Sher on Husn
Beauty is a thing to
see, observe, and enjoy. It is, however, too difficult to configure it in words. Poetry is an art of representing beauty which poets do with their well-chosen words and literary tools and figures of speech. Some examples that represent beauty can be seen here in this section.
shaam bhī thī dhuāñ dhuāñ husn bhī thā udaas udaas
dil ko ka.ī kahāniyāñ yaad sī aa ke rah ga.iiñ
The evening felt hazy and smoke-like, and even beauty looked quietly sad.
Many half-formed stories returned to the heart, as if remembered, and then stayed there.
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.
sham bhi thi dhuan dhuan husn bhi tha udas udas
dil ko kai kahaniyan yaad si aa ke rah gain
The evening felt hazy and smoke-like, and even beauty looked quietly sad.
Many half-formed stories returned to the heart, as if remembered, and then stayed there.
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.
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Tags : Diland 4 more
husn ke samajhne ko umr chāhiye jānāñ
do ghaḌī kī chāhat meñ laḌkiyāñ nahīñ khultīñ
husn ke samajhne ko umr chahiye jaanan
do ghaDi ki chahat mein laDkiyan nahin khultin
us ke chehre kī chamak ke sāmne saada lagā
āsmāñ pe chāñd puurā thā magar aadhā lagā
us ke chehre ki chamak ke samne sada laga
aasman pe chand pura tha magar aadha laga
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Tag : Chaand
tumhārī āñkhoñ kī tauhīn hai zarā socho
tumhārā chāhne vaalā sharāb piitā hai
tumhaari aankhon ki tauhin hai zara socho
tumhaara chahne wala sharab pita hai
na pūchho husn kī tārīf ham se
mohabbat jis se ho bas vo hasīñ hai
na puchho husn ki tarif hum se
mohabbat jis se ho bas wo hasin hai
terī sūrat se kisī kī nahīñ miltī sūrat
ham jahāñ meñ tirī tasvīr liye phirte haiñ
teri surat se kisi ki nahin milti surat
hum jahan mein teri taswir liye phirte hain
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Tags : Chehraand 1 more
aa.ina dekh ke kahte haiñ sañvarne vaale
aaj be-maut mareñge mire marne vaale
on seeing her own reflection she is moved to say
ere their time, my paramours shall perish this day
The ones who dress up look in the mirror and say this.
Today, those who wish for my death will die an untimely death themselves.
The speaker hears admirers/beautifiers praising themselves in the mirror, and turns that scene into a sharp boast. He implies his charm and presence are so overpowering that even his rivals’ ill-wishing rebounds on them. “Dying without death” is a metaphor for being consumed by envy and frustration. The couplet’s emotional core is proud, taunting irony.
aaina dekh ke kahte hain sanwarne wale
aaj be-maut marenge mere marne wale
on seeing her own reflection she is moved to say
ere their time, my paramours shall perish this day
The ones who dress up look in the mirror and say this.
Today, those who wish for my death will die an untimely death themselves.
The speaker hears admirers/beautifiers praising themselves in the mirror, and turns that scene into a sharp boast. He implies his charm and presence are so overpowering that even his rivals’ ill-wishing rebounds on them. “Dying without death” is a metaphor for being consumed by envy and frustration. The couplet’s emotional core is proud, taunting irony.
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Tags : Naazand 1 more
kaun sī jā hai jahāñ jalva-e-māshūq nahīñ
shauq-e-dīdār agar hai to nazar paidā kar
where in this world does ones beloved's beauty not reside
if the zeal for sight you have, the vision too provide
kaun si ja hai jahan jalwa-e-mashuq nahin
shauq-e-didar agar hai to nazar paida kar
where in this world does ones beloved's beauty not reside
if the zeal for sight you have, the vision too provide
ai sanam jis ne tujhe chāñd sī sūrat dī hai
usī allāh ne mujh ko bhī mohabbat dī hai
ai sanam jis ne tujhe chand si surat di hai
usi allah ne mujh ko bhi mohabbat di hai
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Tags : Chehraand 2 more
hasīñ to aur haiñ lekin koī kahāñ tujh sā
jo dil jalā.e bahut phir bhī dilrubā hī lage
hasin to aur hain lekin koi kahan tujh sa
jo dil jalae bahut phir bhi dilruba hi lage
sunā hai us ke badan kī tarāsh aisī hai
ki phuul apnī qabā.eñ katar ke dekhte haiñ
suna hai us ke badan ki tarash aisi hai
ki phul apni qabaen katar ke dekhte hain
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Tag : Mehboob
phuul gul shams o qamar saare hī the
par hameñ un meñ tumhīñ bhaa.e bahut
There were many beautiful things—flowers, roses, the sun, and the moon.
Yet among all of them, the one I liked most was you.
The couplet sets up a whole universe of admired beauties—nature and the heavens—then quietly overturns it by choosing the beloved above all. Flowers and celestial bodies become metaphors for different forms of beauty and attraction, but none compares to the beloved’s pull. The emotional core is devoted preference: in a world full of wonders, the heart singles out one person as supreme.
phul gul shams o qamar sare hi the
par hamein un mein tumhin bhae bahut
There were many beautiful things—flowers, roses, the sun, and the moon.
Yet among all of them, the one I liked most was you.
The couplet sets up a whole universe of admired beauties—nature and the heavens—then quietly overturns it by choosing the beloved above all. Flowers and celestial bodies become metaphors for different forms of beauty and attraction, but none compares to the beloved’s pull. The emotional core is devoted preference: in a world full of wonders, the heart singles out one person as supreme.
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Tags : Chaandand 1 more
tire jamāl kī tasvīr khīñch duuñ lekin
zabāñ meñ aañkh nahīñ aañkh meñ zabān nahīñ
tere jamal ki taswir khinch dun lekin
zaban mein aankh nahin aankh mein zaban nahin
ishq bhī ho hijāb meñ husn bhī ho hijāb meñ
yā to ḳhud āshkār ho yā mujhe āshkār kar
Love is hidden behind a veil, and beauty is also hidden behind a veil.
Either reveal Yourself, or make me revealed to myself.
Allama Iqbal portrays a world where both the seeker’s love and the sought-after beauty remain veiled, so true encounter cannot happen. The speaker pleads for clarity: either the Beloved/Truth should manifest openly, or the speaker’s inner self should be unveiled. The ‘hijab’ symbolizes barriers of perception, ego, and confusion. The emotional core is restless yearning for direct vision and self-recognition.
ishq bhi ho hijab mein husn bhi ho hijab mein
ya to KHud aashkar ho ya mujhe aashkar kar
Love is hidden behind a veil, and beauty is also hidden behind a veil.
Either reveal Yourself, or make me revealed to myself.
Allama Iqbal portrays a world where both the seeker’s love and the sought-after beauty remain veiled, so true encounter cannot happen. The speaker pleads for clarity: either the Beloved/Truth should manifest openly, or the speaker’s inner self should be unveiled. The ‘hijab’ symbolizes barriers of perception, ego, and confusion. The emotional core is restless yearning for direct vision and self-recognition.
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Tags : Ishqand 2 more
vo chāñd kah ke gayā thā ki aaj niklegā
to intizār meñ baiThā huā huuñ shaam se maiñ
wo chand kah ke gaya tha ki aaj niklega
to intizar mein baiTha hua hun sham se main
itne hijāboñ par to ye aalam hai husn kā
kyā haal ho jo dekh leñ parda uThā ke ham
itne hijabon par to ye aalam hai husn ka
kya haal ho jo dekh len parda uTha ke hum
ishq kā zauq-e-nazāra muft meñ badnām hai
husn ḳhud be-tāb hai jalva dikhāne ke liye
love is needlessly defamed that for vision it is keen
beauty is impatient too for its splendour to be seen
ishq ka zauq-e-nazara muft mein badnam hai
husn KHud be-tab hai jalwa dikhane ke liye
love is needlessly defamed that for vision it is keen
beauty is impatient too for its splendour to be seen
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Tags : Ishqand 2 more
tum husn kī ḳhud ik duniyā ho shāyad ye tumheñ mālūm nahīñ
mahfil meñ tumhāre aane se har chiiz pe nuur aa jaatā hai
tum husn ki KHud ek duniya ho shayad ye tumhein malum nahin
mahfil mein tumhaare aane se har chiz pe nur aa jata hai
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Tag : Mehboob
uf vo marmar se tarāshā huā shaffāf badan
dekhne vaale use tāj-mahal kahte haiñ
uf wo marmar se tarasha hua shaffaf badan
dekhne wale use taj-mahal kahte hain
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Tag : Badan
tujhe kaun jāntā thā mirī dostī se pahle
tirā husn kuchh nahīñ thā mirī shā.irī se pahle
tujhe kaun jaanta tha meri dosti se pahle
tera husn kuchh nahin tha meri shairi se pahle
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Tag : Dosti
jis bhī fankār kā shahkār ho tum
us ne sadiyoñ tumheñ sochā hogā
jis bhi fankar ka shahkar ho tum
us ne sadiyon tumhein socha hoga
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Tag : Mehboob
ajab terī hai ai mahbūb sūrat
nazar se gir ga.e sab ḳhūbsūrat
ajab teri hai ai mahbub surat
nazar se gir gae sab KHubsurat
kyā husn ne samjhā hai kyā ishq ne jaanā hai
ham ḳhāk-nashīnoñ kī Thokar meñ zamānā hai
kya husn ne samjha hai kya ishq ne jaana hai
hum KHak-nashinon ki Thokar mein zamana hai
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Tag : Ishq
ilāhī kaisī kaisī sūrateñ tū ne banā.ī haiñ
ki har sūrat kaleje se lagā lene ke qābil hai
ilahi kaisi kaisi suraten tu ne banai hain
ki har surat kaleje se laga lene ke qabil hai
ruḳh-e-raushan ke aage sham.a rakh kar vo ye kahte haiñ
udhar jaatā hai dekheñ yā idhar parvāna aatā hai
He places a lamp in front of his bright face and says this.
“Let’s see whether you go to that light or come here like a moth.”
The beloved stages a playful test: the lamp is a rival light set beside the radiance of the face. The moth stands for the lover, drawn helplessly toward beauty and flame-like danger. Beneath the flirtation is possessiveness—wanting proof that the lover’s pull is toward the beloved, not any other attraction. The couplet captures teasing, temptation, and the lover’s fated surrender.
ruKH-e-raushan ke aage shama rakh kar wo ye kahte hain
udhar jata hai dekhen ya idhar parwana aata hai
He places a lamp in front of his bright face and says this.
“Let’s see whether you go to that light or come here like a moth.”
The beloved stages a playful test: the lamp is a rival light set beside the radiance of the face. The moth stands for the lover, drawn helplessly toward beauty and flame-like danger. Beneath the flirtation is possessiveness—wanting proof that the lover’s pull is toward the beloved, not any other attraction. The couplet captures teasing, temptation, and the lover’s fated surrender.
jis taraf tū hai udhar hoñgī sabhī kī nazreñ
iid ke chāñd kā dīdār bahāna hī sahī
jis taraf tu hai udhar hongi sabhi ki nazren
id ke chand ka didar bahana hi sahi
terā chehra kitnā suhānā lagtā hai
tere aage chāñd purānā lagtā hai
tera chehra kitna suhana lagta hai
tere aage chand purana lagta hai
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Tag : Chehra
kisī kā yuuñ to huā kaun umr bhar phir bhī
ye husn o ishq to dhokā hai sab magar phir bhī
Who truly becomes someone’s completely, all their life—still, even then.
Beauty and love are really a deception, everything is—yet even then.
The couplet carries a resigned wisdom: lasting, complete belonging in love is rare, yet the heart keeps returning to it. Calling beauty and love a “deception” points to their promise of fulfillment that often slips away. Still, the repeated “yet even then” shows an unwillingness to stop hoping—despite knowing the truth. It captures the tug between clear-eyed disillusionment and stubborn desire.
kisi ka yun to hua kaun umr bhar phir bhi
ye husn o ishq to dhoka hai sab magar phir bhi
Who truly becomes someone’s completely, all their life—still, even then.
Beauty and love are really a deception, everything is—yet even then.
The couplet carries a resigned wisdom: lasting, complete belonging in love is rare, yet the heart keeps returning to it. Calling beauty and love a “deception” points to their promise of fulfillment that often slips away. Still, the repeated “yet even then” shows an unwillingness to stop hoping—despite knowing the truth. It captures the tug between clear-eyed disillusionment and stubborn desire.
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Tags : Dhokaand 2 more
kisī kalī kisī gul meñ kisī chaman meñ nahīñ
vo rang hai hī nahīñ jo tire badan meñ nahīñ
kisi kali kisi gul mein kisi chaman mein nahin
wo rang hai hi nahin jo tere badan mein nahin
kashmīr kī vaadī meñ be-parda jo nikle ho
kyā aag lagāoge barfīlī chaTānoñ meñ
kashmir ki wadi mein be-parda jo nikle ho
kya aag lagaoge barfili chaTanon mein
zarā visāl ke baa'd aa.ina to dekh ai dost
tire jamāl kī doshīzgī nikhar aa.ī
After our union, just look into the mirror for a moment, my friend.
You’ll see that the maidenly freshness of your beauty has become more radiant.
The poet invites the beloved to confirm a change by looking in the mirror after union. The “mirror” stands for self-seeing and proof, while “maidenliness” suggests a delicate freshness that paradoxically seems to bloom further after intimacy. Emotionally, the couplet blends tenderness and wonder, presenting love as something that refines and brightens beauty rather than diminishing it.
zara visal ke ba'd aaina to dekh ai dost
tere jamal ki doshizgi nikhar aai
After our union, just look into the mirror for a moment, my friend.
You’ll see that the maidenly freshness of your beauty has become more radiant.
The poet invites the beloved to confirm a change by looking in the mirror after union. The “mirror” stands for self-seeing and proof, while “maidenliness” suggests a delicate freshness that paradoxically seems to bloom further after intimacy. Emotionally, the couplet blends tenderness and wonder, presenting love as something that refines and brightens beauty rather than diminishing it.
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Tags : Aainaand 2 more
na paak hogā kabhī husn o ishq kā jhagḌā
vo qissa hai ye ki jis kā koī gavāh nahīñ
na pak hoga kabhi husn o ishq ka jhagDa
wo qissa hai ye ki jis ka koi gawah nahin
bahut dinoñ se mire saath thī magar kal shaam
mujhe patā chalā vo kitnī ḳhūbsūrat hai
bahut dinon se mere sath thi magar kal sham
mujhe pata chala wo kitni KHubsurat hai
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Tag : Mehboob
achchhī sūrat bhī kyā burī shai hai
jis ne Daalī burī nazar Daalī
achchhi surat bhi kya buri shai hai
jis ne Dali buri nazar Dali
tujh sā koī jahān meñ nāzuk-badan kahāñ
ye pañkhuḌī se hoñT ye gul sā badan kahāñ
tujh sa koi jahan mein nazuk-badan kahan
ye pankhuDi se honT ye gul sa badan kahan
nigāh barq nahīñ chehra āftāb nahīñ
vo aadmī hai magar dekhne kī taab nahīñ
nigah barq nahin chehra aaftab nahin
wo aadmi hai magar dekhne ki tab nahin
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Tags : Famous shayariand 2 more
husn ko sharmsār karnā hī
ishq kā intiqām hotā hai
husn ko sharmsar karna hi
ishq ka intiqam hota hai
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Tags : Intiqamand 2 more
husn ik dilrubā hukūmat hai
ishq ik qudratī ġhulāmī hai
husn ek dilruba hukumat hai
ishq ek qudrati ghulami hai
husn aafat nahīñ to phir kyā hai
tū qayāmat nahīñ to phir kyā hai
husn aafat nahin to phir kya hai
tu qayamat nahin to phir kya hai
ham apnā ishq chamkā.eñ tum apnā husn chamkāo
ki hairāñ dekh kar aalam hameñ bhī ho tumheñ bhī ho
I will make my love shine; you make your beauty shine.
So that the world is left amazed—and both you and I feel that amazement too.
The speaker stages a graceful contest: love versus beauty, each displayed at its brightest. Their union becomes a spectacle that stuns the whole world, and that same wonder returns to the lovers themselves. It suggests a proud, mutual radiance where passion and appearance amplify each other, turning private feeling into public awe.
hum apna ishq chamkaen tum apna husn chamkao
ki hairan dekh kar aalam hamein bhi ho tumhein bhi ho
I will make my love shine; you make your beauty shine.
So that the world is left amazed—and both you and I feel that amazement too.
The speaker stages a graceful contest: love versus beauty, each displayed at its brightest. Their union becomes a spectacle that stuns the whole world, and that same wonder returns to the lovers themselves. It suggests a proud, mutual radiance where passion and appearance amplify each other, turning private feeling into public awe.
apnī hī teġh-e-adā se aap ghāyal ho gayā
chāñd ne paanī meñ dekhā aur pāgal ho gayā
apni hi tegh-e-ada se aap ghayal ho gaya
chand ne pani mein dekha aur pagal ho gaya
zamāna husn nazākat balā jafā shoḳhī
simaT ke aa ga.e sab aap kī adāoñ meñ
zamana husn nazakat bala jafa shoKHi
simaT ke aa gae sab aap ki adaon mein
chāñd se tujh ko jo de nisbat so be-insāf hai
chāñd ke muñh par haiñ chhā.īñ terā mukhḌā saaf hai
chand se tujh ko jo de nisbat so be-insaf hai
chand ke munh par hain chhain tera mukhDa saf hai
tere hote hue mahfil meñ jalāte haiñ charāġh
log kyā saada haiñ sūraj ko dikhāte haiñ charāġh
tere hote hue mahfil mein jalate hain charagh
log kya sada hain suraj ko dikhate hain charagh
jitnā dekho use thaktī nahīñ āñkheñ varna
ḳhatm ho jaatā hai har husn kahānī kī tarah
jitna dekho use thakti nahin aankhen warna
KHatm ho jata hai har husn kahani ki tarah
merī nigāh-e-shauq bhī kuchh kam nahīñ magar
phir bhī tirā shabāb tirā hī shabāb hai
meri nigah-e-shauq bhi kuchh kam nahin magar
phir bhi tera shabab tera hi shabab hai
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Tags : Famous shayariand 1 more
husn ye hai ki dilrubā ho tum
aib ye hai ki bevafā ho tum
husn ye hai ki dilruba ho tum
aib ye hai ki bewafa ho tum
husn yuuñ ishq se nārāz hai ab
phuul ḳhushbū se ḳhafā ho jaise
husn yun ishq se naraaz hai ab
phul KHushbu se KHafa ho jaise
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Tags : Ishqand 1 more
