Tasawwuf

tar-damani pe shaikh hamari na jaiyo daman nichod den to farishte wazu karen do not be deceived by it damp disposition if i wring my cloak, angels will do ablution

bas jaan gaya main teri pahchan yahi hai tu dil mein to aata hai samajh mein nahin aata

hai ghalat gar guman mein kuchh hai tujh siwa bhi jahan mein kuchh hai

zahir ki aankh se na tamasha kare koi ho dekhna to dida-e-dil wa kare koi allama iqbal contrasts physical sight with inner insight. the “outward eye” catches appearances and distractions, while the “eye of the heart” symbolizes awakened conscience and spiritual perception. the couplet urges a shift from surface-level looking to deeper seeing, where truth becomes visible. its emotional core is a call to inner awakening and meaningful understanding.

ze-haal-e-miskin makun taghaful durae nainan banae batiyan ki tab-e-hijran nadaram ai jaan na lehu kahe lagae chhatiyan

jag mein aa kar idhar udhar dekha tu hi aaya nazar jidhar dekha

khabar-e-tahayyur-e-ishq sun na junun raha na pari rahi na to tu raha na to main raha jo rahi so be-khabari rahi

arz-o-sama kahan teri wusat ko pa sake mera hi dil hai wo ki jahan tu sama sake

shaban-e-hijran daraaz chun zulf roz-e-waslat chu umr kotah sakhi piya ko jo main na dekhun to kaise katun andheri ratiyan

jaan se ho gae badan khali jis taraf tu ne aankh bhar dekha

tamasha-e-dair-o-haram dekhte hain tujhe har bahane se hum dekhte hain the lover claims to be roaming between “dair” (temple) and “haram” (the sacred sanctuary), as if on a religious or cultural outing. but this is only a veil: every journey and every ‘spectacle’ is a pretext to catch a glimpse of the beloved. the couplet fuses sacred spaces with romantic desire, showing how obsession turns the whole world into a route toward one face.

har tamanna dil se rukhsat ho gai ab to aa ja ab to khalwat ho gai

dil-e-har-qatra hai saz-e-anal-bahar hum us ke hain hamara puchhna kya ghalib portrays each individual soul as a tiny “drop” that still resonates with the grandeur of the ocean, suggesting unity between part and whole. the phrase “i am the sea” becomes a metaphor for inner vastness and oneness with the infinite. in the second line, the speaker dissolves personal ownership: once you are of the beloved/absolute, claims of “mine” lose meaning. the emotional core is awe, self-effacement, and serene surrender.

kah sake kaun ki ye jalwagari kis ki hai parda chhoda hai wo us ne ki uthae na bane ghalib explores the mystical paradox of the divine being both revealed and concealed simultaneously. the universe is a manifestation of god's beauty, yet this physical world serves as an impenetrable veil that hides his true essence. the poet suggests that the mystery of existence is designed so profoundly that human intellect is incapable of uncovering the ultimate reality.

laya hai mera shauq mujhe parde se bahar main warna wahi khalwati-e-raaz-e-nihan hun translation my own passion brought me out from behind the curtain, for i am really one who dwells in mystery, in secret seclusion. shamsur rahman faruqi the speaker says it isn’t habit or show that makes him appear openly; it is desire that pulls him out of concealment. the “veil” stands for privacy, restraint, or anonymity, while “solitude of hidden secrets” suggests an inward, guarded nature. emotionally, the couplet frames self-revelation as something forced by passion, not chosen by temperament.

tha mustaar husn se us ke jo nur tha khurshid mein bhi us hi ka zarra zuhur tha the couplet exalts the beloved’s beauty as the original fountain of light, making all other brightness seem secondary. “borrowed” suggests that whatever radiance the speaker (or the world) possesses is not its own, but taken from the beloved. by saying the sun itself contains only a “particle” of her manifestation, the poet intensifies the metaphor: earthly and cosmic light are mere traces of the beloved’s splendor. the emotional core is awe and surrender before an overpowering beauty.

dariya se mauj mauj se dariya juda nahin hum se juda nahin hai khuda aur khuda se hum

tu hi zahir hai tu hi baatin hai tu hi tu hai to main kahan tak hun

fareb-e-jalwa kahan tak ba-ru-e-kar rahe naqab uthao ki kuchh din zara bahaar rahe

karen hum kis ki puja aur chadhaen kis ko chandan hum sanam hum dair hum but-khana hum but hum barahman hum

hain wo sufi jo kabhi nala-e-naqus suna wajd karne lage hum dil ka ajab haal hua

in aankhon ko jab se basarat mili hai siwa tere kuchh main ne dekha nahin hai

donon aalam se wo begana nazar aata hai jo tere ishq mein diwana nazar aata hai

karkhana hai usi husn ka aalam sara bas jidhar us ne lagaya hai udhar lag gae hain

tamam hosh ki duniya nisar hai us par teri gali mein jise nind aa gai hogi

na dair mein na haram mein jabin jhuki hogi tumhaare dar pe ada meri bandagi hogi

mera sar kat ke maqtal mein gire qatil ke qadmon par dam-e-akhir ada yun sajda-e-shukrana ho jae

itna to jaante hain ki aashiq fana hua aur us se aage badh ke khuda jaane kya hua

bijli tere jalwon ki gir jae kabhi mujh par ai jaan meri hasti is aag mein jal jae

aarzu hasrat tamanna muddaa koi nahin jab se tum ho mere dil mein dusra koi nahin