aur bhi dukh hain zamane men mohabbat ke siva rahaten aur bhi hain vasl ki rahat ke siva

sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ham ko maalum hai jannat ki haqiqat lekin dil ke khush rakhne ko 'ghhalib' ye khayal achchha hai

the poet expresses a witty skepticism regarding the religious promise of the afterlife. he implies that while he knows the 'truth' about paradise (perhaps that it is metaphorical or non-existent), the concept itself serves a useful psychological purpose. it acts as a comforting illusion that allows people to find joy and endure life's hardships through hope.

main akela hi chala tha janib-e-manzil magar log saath aate gae aur karvan banta gaya

ujale apni yadon ke hamare saath rahne do na jaane kis gali men zindagi ki shaam ho jaae

khudi ko kar buland itna ki har taqdir se pahle khuda bande se khud puchhe bata teri raza kya hai

the couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. the striking image of god asking the servant highlights the dignity of human agency when aligned with higher values. emotionally, it is a call to confidence, effort, and responsible choice.

ye ishq nahin asan itna hi samajh liije ik aag ka dariya hai aur duub ke jaana hai

hosh valon ko khabar kya be-khudi kya chiiz hai ishq kiije phir samajhiye zindagi kya chiiz hai

sair kar duniya ki ghhafil zindagani phir kahan zindagi gar kuchh rahi to ye javani phir kahan

chupke chupke raat din aansu bahana yaad hai ham ko ab tak ashiqi ka vo zamana yaad hai

yad-e-mazi 'azab hai ya-rab chhin le mujh se hafiza mera

bahut pahle se un qadmon ki aahat jaan lete hain tujhe ai zindagi ham duur se pahchan lete hain

the speaker says that with long experience, they can sense what is coming even before it arrives. “footsteps” stand for the familiar arrival of life’s troubles, routines, and inevitable demands. addressing life directly, they convey a tired, knowing intimacy: nothing in life surprises them anymore. the emotion is a mix of foreknowledge, resignation, and hard-earned insight.

ai mohabbat tire anjam pe rona aaya jaane kyuun aaj tire naam pe rona aaya

love your sad conclusion makes me weep wonder why your mention makes me weep

hamen bhi niind aa jaegi ham bhi so hi jaenge abhi kuchh be-qarari hai sitaro tum to so jaao

dil ke phaphule jal uthe siine ke daaghh se is ghar ko aag lag gai ghar ke charaghh se

this hearts blisters are inflamed by its own desire by its own lamp,alas, this house is set afire

hazaron saal nargis apni be-nuri pe roti hai badi mushkil se hota hai chaman men dida-var paida

the poet uses the narcissus—often imagined as an eye—to symbolize a world that longs for true sight. its “lack of light” suggests spiritual or intellectual blindness and a persistent yearning to see clearly. the “garden” stands for society, where a genuine seer—someone with insight and guidance—emerges only rarely. the emotional core is both lament for blindness and hope for the arrival of real vision.

ki mire qatl ke baa'd us ne jafa se tauba haae us zud-pashiman ka pashiman hona

after she had slain me then from torture she forswore alas! the one now quickly shamed was not so before this couplet highlights the tragic irony of a repentance that comes too late. ghalib mocks the beloved's nature of being 'quick to regret' (zood-pashemaan) because, in this specific instance, the decision to stop being cruel occurred only after the lover had already died from that very cruelty.

hazaron khvahishen aisi ki har khvahish pe dam nikle bahut nikle mire arman lekin phir bhi kam nikle

i have a thousand yearnings , each one afflicts me so many were fulfilled for sure, not enough although the couplet captures the endlessness of human wanting: desires are so overpowering that each seems life-draining. even when some dreams are fulfilled, satisfaction remains out of reach, because the heart keeps multiplying new demands. the metaphor of “breath leaving” intensifies the emotional weight of longing and exhaustion.

ji dhundta hai phir vahi fursat ki raat din baithe rahen tasavvur-e-janan kiye hue

again this heart seeks those days of leisure as of yore sitting just enmeshed in thoughts of my paramour the speaker longs for an unbroken leisure where time stops being practical and becomes purely emotional. “day and night” suggests a continuous hunger, not a momentary wish. the “image of the beloved” is a refuge: sitting still becomes a form of devotion and survival. the couplet captures love as a persistent inner occupation that needs silence and time to fully unfold.

ham ko mita sake ye zamane men dam nahin ham se zamana khud hai zamane se ham nahin

patta patta buuta buuta haal hamara jaane hai jaane na jaane gul hi na jaane baaghh to saara jaane hai

only the flower's unaware, rest of the garden knows my state,each leaf and every bud that in the garden grows the speaker’s grief has become so visible that even nature seems aware of it. each leaf and twig is a witness to the lover’s condition, while the “flower” (the beloved) remains unaware or indifferent. by contrasting the garden’s knowing with the flower’s not knowing, the couplet captures the ache of unreturned attention and public, undeniable sorrow.

aur bhi dukh hain zamane men mohabbat ke siva rahaten aur bhi hain vasl ki rahat ke siva

sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ham ko maalum hai jannat ki haqiqat lekin dil ke khush rakhne ko 'ghhalib' ye khayal achchha hai

the poet expresses a witty skepticism regarding the religious promise of the afterlife. he implies that while he knows the 'truth' about paradise (perhaps that it is metaphorical or non-existent), the concept itself serves a useful psychological purpose. it acts as a comforting illusion that allows people to find joy and endure life's hardships through hope.

main akela hi chala tha janib-e-manzil magar log saath aate gae aur karvan banta gaya

ujale apni yadon ke hamare saath rahne do na jaane kis gali men zindagi ki shaam ho jaae

khudi ko kar buland itna ki har taqdir se pahle khuda bande se khud puchhe bata teri raza kya hai

the couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. the striking image of god asking the servant highlights the dignity of human agency when aligned with higher values. emotionally, it is a call to confidence, effort, and responsible choice.

ye ishq nahin asan itna hi samajh liije ik aag ka dariya hai aur duub ke jaana hai

hazaron saal nargis apni be-nuri pe roti hai badi mushkil se hota hai chaman men dida-var paida

the poet uses the narcissus—often imagined as an eye—to symbolize a world that longs for true sight. its “lack of light” suggests spiritual or intellectual blindness and a persistent yearning to see clearly. the “garden” stands for society, where a genuine seer—someone with insight and guidance—emerges only rarely. the emotional core is both lament for blindness and hope for the arrival of real vision.

hosh valon ko khabar kya be-khudi kya chiiz hai ishq kiije phir samajhiye zindagi kya chiiz hai

sair kar duniya ki ghhafil zindagani phir kahan zindagi gar kuchh rahi to ye javani phir kahan

sitaron se aage jahan aur bhi hain abhi ishq ke imtihan aur bhi hain

the couplet urges the seeker not to stop at visible limits: even the farthest “stars” are not the end. “worlds beyond” symbolizes higher goals and deeper truths still to be reached. the second line frames love as a journey of continual testing—each stage brings new challenges. emotionally, it blends hope with resolve: keep moving forward, keep proving your love.

ye jabr bhi dekha hai tarikh ki nazron ne lamhon ne khata ki thi sadiyon ne saza paai

chupke chupke raat din aansu bahana yaad hai ham ko ab tak ashiqi ka vo zamana yaad hai

subh hoti hai shaam hoti hai umr yunhi tamam hoti hai

ji dhundta hai phir vahi fursat ki raat din baithe rahen tasavvur-e-janan kiye hue

again this heart seeks those days of leisure as of yore sitting just enmeshed in thoughts of my paramour the speaker longs for an unbroken leisure where time stops being practical and becomes purely emotional. “day and night” suggests a continuous hunger, not a momentary wish. the “image of the beloved” is a refuge: sitting still becomes a form of devotion and survival. the couplet captures love as a persistent inner occupation that needs silence and time to fully unfold.

bahut pahle se un qadmon ki aahat jaan lete hain tujhe ai zindagi ham duur se pahchan lete hain

the speaker says that with long experience, they can sense what is coming even before it arrives. “footsteps” stand for the familiar arrival of life’s troubles, routines, and inevitable demands. addressing life directly, they convey a tired, knowing intimacy: nothing in life surprises them anymore. the emotion is a mix of foreknowledge, resignation, and hard-earned insight.

ai mohabbat tire anjam pe rona aaya jaane kyuun aaj tire naam pe rona aaya

love your sad conclusion makes me weep wonder why your mention makes me weep

ham ko mita sake ye zamane men dam nahin ham se zamana khud hai zamane se ham nahin

hamen bhi niind aa jaegi ham bhi so hi jaenge abhi kuchh be-qarari hai sitaro tum to so jaao

rah-e-dur-e-ishq men rota hai kya aage aage dekhiye hota hai kya

meer taqi meer presents love as a long, demanding journey where early tears are premature. the speaker urges endurance, hinting that harsher trials may come later. the couplet carries a stoic, almost teasing consolation: don’t collapse at the start; love reveals its true cost as one moves forward.

patta patta buuta buuta haal hamara jaane hai jaane na jaane gul hi na jaane baaghh to saara jaane hai

only the flower's unaware, rest of the garden knows my state,each leaf and every bud that in the garden grows the speaker’s grief has become so visible that even nature seems aware of it. each leaf and twig is a witness to the lover’s condition, while the “flower” (the beloved) remains unaware or indifferent. by contrasting the garden’s knowing with the flower’s not knowing, the couplet captures the ache of unreturned attention and public, undeniable sorrow.