Poetry Collection
Playfulness is a typical quality of the beloved and it makes her all the more romantic and appealing. In other words, a beloved without some amount of coquetry or playfulness would not be so romantic. You may like to go through these examples that personify a beloved as one who is now bouncy, now mischievous, now playful, and now full of light wit.
Total
18
Sher
13
Ghazal
5
Is collection se writer-diverse top picks for quick reading.
faqat nigah se hota hai faisla dil ka na ho nigah men shokhi to dilbari kya hai
the couplet says that the first and deepest judgment of love is made through a glance. the eye becomes a language that reveals attraction, confidence, and intent without words. “shokhi” (playful boldness) in the gaze is presented as the very essence of allure; without it, beauty feels lifeless and persuasion fails.
puchha jo un se chand nikalta hai kis tarah zulfon ko rukh pe daal ke jhatka diya ki yuun
saath shokhi ke kuchh hijab bhi hai is ada ka kahin javab bhi hai
the poet (dagh dehlvi) marvels at a beloved whose charm is a rare blend: teasing liveliness paired with gentle restraint. the “hijab” is not just a literal veil but a metaphor for shyness and dignity that makes the coquetry more enchanting. this balance creates an elegance so distinctive that the speaker finds no possible comparison. the emotion is pure admiration, tinged with astonishment at her unmatched style.
parda-e-lutf men ye zulm-o-sitam kya kahiye haae zalim tira andaz-e-karam kya kahiye
the speaker says the beloved’s hurtful behavior is disguised as لطف—so it looks like kindness while functioning as ظلم. this creates sharp irony: “mercy” becomes a refined instrument of pain. the lament “haye zalim” shows helpless protest, while “andaaz-e-karam” exposes how love can dress cruelty in elegant manners. the couplet captures the emotional confusion of being wounded by someone who appears caring.
kaha main ne marta huun tum par to bole nikalte na dekha janaza kisi ka
shokhi-e-husn ke nazzare ki taqat hai kahan tifl-e-nadan huun main bijli se dahal jaata huun
jaane kya bhar di hain us ne is chaman men shokhiyan jo bhi aaya vo chaman ka raz-dan banta gaya
ishva bhi hai shokhi bhi tabassum bhi haya bhi zalim men aur ik baat hai is sab ke siva bhi
ye misra likh diya kis shokh ne mehrab-e-masjid par ye nadan gir gae sajdon men jab vaqt-e-qayam aaya
the couplet uses sharp irony: a “playful” inscription exposes how people follow religion as habit, not understanding. in prayer, standing (qiyam) has its place, yet they collapse into sajdah at the wrong moment, showing confusion and blind imitation. the mosque’s arch becomes a stage where their inner ignorance is revealed. the emotional core is a critique of empty ritual and a call for conscious, informed devotion.
faqat nigah se hota hai faisla dil ka na ho nigah men shokhi to dilbari kya hai
the couplet says that the first and deepest judgment of love is made through a glance. the eye becomes a language that reveals attraction, confidence, and intent without words. “shokhi” (playful boldness) in the gaze is presented as the very essence of allure; without it, beauty feels lifeless and persuasion fails.
puchha jo un se chand nikalta hai kis tarah zulfon ko rukh pe daal ke jhatka diya ki yuun
ishva bhi hai shokhi bhi tabassum bhi haya bhi zalim men aur ik baat hai is sab ke siva bhi
saath shokhi ke kuchh hijab bhi hai is ada ka kahin javab bhi hai
the poet (dagh dehlvi) marvels at a beloved whose charm is a rare blend: teasing liveliness paired with gentle restraint. the “hijab” is not just a literal veil but a metaphor for shyness and dignity that makes the coquetry more enchanting. this balance creates an elegance so distinctive that the speaker finds no possible comparison. the emotion is pure admiration, tinged with astonishment at her unmatched style.
zara un ki shokhi to dekhna liye zulf-e-kham-shuda haath men mere paas aae dabe dabe mujhe saanp kah ke dara diya
shokhi se thaharti nahin qatil ki nazar aaj ye barq-e-bala dekhiye girti hai kidhar aaj
dagh dehlvi portrays the beloved’s playful, roaming gaze as both seductive and deadly. calling it a “killer’s look” and a “lightning calamity” turns beauty into danger. the lover feels exposed and anxious, because the glance could fall on anyone, anywhere, and its ‘strike’ means emotional destruction. the core emotion is trembling suspense mixed with fascination.
shokhi-e-husn ke nazzare ki taqat hai kahan tifl-e-nadan huun main bijli se dahal jaata huun
ye misra likh diya kis shokh ne mehrab-e-masjid par ye nadan gir gae sajdon men jab vaqt-e-qayam aaya
the couplet uses sharp irony: a “playful” inscription exposes how people follow religion as habit, not understanding. in prayer, standing (qiyam) has its place, yet they collapse into sajdah at the wrong moment, showing confusion and blind imitation. the mosque’s arch becomes a stage where their inner ignorance is revealed. the emotional core is a critique of empty ritual and a call for conscious, informed devotion.
jaane kya bhar di hain us ne is chaman men shokhiyan jo bhi aaya vo chaman ka raz-dan banta gaya
You have reached the end.
Shokhi 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
Playfulness is a typical quality of the beloved and it makes her all the more romantic and appealing. In other words, a beloved without some amount of coquetry or playfulness would not be so romantic. You may like to go through these examples that personify a beloved as one who is now bouncy, now mischievous, now playful, and now full of light wit.
Total
18
Sher
13
Ghazal
5
Is collection se writer-diverse top picks for quick reading.
faqat nigah se hota hai faisla dil ka na ho nigah men shokhi to dilbari kya hai
the couplet says that the first and deepest judgment of love is made through a glance. the eye becomes a language that reveals attraction, confidence, and intent without words. “shokhi” (playful boldness) in the gaze is presented as the very essence of allure; without it, beauty feels lifeless and persuasion fails.
puchha jo un se chand nikalta hai kis tarah zulfon ko rukh pe daal ke jhatka diya ki yuun
saath shokhi ke kuchh hijab bhi hai is ada ka kahin javab bhi hai
the poet (dagh dehlvi) marvels at a beloved whose charm is a rare blend: teasing liveliness paired with gentle restraint. the “hijab” is not just a literal veil but a metaphor for shyness and dignity that makes the coquetry more enchanting. this balance creates an elegance so distinctive that the speaker finds no possible comparison. the emotion is pure admiration, tinged with astonishment at her unmatched style.
parda-e-lutf men ye zulm-o-sitam kya kahiye haae zalim tira andaz-e-karam kya kahiye
the speaker says the beloved’s hurtful behavior is disguised as لطف—so it looks like kindness while functioning as ظلم. this creates sharp irony: “mercy” becomes a refined instrument of pain. the lament “haye zalim” shows helpless protest, while “andaaz-e-karam” exposes how love can dress cruelty in elegant manners. the couplet captures the emotional confusion of being wounded by someone who appears caring.
kaha main ne marta huun tum par to bole nikalte na dekha janaza kisi ka
shokhi-e-husn ke nazzare ki taqat hai kahan tifl-e-nadan huun main bijli se dahal jaata huun
jaane kya bhar di hain us ne is chaman men shokhiyan jo bhi aaya vo chaman ka raz-dan banta gaya
ishva bhi hai shokhi bhi tabassum bhi haya bhi zalim men aur ik baat hai is sab ke siva bhi
ye misra likh diya kis shokh ne mehrab-e-masjid par ye nadan gir gae sajdon men jab vaqt-e-qayam aaya
the couplet uses sharp irony: a “playful” inscription exposes how people follow religion as habit, not understanding. in prayer, standing (qiyam) has its place, yet they collapse into sajdah at the wrong moment, showing confusion and blind imitation. the mosque’s arch becomes a stage where their inner ignorance is revealed. the emotional core is a critique of empty ritual and a call for conscious, informed devotion.
faqat nigah se hota hai faisla dil ka na ho nigah men shokhi to dilbari kya hai
the couplet says that the first and deepest judgment of love is made through a glance. the eye becomes a language that reveals attraction, confidence, and intent without words. “shokhi” (playful boldness) in the gaze is presented as the very essence of allure; without it, beauty feels lifeless and persuasion fails.
puchha jo un se chand nikalta hai kis tarah zulfon ko rukh pe daal ke jhatka diya ki yuun
ishva bhi hai shokhi bhi tabassum bhi haya bhi zalim men aur ik baat hai is sab ke siva bhi
saath shokhi ke kuchh hijab bhi hai is ada ka kahin javab bhi hai
the poet (dagh dehlvi) marvels at a beloved whose charm is a rare blend: teasing liveliness paired with gentle restraint. the “hijab” is not just a literal veil but a metaphor for shyness and dignity that makes the coquetry more enchanting. this balance creates an elegance so distinctive that the speaker finds no possible comparison. the emotion is pure admiration, tinged with astonishment at her unmatched style.
zara un ki shokhi to dekhna liye zulf-e-kham-shuda haath men mere paas aae dabe dabe mujhe saanp kah ke dara diya
shokhi se thaharti nahin qatil ki nazar aaj ye barq-e-bala dekhiye girti hai kidhar aaj
dagh dehlvi portrays the beloved’s playful, roaming gaze as both seductive and deadly. calling it a “killer’s look” and a “lightning calamity” turns beauty into danger. the lover feels exposed and anxious, because the glance could fall on anyone, anywhere, and its ‘strike’ means emotional destruction. the core emotion is trembling suspense mixed with fascination.
shokhi-e-husn ke nazzare ki taqat hai kahan tifl-e-nadan huun main bijli se dahal jaata huun
ye misra likh diya kis shokh ne mehrab-e-masjid par ye nadan gir gae sajdon men jab vaqt-e-qayam aaya
the couplet uses sharp irony: a “playful” inscription exposes how people follow religion as habit, not understanding. in prayer, standing (qiyam) has its place, yet they collapse into sajdah at the wrong moment, showing confusion and blind imitation. the mosque’s arch becomes a stage where their inner ignorance is revealed. the emotional core is a critique of empty ritual and a call for conscious, informed devotion.
jaane kya bhar di hain us ne is chaman men shokhiyan jo bhi aaya vo chaman ka raz-dan banta gaya
You have reached the end.
Shokhi 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.
