Sher

duniya ne tajrabaat o hawadis ki shakl mein jo kuchh mujhe diya hai wo lauta raha hun main

khulta kisi pe kyun mere dil ka moamla sheron ke intikhab ne ruswa kiya mujhe the poet wonders how his hidden love or inner turmoil became public knowledge, as he had guarded it carefully. he realizes that the specific poems he chose to recite or quote betrayed him; their content mirrored his own situation so perfectly that his listeners immediately understood his secret state, leading to his social exposure.

mujh ko shaer na kaho 'mir' ki sahab main ne dard o gham kitne kiye jama to diwan kiya call me not a poet, miir, a million sorrows i have collected to produce a meer frames poetry as the distilled record of lived suffering, not a proud title. the “divan” is portrayed as an archive made by collecting grief piece by piece. the emotional core is modesty mixed with a quiet insistence: his art is earned through pain. the metaphor turns personal wounds into literary wealth.

ashaar mere yun to zamane ke liye hain kuchh sher faqat un ko sunane ke liye hain

apni ruswai tere nam ka charcha dekhun ek zara sher kahun aur main kya kya dekhun

sher dar-asl hain wahi 'hasrat' sunte hi dil mein jo utar jaen

hum se puchho ki ghazal kya hai ghazal ka fan kya chand lafzon mein koi aag chhupa di jae

ghazal ka sher to hota hai bas kisi ke liye magar sitam hai ki sab ko sunana padta hai

bandish-e-alfaz jadne se nagon ke kam nahin shairi bhi kaam hai 'atish' murassa-saz ka

shaer ko mast karti hai tarif-e-sher 'amir' sau botalon ka nashsha hai is wah wah mein

hai mashq-e-sukhan jari chakki ki mashaqqat bhi ek turfa tamasha hai 'hasrat' ki tabiat bhi

rahta sukhan se nam qayamat talak hai 'zauq' aulad se rahe yahi do pusht chaar pusht the poet contrasts the permanence of artistic creation with the transience of biological lineage. while descendants can only preserve a family name for a short time, literature and poetry grant the creator a form of immortality that lasts until the end of the world. it suggests that intellectual legacy is far superior to physical lineage.

chhupi hai an-ginat chingariyan lafzon ke daman mein zara padhna ghazal ki ye kitab aahista aahista

hazaron sher mere so gae kaghaz ki qabron mein ajab man hun koi bachcha mera zinda nahin rahta

apne lahje ki hifazat kijiye sher ho jate hain na-malum bhi

diary mein sare achchhe sher chun kar likh liye ek ladki ne mera diwan khali kar diya

log kahte hain ki fann-e-shairi manhus hai sher kahte kahte main deputy collector ho gaya

wahi rah jate hain zabanon par sher jo intikhab hote hain

kahin kahin se kuchh misre ek-adh ghazal kuchh sher is punji par kitna shor macha sakta tha main

ye shairi ye kitaben ye aayaten dil ki nishaniyan ye sabhi tujh pe warna hongi

sau sher ek jalse mein kahte the hum 'amir' jab tak na sher kahne ka hum ko shuur tha

sada samjho na inhen rahne do diwan mein 'amir' yahi ashaar zabanon pe hain rahne wale

zindagi bhar ki kamai yahi misre do-chaar is kamai pe to izzat nahin milne wali

hamare sher hain ab sirf dil-lagi ke 'asad' khula ki faeda arz-e-hunar mein khak nahin the poet speaks with bitter clarity: once he sought recognition through poetry, but experience has taught him that displaying talent brings no reward. so he reframes his verses as mere “pastime,” a protective lowering of expectations. the phrase “khak” (dust) stresses utter worthlessness, turning the couplet into a confession of disillusionment with worldly appreciation.

shairi taza zamanon ki hai meamar 'faraaz' ye bhi ek silsila-e-kun-fayakun hai yun hai

sukhan mein sahl nahin jaan nikal kar rakhna ye zindagi hai hamari sambhaal kar rakhna

khushk seron tan-e-shaer ka lahu hota hai tab nazar aati hai ek misra-e-tar ki surat

mera har sher hai ek raaz-e-haqiqat 'bekhud' main hun urdu ka 'naziri' mujhe tu kya samjha

sher se shairi se darte hain kam-nazar raushni se darte hain

rah-e-mazmun-e-taza band nahin ta qayamat khula hai bab-e-sukhan