Shokhi

faqat nigah se hota hai faisla dil ka na ho nigah mein 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 dal ke jhatka diya ki yun

jo kaha main ne ki pyar aata hai mujh ko tum par hans ke kahne laga aur aap ko aata kya hai laughing, she inquired when, i said "i love you" is there anything else at all that you know to do

ishwa bhi hai shokhi bhi tabassum bhi haya bhi zalim mein aur ek baat hai is sab ke siwa bhi

sath shokhi ke kuchh hijab bhi hai is ada ka kahin jawab 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 mein ye zulm-o-sitam kya kahiye hae zalim tera 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.

zara un ki shokhi to dekhna liye zulf-e-kham-shuda hath mein mere pas aae dabe dabe mujhe sanp 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.

kaha main ne marta hun tum par to bole nikalte na dekha janaza kisi ka

shokhi-e-husn ke nazzare ki taqat hai kahan tifl-e-nadan hun main bijli se dahal jata hun

ye misra likh diya kis shokh ne mehrab-e-masjid par ye nadan gir gae sajdon mein jab waqt-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.

badhti rahi nigah bahakte rahe qadam guzra hai is tarah bhi zamana shabab ka

jaane kya bhar di hain us ne is chaman mein shokhiyan jo bhi aaya wo chaman ka raaz-dan banta gaya