Urdu

nahin khel ai 'dagh' yaron se kah do ki aati hai urdu zaban aate aate dagh dehlvi stresses that writing or speaking refined urdu is a serious art, not something to be taken lightly. the phrase “aati hai... aate aate” suggests slow, hard-won attainment through practice and lived experience. beneath the boast is a warning and a humble truth: real eloquence takes patience, discipline, and maturity.

urdu hai jis ka nam hamin jaante hain 'dagh' hindostan mein dhum hamari zaban ki hai the couplet is an assertion of linguistic pride and ownership: the poet presents himself (and his circle) as true connoisseurs of urdu. “dhoom” signals public resonance—urdu’s sweetness and expressive power have created a stir throughout the land. the emotional core is self-assured celebration of a language as a marker of identity and cultural presence.

saliqe se hawaon mein jo khushbu ghol sakte hain abhi kuchh log baqi hain jo urdu bol sakte hain

wo kare baat to har lafz se khushbu aae aisi boli wahi bole jise urdu aae

chand-chehre mujhe achchhe to bahut lagte hain ishq main us se karunga jise urdu aae

baat karne ka hasin taur-tariqa sikha hum ne urdu ke bahane se saliqa sikha

sagi bahnon ka jo rishta hai urdu aur hindi mein kahin duniya ki do zinda zabanon mein nahin milta

wo itr-dan sa lahja mere buzurgon ka rachi-basi hui urdu zaban ki khushbu

ajab lahja hai us ki guftugu ka ghazal jaisi zaban wo bolta hai

wo urdu ka musafir hai yahi pahchan hai us ki jidhar se bhi guzarta hai saliqa chhod jata hai

urdu jise kahte hain tahzib ka chashma hai wo shakhs mohazzab hai jis ko ye zaban aai

hindi mein aur urdu mein farq hai to itna wo khwab dekhte hain hum dekhte hain sapna

shusta zaban shagufta bayan honth gul-fishan sari hain tujh mein khubiyan urdu zaban ki

apni urdu to mohabbat ki zaban thi pyare uff siyasat ne use jod diya mazhab se

jo dil bandhe wo jadu jaanta hai mera mahbub urdu jaanta hai

shahd-o-shakar se shirin urdu zaban hamari hoti hai jis ke bole mithi zaban hamari

mere bachchon mein sari aadaten maujud hain meri to phir in bad-nasibon ko na kyun urdu zaban aai

urdu ke chand lafz hain jab se zaban par tahzib mehrban hai mere khandan par

ek hi phul se sab phulon ki khushbu aae aur ye jadu use aae jise urdu aae

abhi tahzib ka nauha na likhna abhi kuchh log urdu bolte hain

saikdon aur bhi duniya mein zabanen hain magar jis pe marti hai fasahat wo zaban hai urdu

'mulla' bana diya hai ise bhi mahaz-e-jang ek sulh ka payam thi urdu zaban kabhi

meri ghutti mein padi thi ho ke hal urdu zaban jo bhi main kahta gaya husn-e-bayan banta gaya the poet (firaq gorakhpuri) claims urdu is so deeply ingrained in him that it feels like it was part of his earliest nourishment. “ghutti” suggests something given at the start of life, and “husn-e-bayan” points to elegance and charm in expression. the emotion is pride and intimacy with the language: eloquence is presented not as effort, but as an inborn, effortless flow.

han mujhe urdu hai punjabi se bhi badh kar aziz shukr hai 'anwar' meri sochen ilaqai nahin

khuda rakkhe zaban hum ne suni hai 'mir' o 'mirza' ki kahen kis munh se hum ai 'mushafi' urdu hamari hai

hum hain tahzib ke alam-bardar hum ko urdu zaban aati hai

jahan jahan koi urdu zaban bolta hai wahin wahin mera hindostan bolta hai

urdu hai jis ka nam hamari zaban hai duniya ki har zaban se pyari zaban hai

bachpan ne hamein di hai ye shirini-e-guftar urdu nahin hum man ki zaban bol rahe hain

dulhan ki mehndi jaisi hai urdu zaban ki shakl khushbu bikherta hai ibarat ka harf harf