ujale apni yadon ke hamare saath rahne do na jaane kis gali men zindagi ki shaam ho jaae

kar raha tha ghham-e-jahan ka hisab aaj tum yaad be-hisab aae

ek muddat se tiri yaad bhi aai na hamen aur ham bhuul gae hon tujhe aisa bhi nahin

the couplet holds a quiet contradiction: the beloved hasn’t been consciously remembered for ages, yet the bond hasn’t ended. the speaker separates “not thinking of you” from “forgetting you,” suggesting love can go silent without dying. it conveys emotional numbness, distance, and a lingering attachment that survives even in absence.

achchha khasa baithe baithe gum ho jaata huun ab main aksar main nahin rahta tum ho jaata huun

yad-e-mazi 'azab hai ya-rab chhin le mujh se hafiza mera

dil dhadakne ka sabab yaad aaya vo tiri yaad thi ab yaad aaya

aap ke baa'd har ghadi ham ne aap ke saath hi guzari hai

ham to samjhe the ki ham bhuul gae hain un ko kya hua aaj ye kis baat pe rona aaya

tum ne kiya na yaad kabhi bhuul kar hamen ham ne tumhari yaad men sab kuchh bhula diya

you did not ever think of me even by mistake and in your thoughts everything else i did forsake the couplet contrasts the beloved’s complete neglect with the lover’s total absorption. “forgetting” and “remembering” become metaphors for emotional priority: the beloved cannot spare even an unintended thought, while the lover’s devotion is so consuming that it erases the rest of life. the ache lies in this unequal exchange—one side indifferent, the other self-effacing.

tasadduq is karam ke main kabhi tanha nahin rahta ki jis din tum nahin aate tumhari yaad aati hai

ye ilm ka sauda ye risale ye kitaben ik shakhs ki yadon ko bhulane ke liye hain

vahi phir mujhe yaad aane lage hain jinhen bhulne men zamane lage hain

dil ki choton ne kabhi chain se rahne na diya jab chali sard hava main ne tujhe yaad kiya

yaad rakhna hi mohabbat men nahin hai sab kuchh bhuul jaana bhi badi baat hua karti hai

kuchh khabar hai tujhe o chain se sone vaale raat bhar kaun tiri yaad men bedar raha

shaam bhi thi dhuan dhuan husn bhi tha udaas udaas dil ko kai kahaniyan yaad si aa ke rah gaiin

the couplet links outer scenery with inner feeling: a smoky dusk mirrors a dim, heavy mood. even “beauty” appears depressed, suggesting love itself has lost its shine. in that atmosphere, old memories and unfinished tales rise inside the heart and linger, not becoming clear words—only a persistent ache.

tumhari yaad ke jab zakhm bharne lagte hain kisi bahane tumhen yaad karne lagte hain

sochta huun ki us ki yaad akhir ab kise raat bhar jagati hai

ghharaz ki kaat diye zindagi ke din ai dost vo teri yaad men hon ya tujhe bhulane men

the couplet says life has been consumed by one obsession: the beloved. even remembrance and forgetting become the same kind of captivity, because both keep the beloved at the center. time is shown as “cutting through” days—endured rather than lived. the emotional core is helplessness: every effort, even to move on, turns into another form of attachment.

is zindagi men itni faraghhat kise nasib itna na yaad aa ki tujhe bhuul jaaen ham

ujale apni yadon ke hamare saath rahne do na jaane kis gali men zindagi ki shaam ho jaae

kar raha tha ghham-e-jahan ka hisab aaj tum yaad be-hisab aae

ek muddat se tiri yaad bhi aai na hamen aur ham bhuul gae hon tujhe aisa bhi nahin

the couplet holds a quiet contradiction: the beloved hasn’t been consciously remembered for ages, yet the bond hasn’t ended. the speaker separates “not thinking of you” from “forgetting you,” suggesting love can go silent without dying. it conveys emotional numbness, distance, and a lingering attachment that survives even in absence.

achchha khasa baithe baithe gum ho jaata huun ab main aksar main nahin rahta tum ho jaata huun

chupke chupke raat din aansu bahana yaad hai ham ko ab tak ashiqi ka vo zamana yaad hai

yad-e-mazi 'azab hai ya-rab chhin le mujh se hafiza mera

kya sitam hai ki ab tiri surat ghhaur karne pe yaad aati hai

aap ke baa'd har ghadi ham ne aap ke saath hi guzari hai

nahin aati to yaad un ki mahinon tak nahin aati magar jab yaad aate hain to aksar yaad aate hain

aaj ik aur baras biit gaya us ke baghhair jis ke hote hue hote the zamane mere

sochta huun ki us ki yaad akhir ab kise raat bhar jagati hai

tum ne kiya na yaad kabhi bhuul kar hamen ham ne tumhari yaad men sab kuchh bhula diya

you did not ever think of me even by mistake and in your thoughts everything else i did forsake the couplet contrasts the beloved’s complete neglect with the lover’s total absorption. “forgetting” and “remembering” become metaphors for emotional priority: the beloved cannot spare even an unintended thought, while the lover’s devotion is so consuming that it erases the rest of life. the ache lies in this unequal exchange—one side indifferent, the other self-effacing.

vafa karenge nibahenge baat manenge tumhen bhi yaad hai kuchh ye kalam kis ka tha

the couplet recalls a lover’s old assurances—faithfulness, constancy, and obedience—and then turns them into a pointed question. by asking “whose words were these,” the speaker highlights the gap between promises and present behavior. the tone carries reproach mixed with sorrow, using memory as evidence against forgetfulness and betrayal.

ye ilm ka sauda ye risale ye kitaben ik shakhs ki yadon ko bhulane ke liye hain

vahi phir mujhe yaad aane lage hain jinhen bhulne men zamane lage hain

tum bhuul kar bhi yaad nahin karte ho kabhi ham to tumhari yaad men sab kuchh bhula chuke

this couplet presents a stark contrast between the total indifference of the beloved and the absolute absorption of the lover. the poet complains that while the beloved cannot bring themselves to think of him even accidentally, he has sacrificed his awareness of the entire world just to remain immersed in thoughts of her. it highlights the pain of one-sided devotion.

ghharaz ki kaat diye zindagi ke din ai dost vo teri yaad men hon ya tujhe bhulane men

the couplet says life has been consumed by one obsession: the beloved. even remembrance and forgetting become the same kind of captivity, because both keep the beloved at the center. time is shown as “cutting through” days—endured rather than lived. the emotional core is helplessness: every effort, even to move on, turns into another form of attachment.

yaad rakhna hi mohabbat men nahin hai sab kuchh bhuul jaana bhi badi baat hua karti hai

un ka zikr un ki tamanna un ki yaad vaqt kitna qimti hai aaj kal

her mention, her yearning her memory o how precious time now seems to me

kuchh khabar hai tujhe o chain se sone vaale raat bhar kaun tiri yaad men bedar raha