Top 20 Sharab Shayari
Wine has always been
one of the most important topics of Urdu Poetry. In Urdu, wine poetry is commonly known as Sharab, Sharabi or Mai Shayari which includes Sher-o-Shayari on sharabi, sharab, nasha, maikashi and maikhana covering various styles, temperament, emotions and moods of Shayar and Shayari. Rekhta has created a list of 20 most popular shers on Sharaab. These have been selected based on the popularity as well as quality of each sher. We acknowledge that many good/better shers may not have been included in our list. Please feel free to suggest better shers in the comment section below. Our editorial team will consider those and may add to the Top 20 list, if found appropriate. Hope you enjoy the selection; furthermore, we look forward to your participation in enhancing the list.
TOP 20 SERIES
- Aadmi/Insaan Shayari
- Ada Shayari
- Akhbaar Shayari
- Angdaai Shayari
- Barish Shayari
- Chaand Shayari
- couplets of nushoor wahidi
- couplets on dua
- couplets on eyes
- couplets on love
- couplets on mirror
- couplets on seperation
- couplets on tasweer
- couplets on tears
- Dard Shayari
- Deedar Shayari
- Dhoka Shayari
- Dil Shayari
- Dost/Dosti Shayari
- Duniya Shayari
- Farewell Shayari
- Heartbreak Shayari
- Husn Shayari
- Intizaar Shayari
- Khamoshi Shayari
- Kiss Shayari
- Kitab Shayari
- Lab Shayari
- Maut Shayari
- most quoted couplets
- motivational couplets
- Mulaqat Shayari
- Muskurahat Shayari
- Phool Shayari
- Sad Shayari
- Safar Shayari
- Sharab Shayari
- Tanhai Shayari
- Top couplets on New Year
- Train Shayari
- Visaal Shayari
- Wafa Shayari
- Waqt Shayari
- Welcome Shayari
- Yaad Shayari
- Zindagi Shayari
- Zulf Shayari
zāhid sharāb piine de masjid meñ baiTh kar
yā vo jagah batā de jahāñ par ḳhudā na ho
Priest I know this is a mosque, let me drink inside
Or point me to a place where God does not reside
zahid sharab pine de masjid mein baiTh kar
ya wo jagah bata de jahan par KHuda na ho
Priest I know this is a mosque, let me drink inside
Or point me to a place where God does not reside
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Tags: Famous shayariand 2 more
ab to utnī bhī mayassar nahīñ mai-ḳhāne meñ
jitnī ham chhoḌ diyā karte the paimāne meñ
the tavern does not even give that much wine to me
that I was wont to waste in the goblet casually
ab to utni bhi mayassar nahin mai-KHane mein
jitni hum chhoD diya karte the paimane mein
the tavern does not even give that much wine to me
that I was wont to waste in the goblet casually
aa.e the hañste khelte mai-ḳhāne meñ 'firāq'
jab pī chuke sharāb to sanjīda ho ga.e
we came to the tavern all gay and frolicsome
now having drunk the wine, somber have become
Interpretation:
Rekhta AI
The couplet shows an ironic reversal: the place associated with lightness and revelry becomes a doorway to gravity. “Wine” works as a metaphor for experience and truth—once tasted, it strips away easy laughter. The emotional core is sobering self-awareness: joy gives way to reflection, as if the intoxication awakens, rather than numbs, the mind.
aae the hanste khelte mai-KHane mein 'firaq'
jab pi chuke sharab to sanjida ho gae
we came to the tavern all gay and frolicsome
now having drunk the wine, somber have become
Interpretation:
Rekhta AI
The couplet shows an ironic reversal: the place associated with lightness and revelry becomes a doorway to gravity. “Wine” works as a metaphor for experience and truth—once tasted, it strips away easy laughter. The emotional core is sobering self-awareness: joy gives way to reflection, as if the intoxication awakens, rather than numbs, the mind.
qarz kī piite the mai lekin samajhte the ki haañ
rañg lāvegī hamārī fāqa-mastī ek din
Interpretation:
Rekhta AI
The couplet mixes poverty with stubborn hope: the speaker drinks even on debt, masking hardship in a gesture of carefree intoxication. “Hunger-intoxication” is a metaphor for the dazed bravado that comes from long deprivation. The irony is that this is both self-deception and defiance—believing that today’s humiliations will someday turn into “color,” meaning success or recognition.
qarz ki pite the mai lekin samajhte the ki han
rang lawegi hamari faqa-masti ek din
Interpretation:
Rekhta AI
The couplet mixes poverty with stubborn hope: the speaker drinks even on debt, masking hardship in a gesture of carefree intoxication. “Hunger-intoxication” is a metaphor for the dazed bravado that comes from long deprivation. The irony is that this is both self-deception and defiance—believing that today’s humiliations will someday turn into “color,” meaning success or recognition.
go haath ko jumbish nahīñ āñkhoñ meñ to dam hai
rahne do abhī sāġhar-o-mīnā mire aage
let the cup and flask of wine remain in front of me
though my hands are motionless, my eyes as yet can see
Interpretation:
Rekhta AI
The poet describes a state of extreme physical weakness, perhaps near death, where he can no longer lift a cup of wine. However, his spirit and desire remain unbroken; he wishes to satisfy his thirst merely by gazing at the symbols of his passion. It emphasizes that while the body may fail, the yearning of the soul persists until the very end.
go hath ko jumbish nahin aankhon mein to dam hai
rahne do abhi saghar-o-mina mere aage
let the cup and flask of wine remain in front of me
though my hands are motionless, my eyes as yet can see
Interpretation:
Rekhta AI
The poet describes a state of extreme physical weakness, perhaps near death, where he can no longer lift a cup of wine. However, his spirit and desire remain unbroken; he wishes to satisfy his thirst merely by gazing at the symbols of his passion. It emphasizes that while the body may fail, the yearning of the soul persists until the very end.
'ġhālib' chhuTī sharāb par ab bhī kabhī kabhī
piitā huuñ roz-e-abr o shab-e-māhtāb meñ
Interpretation:
Rekhta AI
The couplet captures a relapse of desire: a “quit” habit is not fully gone, it merely sleeps. Cloudy day and moonlit night become metaphors for two moods—gloom and romantic softness—both of which awaken the old taste for wine. Beneath the wit is confession: solitude and atmosphere make the heart vulnerable.
'ghaalib' chhuTi sharab par ab bhi kabhi kabhi
pita hun roz-e-abr o shab-e-mahtab mein
Interpretation:
Rekhta AI
The couplet captures a relapse of desire: a “quit” habit is not fully gone, it merely sleeps. Cloudy day and moonlit night become metaphors for two moods—gloom and romantic softness—both of which awaken the old taste for wine. Beneath the wit is confession: solitude and atmosphere make the heart vulnerable.
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Tags: Maikashiand 1 more
pilā de ok se saaqī jo ham se nafrat hai
piyāla gar nahīñ detā na de sharāb to de
if you despise me pour into my cupped palms, it is fine
give me not a glass but then, at least do give me wine
Interpretation:
Rekhta AI
The speaker accepts being disliked but refuses to give up on the one thing he craves: the drink (a metaphor for love, attention, or grace). Even the dignified “cup” is negotiable; he will take a humiliating substitute if it brings him closer to the beloved’s gift. The emotional core is stubborn longing that turns rejection into a bargain: deny the form, but not the essence.
pila de ok se saqi jo hum se nafrat hai
piyala gar nahin deta na de sharab to de
if you despise me pour into my cupped palms, it is fine
give me not a glass but then, at least do give me wine
Interpretation:
Rekhta AI
The speaker accepts being disliked but refuses to give up on the one thing he craves: the drink (a metaphor for love, attention, or grace). Even the dignified “cup” is negotiable; he will take a humiliating substitute if it brings him closer to the beloved’s gift. The emotional core is stubborn longing that turns rejection into a bargain: deny the form, but not the essence.
kuchh bhī bachā na kahne ko har baat ho ga.ī
aao kahīñ sharāb piyeñ raat ho ga.ī
kuchh bhi bacha na kahne ko har baat ho gai
aao kahin sharab piyen raat ho gai
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Tags: Maikashiand 2 more
zāhid sharāb piine se kāfir huā maiñ kyuuñ
kyā DeḌh chullū paanī meñ īmān bah gayā
EXPLANATION #1
यह शे’र मायनी और लक्षण दोनों दृष्टि से दिलचस्प है। शे’र में वही शब्द इस्तेमाल किए गए हैं, जिन्हें उर्दू ग़ज़ल की परम्परा की विशेषता समझा जाता है। जैसे ज़ाहिद-ए-शराब, काफ़िर, ईमान। मगर मायनी की सतह पर ज़ौक़ ने व्यंग्य के लहजे से जो बात पैदा की है वो पाठक को चौंका देती है। शे’र में ज़ाहिद के सम्बंध से शराब, काफ़िर के सम्बंध से ईमान के अलावा पीने, पानी और बहने से जो स्थिति पैदा हुई है वो अपने आप में एक शायराना कमाल है। ज़ाहिद उर्दू ग़ज़ल की परम्परा में उन पात्रों में से एक है जिन पर शायरों ने खुल कर तंज़ किए हैं।
शे’र के किरदार ज़ाहिद से सवाल पूछता है कि शराब पीने से आदमी काफ़िर कैसे हो सकता है, क्या ईमान इस क़दर कमज़ोर चीज़ होती है कि ज़रा से पानी के साथ बह जाती है। इस शे’र के पंक्तियों के बीच में ज़ाहिद पर जो तंज़ किया गया है वो “डेढ़ चुल्लू” पानी से स्पष्ट होता है। यानी मैंने तो ज़रा सी शराब पी ली है और तुमने मुझ पर काफ़िर होने का फ़तवा जारी कर दिया। क्या तुम्हारी नज़र में ईमान इतनी कमज़ोर चीज़ है कि ज़रा सी शराब पीने से ख़त्म हो जाती है।
Shafaq Sopori
zahid sharab pine se kafir hua main kyun
kya DeDh chullu pani mein iman bah gaya
EXPLANATION #1
यह शे’र मायनी और लक्षण दोनों दृष्टि से दिलचस्प है। शे’र में वही शब्द इस्तेमाल किए गए हैं, जिन्हें उर्दू ग़ज़ल की परम्परा की विशेषता समझा जाता है। जैसे ज़ाहिद-ए-शराब, काफ़िर, ईमान। मगर मायनी की सतह पर ज़ौक़ ने व्यंग्य के लहजे से जो बात पैदा की है वो पाठक को चौंका देती है। शे’र में ज़ाहिद के सम्बंध से शराब, काफ़िर के सम्बंध से ईमान के अलावा पीने, पानी और बहने से जो स्थिति पैदा हुई है वो अपने आप में एक शायराना कमाल है। ज़ाहिद उर्दू ग़ज़ल की परम्परा में उन पात्रों में से एक है जिन पर शायरों ने खुल कर तंज़ किए हैं।
शे’र के किरदार ज़ाहिद से सवाल पूछता है कि शराब पीने से आदमी काफ़िर कैसे हो सकता है, क्या ईमान इस क़दर कमज़ोर चीज़ होती है कि ज़रा से पानी के साथ बह जाती है। इस शे’र के पंक्तियों के बीच में ज़ाहिद पर जो तंज़ किया गया है वो “डेढ़ चुल्लू” पानी से स्पष्ट होता है। यानी मैंने तो ज़रा सी शराब पी ली है और तुमने मुझ पर काफ़िर होने का फ़तवा जारी कर दिया। क्या तुम्हारी नज़र में ईमान इतनी कमज़ोर चीज़ है कि ज़रा सी शराब पीने से ख़त्म हो जाती है।
Shafaq Sopori
ai 'zauq' dekh duḳhtar-e-raz ko na muñh lagā
chhuTtī nahīñ hai muñh se ye kāfar lagī huī
Interpretation:
Rekhta AI
The poet personifies wine as 'Dukhtar-e-raz' (daughter of the grape) and warns against tasting it. By calling it 'Kafir' (infidel or cruel one), he suggests that wine is an enchanting but dangerous mistress. The core theme is the difficulty of breaking an addiction; once one indulges, the habit refuses to leave.
ai 'zauq' dekh duKHtar-e-raz ko na munh laga
chhuTti nahin hai munh se ye kafar lagi hui
Interpretation:
Rekhta AI
The poet personifies wine as 'Dukhtar-e-raz' (daughter of the grape) and warns against tasting it. By calling it 'Kafir' (infidel or cruel one), he suggests that wine is an enchanting but dangerous mistress. The core theme is the difficulty of breaking an addiction; once one indulges, the habit refuses to leave.
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Tags: Famous shayariand 3 more
na tum hosh meñ ho na ham hosh meñ haiñ
chalo mai-kade meñ vahīñ baat hogī
neither are you in your senses nor am I in mine
let us now go to the tavern and talk while we have wine
na tum hosh mein ho na hum hosh mein hain
chalo mai-kade mein wahin baat hogi
neither are you in your senses nor am I in mine
let us now go to the tavern and talk while we have wine
lutf-e-mai tujh se kyā kahūñ zāhid
haa.e kam-baḳht tū ne pī hī nahīñ
you've never drunk O hapless priest
The joys of wine how will you see
Interpretation:
Rekhta AI
The speaker addresses a moralizing “zaahid” who condemns wine, and says its delight cannot be explained to someone who has never tried it. Wine becomes a metaphor for lived joy, ecstasy, and inner freedom. The couplet carries gentle mockery: judgment without experience is portrayed as misfortune. Emotionally, it blends pity with witty defiance of dry piety.
lutf-e-mai tujh se kya kahun zahid
hae kam-baKHt tu ne pi hi nahin
you've never drunk O hapless priest
The joys of wine how will you see
Interpretation:
Rekhta AI
The speaker addresses a moralizing “zaahid” who condemns wine, and says its delight cannot be explained to someone who has never tried it. Wine becomes a metaphor for lived joy, ecstasy, and inner freedom. The couplet carries gentle mockery: judgment without experience is portrayed as misfortune. Emotionally, it blends pity with witty defiance of dry piety.
'zauq' jo madrase ke bigḌe hue haiñ mullā
un ko mai-ḳhāne meñ le aao sañvar jā.eñge
Interpretation:
Rekhta AI
This verse is a witty satire on religious dogmatism. The poet suggests that the formal seminary (Madrasa) breeds arrogance and rigidity in clerics, whereas the tavern (a metaphor for the path of love and selflessness) cures the ego. It inverts conventional morality, claiming that 'sinful' places can teach humility better than places of worship.
'zauq' jo madrase ke bigDe hue hain mulla
un ko mai-KHane mein le aao sanwar jaenge
Interpretation:
Rekhta AI
This verse is a witty satire on religious dogmatism. The poet suggests that the formal seminary (Madrasa) breeds arrogance and rigidity in clerics, whereas the tavern (a metaphor for the path of love and selflessness) cures the ego. It inverts conventional morality, claiming that 'sinful' places can teach humility better than places of worship.
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Tags: Maikadaand 1 more
piitā huuñ jitnī utnī hī baḌhtī hai tishnagī
saaqī ne jaise pyaas milā dī sharāb meñ
pita hun jitni utni hi baDhti hai tishnagi
saqi ne jaise pyas mila di sharab mein
sāqiyā tishnagī kī taab nahīñ
zahr de de agar sharāb nahīñ
Interpretation:
Rekhta AI
The speaker’s “thirst” is a metaphor for overwhelming desire and inner ache that has become unbearable. Wine stands for relief, love, or ecstasy that could soothe this burning need. In desperation, he says even poison is preferable to continuing without any remedy. The couplet captures emotional extremity: relief at any cost versus the torment of waiting.
saqiya tishnagi ki tab nahin
zahr de de agar sharab nahin
Interpretation:
Rekhta AI
The speaker’s “thirst” is a metaphor for overwhelming desire and inner ache that has become unbearable. Wine stands for relief, love, or ecstasy that could soothe this burning need. In desperation, he says even poison is preferable to continuing without any remedy. The couplet captures emotional extremity: relief at any cost versus the torment of waiting.
pahle sharāb ziist thī ab ziist hai sharāb
koī pilā rahā hai piye jā rahā huuñ maiñ
pahle sharab zist thi ab zist hai sharab
koi pila raha hai piye ja raha hun main
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Tags: Maikashiand 1 more
tark-e-mai hī samajh ise nāseh
itnī pī hai ki pī nahīñ jaatī
tark-e-mai hi samajh ise naseh
itni pi hai ki pi nahin jati
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Tags: Famous shayariand 4 more
shikan na Daal jabīñ par sharāb dete hue
ye muskurātī huī chiiz muskurā ke pilā
EXPLANATION #1
जबीं अर्थात माथा। जबीं पर शिकन डालने के कई मायने हैं। जैसे ग़ुस्सा करना, किसी से रूठ जाना आदि। शायर मदिरापान कराने वाले अर्थात अपने महबूब को सम्बोधित करते हुए कहता है कि शराब एक मुस्कुराती हुई चीज़ है और उसे किसी को देते हुए माथे पर बल डालना अच्छी बात नहीं क्योंकि अगर साक़ी माथे पर बल डालकर किसी को शराब पिलाता है तो फिर उस मदिरा का असली मज़ा जाता रहता है। इसलिए मदिरापान कराने वाले पर अनिवार्य है कि वो मदिरापान के नियमों को ध्यान में रखते हुए पीने वाले को शराब मुस्कुरा कर पिलाए।
Shafaq Sopori
shikan na Dal jabin par sharab dete hue
ye muskuraati hui chiz muskura ke pila
EXPLANATION #1
जबीं अर्थात माथा। जबीं पर शिकन डालने के कई मायने हैं। जैसे ग़ुस्सा करना, किसी से रूठ जाना आदि। शायर मदिरापान कराने वाले अर्थात अपने महबूब को सम्बोधित करते हुए कहता है कि शराब एक मुस्कुराती हुई चीज़ है और उसे किसी को देते हुए माथे पर बल डालना अच्छी बात नहीं क्योंकि अगर साक़ी माथे पर बल डालकर किसी को शराब पिलाता है तो फिर उस मदिरा का असली मज़ा जाता रहता है। इसलिए मदिरापान कराने वाले पर अनिवार्य है कि वो मदिरापान के नियमों को ध्यान में रखते हुए पीने वाले को शराब मुस्कुरा कर पिलाए।
Shafaq Sopori
ai mohtasib na pheñk mire mohtasib na pheñk
zālim sharāb hai are zālim sharāb hai
ai mohtasib na phenk mere mohtasib na phenk
zalim sharab hai are zalim sharab hai
