teri surat se kisi ki nahin milti surat ham jahan men tiri tasvir liye phirte hain

yun bhi hua kamal mere pas aa gai

yuun bhi hua kamal mire paas aa gai hairat hai zindagi ko miri shakl bha gai mujh se juda kiya hai mujhe us ke khvab ne ankhon men ik hasin si tasvir chha gai donon taraf ki aag ne kya kya nahin kiya donon ki niind chhin li aur chain kha gai main bhi tamam raat jala huun usi ke saath us ki bhi ek ek ada zulm dha gai honton pe raqs karti miri intihai pyaas guzri hadon se aise ki manzil ko pa gai yun bhi hua kamal mere pas aa gai hairat hai zindagi ko meri shakl bha gai mujh se juda kiya hai mujhe us ke khwab ne aankhon mein ek hasin si taswir chha gai donon taraf ki aag ne kya kya nahin kiya donon ki nind chhin li aur chain kha gai main bhi tamam raat jala hun usi ke sath us ki bhi ek ek ada zulm dha gai honton pe raqs karti meri intihai pyas guzri hadon se aise ki manzil ko pa gai

dil ke aine men hai tasvir-e-yar jab zara gardan jhukai dekh li

apne jaisi koi tasvir banani thi mujhe mire andar se sabhi rang tumhare nikle

chup-chap sunti rahti hai pahron shab-e-firaq tasvir-e-yar ko hai miri guftugu pasand the speaker is alone in the night of separation, talking to a mere image as if it were alive. the “night” becomes a patient listener, and the portrait becomes a substitute beloved that receives his words. the couplet captures loneliness and longing, where memory turns an inanimate picture into a companion. it also hints at self-deception: only the image “responds” by seeming to approve.

rang khushbu aur mausam ka bahana ho gaya apni hi tasvir men chehra purana ho gaya

mujh ko aksar udaas karti hai ek tasvir muskurati hui

jo chup-chap rahti thi divar par vo tasvir baten banane lagi

apni tasvir banaoge to hoga ehsas kitna dushvar hai khud ko koi chehra dena

main ne to yunhi raakh men pheri thiin ungliyan dekha jo ghhaur se tiri tasvir ban gai

dilli ke na the kuche auraq-e-musavvar the jo shakl nazar aai tasvir nazar aai meer taqi meer portrays delhi as so altered and ghostly that it no longer feels like a living city. the lanes seem like drawn, lifeless “illustrated pages,” and every sight turns into a mere image. the metaphor suggests devastation and emotional numbness: reality has been reduced to a static scene. it is grief and nostalgia seeing the world as art because life has drained from it.

kuchh to is dil ko saza di jaae us ki tasvir hata di jaae

lagta hai kai raton ka jaaga tha musavvir tasvir ki ankhon se thakan jhank rahi hai

jis se ye tabiat badi mushkil se lagi thi dekha to vo tasvir har ik dil se lagi thi

rafta rafta sab tasviren dhundli hone lagti hain kitne chehre ek purane album men mar jaate hain

rang darkar the ham ko tiri khamoshi ke ek avaz ki tasvir banani thi hamen

ik mohabbat ki ye tasvir hai do rangon men shauq sab mera hai aur saari haya us ki hai

mujhe ye zoam ki main husn ka musavvir huun unhen ye naaz ki tasvir to hamari hai

khamushi teri miri jaan liye leti hai apni tasvir se bahar tujhe aana hoga

koi tasvir mukammal nahin hone paati dhuup dete hain to saaya nahin rahne dete

teri surat se kisi ki nahin milti surat ham jahan men tiri tasvir liye phirte hain

yun bhi hua kamal mere pas aa gai

yuun bhi hua kamal mire paas aa gai hairat hai zindagi ko miri shakl bha gai mujh se juda kiya hai mujhe us ke khvab ne ankhon men ik hasin si tasvir chha gai donon taraf ki aag ne kya kya nahin kiya donon ki niind chhin li aur chain kha gai main bhi tamam raat jala huun usi ke saath us ki bhi ek ek ada zulm dha gai honton pe raqs karti miri intihai pyaas guzri hadon se aise ki manzil ko pa gai yun bhi hua kamal mere pas aa gai hairat hai zindagi ko meri shakl bha gai mujh se juda kiya hai mujhe us ke khwab ne aankhon mein ek hasin si taswir chha gai donon taraf ki aag ne kya kya nahin kiya donon ki nind chhin li aur chain kha gai main bhi tamam raat jala hun usi ke sath us ki bhi ek ek ada zulm dha gai honton pe raqs karti meri intihai pyas guzri hadon se aise ki manzil ko pa gai

dil ke aine men hai tasvir-e-yar jab zara gardan jhukai dekh li

apne jaisi koi tasvir banani thi mujhe mire andar se sabhi rang tumhare nikle

chup-chap sunti rahti hai pahron shab-e-firaq tasvir-e-yar ko hai miri guftugu pasand the speaker is alone in the night of separation, talking to a mere image as if it were alive. the “night” becomes a patient listener, and the portrait becomes a substitute beloved that receives his words. the couplet captures loneliness and longing, where memory turns an inanimate picture into a companion. it also hints at self-deception: only the image “responds” by seeming to approve.

rang khushbu aur mausam ka bahana ho gaya apni hi tasvir men chehra purana ho gaya

mujh ko aksar udaas karti hai ek tasvir muskurati hui

jo chup-chap rahti thi divar par vo tasvir baten banane lagi

apni tasvir banaoge to hoga ehsas kitna dushvar hai khud ko koi chehra dena

main ne to yunhi raakh men pheri thiin ungliyan dekha jo ghhaur se tiri tasvir ban gai

dilli ke na the kuche auraq-e-musavvar the jo shakl nazar aai tasvir nazar aai meer taqi meer portrays delhi as so altered and ghostly that it no longer feels like a living city. the lanes seem like drawn, lifeless “illustrated pages,” and every sight turns into a mere image. the metaphor suggests devastation and emotional numbness: reality has been reduced to a static scene. it is grief and nostalgia seeing the world as art because life has drained from it.

kuchh to is dil ko saza di jaae us ki tasvir hata di jaae

lagta hai kai raton ka jaaga tha musavvir tasvir ki ankhon se thakan jhank rahi hai

jis se ye tabiat badi mushkil se lagi thi dekha to vo tasvir har ik dil se lagi thi

rafta rafta sab tasviren dhundli hone lagti hain kitne chehre ek purane album men mar jaate hain

rang darkar the ham ko tiri khamoshi ke ek avaz ki tasvir banani thi hamen

ik mohabbat ki ye tasvir hai do rangon men shauq sab mera hai aur saari haya us ki hai

mujhe ye zoam ki main husn ka musavvir huun unhen ye naaz ki tasvir to hamari hai

khamushi teri miri jaan liye leti hai apni tasvir se bahar tujhe aana hoga

koi tasvir mukammal nahin hone paati dhuup dete hain to saaya nahin rahne dete