jo guzari na ja saki ham se ham ne vo zindagi guzari hai

ranjish hi sahi dil hi dukhane ke liye aa aa phir se mujhe chhod ke jaane ke liye aa

duniya ne teri yaad se begana kar diya tujh se bhi dil-fareb hain ghham rozgar ke this world has caused me to forget all thoughts of you the sorrows of subsistence are more deceitful than you

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.

mujh ko aksar udaas karti hai ek tasvir muskurati hui

ham hain asir-e-zabt ijazat nahin hamen ro pa rahe hain aap badhai hai roiye

laaya hai mira shauq mujhe parde se bahar main varna vahi khalvati-e-raz-e-nihan huun translation my own passion brought me out from behind the curtain, for i am really one who dwells in mystery, in secret seclusion. shamsur rahman faruqi the speaker says it isn’t habit or show that makes him appear openly; it is desire that pulls him out of concealment. the “veil” stands for privacy, restraint, or anonymity, while “solitude of hidden secrets” suggests an inward, guarded nature. emotionally, the couplet frames self-revelation as something forced by passion, not chosen by temperament.

vo ab bhi dil dukha deta hai mera vo mera dost hai dushman nahin hai

thik hai khud ko hum badalte hain

thiik hai khud ko ham badalte hain shukriya mashvarat ka chalte hain ho raha huun main kis tarah barbad dekhne vaale haath malte hain hai vo jaan ab har ek mahfil ki ham bhi ab ghar se kam nikalte hain kya takalluf karen ye kahne men jo bhi khush hai ham us se jalte hain hai use duur ka safar dar-pesh ham sambhale nahin sambhalte hain tum bano rang tum bano khushbu ham to apne sukhan men dhalte hain main usi tarah to bahalta huun aur sab jis tarah bahalte hain hai ajab faisle ka sahra bhi chal na padiye to paanv jalte hain thik hai khud ko hum badalte hain shukriya mashwarat ka chalte hain ho raha hun main kis tarah barbaad dekhne wale hath malte hain hai wo jaan ab har ek mahfil ki hum bhi ab ghar se kam nikalte hain kya takalluf karen ye kahne mein jo bhi khush hai hum us se jalte hain hai use dur ka safar dar-pesh hum sambhaale nahin sambhalte hain tum bano rang tum bano khushbu hum to apne sukhan mein dhalte hain main usi tarah to bahalta hun aur sab jis tarah bahalte hain hai ajab faisle ka sahra bhi chal na padiye to panw jalte hain

kisi ko ghar se nikalte hi mil gai manzil koi hamari tarah umr bhar safar men raha

mohabbat ab nahin hogi ye kuchh din baa'd men hogi guzar jaenge jab ye din ye un ki yaad men hogi

mujh se bichhad ke tu bhi to roega umr bhar ye soch le ki main bhi tiri khvahishon men huun

suna hai us ke shabistan se muttasil hai bahisht makin udhar ke bhi jalve idhar ke dekhte hain

main ab har shakhs se ukta chuka huun faqat kuchh dost hain aur dost bhi kya

tum aae ho na shab-e-intizar guzri hai talash men hai sahar baar baar guzri hai इस शे’र को प्रायः टीकाकारों और आलोचकों ने प्रगतिशील विचारों की दृष्टि से देखा है। उनकी नज़र में “तुम”, “इन्क़िलाब”, “शब-ए-इंतज़ार” द्विधा, शोषण और अन्वेषण का प्रतीक है। इस दृष्टि से शे’र का विषय ये बनता है कि क्रांति करने का प्रयत्न करने वालों ने शोषक तत्वों के विरुद्ध हालांकि बहुत कोशिशें की मगर हर दौर अपने साथ नए शोषक तत्व लाता है। चूँकि फ़ैज़ ने अपनी शायरी में उर्दू शायरी की परंपरा से बग़ावत नहीं की और पारंपरिक विधानों को ही बरता है इसलिए इस शे’र को अगर प्रगतिशील सोच के दायरे से निकाल कर भी देखा जाये तो इसमें एक प्रेमी अपनी प्रेमिका से कहता है कि न तुम आए और न इंतज़ार की रात गुज़री। हालांकि नियम ये है कि हर रात की सुबह होती है मगर सुबह के बार-बार आने के बावजूद इंतज़ार की रात ख़त्म नहीं होती। shafaq sopori

ghham raha jab tak ki dam men dam raha dil ke jaane ka nihayat ghham raha translation my sorrow remained as long as the breath of life remained in me. i grieved deeply over the loss of my heart. shamsur rahman faruqi the speaker says grief did not leave them for the whole span of life, as if sorrow was tied to every breath. “the heart’s leaving” suggests the loss of inner life—love, courage, or the very will to live. the couplet compresses a lifetime into two moments: breathing and breaking. its emotional core is enduring bereavement that feels final and total.

ham tira hijr manane ke liye nikle hain shahr men aag lagane ke liye nikle hain

ashiqi men 'mir' jaise khvab mat dekha karo bavle ho jaoge mahtab mat dekha karo

halat-e-hal se begana bana rakkha hai khud ko maazi ka nihan-khana bana rakkha hai

pahle sahra se mujhe laaya samundar ki taraf naav par kaghhaz ki phir mujh ko savar us ne kiya

jo guzari na ja saki ham se ham ne vo zindagi guzari hai

thik hai khud ko hum badalte hain

thiik hai khud ko ham badalte hain shukriya mashvarat ka chalte hain ho raha huun main kis tarah barbad dekhne vaale haath malte hain hai vo jaan ab har ek mahfil ki ham bhi ab ghar se kam nikalte hain kya takalluf karen ye kahne men jo bhi khush hai ham us se jalte hain hai use duur ka safar dar-pesh ham sambhale nahin sambhalte hain tum bano rang tum bano khushbu ham to apne sukhan men dhalte hain main usi tarah to bahalta huun aur sab jis tarah bahalte hain hai ajab faisle ka sahra bhi chal na padiye to paanv jalte hain thik hai khud ko hum badalte hain shukriya mashwarat ka chalte hain ho raha hun main kis tarah barbaad dekhne wale hath malte hain hai wo jaan ab har ek mahfil ki hum bhi ab ghar se kam nikalte hain kya takalluf karen ye kahne mein jo bhi khush hai hum us se jalte hain hai use dur ka safar dar-pesh hum sambhaale nahin sambhalte hain tum bano rang tum bano khushbu hum to apne sukhan mein dhalte hain main usi tarah to bahalta hun aur sab jis tarah bahalte hain hai ajab faisle ka sahra bhi chal na padiye to panw jalte hain

avaz de ke dekh lo shayad vo mil hi jaae varna ye umr bhar ka safar raegan to hai

kisi ko ghar se nikalte hi mil gai manzil koi hamari tarah umr bhar safar men raha

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.

tum salamat raho hazar baras har baras ke hon din pachas hazar this couplet is an affectionate blessing that stretches time through deliberate exaggeration. the speaker wants the beloved’s life not only to be long, but so expanded that ordinary measures of years and days feel inadequate. by wishing “fifty thousand days” in every year, the poem turns love into a desire for near-eternity. the emotional core is tender care mixed with an impossible, lyrical wish.

ilaaj apna karate phir rahe ho jaane kis kis se mohabbat kar ke dekho na mohabbat kyuun nahin karte

mujh se bichhad ke tu bhi to roega umr bhar ye soch le ki main bhi tiri khvahishon men huun

suna hai us ke shabistan se muttasil hai bahisht makin udhar ke bhi jalve idhar ke dekhte hain

main ab har shakhs se ukta chuka huun faqat kuchh dost hain aur dost bhi kya

ik shakhs kar raha hai abhi tak vafa ka zikr kaash us zaban-daraz ka munh noch le koi

ham hain asir-e-zabt ijazat nahin hamen ro pa rahe hain aap badhai hai roiye

tum aae ho na shab-e-intizar guzri hai talash men hai sahar baar baar guzri hai इस शे’र को प्रायः टीकाकारों और आलोचकों ने प्रगतिशील विचारों की दृष्टि से देखा है। उनकी नज़र में “तुम”, “इन्क़िलाब”, “शब-ए-इंतज़ार” द्विधा, शोषण और अन्वेषण का प्रतीक है। इस दृष्टि से शे’र का विषय ये बनता है कि क्रांति करने का प्रयत्न करने वालों ने शोषक तत्वों के विरुद्ध हालांकि बहुत कोशिशें की मगर हर दौर अपने साथ नए शोषक तत्व लाता है। चूँकि फ़ैज़ ने अपनी शायरी में उर्दू शायरी की परंपरा से बग़ावत नहीं की और पारंपरिक विधानों को ही बरता है इसलिए इस शे’र को अगर प्रगतिशील सोच के दायरे से निकाल कर भी देखा जाये तो इसमें एक प्रेमी अपनी प्रेमिका से कहता है कि न तुम आए और न इंतज़ार की रात गुज़री। हालांकि नियम ये है कि हर रात की सुबह होती है मगर सुबह के बार-बार आने के बावजूद इंतज़ार की रात ख़त्म नहीं होती। shafaq sopori

laaya hai mira shauq mujhe parde se bahar main varna vahi khalvati-e-raz-e-nihan huun translation my own passion brought me out from behind the curtain, for i am really one who dwells in mystery, in secret seclusion. shamsur rahman faruqi the speaker says it isn’t habit or show that makes him appear openly; it is desire that pulls him out of concealment. the “veil” stands for privacy, restraint, or anonymity, while “solitude of hidden secrets” suggests an inward, guarded nature. emotionally, the couplet frames self-revelation as something forced by passion, not chosen by temperament.

jo talab pe ahd-e-vafa kiya to vo abru-e-vafa gai sar-e-am jab hue muddai to savab-e-sidq-o-vafa gaya

vo ab bhi dil dukha deta hai mera vo mera dost hai dushman nahin hai

ashiqi men 'mir' jaise khvab mat dekha karo bavle ho jaoge mahtab mat dekha karo

bas mohabbat bas mohabbat bas mohabbat jan-e-man baaqi sab jazbat ka izhar kam kar dijiye only love, only love and only love my dear from stating other feelings / you should stay well clear

halat-e-hal se begana bana rakkha hai khud ko maazi ka nihan-khana bana rakkha hai

pahle sahra se mujhe laaya samundar ki taraf naav par kaghhaz ki phir mujh ko savar us ne kiya