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.
guftugu rekhte men ham se na kar ye hamari zaban hai pyare
the speaker asserts ownership and intimacy with the language of rekhta (classical urdu), asking the other not to use it casually or presumptuously. “my language” signals identity and emotional belonging, as if the tongue itself is a homeland. the address “dear” softens the rebuke, blending affection with pride. the couplet thus frames language as love, legacy, and self-respect.
ja pade chup ho ke jab shahr-e-khamoshan men 'nazir' ye ghhazal ye rekhta ye sher-khvani phir kahan
rekhta-goi ki buniyad 'vali' ne daali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz
'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.
kya rekhta kam hai 'mushafi' ka bu aati hai is men farsi ki
qaaem main ghhazal taur kiya rekhta varna ik baat lachar si ba-zaban-e-dakani thi
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
jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta
'mushafi' garche ye sab kahte hain ham se behtar apni par rekhta-goi ki zaban aur hi hai
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.
guftugu rekhte men ham se na kar ye hamari zaban hai pyare
the speaker asserts ownership and intimacy with the language of rekhta (classical urdu), asking the other not to use it casually or presumptuously. “my language” signals identity and emotional belonging, as if the tongue itself is a homeland. the address “dear” softens the rebuke, blending affection with pride. the couplet thus frames language as love, legacy, and self-respect.
ab na 'ghhalib' se shikayat hai na shikva 'mir' ka ban gaya main bhi nishana rekhta ke tiir ka
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.
yaar ke aage padha ye rekhta ja kar 'nazir' sun ke bola vah-vah achchha kaha achchha kaha
rekhta-goi ki buniyad 'vali' ne daali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz
'qaem' jo kahen hain farsi yaar is se to ye rekhta hai behtar
kya rekhta kam hai 'mushafi' ka bu aati hai is men farsi ki
qaaem main ghhazal taur kiya rekhta varna ik baat lachar si ba-zaban-e-dakani thi
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
ik baat kahenge 'insha'-ji tumhen rekhta kahte umr hui tum ek jahan ka ilm padhe koi 'mir' sa sher kaha tum ne
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
'mushafi' garche ye sab kahte hain ham se behtar apni par rekhta-goi ki zaban aur hi hai
taba kah aur ghhazal, hai ye 'naziri' ka javab rekhta ye jo padha qabil-e-izhar na tha
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.
guftugu rekhte men ham se na kar ye hamari zaban hai pyare
the speaker asserts ownership and intimacy with the language of rekhta (classical urdu), asking the other not to use it casually or presumptuously. “my language” signals identity and emotional belonging, as if the tongue itself is a homeland. the address “dear” softens the rebuke, blending affection with pride. the couplet thus frames language as love, legacy, and self-respect.
ja pade chup ho ke jab shahr-e-khamoshan men 'nazir' ye ghhazal ye rekhta ye sher-khvani phir kahan
rekhta-goi ki buniyad 'vali' ne daali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz
'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.
kya rekhta kam hai 'mushafi' ka bu aati hai is men farsi ki
qaaem main ghhazal taur kiya rekhta varna ik baat lachar si ba-zaban-e-dakani thi
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
jab se maani-bandi ka charcha hua ai 'mushafi' khalte men jaata raha husn-e-zaban-e-rekhta
'mushafi' garche ye sab kahte hain ham se behtar apni par rekhta-goi ki zaban aur hi hai
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.
guftugu rekhte men ham se na kar ye hamari zaban hai pyare
the speaker asserts ownership and intimacy with the language of rekhta (classical urdu), asking the other not to use it casually or presumptuously. “my language” signals identity and emotional belonging, as if the tongue itself is a homeland. the address “dear” softens the rebuke, blending affection with pride. the couplet thus frames language as love, legacy, and self-respect.
ab na 'ghhalib' se shikayat hai na shikva 'mir' ka ban gaya main bhi nishana rekhta ke tiir ka
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.
yaar ke aage padha ye rekhta ja kar 'nazir' sun ke bola vah-vah achchha kaha achchha kaha
rekhta-goi ki buniyad 'vali' ne daali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz
'qaem' jo kahen hain farsi yaar is se to ye rekhta hai behtar
kya rekhta kam hai 'mushafi' ka bu aati hai is men farsi ki
qaaem main ghhazal taur kiya rekhta varna ik baat lachar si ba-zaban-e-dakani thi
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
ik baat kahenge 'insha'-ji tumhen rekhta kahte umr hui tum ek jahan ka ilm padhe koi 'mir' sa sher kaha tum ne
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
'mushafi' garche ye sab kahte hain ham se behtar apni par rekhta-goi ki zaban aur hi hai
taba kah aur ghhazal, hai ye 'naziri' ka javab rekhta ye jo padha qabil-e-izhar na tha
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.
