Poetry Collection
Rekhta is one of the old names of the Urdu language. Literally, it stands for blending or amalgamation. Since Urdu, as a language, came into being as a result of the blending of many languages, it was called Rekhta. Here you have some shers where this language has been known with its old name--Rekhta.
Total
24
Sher
23
Ghazal
1
Is collection se writer-diverse top picks for quick reading.
rekhte ke tumhin ustad nahin ho 'ghhalib' kahte hain agle zamane men koi 'mir' bhi tha in this famous closing couplet, ghalib displays a mix of modesty and reverence for literary history. he acknowledges that while he is a master of his craft, he is not the sole authority, paying homage to his legendary predecessor, mir taqi mir. it suggests that true artistic greatness is a continuum, and ghalib bows to the mastery of the past.
tha jo sher-e-rast sarv-e-bostan-e-rekhta ab vahi hai lala-e-zard-e-khizan-e-rekhta aage kachhve ki kaman ke qadr kya us ki rahi thi farid-abadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimaghh jante hain us ko maghhz-e-ustukhvan-e-rekhta pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta fahm men itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jaati hai shan-e-rekhta khvan-e-yaghhma ban ke pahuncha har kas-o-na-kas ke haath nittaa-e-sultan jo tha makhsus khvan-e-rekhta hai rag-e-abr-e-bahari haath men mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke vaste farsi ka nang tha jaise quran-e-rekhta chand taare ka dupatta men diya us ko bana varna is zinat se kab tha asman-e-rekhta rafta rafta haae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta tha jo sher-e-rast sarw-e-bostan-e-rekhta ab wahi hai lala-e-zard-e-khizan-e-rekhta aage kachhwe ki kaman ke qadr kya us ki rahi thi farid-abaadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimagh jaante hain us ko maghz-e-ustukhwan-e-rekhta pech de de lafz o mani ko banate hain kulaft aur wo phir us pe rakhte hain guman-e-rekhta fahm mein itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jati hai shan-e-rekhta khwan-e-yaghma ban ke pahuncha har kas-o-na-kas ke hath nitta-e-sultan jo tha makhsus khwan-e-rekhta hai rag-e-abr-e-bahaari hath mein mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke waste farsi ka nang tha jaise quran-e-rekhta chand tare ka dupatta mein diya us ko bana warna is zinat se kab tha aasman-e-rekhta rafta rafta hae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se mani-bandi ka charcha hua ai 'mushafi' khalte mein jata raha husn-e-zaban-e-rekhta
ab na 'ghhalib' se shikayat hai na shikva 'mir' ka ban gaya main bhi nishana rekhta ke tiir ka
ja pade chup ho ke jab shahr-e-khamoshan men 'nazir' ye ghhazal ye rekhta ye sher-khvani phir kahan
'qaem' jo kahen hain farsi yaar is se to ye rekhta hai behtar
rekhta ke qasr ki buniyad uthai ai 'nasir' kaam hai mulk-e-sukhan men sahib-e-maqdur ka
ik baat kahenge 'insha'-ji tumhen rekhta kahte umr hui tum ek jahan ka ilm padhe koi 'mir' sa sher kaha tum ne
kyuun na aa kar us ke sunne ko karen sab yaar bhiid 'abru' ye rekhta tu niin kaha hai dhuum ka
padhte phirenge galiyon men in rekhton ko log muddat rahengi yaad ye baten hamariyan the couplet imagines a life beyond the poet’s own: his poems will live on in public spaces, on people’s tongues. “galiyon” suggests everyday life, where verse becomes common currency. the emotional core is a quiet confidence that speech shaped into poetry defeats time. what the poet said will survive as collective memory and reputation.
jo ye kahe ki rekhta kyunke ho rashk-e-farsi gufta-e-'ghhalib' ek baar padh ke use suna ki yuun this couplet is a masterclass in literary self-confidence (talli). ghalib asserts that his command over urdu is so profound that it elevates the language to a level where even the prestigious persian tradition envies it. instead of offering a theoretical argument, he presents his own poetry as the ultimate practical demonstration of excellence.
rekhta-goi ki buniyad 'vali' ne daali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz
kya rekhta kam hai 'mushafi' ka bu aati hai is men farsi ki
ai 'mushafi' ustad-e-fan-e-rekhta-goi tujh sa koi aalam ko main chhana nahin milta
ankhen na chura 'mushafi'-e-rekhta-go se ik umr se tera hai sana-khvan idhar dekh
pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta
jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta
rekhte ke tumhin ustad nahin ho 'ghhalib' kahte hain agle zamane men koi 'mir' bhi tha in this famous closing couplet, ghalib displays a mix of modesty and reverence for literary history. he acknowledges that while he is a master of his craft, he is not the sole authority, paying homage to his legendary predecessor, mir taqi mir. it suggests that true artistic greatness is a continuum, and ghalib bows to the mastery of the past.
tha jo sher-e-rast sarv-e-bostan-e-rekhta ab vahi hai lala-e-zard-e-khizan-e-rekhta aage kachhve ki kaman ke qadr kya us ki rahi thi farid-abadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimaghh jante hain us ko maghhz-e-ustukhvan-e-rekhta pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta fahm men itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jaati hai shan-e-rekhta khvan-e-yaghhma ban ke pahuncha har kas-o-na-kas ke haath nittaa-e-sultan jo tha makhsus khvan-e-rekhta hai rag-e-abr-e-bahari haath men mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke vaste farsi ka nang tha jaise quran-e-rekhta chand taare ka dupatta men diya us ko bana varna is zinat se kab tha asman-e-rekhta rafta rafta haae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta tha jo sher-e-rast sarw-e-bostan-e-rekhta ab wahi hai lala-e-zard-e-khizan-e-rekhta aage kachhwe ki kaman ke qadr kya us ki rahi thi farid-abaadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimagh jaante hain us ko maghz-e-ustukhwan-e-rekhta pech de de lafz o mani ko banate hain kulaft aur wo phir us pe rakhte hain guman-e-rekhta fahm mein itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jati hai shan-e-rekhta khwan-e-yaghma ban ke pahuncha har kas-o-na-kas ke hath nitta-e-sultan jo tha makhsus khwan-e-rekhta hai rag-e-abr-e-bahaari hath mein mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke waste farsi ka nang tha jaise quran-e-rekhta chand tare ka dupatta mein diya us ko bana warna is zinat se kab tha aasman-e-rekhta rafta rafta hae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se mani-bandi ka charcha hua ai 'mushafi' khalte mein jata raha husn-e-zaban-e-rekhta
padhte phirenge galiyon men in rekhton ko log muddat rahengi yaad ye baten hamariyan the couplet imagines a life beyond the poet’s own: his poems will live on in public spaces, on people’s tongues. “galiyon” suggests everyday life, where verse becomes common currency. the emotional core is a quiet confidence that speech shaped into poetry defeats time. what the poet said will survive as collective memory and reputation.
ab na 'ghhalib' se shikayat hai na shikva 'mir' ka ban gaya main bhi nishana rekhta ke tiir ka
ja pade chup ho ke jab shahr-e-khamoshan men 'nazir' ye ghhazal ye rekhta ye sher-khvani phir kahan
yaar ke aage padha ye rekhta ja kar 'nazir' sun ke bola vah-vah achchha kaha achchha kaha
ye nazm-e-ain ye tarz-e-bandish sukhanvari hai fusun-gari hai ki rekhta men bhi tere 'shibli' maza hai tarz-e-'ali-hazin' ka
'qaem' jo kahen hain farsi yaar is se to ye rekhta hai behtar
rekhta ke qasr ki buniyad uthai ai 'nasir' kaam hai mulk-e-sukhan men sahib-e-maqdur ka
qaaem main ghhazal taur kiya rekhta varna ik baat lachar si ba-zaban-e-dakani thi
muue ne munh ki khaai phir bhi ye zor zori ye rekhti hai bhaai tum rekhta to jaano
ankhen na chura 'mushafi'-e-rekhta-go se ik umr se tera hai sana-khvan idhar dekh
'qaem' main rekhta ko diya khilat-e-qubul varna ye pesh-e-ahl-e-hunar kya kamal tha
pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta
kyuun na aa kar us ke sunne ko karen sab yaar bhiid 'abru' ye rekhta tu niin kaha hai dhuum ka
'mushafi' garche ye sab kahte hain ham se behtar apni par rekhta-goi ki zaban aur hi hai
You have reached the end.
Rekhta 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
Rekhta is one of the old names of the Urdu language. Literally, it stands for blending or amalgamation. Since Urdu, as a language, came into being as a result of the blending of many languages, it was called Rekhta. Here you have some shers where this language has been known with its old name--Rekhta.
Total
24
Sher
23
Ghazal
1
Is collection se writer-diverse top picks for quick reading.
rekhte ke tumhin ustad nahin ho 'ghhalib' kahte hain agle zamane men koi 'mir' bhi tha in this famous closing couplet, ghalib displays a mix of modesty and reverence for literary history. he acknowledges that while he is a master of his craft, he is not the sole authority, paying homage to his legendary predecessor, mir taqi mir. it suggests that true artistic greatness is a continuum, and ghalib bows to the mastery of the past.
tha jo sher-e-rast sarv-e-bostan-e-rekhta ab vahi hai lala-e-zard-e-khizan-e-rekhta aage kachhve ki kaman ke qadr kya us ki rahi thi farid-abadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimaghh jante hain us ko maghhz-e-ustukhvan-e-rekhta pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta fahm men itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jaati hai shan-e-rekhta khvan-e-yaghhma ban ke pahuncha har kas-o-na-kas ke haath nittaa-e-sultan jo tha makhsus khvan-e-rekhta hai rag-e-abr-e-bahari haath men mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke vaste farsi ka nang tha jaise quran-e-rekhta chand taare ka dupatta men diya us ko bana varna is zinat se kab tha asman-e-rekhta rafta rafta haae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta tha jo sher-e-rast sarw-e-bostan-e-rekhta ab wahi hai lala-e-zard-e-khizan-e-rekhta aage kachhwe ki kaman ke qadr kya us ki rahi thi farid-abaadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimagh jaante hain us ko maghz-e-ustukhwan-e-rekhta pech de de lafz o mani ko banate hain kulaft aur wo phir us pe rakhte hain guman-e-rekhta fahm mein itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jati hai shan-e-rekhta khwan-e-yaghma ban ke pahuncha har kas-o-na-kas ke hath nitta-e-sultan jo tha makhsus khwan-e-rekhta hai rag-e-abr-e-bahaari hath mein mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke waste farsi ka nang tha jaise quran-e-rekhta chand tare ka dupatta mein diya us ko bana warna is zinat se kab tha aasman-e-rekhta rafta rafta hae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se mani-bandi ka charcha hua ai 'mushafi' khalte mein jata raha husn-e-zaban-e-rekhta
ab na 'ghhalib' se shikayat hai na shikva 'mir' ka ban gaya main bhi nishana rekhta ke tiir ka
ja pade chup ho ke jab shahr-e-khamoshan men 'nazir' ye ghhazal ye rekhta ye sher-khvani phir kahan
'qaem' jo kahen hain farsi yaar is se to ye rekhta hai behtar
rekhta ke qasr ki buniyad uthai ai 'nasir' kaam hai mulk-e-sukhan men sahib-e-maqdur ka
ik baat kahenge 'insha'-ji tumhen rekhta kahte umr hui tum ek jahan ka ilm padhe koi 'mir' sa sher kaha tum ne
kyuun na aa kar us ke sunne ko karen sab yaar bhiid 'abru' ye rekhta tu niin kaha hai dhuum ka
padhte phirenge galiyon men in rekhton ko log muddat rahengi yaad ye baten hamariyan the couplet imagines a life beyond the poet’s own: his poems will live on in public spaces, on people’s tongues. “galiyon” suggests everyday life, where verse becomes common currency. the emotional core is a quiet confidence that speech shaped into poetry defeats time. what the poet said will survive as collective memory and reputation.
jo ye kahe ki rekhta kyunke ho rashk-e-farsi gufta-e-'ghhalib' ek baar padh ke use suna ki yuun this couplet is a masterclass in literary self-confidence (talli). ghalib asserts that his command over urdu is so profound that it elevates the language to a level where even the prestigious persian tradition envies it. instead of offering a theoretical argument, he presents his own poetry as the ultimate practical demonstration of excellence.
rekhta-goi ki buniyad 'vali' ne daali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz
kya rekhta kam hai 'mushafi' ka bu aati hai is men farsi ki
ai 'mushafi' ustad-e-fan-e-rekhta-goi tujh sa koi aalam ko main chhana nahin milta
ankhen na chura 'mushafi'-e-rekhta-go se ik umr se tera hai sana-khvan idhar dekh
pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta
jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta
rekhte ke tumhin ustad nahin ho 'ghhalib' kahte hain agle zamane men koi 'mir' bhi tha in this famous closing couplet, ghalib displays a mix of modesty and reverence for literary history. he acknowledges that while he is a master of his craft, he is not the sole authority, paying homage to his legendary predecessor, mir taqi mir. it suggests that true artistic greatness is a continuum, and ghalib bows to the mastery of the past.
tha jo sher-e-rast sarv-e-bostan-e-rekhta ab vahi hai lala-e-zard-e-khizan-e-rekhta aage kachhve ki kaman ke qadr kya us ki rahi thi farid-abadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimaghh jante hain us ko maghhz-e-ustukhvan-e-rekhta pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta fahm men itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jaati hai shan-e-rekhta khvan-e-yaghhma ban ke pahuncha har kas-o-na-kas ke haath nittaa-e-sultan jo tha makhsus khvan-e-rekhta hai rag-e-abr-e-bahari haath men mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke vaste farsi ka nang tha jaise quran-e-rekhta chand taare ka dupatta men diya us ko bana varna is zinat se kab tha asman-e-rekhta rafta rafta haae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta tha jo sher-e-rast sarw-e-bostan-e-rekhta ab wahi hai lala-e-zard-e-khizan-e-rekhta aage kachhwe ki kaman ke qadr kya us ki rahi thi farid-abaadi apni go kaman-e-rekhta khushk karte hain jo fikr-e-khushk se apna dimagh jaante hain us ko maghz-e-ustukhwan-e-rekhta pech de de lafz o mani ko banate hain kulaft aur wo phir us pe rakhte hain guman-e-rekhta fahm mein itna nahin aata ba-hukme-e-ra-e-past is bulandi se ghati jati hai shan-e-rekhta khwan-e-yaghma ban ke pahuncha har kas-o-na-kas ke hath nitta-e-sultan jo tha makhsus khwan-e-rekhta hai rag-e-abr-e-bahaari hath mein mere qalam rashk-e-jannat jis se hai ye gulistan-e-rekhta farsi ab ho gai hai nang us ke waste farsi ka nang tha jaise quran-e-rekhta chand tare ka dupatta mein diya us ko bana warna is zinat se kab tha aasman-e-rekhta rafta rafta hae us ka aur aalam ho gaya nazm se apni gira nazm-e-bayan-e-rekhta jab se mani-bandi ka charcha hua ai 'mushafi' khalte mein jata raha husn-e-zaban-e-rekhta
padhte phirenge galiyon men in rekhton ko log muddat rahengi yaad ye baten hamariyan the couplet imagines a life beyond the poet’s own: his poems will live on in public spaces, on people’s tongues. “galiyon” suggests everyday life, where verse becomes common currency. the emotional core is a quiet confidence that speech shaped into poetry defeats time. what the poet said will survive as collective memory and reputation.
ab na 'ghhalib' se shikayat hai na shikva 'mir' ka ban gaya main bhi nishana rekhta ke tiir ka
ja pade chup ho ke jab shahr-e-khamoshan men 'nazir' ye ghhazal ye rekhta ye sher-khvani phir kahan
yaar ke aage padha ye rekhta ja kar 'nazir' sun ke bola vah-vah achchha kaha achchha kaha
ye nazm-e-ain ye tarz-e-bandish sukhanvari hai fusun-gari hai ki rekhta men bhi tere 'shibli' maza hai tarz-e-'ali-hazin' ka
'qaem' jo kahen hain farsi yaar is se to ye rekhta hai behtar
rekhta ke qasr ki buniyad uthai ai 'nasir' kaam hai mulk-e-sukhan men sahib-e-maqdur ka
qaaem main ghhazal taur kiya rekhta varna ik baat lachar si ba-zaban-e-dakani thi
muue ne munh ki khaai phir bhi ye zor zori ye rekhti hai bhaai tum rekhta to jaano
ankhen na chura 'mushafi'-e-rekhta-go se ik umr se tera hai sana-khvan idhar dekh
'qaem' main rekhta ko diya khilat-e-qubul varna ye pesh-e-ahl-e-hunar kya kamal tha
pech de de lafz o maani ko banate hain kulaft aur vo phir us pe rakhte hain guman-e-rekhta
kyuun na aa kar us ke sunne ko karen sab yaar bhiid 'abru' ye rekhta tu niin kaha hai dhuum ka
'mushafi' garche ye sab kahte hain ham se behtar apni par rekhta-goi ki zaban aur hi hai
You have reached the end.
Rekhta 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.
