tum bhuul kar bhi yaad nahin karte ho kabhi ham to tumhari yaad men sab kuchh bhula chuke

this couplet presents a stark contrast between the total indifference of the beloved and the absolute absorption of the lover. the poet complains that while the beloved cannot bring themselves to think of him even accidentally, he has sacrificed his awareness of the entire world just to remain immersed in thoughts of her. it highlights the pain of one-sided devotion.

naaz hai gul ko nazakat pe chaman men ai 'zauq' us ne dekhe hi nahin naz-o-nazakat vaale

the poet uses a classic metaphor comparing the beloved to a rose. he mocks the rose's vanity, suggesting that its pride in being delicate is born of ignorance. if the rose were to witness the beloved's superior elegance and tenderness, its arrogance would instantly vanish.

zahid sharab piine se kafir hua main kyuun kya dedh chullu paani men 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.

ai 'zauq' takalluf men hai taklif sarasar aram men hai vo jo takalluf nahin karta

save trouble, in formality, zauq nothing else can be at ease he then remains he who, eschews formality the poet argues that social etiquette and formal behavior ('takalluf'), often adopted to please others, actually impose a heavy burden of suffering on the individual. true peace of mind is found only in simplicity, where one is free from the exhausting obligations of artificial manners and societal expectations.

'zauq' jo madrase ke bigde hue hain mulla un ko mai-khane men le aao sanvar jaenge

this verse is a witty satire on religious dogmatism. the poet suggests that the formal seminary (madrasa) breeds arrogance and rigidity in clerics, whereas the tavern (a metaphor for the path of love and selflessness) cures the ego. it inverts conventional morality, claiming that 'sinful' places can teach humility better than places of worship.

ek aansu ne duboya mujh ko un ki bazm men buund bhar paani se saari aabru paani hui

a single tear caused my fall in her company just a drop of water drowned my dignity the poet laments that a momentary lapse in emotional control, manifested as a single tear, destroyed his dignity in the beloved's assembly. he uses a clever play on the word 'water,' contrasting the physical teardrop with the metaphorical liquefying of his honor, implying that this small sign of weakness completely washed away his social standing.

maalum jo hota hamen anjam-e-mohabbat lete na kabhi bhuul ke ham nam-e-mohabat

had i known this is how love would end even its name would not cross my lips my friend the poet expresses deep remorse over falling in love, emphasizing the pain and tragedy that awaits at the end of the journey. he suggests that love is so destructive that had he foreseen the outcome, he would have avoided even the slightest association with it.

ham rone pe aa jaaen to dariya hi baha den shabnam ki tarah se hamen rona nahin aata

this couplet is a classic example of poetic exaggeration (hyperbole) used to express the immense depth of the poet's sorrow. he contrasts his overwhelming grief with the delicate, insignificant nature of dew drops, asserting that his pain demands a flood-like release rather than silent, suppressed tears.

kitne muflis ho gae kitne tavangar ho gae khaak men jab mil gae donon barabar ho gae

however many paupers passed, and wealthy went and came when they were consigned to dust they were all the same this couplet highlights the transient nature of worldly status and wealth. zauq reminds the reader that while society divides people into rich and poor, death serves as the ultimate equalizer. in the end, everyone returns to the same earth, rendering all social hierarchies meaningless.

adamiyyat aur shai hai ilm hai kuchh aur shai kitna tote ko padhaya par vo haivan hi raha

zauq distinguishes between accumulating information (knowledge) and possessing moral character (humanity). he uses the metaphor of a parrot, which can mimic human speech through training but lacks human consciousness or ethics. the verse suggests that education alone cannot transform a person's basic nature if true humanity is missing.

masjid men us ne ham ko ankhen dikha ke maara kafir ki shokhi dekho ghar men khuda ke maara

this couplet playfully contrasts the sanctity of a place of worship with the worldly power of romantic attraction. the poet refers to the beloved as a 'kafir' (infidel) to highlight their cruelty or lack of religious regard, noting the irony that the beloved used the lethal power of their gaze to 'kill' the lover within the safety of a mosque.

ai shama teri umr-e-tabii hai ek raat hans kar guzar ya ise ro kar guzar de

the poet uses the metaphor of a candle to illustrate the brevity of life, noting that its entire existence is limited to just one dark night. since the end is inevitable and the time is short, the poet suggests that complaining is futile. it serves as a philosophical reminder that while we cannot control the length of our life, we can choose our attitude towards it.

khat badha kakul badhe zulfen badhin gesu badhe husn ki sarkar men jitne badhe hindu badhe

this couplet relies on a classical poetic trope where the word 'hindu' represents the color black. zauq playfully describes the overgrowth of facial hair and locks on the beloved's face, suggesting that in the realm of beauty, the dark elements (hair) are the only ones getting promoted or increasing in influence.

sab ko duniya ki havas khvar liye phirti hai kaun phirta hai ye murdar liye phirti hai

the poet critiques the human obsession with material life, describing worldly greed as an active force that humiliates people. he suggests that humans have lost their agency; they are not moving of their own free will but are being dragged around by their base desires for the world, which is metaphorically compared to a rotting carcass.

tum bhuul kar bhi yaad nahin karte ho kabhi ham to tumhari yaad men sab kuchh bhula chuke

this couplet presents a stark contrast between the total indifference of the beloved and the absolute absorption of the lover. the poet complains that while the beloved cannot bring themselves to think of him even accidentally, he has sacrificed his awareness of the entire world just to remain immersed in thoughts of her. it highlights the pain of one-sided devotion.

ab to ghabra ke ye kahte hain ki mar jaenge mar ke bhi chain na paaya to kidhar jaenge

being agitated i express the hope to die, although in death, if solace is not found, then where shall i go? the poet expresses a state of extreme distress where life has become unbearable, making death appear as the only solution for relief. however, a terrifying realization strikes him: if the soul's torment is eternal and continues in the afterlife, there is truly no refuge left in the entire universe. it highlights the inescapable nature of the lover's suffering.

ai 'zauq' takalluf men hai taklif sarasar aram men hai vo jo takalluf nahin karta

save trouble, in formality, zauq nothing else can be at ease he then remains he who, eschews formality the poet argues that social etiquette and formal behavior ('takalluf'), often adopted to please others, actually impose a heavy burden of suffering on the individual. true peace of mind is found only in simplicity, where one is free from the exhausting obligations of artificial manners and societal expectations.

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.

ek aansu ne duboya mujh ko un ki bazm men buund bhar paani se saari aabru paani hui

a single tear caused my fall in her company just a drop of water drowned my dignity the poet laments that a momentary lapse in emotional control, manifested as a single tear, destroyed his dignity in the beloved's assembly. he uses a clever play on the word 'water,' contrasting the physical teardrop with the metaphorical liquefying of his honor, implying that this small sign of weakness completely washed away his social standing.

baja kahe jise aalam use baja samjho zaban-e-khalq ko naqqara-e-khuda samjho

this couplet highlights the sanctity and weight of public consensus. it draws upon the concept that when a large number of people agree on something, it carries a divine validation, akin to the maxim 'vox populi, vox dei' (the voice of the people is the voice of god). therefore, one should respect collective judgment as a reflection of truth.

ham rone pe aa jaaen to dariya hi baha den shabnam ki tarah se hamen rona nahin aata

this couplet is a classic example of poetic exaggeration (hyperbole) used to express the immense depth of the poet's sorrow. he contrasts his overwhelming grief with the delicate, insignificant nature of dew drops, asserting that his pain demands a flood-like release rather than silent, suppressed tears.

laai hayat aae qaza le chali chale apni khushi na aae na apni khushi chale

this couplet captures the philosophical essence of human helplessness regarding existence. it highlights that the two most significant events—birth and death—are entirely out of human control. man is portrayed as a traveler who follows the dictates of fate without any personal agency in the beginning or the end of his journey.

adamiyyat aur shai hai ilm hai kuchh aur shai kitna tote ko padhaya par vo haivan hi raha

zauq distinguishes between accumulating information (knowledge) and possessing moral character (humanity). he uses the metaphor of a parrot, which can mimic human speech through training but lacks human consciousness or ethics. the verse suggests that education alone cannot transform a person's basic nature if true humanity is missing.

naaz hai gul ko nazakat pe chaman men ai 'zauq' us ne dekhe hi nahin naz-o-nazakat vaale

the poet uses a classic metaphor comparing the beloved to a rose. he mocks the rose's vanity, suggesting that its pride in being delicate is born of ignorance. if the rose were to witness the beloved's superior elegance and tenderness, its arrogance would instantly vanish.

masjid men us ne ham ko ankhen dikha ke maara kafir ki shokhi dekho ghar men khuda ke maara

this couplet playfully contrasts the sanctity of a place of worship with the worldly power of romantic attraction. the poet refers to the beloved as a 'kafir' (infidel) to highlight their cruelty or lack of religious regard, noting the irony that the beloved used the lethal power of their gaze to 'kill' the lover within the safety of a mosque.

ai shama teri umr-e-tabii hai ek raat hans kar guzar ya ise ro kar guzar de

the poet uses the metaphor of a candle to illustrate the brevity of life, noting that its entire existence is limited to just one dark night. since the end is inevitable and the time is short, the poet suggests that complaining is futile. it serves as a philosophical reminder that while we cannot control the length of our life, we can choose our attitude towards it.

khat badha kakul badhe zulfen badhin gesu badhe husn ki sarkar men jitne badhe hindu badhe

this couplet relies on a classical poetic trope where the word 'hindu' represents the color black. zauq playfully describes the overgrowth of facial hair and locks on the beloved's face, suggesting that in the realm of beauty, the dark elements (hair) are the only ones getting promoted or increasing in influence.

sab ko duniya ki havas khvar liye phirti hai kaun phirta hai ye murdar liye phirti hai

the poet critiques the human obsession with material life, describing worldly greed as an active force that humiliates people. he suggests that humans have lost their agency; they are not moving of their own free will but are being dragged around by their base desires for the world, which is metaphorically compared to a rotting carcass.