Rekhta

rekhte ke tumhin ustad nahin ho 'ghaalib' kahte hain agle zamane mein 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 mein hum 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.

padhte phirenge galiyon mein in rekhton ko log muddat rahengi yaad ye baaten 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 'ghaalib' se shikayat hai na shikwa 'mir' ka ban gaya main bhi nishana rekhta ke tir ka

jo ye kahe ki rekhta kyunke ho rashk-e-farsi gufta-e-'ghaalib' ek bar padh ke use suna ki yun 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.

ja pade chup ho ke jab shahr-e-khamoshan mein 'nazir' ye ghazal ye rekhta ye sher-khwani phir kahan

yar ke aage padha ye rekhta ja kar 'nazir' sun ke bola wah-wah achchha kaha achchha kaha

rekhta-goi ki buniyaad 'wali' ne dali baad-azan khalq ko 'mirza' se hai aur 'mir' se faiz

ye nazm-e-ain ye tarz-e-bandish sukhanwari hai fusun-gari hai ki rekhta mein bhi tere 'shibli' maza hai tarz-e-'ali-hazin' ka

'qaem' jo kahen hain farsi yar is se to ye rekhta hai behtar

kya rekhta kam hai 'mushafi' ka bu aati hai is mein farsi ki

rekhta ke qasr ki buniyaad uthai ai 'nasir' kaam hai mulk-e-sukhan mein sahib-e-maqdur ka

qaem main ghazal taur kiya rekhta warna ek 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

mue ne munh ki khai phir bhi ye zor zori ye rekhti hai bhai tum rekhta to jaano

aankhen na chura 'mushafi'-e-rekhta-go se ek umr se tera hai sana-khwan idhar dekh

ek baat kahenge 'insha'-ji tumhein rekhta kahte umr hui tum ek jahan ka ilm padhe koi 'mir' sa sher kaha tum ne

'qaem' main rekhta ko diya khilat-e-qubul warna ye pesh-e-ahl-e-hunar kya kamal tha

pech de de lafz o mani ko banate hain kulaft aur wo phir us pe rakhte hain guman-e-rekhta

jab se mani-bandi ka charcha hua ai 'mushafi' khalte mein jata raha husn-e-zaban-e-rekhta

kyun na aa kar us ke sunne ko karen sab yar bhid 'abru' ye rekhta tu nin kaha hai dhum ka

'mushafi' garche ye sab kahte hain hum se behtar apni par rekhta-goi ki zaban aur hi hai

taba kah aur ghazal, hai ye 'naziri' ka jawab rekhta ye jo padha qabil-e-izhaar na tha