिरापान कराने वाले पर अनिवार्य है कि वो मदिरापान के नियमों को ध्यान में रखते हुए पीने वाले को शराब मुस्कुरा कर पिलाए। shafaq sopori

wo mile bhi to ek jhijhak si rahi kash thodi si hum piye hote

hum intizar karen hum ko itni tab nahin pila do tum hamein pani agar sharab nahin

mere ashk bhi hain is mein ye sharab ubal na jae mera jam chhune wale tera hath jal na jae my tears too this does contain,this wine may start to boil be careful for my goblet burns with rare intensity

kidhar se barq chamakti hai dekhen ai waiz main apna jam uthata hun tu kitab utha where does lightening strike, priest, let us look i will raise my glass you raise your holy book

main aadmi hun koi farishta nahin huzur main aaj apni zat se ghabra ke pi gaya

khushk baaton mein kahan hai shaikh kaif-e-zindagi wo to pi kar hi milega jo maza pine mein hai o priest where is the pleasure in this world when dry and sere tis only when one drinks will then the joy truly appear

waiz na tum piyo na kisi ko pila sako kya baat hai tumhaari sharab-e-tuhur ki ghalib employs biting sarcasm against the religious preacher who forbids earthly wine while promising 'sharab-e-tahoor' (the pure wine of heaven). the poet argues that a reward which is purely theoretical, cannot be consumed now, and allows for no communal sharing, is essentially useless compared to the immediate joys of life.

sab ko mara 'jigar' ke sheron ne aur 'jigar' ko sharab ne mara