raat aa kar guzar bhi jaati hai ik hamari sahar nahin hoti

nai subh par nazar hai magar aah ye bhi dar hai ye sahar bhi rafta rafta kahin shaam tak na pahunche

kaun si baat nai ai dil-e-nakam hui shaam se subh hui subh se phir shaam hui

o luckless heart what was new today you tell me pray day first turned into night, then night turned into day

ab aa gai hai sahar apna ghar sambhalne ko chalun ki jaaga hua raat bhar ka main bhi huun

rone vaale hue chup hijr ki duniya badli shama be-nur hui subh ka taara nikla

the couplet portrays a sudden shift in the mood of separation: grief that once spilled out as tears turns into stunned quiet. the dimming candle suggests the night’s sorrow and its familiar consolations fading away. with the morning star’s rise, a new phase begins—pain is not gone, but the scene has changed from night to dawn, from lament to quiet endurance.

numud-e-subh se shab ki vo tirgi to gai ye aur baat ki suraj men raushni kam hai

aa hi pahunchi ik dariche se shua-e-aftab main ye samjha tha shab-e-ghham ki sahar koi nahin

subh-dam sehn-e-gulistan men saba ke jhonke atish-e-dard-e-mohabbat ko hava dete hain

hijr ki shab ko yaan taiin tadpa ki hua subh hote mera visal

the couplet captures the lover’s intense anguish during a long, sleepless night of separation. the phrase “to such an extent” suggests pain stretched to its limit, until dawn arrives like relief. morning becomes a metaphor for hope and resolution: after enduring the darkest hours, union occurs. emotionally, it moves from torment to release in a single breath.

sahar ke saath hoga chaak mera daman-e-hasti ba-rang-e-shama bazm-e-dahr men mehman huun shab bhar ka

raat aa kar guzar bhi jaati hai ik hamari sahar nahin hoti

nai subh par nazar hai magar aah ye bhi dar hai ye sahar bhi rafta rafta kahin shaam tak na pahunche

kaun si baat nai ai dil-e-nakam hui shaam se subh hui subh se phir shaam hui

o luckless heart what was new today you tell me pray day first turned into night, then night turned into day

ab aa gai hai sahar apna ghar sambhalne ko chalun ki jaaga hua raat bhar ka main bhi huun

rone vaale hue chup hijr ki duniya badli shama be-nur hui subh ka taara nikla

the couplet portrays a sudden shift in the mood of separation: grief that once spilled out as tears turns into stunned quiet. the dimming candle suggests the night’s sorrow and its familiar consolations fading away. with the morning star’s rise, a new phase begins—pain is not gone, but the scene has changed from night to dawn, from lament to quiet endurance.

numud-e-subh se shab ki vo tirgi to gai ye aur baat ki suraj men raushni kam hai

aa hi pahunchi ik dariche se shua-e-aftab main ye samjha tha shab-e-ghham ki sahar koi nahin

subh-dam sehn-e-gulistan men saba ke jhonke atish-e-dard-e-mohabbat ko hava dete hain

hijr ki shab ko yaan taiin tadpa ki hua subh hote mera visal

the couplet captures the lover’s intense anguish during a long, sleepless night of separation. the phrase “to such an extent” suggests pain stretched to its limit, until dawn arrives like relief. morning becomes a metaphor for hope and resolution: after enduring the darkest hours, union occurs. emotionally, it moves from torment to release in a single breath.

sahar ke saath hoga chaak mera daman-e-hasti ba-rang-e-shama bazm-e-dahr men mehman huun shab bhar ka