koi haath bhi na milaega jo gale miloge tapak se ye nae mizaj ka shahr hai zara fasle se mila karo

ab nahin koi baat khatre ki ab sabhi ko sabhi se khatra hai

thakna bhi lazmi tha kuchh kaam karte karte kuchh aur thak gaya huun aram karte karte

ek hi shahr men rahna hai magar milna nahin dekhte hain ye aziyyat bhi gavara kar ke

ghar men khud ko qaid to main ne aaj kiya hai tab bhi tanha tha jab mahfil mahfil tha main

kuchh roz nasir aao chalo ghar men raha jaae logon ko ye shikva hai ki ghar par nahin milta

main vo mahrum-e-inayat huun ki jis ne tujh se milna chaha to bichhadne ki vaba phuut padi

ab to mushkil hai kisi aur ka hona mire dost tu mujhe aise hua jaise corona mire dost

haal puchha na kare haath milaya na kare main isi dhuup men khush huun koi saaya na kare

bhuuk se ya vaba se marna hai faisla aadmi ko karna hai

jaan hai to jahan hai dil hai to aarzu bhi hai ishq bhi ho rahega phir jaan abhi bachaiye

ghum-phir kar na qatl-e-am kare jo jahan hai vahin qayam kare

ghar rahiye ki bahar hai ik raqs balaon ka is mausam-e-vahshat men nadan nikalte hain

kaisa chaman ki ham se asiron ko mana hai chak-e-qafas se baaghh ki divar dekhna

meer paints a cruel “garden” where the captive is denied even a glimpse of the outside. the garden suggests beauty, life, and freedom, while the cage stands for confinement and helplessness. even the tiny cracks that could offer hope are policed, intensifying the sense of injustice. the emotional core is yearning: being so near to beauty yet kept from it.

mumkin hai yahi dil ke milane ka sabab ho ye rut jo hamen haath milane nahin deti

aap hi aap diye bujhte chale jaate hain aur aaseb dikhai bhi nahin deta hai

shahr gum-sum raste sunsan ghar khamosh hain kya bala utri hai kyuun divar-o-dar khamosh hain

raste hain khule hue saare phir bhi ye zindagi ruki hui hai

tenshan se marega na corone se marega ik shakhs tire paas na hone se marega

in duriyon ne aur badha di hain qurbaten sab fasle vaba ki tavalat se mit gae

koi haath bhi na milaega jo gale miloge tapak se ye nae mizaj ka shahr hai zara fasle se mila karo

ab nahin koi baat khatre ki ab sabhi ko sabhi se khatra hai

thakna bhi lazmi tha kuchh kaam karte karte kuchh aur thak gaya huun aram karte karte

ek hi shahr men rahna hai magar milna nahin dekhte hain ye aziyyat bhi gavara kar ke

raste hain khule hue saare phir bhi ye zindagi ruki hui hai

ghar men khud ko qaid to main ne aaj kiya hai tab bhi tanha tha jab mahfil mahfil tha main

ye jo milate phirte ho tum har kisi se haath aisa na ho ki dhona pade zindagi se haath

main vo mahrum-e-inayat huun ki jis ne tujh se milna chaha to bichhadne ki vaba phuut padi

ye kah ke us ne mujhe makhmase men daal diya milao haath agar vaqai mohabbat hai

tenshan se marega na corone se marega ik shakhs tire paas na hone se marega

haal puchha na kare haath milaya na kare main isi dhuup men khush huun koi saaya na kare

bhuuk se ya vaba se marna hai faisla aadmi ko karna hai

jaan hai to jahan hai dil hai to aarzu bhi hai ishq bhi ho rahega phir jaan abhi bachaiye

ghum-phir kar na qatl-e-am kare jo jahan hai vahin qayam kare

ghar rahiye ki bahar hai ik raqs balaon ka is mausam-e-vahshat men nadan nikalte hain

kaisa chaman ki ham se asiron ko mana hai chak-e-qafas se baaghh ki divar dekhna

meer paints a cruel “garden” where the captive is denied even a glimpse of the outside. the garden suggests beauty, life, and freedom, while the cage stands for confinement and helplessness. even the tiny cracks that could offer hope are policed, intensifying the sense of injustice. the emotional core is yearning: being so near to beauty yet kept from it.

bazar hain khamosh to galiyon pe hai sakta ab shahr men tanhai ka dar bol raha hai

mumkin hai yahi dil ke milane ka sabab ho ye rut jo hamen haath milane nahin deti

aap hi aap diye bujhte chale jaate hain aur aaseb dikhai bhi nahin deta hai

koi dava bhi nahin hai yahi to rona hai sad ehtiyat ki phaila hua corona hai