ishq mujh ko nahin vahshat hi sahi meri vahshat tiri shohrat hi sahi

if not love, then madness, my feelings deem you be and so be it my craziness is cause of fame for thee the poet adopts a tone of defiant resignation, accepting that his intense passion might be labeled as insanity ('wahshat') rather than true love. however, he cleverly flips the narrative by pointing out that this very obsession is what keeps the beloved in the spotlight. he implies that the beloved's reputation relies on the intensity of his 'madness,' making their relationship symbiotic despite the rejection.

ghar ki vahshat se larazta huun magar jaane kyuun shaam hoti hai to ghar jaane ko ji chahta hai

bachpan men ham hi the ya tha aur koi vahshat si hone lagti hai yadon se

aaise dare hue hain zamane ki chaal se ghar men bhi paanv rakhte hain ham to sambhal kar

kuchh be-thikana karti rahin hijraten mudam kuchh meri vahshaton ne mujhe dar-ba-dar kiya

apne hamrah jo aate ho idhar se pahle dasht padta hai miyan ishq men ghar se pahle

translation know, if you come along with me, from here, jungle precedes the home in love, my dear. sagar akbarabadi

phir vahi lambi do-pahren-surmai hain phir vahi dil ki halat hai bahar kitna sannata hai andar kitni vahshat hai

sauda-e-ishq aur hai vahshat kuchh aur shai majnun ka koi dost fasana-nigar tha

vo kaam rah ke karna pada shahr men hamen majnun ko jis ke vaste virana chahiye

vahshaten ishq aur majburi kya kisi khaas imtihan men huun

basti basti parbat parbat vahshat ki hai dhuup 'ziya' charon janib virani hai dil ka ik virana kya

ho sake kya apni vahshat ka ilaaj mere kuche men bhi sahra chahiye

dagh dehlvi presents “wahshat” as an inner frenzy that no ordinary remedy can heal. the desert symbolizes vast solitude and distance, a space where the self can breathe. the lover’s heart is so unsettled that even the beloved’s lane feels too tight and crowded. the couplet’s ache lies in needing isolation even at the very place one longs to reach.

vahshat ka ye aalam ki pas-e-chak gareban ranjish hai baharon se ulajhte hain khizan se

ishq par faaez huun auron ki tarah lekin mujhe vasl ka lapka nahin hai hijr se vahshat nahin

na ham vahshat men apne ghar se nikle na sahra apni virani se nikla

in dinon apni bhi vahshat ka ajab aalam hai ghar men ham dasht-o-bayaban utha laae hain

andhere kamre men raqs karti rahegi vahshat aur ek kone men parsai padi rahegi

dayar-e-nur men tira-shabon ka sathi ho koi to ho jo miri vahshaton ka sathi ho

majnun se ye kahna ki mire shahar men aa jaae vahshat ke liye ek bayaban abhi hai

ik din dukh ki shiddat kam pad jaati hai kaisi bhi ho vahshat kam pad jaati hai

ishq mujh ko nahin vahshat hi sahi meri vahshat tiri shohrat hi sahi

if not love, then madness, my feelings deem you be and so be it my craziness is cause of fame for thee the poet adopts a tone of defiant resignation, accepting that his intense passion might be labeled as insanity ('wahshat') rather than true love. however, he cleverly flips the narrative by pointing out that this very obsession is what keeps the beloved in the spotlight. he implies that the beloved's reputation relies on the intensity of his 'madness,' making their relationship symbiotic despite the rejection.

ghar ki vahshat se larazta huun magar jaane kyuun shaam hoti hai to ghar jaane ko ji chahta hai

bachpan men ham hi the ya tha aur koi vahshat si hone lagti hai yadon se

aaise dare hue hain zamane ki chaal se ghar men bhi paanv rakhte hain ham to sambhal kar

kuchh be-thikana karti rahin hijraten mudam kuchh meri vahshaton ne mujhe dar-ba-dar kiya

apne hamrah jo aate ho idhar se pahle dasht padta hai miyan ishq men ghar se pahle

translation know, if you come along with me, from here, jungle precedes the home in love, my dear. sagar akbarabadi

dayar-e-nur men tira-shabon ka sathi ho koi to ho jo miri vahshaton ka sathi ho

phir vahi lambi do-pahren-surmai hain phir vahi dil ki halat hai bahar kitna sannata hai andar kitni vahshat hai

vo jo ik shart thi vahshat ki utha di gai kya meri basti kisi sahra men basa di gai kya

vo kaam rah ke karna pada shahr men hamen majnun ko jis ke vaste virana chahiye

vahshaten kuchh is tarah apna muqaddar ban gaiin ham jahan pahunche hamare saath virane gae

vo jis ke naam ki nisbat se raushni tha vajud khatak raha hai vahi aftab ankhon men

ho sake kya apni vahshat ka ilaaj mere kuche men bhi sahra chahiye

dagh dehlvi presents “wahshat” as an inner frenzy that no ordinary remedy can heal. the desert symbolizes vast solitude and distance, a space where the self can breathe. the lover’s heart is so unsettled that even the beloved’s lane feels too tight and crowded. the couplet’s ache lies in needing isolation even at the very place one longs to reach.

hoti hai tere naam se vahshat kabhi kabhi barham hui hai yuun bhi tabiat kabhi kabhi

ishq par faaez huun auron ki tarah lekin mujhe vasl ka lapka nahin hai hijr se vahshat nahin

majnun se ye kahna ki mire shahar men aa jaae vahshat ke liye ek bayaban abhi hai

na ham vahshat men apne ghar se nikle na sahra apni virani se nikla

in dinon apni bhi vahshat ka ajab aalam hai ghar men ham dasht-o-bayaban utha laae hain

ik din dukh ki shiddat kam pad jaati hai kaisi bhi ho vahshat kam pad jaati hai

andhere kamre men raqs karti rahegi vahshat aur ek kone men parsai padi rahegi