aur bhi dukh hain zamane men mohabbat ke siva rahaten aur bhi hain vasl ki rahat ke siva

sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ye na thi hamari qismat ki visal-e-yar hota agar aur jiite rahte yahi intizar hota

that my love be consummated, fate did not ordain living longer had i waited, would have been in vain the poet resigns himself to the fact that union with the beloved was impossible due to fate, not a lack of time. he rationalizes his sorrow or death by arguing that a longer life would have been futile. more time would not have brought success in love, but only prolonged the agony of endless waiting.

chand kaliyan nashat ki chun kar muddaton mahv-e-yas rahta huun tera milna khushi ki baat sahi tujh se mil kar udaas rahta huun

jan-leva thiin khvahishen varna vasl se intizar achchha tha

shab-e-visal hai gul kar do in charaghhon ko khushi ki bazm men kya kaam jalne valon ka

the speaker asks for the lamps to be put out because the night of union needs no artificial light—intimacy prefers darkness. “burning ones” are the lovers who suffer in longing; their inner fire clashes with the mood of celebration. the couplet carries a sharp irony: joy makes the grief-stricken feel unnecessary and pushed aside.

sau chand bhi chamkenge to kya baat banegi tum aae to is raat ki auqat banegi

zara visal ke baa'd aaina to dekh ai dost tire jamal ki doshizgi nikhar aai

the poet invites the beloved to confirm a change by looking in the mirror after union. the “mirror” stands for self-seeing and proof, while “maidenliness” suggests a delicate freshness that paradoxically seems to bloom further after intimacy. emotionally, the couplet blends tenderness and wonder, presenting love as something that refines and brightens beauty rather than diminishing it.

vasl men rang ud gaya mera kya judai ko munh dikhaunga

the speaker says that despite having the beloved close, he has already lost his glow—his courage, dignity, and vitality. if union itself has drained him, separation will feel unbearable. “showing one’s face” suggests both confronting pain and having the self-respect to stand before it. the couplet captures love’s exhaustion and the fear of what comes after closeness ends.

os se pyaas kahan bujhti hai musla-dhar baras meri jaan

'faraz' ishq ki duniya to khub-surat thi ye kis ne fitna-e-hijr-o-visal rakkha hai

guzarne hi na di vo raat main ne ghadi par rakh diya tha haath main ne

vo gale se lipat ke sote hain aj-kal garmiyan hain jadon men

aarzu vasl ki rakhti hai pareshan kya kya kya bataun ki mere dil men hai arman kya kya

main samajhta huun ki hai jannat o dozakh kya chiiz ek hai vasl tira ek hai furqat teri

arman vasl ka miri nazron se taad ke pahle hi se vo baith gae munh bigad ke

kahan ham kahan vasl-e-janan ki 'hasrat' bahut hai unhen ik nazar dekh lena

dhadakti qurbaton ke khvab se jaage to jaana zara se vasl ne kitna akela kar diya hai

visal-e-yar ki khvahish men aksar charaghh-e-sham se pahle jala huun

ye aarzu bhi badi chiiz hai magar hamdam visal-e-yar faqat aarzu ki baat nahin

phir baithe baithe vada-e-vasl us ne kar liya phir uth khada hua vahi rog intizar ka

aur bhi dukh hain zamane men mohabbat ke siva rahaten aur bhi hain vasl ki rahat ke siva

sorrows other than love's longing does this life provide comforts other than a lover's union too abide

ye na thi hamari qismat ki visal-e-yar hota agar aur jiite rahte yahi intizar hota

that my love be consummated, fate did not ordain living longer had i waited, would have been in vain the poet resigns himself to the fact that union with the beloved was impossible due to fate, not a lack of time. he rationalizes his sorrow or death by arguing that a longer life would have been futile. more time would not have brought success in love, but only prolonged the agony of endless waiting.

nahin nigah men manzil to justuju hi sahi nahin visal mayassar to aarzu hi sahi

chand kaliyan nashat ki chun kar muddaton mahv-e-yas rahta huun tera milna khushi ki baat sahi tujh se mil kar udaas rahta huun

vasl ka din aur itna mukhtasar din gine jaate the is din ke liye

shab-e-visal hai gul kar do in charaghhon ko khushi ki bazm men kya kaam jalne valon ka

the speaker asks for the lamps to be put out because the night of union needs no artificial light—intimacy prefers darkness. “burning ones” are the lovers who suffer in longing; their inner fire clashes with the mood of celebration. the couplet carries a sharp irony: joy makes the grief-stricken feel unnecessary and pushed aside.

sau chand bhi chamkenge to kya baat banegi tum aae to is raat ki auqat banegi

bhala ham mile bhi to kya mile vahi duriyan vahi fasle na kabhi hamare qadam badhe na kabhi tumhari jhijak gai

vasl men rang ud gaya mera kya judai ko munh dikhaunga

the speaker says that despite having the beloved close, he has already lost his glow—his courage, dignity, and vitality. if union itself has drained him, separation will feel unbearable. “showing one’s face” suggests both confronting pain and having the self-respect to stand before it. the couplet captures love’s exhaustion and the fear of what comes after closeness ends.

vasl ho ya firaq ho 'akbar' jagna raat bhar musibat hai

whether in blissful union or in separation staying up all night, is a botheration

'faraz' ishq ki duniya to khub-surat thi ye kis ne fitna-e-hijr-o-visal rakkha hai

us se milne ki khushi baa'd men dukh deti hai jashn ke baa'd ka sannata bahut khalta hai

vo gale se lipat ke sote hain aj-kal garmiyan hain jadon men

tum kahan vasl kahan vasl ki ummid kahan dil ke bahkane ko ik baat bana rakhi hai

phir baithe baithe vada-e-vasl us ne kar liya phir uth khada hua vahi rog intizar ka

main samajhta huun ki hai jannat o dozakh kya chiiz ek hai vasl tira ek hai furqat teri

arman vasl ka miri nazron se taad ke pahle hi se vo baith gae munh bigad ke

kahan ham kahan vasl-e-janan ki 'hasrat' bahut hai unhen ik nazar dekh lena

dost dil rakhne ko karte hain bahane kya kya roz jhuti khabar-e-vasl suna jaate hain

dhadakti qurbaton ke khvab se jaage to jaana zara se vasl ne kitna akela kar diya hai