TOP 20 SHAYARI of Shaikh Ibrahim Zauq
tum bhuul kar bhī yaad nahīñ karte ho kabhī
ham to tumhārī yaad meñ sab kuchh bhulā chuke
Interpretation:
Rekhta AI
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.
tum bhul kar bhi yaad nahin karte ho kabhi
hum to tumhaari yaad mein sab kuchh bhula chuke
Interpretation:
Rekhta AI
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.
ab to ghabrā ke ye kahte haiñ ki mar jā.eñge
mar ke bhī chain na paayā to kidhar jā.eñge
being agitated I express the hope to die, although
in death, if solace is not found, then where shall I go?
Interpretation:
Rekhta AI
The poet expresses a state of extreme distress where life has become unbearable, making death appear as the only solution for relief. However, a terrifying realization strikes him: if the soul's torment is eternal and continues in the afterlife, there is truly no refuge left in the entire universe. It highlights the inescapable nature of the lover's suffering.
ab to ghabra ke ye kahte hain ki mar jaenge
mar ke bhi chain na paya to kidhar jaenge
being agitated I express the hope to die, although
in death, if solace is not found, then where shall I go?
Interpretation:
Rekhta AI
The poet expresses a state of extreme distress where life has become unbearable, making death appear as the only solution for relief. However, a terrifying realization strikes him: if the soul's torment is eternal and continues in the afterlife, there is truly no refuge left in the entire universe. It highlights the inescapable nature of the lover's suffering.
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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
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Tag : Sharab
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ai 'zauq' takalluf meñ hai taklīf sarāsar
ārām meñ hai vo jo takalluf nahīñ kartā
save trouble, in formality, zauq nothing else can be
at ease he then remains he who, eschews formality
EXPLANATION #1
यह ज़ौक़ का एक ख़ूबसूरत शे’र है और इसमें ज़ौक़ ने एक अहम नुक्ते वाली बात बताई है। हालांकि इस शे’र का अहम लफ़्ज़ तकल्लुफ़ है मगर तकलीफ़ और तकल्लुफ़ की रियायत भी खूब मज़ा देती है।
ज़ौक़ इस शे’र में तकल्लुफ़ यानी बनावट की नई बात पर रौशनी डालते हैं। बनावट वो चीज़ होती है जिसमें हक़ीक़त न हो यानी जो बनावटी हो। बनावट ज़िंदगी के सारे मामले में भी होती है और रिश्तों में भी। आम मामले में बनावट से तात्पर्य ये है कि आदमी अपनी वो हैसियत दिखाने की कोशिश करे जो वो नहीं है और रिश्तों में बनावट से तात्पर्य ऐसी भावनाओं को प्रगट करना जो वास्तविक न हों। बहरहाल मामला जो भी है अगर इंसान आम मामले में बनावट से काम ले तो ख़ुद को ही नुक़्सान पहुँचाता है और अगर रिश्तों में बनावट से काम ले तो एक न एक दिन तो बनावट खुल ही जाती है फिर रिश्ते टूट जाते हैं।
ज़ौक़ कहते कि दरअसल बनावट और दिखावा एक भरपूर तकलीफ़ है और जो आदमी बनावट से काम नहीं लेता हालांकि वक़्ती तौर पर उसे तकलीफ़ महसूस होती है मगर आख़िरकार वह आराम में होता है। इसलिए इंसान को दिखावे से बचना चाहिए।
Shafaq Sopori
ai 'zauq' takalluf mein hai taklif sarasar
aaram mein hai wo jo takalluf nahin karta
save trouble, in formality, zauq nothing else can be
at ease he then remains he who, eschews formality
EXPLANATION #1
यह ज़ौक़ का एक ख़ूबसूरत शे’र है और इसमें ज़ौक़ ने एक अहम नुक्ते वाली बात बताई है। हालांकि इस शे’र का अहम लफ़्ज़ तकल्लुफ़ है मगर तकलीफ़ और तकल्लुफ़ की रियायत भी खूब मज़ा देती है।
ज़ौक़ इस शे’र में तकल्लुफ़ यानी बनावट की नई बात पर रौशनी डालते हैं। बनावट वो चीज़ होती है जिसमें हक़ीक़त न हो यानी जो बनावटी हो। बनावट ज़िंदगी के सारे मामले में भी होती है और रिश्तों में भी। आम मामले में बनावट से तात्पर्य ये है कि आदमी अपनी वो हैसियत दिखाने की कोशिश करे जो वो नहीं है और रिश्तों में बनावट से तात्पर्य ऐसी भावनाओं को प्रगट करना जो वास्तविक न हों। बहरहाल मामला जो भी है अगर इंसान आम मामले में बनावट से काम ले तो ख़ुद को ही नुक़्सान पहुँचाता है और अगर रिश्तों में बनावट से काम ले तो एक न एक दिन तो बनावट खुल ही जाती है फिर रिश्ते टूट जाते हैं।
ज़ौक़ कहते कि दरअसल बनावट और दिखावा एक भरपूर तकलीफ़ है और जो आदमी बनावट से काम नहीं लेता हालांकि वक़्ती तौर पर उसे तकलीफ़ महसूस होती है मगर आख़िरकार वह आराम में होता है। इसलिए इंसान को दिखावे से बचना चाहिए।
Shafaq Sopori
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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.
'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.
ek aañsū ne Duboyā mujh ko un kī bazm meñ
buuñd bhar paanī se saarī aabrū paanī huī
a single tear caused my fall in her company
just a drop of water drowned my dignity
Interpretation:
Rekhta AI
The poet laments that a momentary lapse in emotional control, manifested as a single tear, destroyed his dignity in the beloved's assembly. He uses a clever play on the word 'water,' contrasting the physical teardrop with the metaphorical liquefying of his honor, implying that this small sign of weakness completely washed away his social standing.
ek aansu ne Duboya mujh ko un ki bazm mein
bund bhar pani se sari aabru pani hui
a single tear caused my fall in her company
just a drop of water drowned my dignity
Interpretation:
Rekhta AI
The poet laments that a momentary lapse in emotional control, manifested as a single tear, destroyed his dignity in the beloved's assembly. He uses a clever play on the word 'water,' contrasting the physical teardrop with the metaphorical liquefying of his honor, implying that this small sign of weakness completely washed away his social standing.
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Tag : Aansoo
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bajā kahe jise aalam use bajā samjho
zabān-e-ḳhalq ko naqqāra-e-ḳhudā samjho
Interpretation:
Rekhta AI
This couplet highlights the sanctity and weight of public consensus. It draws upon the concept that when a large number of people agree on something, it carries a divine validation, akin to the maxim 'Vox populi, vox Dei' (The voice of the people is the voice of God). Therefore, one should respect collective judgment as a reflection of truth.
baja kahe jise aalam use baja samjho
zaban-e-KHalq ko naqqara-e-KHuda samjho
Interpretation:
Rekhta AI
This couplet highlights the sanctity and weight of public consensus. It draws upon the concept that when a large number of people agree on something, it carries a divine validation, akin to the maxim 'Vox populi, vox Dei' (The voice of the people is the voice of God). Therefore, one should respect collective judgment as a reflection of truth.
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ma.alūm jo hotā hameñ anjām-e-mohabbat
lete na kabhī bhuul ke ham nām-e-mohabāt
had I known this is how love would end
even its name would not cross my lips my friend
Interpretation:
Rekhta AI
The poet expresses deep remorse over falling in love, emphasizing the pain and tragedy that awaits at the end of the journey. He suggests that love is so destructive that had he foreseen the outcome, he would have avoided even the slightest association with it.
malum jo hota hamein anjam-e-mohabbat
lete na kabhi bhul ke hum nam-e-mohabaat
had I known this is how love would end
even its name would not cross my lips my friend
Interpretation:
Rekhta AI
The poet expresses deep remorse over falling in love, emphasizing the pain and tragedy that awaits at the end of the journey. He suggests that love is so destructive that had he foreseen the outcome, he would have avoided even the slightest association with it.
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ham rone pe aa jaa.eñ to dariyā hī bahā deñ
shabnam kī tarah se hameñ ronā nahīñ aatā
Interpretation:
Rekhta AI
This couplet is a classic example of poetic exaggeration (hyperbole) used to express the immense depth of the poet's sorrow. He contrasts his overwhelming grief with the delicate, insignificant nature of dew drops, asserting that his pain demands a flood-like release rather than silent, suppressed tears.
hum rone pe aa jaen to dariya hi baha den
shabnam ki tarah se hamein rona nahin aata
Interpretation:
Rekhta AI
This couplet is a classic example of poetic exaggeration (hyperbole) used to express the immense depth of the poet's sorrow. He contrasts his overwhelming grief with the delicate, insignificant nature of dew drops, asserting that his pain demands a flood-like release rather than silent, suppressed tears.
laa.ī hayāt aa.e qazā le chalī chale
apnī ḳhushī na aa.e na apnī ḳhushī chale
Interpretation:
Rekhta AI
This couplet captures the philosophical essence of human helplessness regarding existence. It highlights that the two most significant events—birth and death—are entirely out of human control. Man is portrayed as a traveler who follows the dictates of fate without any personal agency in the beginning or the end of his journey.
lai hayat aae qaza le chali chale
apni KHushi na aae na apni KHushi chale
Interpretation:
Rekhta AI
This couplet captures the philosophical essence of human helplessness regarding existence. It highlights that the two most significant events—birth and death—are entirely out of human control. Man is portrayed as a traveler who follows the dictates of fate without any personal agency in the beginning or the end of his journey.
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kitne muflis ho ga.e kitne tavañgar ho ga.e
ḳhaak meñ jab mil ga.e donoñ barābar ho ga.e
however many paupers passed, and wealthy went and came
when they were consigned to dust they were all the same
Interpretation:
Rekhta AI
This couplet highlights the transient nature of worldly status and wealth. Zauq reminds the reader that while society divides people into rich and poor, death serves as the ultimate equalizer. In the end, everyone returns to the same earth, rendering all social hierarchies meaningless.
kitne muflis ho gae kitne tawangar ho gae
KHak mein jab mil gae donon barabar ho gae
however many paupers passed, and wealthy went and came
when they were consigned to dust they were all the same
Interpretation:
Rekhta AI
This couplet highlights the transient nature of worldly status and wealth. Zauq reminds the reader that while society divides people into rich and poor, death serves as the ultimate equalizer. In the end, everyone returns to the same earth, rendering all social hierarchies meaningless.
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ādamiyyat aur shai hai ilm hai kuchh aur shai
kitnā tote ko paḌhāyā par vo haivāñ hī rahā
Interpretation:
Rekhta AI
Zauq distinguishes between accumulating information (knowledge) and possessing moral character (humanity). He uses the metaphor of a parrot, which can mimic human speech through training but lacks human consciousness or ethics. The verse suggests that education alone cannot transform a person's basic nature if true humanity is missing.
aadamiyyat aur shai hai ilm hai kuchh aur shai
kitna tote ko paDhaya par wo haiwan hi raha
Interpretation:
Rekhta AI
Zauq distinguishes between accumulating information (knowledge) and possessing moral character (humanity). He uses the metaphor of a parrot, which can mimic human speech through training but lacks human consciousness or ethics. The verse suggests that education alone cannot transform a person's basic nature if true humanity is missing.
naaz hai gul ko nazākat pe chaman meñ ai 'zauq'
us ne dekhe hī nahīñ nāz-o-nazākat vaale
Interpretation:
Rekhta AI
The poet uses a classic metaphor comparing the beloved to a rose. He mocks the rose's vanity, suggesting that its pride in being delicate is born of ignorance. If the rose were to witness the beloved's superior elegance and tenderness, its arrogance would instantly vanish.
naz hai gul ko nazakat pe chaman mein ai 'zauq'
us ne dekhe hi nahin naz-o-nazakat wale
Interpretation:
Rekhta AI
The poet uses a classic metaphor comparing the beloved to a rose. He mocks the rose's vanity, suggesting that its pride in being delicate is born of ignorance. If the rose were to witness the beloved's superior elegance and tenderness, its arrogance would instantly vanish.
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bosa jo ruḳh kā dete nahīñ lab kā dījiye
ye hai masal ki phuul nahīñ pañkhuḌī sahī
Interpretation:
Rekhta AI
The poet uses a clever and playful argument to negotiate with the beloved. By equating the face to a full flower and the lip to a mere petal, the lover suggests that a kiss on the lips is a modest compromise, citing the proverb that a part is acceptable if the whole is denied.
bosa jo ruKH ka dete nahin lab ka dijiye
ye hai masal ki phul nahin pankhuDi sahi
Interpretation:
Rekhta AI
The poet uses a clever and playful argument to negotiate with the beloved. By equating the face to a full flower and the lip to a mere petal, the lover suggests that a kiss on the lips is a modest compromise, citing the proverb that a part is acceptable if the whole is denied.
masjid meñ us ne ham ko āñkheñ dikhā ke maarā
kāfir kī shoḳhī dekho ghar meñ ḳhudā ke maarā
Interpretation:
Rekhta AI
This couplet playfully contrasts the sanctity of a place of worship with the worldly power of romantic attraction. The poet refers to the beloved as a 'Kafir' (infidel) to highlight their cruelty or lack of religious regard, noting the irony that the beloved used the lethal power of their gaze to 'kill' the lover within the safety of a mosque.
masjid mein us ne hum ko aankhen dikha ke mara
kafir ki shoKHi dekho ghar mein KHuda ke mara
Interpretation:
Rekhta AI
This couplet playfully contrasts the sanctity of a place of worship with the worldly power of romantic attraction. The poet refers to the beloved as a 'Kafir' (infidel) to highlight their cruelty or lack of religious regard, noting the irony that the beloved used the lethal power of their gaze to 'kill' the lover within the safety of a mosque.
ai sham.a terī umr-e-tābī.ī hai ek raat
hañs kar guzār yā ise ro kar guzār de
Interpretation:
Rekhta AI
The poet uses the metaphor of a candle to illustrate the brevity of life, noting that its entire existence is limited to just one dark night. Since the end is inevitable and the time is short, the poet suggests that complaining is futile. It serves as a philosophical reminder that while we cannot control the length of our life, we can choose our attitude towards it.
ai shama teri umr-e-tabii hai ek raat
hans kar guzar ya ise ro kar guzar de
Interpretation:
Rekhta AI
The poet uses the metaphor of a candle to illustrate the brevity of life, noting that its entire existence is limited to just one dark night. Since the end is inevitable and the time is short, the poet suggests that complaining is futile. It serves as a philosophical reminder that while we cannot control the length of our life, we can choose our attitude towards it.
haq ne tujh ko ik zabāñ dī aur diye haiñ kaan do
is ke ye ma.anī kahe ik aur sune insān do
the lord did on our face one mouth and two ears array
for to listen twich as much as we are wont to say
Interpretation:
Rekhta AI
The poet interprets the physical anatomy of the human body as a divine signal for behavioral ethics. By highlighting that humans have one tongue but two ears, Zauq argues that nature intends for us to listen twice as much as we speak. It is a lesson in wisdom, suggesting that silence and attention bring more benefit than excessive talking.
haq ne tujh ko ek zaban di aur diye hain kan do
is ke ye mani kahe ek aur sune insan do
the lord did on our face one mouth and two ears array
for to listen twich as much as we are wont to say
Interpretation:
Rekhta AI
The poet interprets the physical anatomy of the human body as a divine signal for behavioral ethics. By highlighting that humans have one tongue but two ears, Zauq argues that nature intends for us to listen twice as much as we speak. It is a lesson in wisdom, suggesting that silence and attention bring more benefit than excessive talking.
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ḳhat baḌhā kākul baḌhe zulfeñ baḌhīñ gesū baḌhe
husn kī sarkār meñ jitne baḌhe hindū baḌhe
Interpretation:
Rekhta AI
This couplet relies on a classical poetic trope where the word 'Hindu' represents the color black. Zauq playfully describes the overgrowth of facial hair and locks on the beloved's face, suggesting that in the realm of Beauty, the dark elements (hair) are the only ones getting promoted or increasing in influence.
KHat baDha kakul baDhe zulfen baDhin gesu baDhe
husn ki sarkar mein jitne baDhe hindu baDhe
Interpretation:
Rekhta AI
This couplet relies on a classical poetic trope where the word 'Hindu' represents the color black. Zauq playfully describes the overgrowth of facial hair and locks on the beloved's face, suggesting that in the realm of Beauty, the dark elements (hair) are the only ones getting promoted or increasing in influence.
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sab ko duniyā kī havas ḳhvār liye phirtī hai
kaun phirtā hai ye murdār liye phirtī hai
Interpretation:
Rekhta AI
The poet critiques the human obsession with material life, describing worldly greed as an active force that humiliates people. He suggests that humans have lost their agency; they are not moving of their own free will but are being dragged around by their base desires for the world, which is metaphorically compared to a rotting carcass.
sab ko duniya ki hawas KHwar liye phirti hai
kaun phirta hai ye murdar liye phirti hai
Interpretation:
Rekhta AI
The poet critiques the human obsession with material life, describing worldly greed as an active force that humiliates people. He suggests that humans have lost their agency; they are not moving of their own free will but are being dragged around by their base desires for the world, which is metaphorically compared to a rotting carcass.
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