Visaal

aur bhi dukh hain zamane mein mohabbat ke siwa rahaten aur bhi hain wasl ki rahat ke siwa 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 jite 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.

aaj dekha hai tujh ko der ke baad aaj ka din guzar na jae kahin

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

chand kaliyan nashat ki chun kar muddaton mahw-e-yas rahta hun tera milna khushi ki baat sahi tujh se mil kar udas rahta hun

jaan-lewa thin khwahishen warna wasl se intizar achchha tha

wasl ka din aur itna mukhtasar din gine jate the is din ke liye

shab-e-visal hai gul kar do in charaghon ko khushi ki bazm mein kya kaam jalne walon 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.

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

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

bhala hum mile bhi to kya mile wahi duriyan wahi fasle na kabhi hamare qadam badhe na kabhi tumhaari jhijak gai

zara visal ke ba'd aaina to dekh ai dost tere 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.

wasl mein 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.

wasl ho ya firaq ho 'akbar' jagna raat bhar musibat hai whether in blissful union or in separation staying up all night, is a botheration

os se pyas kahan bujhti hai musla-dhaar baras meri jaan

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

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

guzarne hi na di wo raat main ne ghadi par rakh diya tha hath main ne

wo gale se lipat ke sote hain aaj-kal garmiyan hain jadon mein

tum kahan wasl kahan wasl ki ummid kahan dil ke bahkane ko ek baat bana rakhi hai

aarzu wasl ki rakhti hai pareshan kya kya kya bataun ki mere dil mein hai arman kya kya

phir baithe baithe wada-e-wasl us ne kar liya phir uth khada hua wahi rog intizar ka

main samajhta hun ki hai jannat o dozakh kya chiz ek hai wasl tera ek hai furqat teri

tera wasl hai mujhe be-khudi tera hijr hai mujhe aagahi tera wasl mujh ko firaq hai tera hijr mujh ko visal hai

arman wasl ka meri nazron se tad ke pahle hi se wo baith gae munh bigad ke

kahan hum kahan wasl-e-jaanan ki 'hasrat' bahut hai unhen ek nazar dekh lena

ek raat dil-jalon ko ye aish-e-visal de phir chahe aasman jahannam mein dal de just one night give these deprived the joy of company thereafter if you wish merge paradise and purgatory

dost dil rakhne ko karte hain bahane kya kya roz jhuti khabar-e-wasl suna jate hain

dhadakti qurbaton ke khwab se jage to jaana zara se wasl ne kitna akela kar diya hai

visal-e-yar ki khwahish mein aksar charagh-e-sham se pahle jala hun