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Top 20 Most Quoted Couplets

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of 20 popularly quoted sher for your pleasure

aur bhī dukh haiñ zamāne meñ mohabbat ke sivā

rāhateñ aur bhī haiñ vasl rāhat ke sivā

sorrows other than love's longing does this life provide

comforts other than a lover's union too abide

aur bhi dukh hain zamane mein mohabbat ke siwa

rahaten aur bhi hain wasl ki rahat ke siwa

sorrows other than love's longing does this life provide

comforts other than a lover's union too abide

Faiz Ahmad Faiz

ham ko ma.alūm hai jannat haqīqat lekin

dil ke ḳhush rakhne ko 'ġhālib' ye ḳhayāl achchhā hai

Interpretation: Rekhta AI

The poet expresses a witty skepticism regarding the religious promise of the afterlife. He implies that while he knows the 'truth' about Paradise (perhaps that it is metaphorical or non-existent), the concept itself serves a useful psychological purpose. It acts as a comforting illusion that allows people to find joy and endure life's hardships through hope.

hum ko malum hai jannat ki haqiqat lekin

dil ke KHush rakhne ko 'ghaalib' ye KHayal achchha hai

Interpretation: Rekhta AI

The poet expresses a witty skepticism regarding the religious promise of the afterlife. He implies that while he knows the 'truth' about Paradise (perhaps that it is metaphorical or non-existent), the concept itself serves a useful psychological purpose. It acts as a comforting illusion that allows people to find joy and endure life's hardships through hope.

Mirza Ghalib

maiñ akelā chalā thā jānib-e-manzil magar

log saath aate ga.e aur kārvāñ bantā gayā

main akela hi chala tha jaanib-e-manzil magar

log sath aate gae aur karwan banta gaya

Majrooh Sultanpuri

ham aah bhī karte haiñ to ho jaate haiñ badnām

vo qatl bhī karte haiñ to charchā nahīñ hotā

I do suffer slander, when I merely sigh

she gets away with murder, no mention of it nigh

hum aah bhi karte hain to ho jate hain badnam

wo qatl bhi karte hain to charcha nahin hota

I do suffer slander, when I merely sigh

she gets away with murder, no mention of it nigh

Akbar Allahabadi

ḳhudī ko kar buland itnā ki har taqdīr se pahle

ḳhudā bande se ḳhud pūchhe batā terī razā kyā hai

Interpretation: Rekhta AI

The couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “Selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. The striking image of God asking the servant highlights the dignity of human agency when aligned with higher values. Emotionally, it is a call to confidence, effort, and responsible choice.

KHudi ko kar buland itna ki har taqdir se pahle

KHuda bande se KHud puchhe bata teri raza kya hai

Interpretation: Rekhta AI

The couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “Selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. The striking image of God asking the servant highlights the dignity of human agency when aligned with higher values. Emotionally, it is a call to confidence, effort, and responsible choice.

Allama Iqbal

ishq ne 'ġhālib' nikammā kar diyā

varna ham bhī aadmī the kaam ke

Ghalib, a worthless person, this love has made of me

otherwise a man of substance I once used to be

Interpretation: Rekhta AI

The poet humorously yet sorrowfully confesses that the pursuit of love has consumed all his worldly potential. He reflects on his former self, claiming that before falling in love, he possessed great utility and capability, which has now been wasted away by his passion.

ishq ne 'ghaalib' nikamma kar diya

warna hum bhi aadmi the kaam ke

Ghalib, a worthless person, this love has made of me

otherwise a man of substance I once used to be

Interpretation: Rekhta AI

The poet humorously yet sorrowfully confesses that the pursuit of love has consumed all his worldly potential. He reflects on his former self, claiming that before falling in love, he possessed great utility and capability, which has now been wasted away by his passion.

Mirza Ghalib

un ke dekhe se jo aa jaatī hai muñh par raunaq

vo samajhte haiñ ki bīmār haal achchhā hai

Interpretation: Rekhta AI

The beloved’s presence briefly brings color and liveliness to the lover’s face, even though the inner pain remains. That passing ‘radiance’ becomes a misleading sign: onlookers judge health by appearance. The couplet captures how love can animate someone for a moment while the real illness—of heart or longing—stays untouched, creating a poignant misunderstanding.

un ke dekhe se jo aa jati hai munh par raunaq

wo samajhte hain ki bimar ka haal achchha hai

Interpretation: Rekhta AI

The beloved’s presence briefly brings color and liveliness to the lover’s face, even though the inner pain remains. That passing ‘radiance’ becomes a misleading sign: onlookers judge health by appearance. The couplet captures how love can animate someone for a moment while the real illness—of heart or longing—stays untouched, creating a poignant misunderstanding.

Mirza Ghalib

ye ishq nahīñ āsāñ itnā samajh liije

ik aag dariyā hai aur Duub ke jaanā hai

ye ishq nahin aasan itna hi samajh lije

ek aag ka dariya hai aur Dub ke jaana hai

Jigar Moradabadi

ragoñ meñ dauḌte phirne ke ham nahīñ qaa.il

jab aañkh se na Tapkā to phir lahū kyā hai

merely because it courses through the veins, I'm not convinced

if it drips not from one's eyes blood cannot be held true

Interpretation: Rekhta AI

Ghalib challenges the biological definition of life, equating true existence with intense passion. He argues that blood is meaningless if it only sustains the body; its true purpose is to express profound grief. Unless one feels pain deep enough to cry tears of blood, their internal passion is considered nonexistent.

ragon mein dauDte phirne ke hum nahin qail

jab aankh hi se na Tapka to phir lahu kya hai

merely because it courses through the veins, I'm not convinced

if it drips not from one's eyes blood cannot be held true

Interpretation: Rekhta AI

Ghalib challenges the biological definition of life, equating true existence with intense passion. He argues that blood is meaningless if it only sustains the body; its true purpose is to express profound grief. Unless one feels pain deep enough to cry tears of blood, their internal passion is considered nonexistent.

Mirza Ghalib

sitāroñ se aage jahāñ aur bhī haiñ

abhī ishq ke imtihāñ aur bhī haiñ

Interpretation: Rekhta AI

The couplet urges the seeker not to stop at visible limits: even the farthest “stars” are not the end. “Worlds beyond” symbolizes higher goals and deeper truths still to be reached. The second line frames love as a journey of continual testing—each stage brings new challenges. Emotionally, it blends hope with resolve: keep moving forward, keep proving your love.

sitaron se aage jahan aur bhi hain

abhi ishq ke imtihan aur bhi hain

Interpretation: Rekhta AI

The couplet urges the seeker not to stop at visible limits: even the farthest “stars” are not the end. “Worlds beyond” symbolizes higher goals and deeper truths still to be reached. The second line frames love as a journey of continual testing—each stage brings new challenges. Emotionally, it blends hope with resolve: keep moving forward, keep proving your love.

Allama Iqbal

hazāroñ ḳhvāhisheñ aisī ki har ḳhvāhish pe dam nikle

bahut nikle mire armān lekin phir bhī kam nikle

I have a thousand yearnings , each one afflicts me so

Many were fulfilled for sure, not enough although

Interpretation: Rekhta AI

The couplet captures the endlessness of human wanting: desires are so overpowering that each seems life-draining. Even when some dreams are fulfilled, satisfaction remains out of reach, because the heart keeps multiplying new demands. The metaphor of “breath leaving” intensifies the emotional weight of longing and exhaustion.

hazaron KHwahishen aisi ki har KHwahish pe dam nikle

bahut nikle mere arman lekin phir bhi kam nikle

I have a thousand yearnings , each one afflicts me so

Many were fulfilled for sure, not enough although

Interpretation: Rekhta AI

The couplet captures the endlessness of human wanting: desires are so overpowering that each seems life-draining. Even when some dreams are fulfilled, satisfaction remains out of reach, because the heart keeps multiplying new demands. The metaphor of “breath leaving” intensifies the emotional weight of longing and exhaustion.

Mirza Ghalib

zāhid sharāb piine de masjid meñ baiTh kar

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

Unknown

ye jabr bhī dekhā hai tārīḳh nazroñ ne

lamhoñ ne ḳhatā thī sadiyoñ ne sazā paa.ī

ye jabr bhi dekha hai tariKH ki nazron ne

lamhon ne KHata ki thi sadiyon ne saza pai

Muzaffar Razmi

vo aa.e ghar meñ hamāre ḳhudā qudrat hai

kabhī ham un ko kabhī apne ghar ko dekhte haiñ

Interpretation: Rekhta AI

Ghalib portrays the beloved’s visit as an event so unlikely that it seems divinely ordained. The lover’s eyes keep shifting between the guest and the home, as if checking reality itself. This back-and-forth gaze captures amazement, gratitude, and a sweet disbelief at sudden good fortune.

wo aae ghar mein hamare KHuda ki qudrat hai

kabhi hum un ko kabhi apne ghar ko dekhte hain

Interpretation: Rekhta AI

Ghalib portrays the beloved’s visit as an event so unlikely that it seems divinely ordained. The lover’s eyes keep shifting between the guest and the home, as if checking reality itself. This back-and-forth gaze captures amazement, gratitude, and a sweet disbelief at sudden good fortune.

Mirza Ghalib

zindagī zinda-dilī hai naam

murda-dil ḳhaak jiyā karte haiñ

zindagi zinda-dili ka hai nam

murda-dil KHak jiya karte hain

Imam Bakhsh Nasikh

ham ko miTā sake ye zamāne meñ dam nahīñ

ham se zamāna ḳhud hai zamāne se ham nahīñ

hum ko miTa sake ye zamane mein dam nahin

hum se zamana KHud hai zamane se hum nahin

Jigar Moradabadi

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

Divakar Rahi

kabhī kisī ko mukammal jahāñ nahīñ miltā

kahīñ zamīn kahīñ āsmāñ nahīñ miltā

kabhi kisi ko mukammal jahan nahin milta

kahin zamin kahin aasman nahin milta

Nida Fazli

ab to jaate haiñ but-kade se 'mīr'

phir mileñge agar ḳhudā laayā

Interpretation: Rekhta AI

The couplet is a quiet goodbye filled with uncertainty: the speaker departs from the beloved’s place, called a “but-kadah” in the lover’s idiom. By saying “if God brings it about,” he admits that reunion is not in his control but in fate’s hands. The emotional core is a restrained sadness—hope remains, yet it is surrendered to divine will.

ab to jate hain but-kade se 'mir'

phir milenge agar KHuda laya

Interpretation: Rekhta AI

The couplet is a quiet goodbye filled with uncertainty: the speaker departs from the beloved’s place, called a “but-kadah” in the lover’s idiom. By saying “if God brings it about,” he admits that reunion is not in his control but in fate’s hands. The emotional core is a restrained sadness—hope remains, yet it is surrendered to divine will.

Meer Taqi Meer

sarfaroshī tamannā ab hamāre dil meñ hai

dekhnā hai zor kitnā bāzu-e-qātil meñ hai

sarfaroshi ki tamanna ab hamare dil mein hai

dekhna hai zor kitna bazu-e-qatil mein hai

Bismil Azimabadi
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