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kuchh ta.alluq bhī nahīñ rasm-e-jahāñ se aage

us se rishta bhī rahā vahm o gumāñ se aage

kuchh talluq bhi nahin rasm-e-jahan se aage

us se rishta bhi raha wahm o guman se aage

Kabir Ajmal

dil se niklegī na mar kar bhī vatan ulfat

merī miTTī se bhī ḳhushbū-e-vafā aa.egī

dil se niklegi na mar kar bhi watan ki ulfat

meri miTTi se bhi KHushbu-e-wafa aaegi

Lal Chand Falak
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dānista ham ne apne sabhī ġham chhupā liye

pūchhā kisī ne haal to bas muskurā diye

danista hum ne apne sabhi gham chhupa liye

puchha kisi ne haal to bas muskura diye

Aafaque Siddiqui
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bas ik jhijak hai yahī hāl-e-dil sunāne meñ

ki terā zikr bhī aa.egā is fasāne meñ

bas ek jhijak hai yahi haal-e-dil sunane mein

ki tera zikr bhi aaega is fasane mein

Kaifi Azmi
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behtar dinoñ aas lagāte hue 'habīb'

ham behtarīn din bhī gañvāte chale ga.e

behtar dinon ki aas lagate hue 'habib'

hum behtarin din bhi ganwate chale gae

Habeeb Amrohvi
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  • तफ़रीक़
  • تفریق



bahut āsān hai mushtarka diloñ meñ tafrīq

baat to jab hai ki bichhḌoñ ko milāyā jaa.e

bahut aasan hai mushtarka dilon mein tafriq

baat to jab hai ki bichhDon ko milaya jae


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Josh Malihabadi spent a few years at Shalimar Studios in Pune and wrote songs for a few films there. Josh wrote six of the seven songs in the famous 1944 film "Man Ki Jeet ", based on the famous English writer Thomas Hardy's novel "Tess of the d'Urbervilles", which was directed by W. Z. Ahmed. In this movie, one of his songs, ‘Morey Jubna Ka Dekho Ubhar’, sung by Zuhra Bai Ambalewali became very popular.
Although the government at the time considered it obscene and banned the song from being aired on All India Radio, the similes given to the beloved’s beauty in this song were extremely novel:
Jaise Bhanvro.n ki jhoom
Jaise sawan ki dhoom
Jaise sagar ki bhor
Jaise uDta chakor
Jaise naddi ki mauj
Jaise turko.n ki fauj
In a remarkably similar manner, years later, Javed Akhtar wrote the song ‘Ek laDki ko dekha to aisa laga’ for the movie "1942 A Love Story".
The songs that Josh wrote were never pre-composed to the tune, for he would always write the lyrics first with respect to the situation in the film. It was the task of the music composer and the film’s director to put his lyrics to music.


Poetry that’s recited without a Tarannum (tune) is known as ‘Taht-ul-Lafz’, or differently, ‘Taht Mein Padhna’. If read in Tarannum, the reciter’s tone and voice largely draw the attention of the audiences. However, in Taht-ul-Lafz, one enjoys the full effect of poetry with the grandeur of words and the crescendo of the rise and fall of the reciter’s voice. Although Taht-ul Lafz recitation is common in Mushairas, but those who recited Marsiyas (elegies) in this manner in mourning assemblies, turned it into a dramatic artform. A contemporary of famous Marsiya-reciter Meer Anis, and who didn’t find favor with Anis’s Marsiya composition, wrote:
“Ek martaba Ittefaqan Anis Ki Majlis mein shirkat hui. Marsiye Ke doosre hi band ki Bait…
Saato.n Jahannum Atish-e-Furqat mein jalte hain
Sho’le tirii talaash mein baahar nikalte hain
… Anis ne is andaz se paDhi ki mujhe sho’le bhadakte hue dikhai dene lage aur main un ka padhna-sunna mein aisa mahv hua ki tan-badan kaa hosh na rahaa.”
When new poetry appeared in the form Azad Nazm, it found no takers as no one seemed willing to listen to it. Then, Famous actor and broadcaster Zia Mohiuddin experimented with reciting Noon Meem Rashid's poems at various events. He recited some of these poems in such a way that the listeners, for whom these poems were ambiguous, meaningless and far from poetry, they too became enchanted by them; even managing to discover in those poems a bit of poetry.



The Bombay-based Urdu monthly ‘Shayar’, which was first published from Agra in 1930, continues to this day. Iftikhar Imam Siddiqui (1947-2021), the grandson of Simab Akbarabadi, founded this historical and purely literary monthly, and has been publishing the magazine for decades, despite all the financial woes, from a small Kholi in Bombay; which also happens to be his office and home. The special issues of Shayar are immensely treasured by literary researchers.
Iftikhar Imam had a firm grip on both poetry and prose. He had interviewed 100 literary personalities. A poet of mellifluous tone, he was once very popular in Mushairas. Since his childhood, he was very fond of singing. One of his father's students was a ghazal singer, from whom he even took some Music lessons. Initially, he sang film songs and Ghazals. His grandfather Simab Akbarabadi used to listen him recite ghazals. In the movie ‘Arth’, his Ghazal “Tu nahin to zindagi mein aur kya rah jaega’, became very popular in the voice of Chitra Singh. Many other singers have also sung his ghazals.
Once, while returning from a mushaira, he was met with an accident in Jabalpur and became handicapped. But, under the editorship of his brother Nazir Noman Siddiqui, he kept running ‘Shayar’ for over fifty years. Also, he never got married.



Jigar Moradabadi was one of the most prominent pre-modern poets who enjoyed stunning popularity and fan-following. He is known for his moody nature; spent his life migrating between Moradabad, Agra and then finally moved to Gonda, where he lived with famous poet Asghar Gondvi as a friend and benefactor. He also earned his reputation as an iconic mushaira poet who earned huge applause from the audience, and used to charge ₹500 for one Mehfil. Despite all this, his marital life was very fragmented and his wife was very upset with his frequent drinking and alcohol addiction. It is said that on the advice of Asghar Gondvi, he divorced his wife Naseem and she got married to Asghar Gondvi after that.



‘Aaj Jaane Ki Zidd Naa Karo’ is an immensely popular Ghazal written by Fayyaz Hashmi. It was first sung by Habib Wali Mohammad for the Pakistani film Badal Aur Bijli (1979), but later the queen of ghazal singing, Farida Khanum, gave it her voice and made it immortal. A friend of Fayyaz Hashmi narrates that a few couplets of this ghazal were written by him during his student days in Calcutta, and were a result of his first but unrequited love. Besides poetry, Fayyaz was also into music, due to which, he was made director of the HMV Gramophone Company in Calcutta at an early age. There, he wrote several songs. In 1935, he became associated with the film industry in India, and after the partition, went to Pakistan and there too received great acclaim.
He brought a new flavor to film songs by using a blend of Urdu-Hindi words, which gave his songs everlasting fame. After listening to Fayyaz Hashmi's songs, Mahatma Gandhi had said: “Agar Fayyaz jaise chand shayar aur paida ho jaen to Urdu-Hindi ka jhagDa miT jaega!” Numerous of his songs were sung by all the great singers of his time. Pankaj Mallik’s famous song, ‘Ye Raaten Ye Mausam Ye Hansnaa Hansaana”, is also Fayyaz’s creation.
While composing the tune of a song, if any music director said to him that his lyrics were not in tandem with the tune and need to be changed, Fayyaz would at once sing the tune along the lyrics and point to how the words perfectly fits into the meter. Eventually, the song would be recorded without any changes whatsoever.



Anjum Rumani

Anjum Rumani


Pakistani poet, translator of select Persian poetry of Iqbal

hai vāqi.a kuchh aur rivāyat kuchh aur hai

hai vāqi.a kuchh aur rivāyat kuchh aur hai

hai waqia kuchh aur riwayat kuchh aur hai

hai waqia kuchh aur riwayat kuchh aur hai

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E-Books Library

Kulliyat-e-Anwar Shaoor

Anwar Shuoor 

2015 Kulliyat

Iqbal Dulhan

Bashiruddin Ahmad Dehlvi 

1908 Moral and Ethical

Mughal Tahzeeb

Mahboob-Ullah Mujeeb 


Audhoot Ka Tarana


1958 Nazm

Shumara Number-002

Dr. Mohammad Hasan 

1970 Asri Adab

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