Muzaffar Warsi--- Kaaba-e-Ishq

Muzaffar Warsi (born 20 December 1933 in Meerath, India died 28 January 2011) was a prominent Urdu poet, critic, essayist, a lyricist par excellence, and scholar of Pakistan. He was one whose work never fails to surprise. A humble man with humble beginnings who is unafraid of experimenting. He began more than five decades ago comprises a rich repertoire of not just Naats, but also authoring several anthologies of Ghazals, Nazms & hycoes including his autobiography Gaye dinon ka suraagh which is considered to be a classic. He was writing quatrains every day for Pakistan's Renowned daily newspaper Nawa-i-Waqt.

Muzaffar Warsi was born as Muhammad Muzaffar ud Din siddiqui into the family of Alhaaj Muhammad Sharf ud Din Ahmad known as Sufi Warsi (Urdu: صوفی وارثی). It was a family of landlords of Meerath. Sufi Warsi was a scholar of Islam, a doctor and poet. He received two titles: Faseeh ul Hind & Sharaf u shu'ara. He was the friend of Sir Muhammad Iqbal {(Allama Iqbal (علامہ اقبال‎)}, Akbar Warsi, Hasrat Mohani, Josh Malih Abadi, Ahsan Danish, Abul Kalaam Azad and Mahindar Singh Bedi. The family raised him with deep religious grounding. He has one brother namely Dr. M. S. Zafar Warsi who was also associated with State Bank as Assistant Director. Muzaffar Warsi's Nephew Usman Warsi is a Singer, Music Composer and a Poet. Usman's videos are available online as well. Muzaffar Warsi remained attached to State Bank of Pakistan (the Central Bank of Pakistan) as Deputy Treasurer. Muzaffar Warsi started his poetry by writing lyrics for songs for Pakistani movies but gradually changed direction and his style of poetry became more oriented towards praising Allah and the Islamic prophet Muhammad or in other words he started writing Hamd and Naats. He also wrote, regularly, a stanza or two on current affairs in the Newspaper Nawa-e-Waqt until recently.He died on 28-01-2011 in Lahore Pakistan.

Literary work

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Barf ki Nao

 Baab-e-Haram

 Lehja

 Noor-e-Azal

 Alhamd

 Hisaar

 Lahoo ki Haryali

 Sitaron ki Aabjoo

 Kaaba-e-Ishq

 Khule dareechey band hawa

 Dil sey dar-e-Nabi tak

 Zulm na sehna

 Kamand

Kalaam

ab ke barasaat kii rut aur bhii bhaDakiilii hai

jism se aag nikalatii hai, qabaa giilii hai

sochataa huuN ke ab anjaam-e-safar kyaa hogaa

log bhii kaaNch ke hain, raah bhii pathariilii hai

shiddat-e-karb men to haNsanaa karb hai meraa

haath hii saKht hain zanjiir kahaaN Dhiilii hai

gard aaNkhon men sahii daaG to chehare pe nahiin

lafz dhuNdhale hain magar fikr to chamakiilii hai

ghol detaa hai sama'at men vo miiThaa lahajaa

kis ko maaluum ke ye qind bhii zahariilii hai

pahale rag-rag se merii Khuun nichoDaa us ne

ab ye kahataa hai ke rangat hii merii piilii hai

mujhako be-rang hii na karade kahiin rang itane

sabz mausam hai, hawaa surKh, fizaa niilii hai

merii paravaaz kisii ko nahiin bhaatii to na bhaaye

kyaa karuuN zehan "Muzaffar" meraa jibariilii hai

kyaa bhalaa mujhako paraKhane ke natiijaa nikalaa

zaKhm-e-dil aap kii nazaron se bhii geharaa nikalaa

toDakar dekh liyaa aaiinaa-e-dil tuune

terii suurat ke sivaa aur bataa kyaa nikalaa

tishnagii jam gaii patthar kii tarah honTon par

Duub kar tere dariyaa men main pyaasaa nikalaa

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lab-e-Khaamosh se izhaar-e-tamannaa chaahe

baat karane ko bhii tasviir kaa lahajaa chaahe

tu chale saath to aahaT bhii na aaye apanii

daramiyaaN ham bhii na ho yuuN tujhe tanhaa chaahe

zaahiirii aaNkhon se kyaa dekh sakegaa koii

apane baaton pe bhii ham faash honaa chaahe

jism-poshii ko mile chaadar-e-aflaak hamen

sar chhupaane ke liye vusa'at -e-seharaa chaahe

Khvaab men roye to ehasaas ho sairaabii kaa

ret par soyen magar aaNkh men dariyaa chaahe

bheNT chaD jaauuN na main apane hii Khair-o-shar kii

Khuun-e-dil zabt kare zaKhm tamaashaa chaahe

zindagii aaNkh se ojhal ho magar Khatm na ho

ek jahaaN aur pas-e-pardaa-e-duniyaa chaahe

aaj kaa din to chalo kaT hii gayaa jaise bhii kaTaa

ab Khudaa-band se Khairiyat-e-fardaa chaahe

aise tairaak bhii dekhe hain 'Muzaffar' hamane

Garq hone ke liye bhii jo saharaa chaahe

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maanaa ke musht-e-Khaak se baDakar nahiin huuN main

lekin havaa ke raham-o-karam par nahiin huuN main

insaan huuN dhaDakate huye dil pe haath rakh

yuuN Duubakar na dekh samundar nahiin huuN main

chehare pe mal rahaa huuN siyaahii nasiib kii

aaiinaa haath men hai sikander nahiin huuN main

Gaalib terii zamiin mein likkhii to hai Gazal

tere kad-e-suKhan ke baraabar nahiin huuN main

merii zindagii kisii aur kii, mere naam kaa koii aur hai

mera aks hai sar-e-aaiinaa, pase aaiinaa koii aur hai

merii dhaDakanon men hai chaap sii, ye judaaii bhii hai milaap sii

mujhe kyaa pataa, mere dil bataa, mere saath kyaa koii aur hai

na gae dinon ko Khabar merii, na shariik-e-haal nazar terii

tere des men, mere bhes men, koii aur thaa koii aur hai

vo merii taraf nigaraaN rahe, meraa dhyaan jaane kahaaN rahe

merii aaNkh men kaii suuraten, mujhe chaahataa koii aur hai

sholaa huuN bhadakane kii guzaarish nahiin karataa

sach muuNh se nikal jaataa hai koshish nahiin karataa

giratii hui diivaar kaa hamdard huuN lekin

chaDate hue suuraj kii parastish nahiin karataa

maathe ke pasiine kii mahak aaye to dekhen

vo Khuun mere jism men gardish nahiin karataa

hamdardii-e-ahabaab se Darataa huuN 'Muzaffar'

main zaKhm to rakhataa huuN numaaish nahiin karataa

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zaKhm-e-tanhaa_ii men Khushbuu-e-hinaa kisakii thii
saayaa diivaar pe meraa thaa sadaa kisakii thii

uskii raftaar se lipaTii rahii merii aaNkhen
us ne muD kar bhii na dekhaa ki vafaa kis kii thii

vaqt kii tarah dabe paaNv ye kaun aayaa hai
main aNdheraa jise samajhaa vo qabaa kis kii thii

aaNsuon se hii sahii bhar gayaa daaman meraa
haath to main ne uThaaye the duaa kisakii thii

merii aahon kii zabaan koii samajhataa kaise
zindagii itanii dukhii mere sivaa kisakii thii

aag se dostii us kii thii jalaa ghar meraa
dii ga_ii kis ko sazaa aur Khataa kisakii thii

main ne biinaaiyaaN bo kar bhii andhere kaaTe
kis ke bas men thii zamiin abr-o-havaa kis kii thii

chhoD dii kis liye tuu ne "Muzaffar" duniyaa
justjuu sii tujhe har vaqt bataa kisakii thii

zaKhm-e-tanhaa_ii men Khushbuu-e-hinaa kisakii thii

saayaa diivaar pe meraa thaa sadaa kisakii thii

uskii raftaar se lipaTii rahii merii aaNkhen

us ne muD kar bhii na dekhaa ki vafaa kis kii thii

vaqt kii tarah dabe paaNv ye kaun aayaa hai

main aNdheraa jise samajhaa vo qabaa kis kii thii

aaNsuo.n se hii sahii bhar gayaa daaman meraa

haath to main ne uThaaye the duaa kisakii thii

merii aahon kii zabaan koii samajhataa kaise

zindagii itanii dukhii mere sivaa kisakii thii

aag se dostii us kii thii jalaa ghar meraa

dii gaii kis ko sazaa aur Khataa kisakii thii

main ne biinaa_iyaaN bo kar bhii a.ndhere kaaTe

kis ke bas men thii zamiin abr-o-havaa kis kii thii

chhoD dii kis liye tuu ne "Muzaffar" duniyaa

justjuu sii tujhe har vaqt bataa kisakii thii

Urdu Language

The term ‘Urdu’ and its origin

The term Urdu derives from a Turkish word ordu meaning camp or army. The Urdu language developed between the Muslim soldiers of the Mughals armies who belonged to various ethnicities like Turks, Arabs, Persians, Pathans, Balochis, Rajputs, Jats and Afghans. These soldiers lived in close contact with each other and communicated in different dialects, which slowly and gradually evolved into present day Urdu. It is for this reason that Urdu is also referred to as Lashkari Zaban or language of the army.
During its development Urdu language also assumed various names like the term Urdu-e-Maullah meaning the exalted army which was given by Emperor Shah Jahan and the term Rekhta meaning scattered (with Persian words) which was coined by the scholars for Urdu poetry.

History and Evolution of Urdu Language

Evolution and development of any language is dependent on the evolution and development of a society where that language is spoken. Various invasions and conquests on a place affect the development of its language. Urdu is no exception as it also underwent various stages of development.

Urdu belongs to the Indo-Aryan family of languages. Urdu by origin is considered to be a descendent of Saur Senic Prakrit. The term Prakrriti means root or basis. It is a later version of Sanskrit. As Prakrit language began to develop, it was influenced by Western Hindi dialects of Khari Boli, Brij Bhasa and Haryanvi.

With the coming of Insha’s Darya-e-Latafat*, a need was felt to differentiate Urdu with other languages especially Hindi. It became a Hindi-Urdu controversy and as a result Khari Boli and Devanagari became the identity of Indians while Urdu and Persian of Muslims. In this context, Persian and Arabic words replaced with Sanskrit served the purpose of differentiating Hindi from Urdu.

Urdu emerged as a distinct language after 1193 AD – the time of the Muslims conquest. When the Muslims conquered this part of the continent, they made Persian the official and cultural language of India. As a result of the amalgamation of local dialects and the language of the invaders – which was either Persian, Arabic and Turkish, a new language evolved which later became Urdu. During the Mughals reign, Urdu was spoken in palaces and court and till the end of the Mughal rule; Urdu was the official language of most of Mughal states. This was the time when Urdu had become Persianized and enriched with Persian words, phrases and even script and grammar. With the coming of the British, new English words also became part of the Urdu language. Many English words were accepted in their real form while others were accepted after some modifications.

Currently, Urdu vocabulary contains approximately 70% of Persian words and the rest are a mixture of Arabic and Turkish words. However, there are also traces of the French, Portuguese and Dutch language in Urdu. But these influences are little.
Urdu was taken to other parts of the country by soldiers, saints and sufis and by the common people. As a result of the political, social and cultural contacts amongst the people of different speech and dialects, a mixed form of language formed called ‘Rekhta’ (Urdu and Persian in mixed form). Soon people started to use the new language in their speech and in literature which resulted in the enrichment of Urdu language and literature.

Urdu Literature

The origin of Urdu literature dates back to the 13th century in India during the Mughal rule. One of the most eminent earliest poets who made usage of Urdu in his poetry is Amir Khusro who can be called the father of Urdu language. In literature, Urdu was usually used along side Persian. Mughal kings were the great patrons of art and literature and it was under their rule that Urdu language reached its zenith. There used to be a tradition of ‘Sheri Mehfils’ (poetic gatherings) in the kings’ courts. Abul Fazal Faizi and Abdul Rahim Khankhana were the famous Urdu poets of Mughal court. Likewise, Mirza Ghalib, Allama Iqbal, Hakim Momin, Ibrahim Zauq, Mir Taqi Mir, Sauda, Ibn-e-Insha and Faiz Ahmed Faiz have contributed to the evolution of Urdu language through their literary works.

It is indeed true that Hindi and Urdu are descendents of the same language i.e. Prakrit, but where the Hindi took influence from Sanskrit and adopted Devanagri script of writing, Urdu absorbed words from Persian, Turkish and Arabic languages and adopted Persian-Arabic script and Nastaliq calligraphic style of writing and emerged as a separate language. But beside common ancestry, the two languages are as different as can be. There are marked grammatical, phonological and lexical differences in both languages.

Urdu was also used as a tool by the Muslims for freedom struggle and for creating awareness among Muslim communities in South Asia to unite under the banner of Independence from British Raj. For this, services of Maulana Hali, Sir Syed Ahmed Khan and Allama Iqbal are notable, who through their poetry and prose provoked the necessary spark in the lives of the Muslims. Urdu was chosen to become the national language of Pakistan at the time of Independence from British. Urdu is now the national language of Pakistan, spoken and understood thoroughly by majority of the population.

A book by Ibn-e-Insha, dealing with phonetic and linguistic characteristics of Urdu and a variety of work formations and rhetorical expressions.

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The word ‘ Urdu ‘ is derived from Turkish word ‘ Ordu ‘ meaning ‘ Army Camp ‘ or ‘Lashkar ‘ . Exact origin of ‘ Urdu ‘ is some what difficult to trace; but many different theories have been developed to explain it. Mohammad Hussain Azad, an eminent Indian scholar, believes that Brij Bhasha, a dialect of Western Hindi, is the mother language of Urdu. Later on the invasion of Delhi by Muslims engrafted many Persian elements, which resulted in the creation of a new hybrid language called Urdu.

Mehmud Sherani, on the contrary, maintains that Urdu language originated due to the interaction and intermixing of Muslim soldiers and locals (Hindus) after the conquest of Punjab and sindh by Mehmud of Ghazni. During this era many Punjabi words and idioms got interwoven in Hindi of Delhi and thus a new language came into being.

But the most established theory relating the origination, evolution and development of Urdu language is that Urdu is a conglomeration of many different languages manly Arabic, Persian, Pashtu, Turkish, Hindi and some local dialects of India. Muslims ruled over India for about 1,000 years. Muslim army comprised of soldiers of different origins and nationalities speaking different languages. Interaction among these soldiers and with the locals led to the development of a new language, mutually understood by all. This new language named as ‘ Urdu ‘ proved to be a unifying communication tool between the Muslim soldiers during their conquest of ancient India (including Mayanmar).

Languages do not originate overnight, they take centuries to evolve and develop, similarly it took about 5 to 6 centuries to standardize grammatical structure of urdu. Origin of Urdu is traced back to the mid of 10th and beginning of 11th century, but these were the formative years of Urdu language and no significant either literary or grammatical work was done during this period; in the initial years of its birth it was only used as a communication lingo. This hybrid language was called ‘ Hindvi ‘ or ‘ Dehlvi ‘ and was written in ‘ Devnagri ‘ Script. Later on in 14th century this language was introduced in Southern India (Hyderabad Deccan), here also the vocabulary of hindvi expanded many words and idioms of local languages were embedded. People start calling this new version of language spoken in Southern India as ‘ Deccani ‘ . The expansion of vocabulary continued and it changed from ‘ Deccani ‘ to ‘ Rekhta ‘ , and this Rekhta is believed to be the forerunner of modern Urdu language. The standardization of Rekhta(Urdu) took place in 16th and 17th century during the reign of Shah Jehan and Aurangzeb Alamgir, when synthetic character of Urdu acquired a complete form and greater content and power.

Like most other languages of the world, Urdu also started its literature through poetry.

Amir Khusro(1253-1325) a remarkable scholar of Persian and Arabic is considered to be the first ever poet of urdu language. He composed his poems in the then prevailing ‘ Hindvi ‘ language. Wali Deccani (1635-1707) and Quli Qutab Shah are believed to be the predecessors of Amir Khusro. Other eminent poets of this era were

Mir Taqi Mir(1727-1810)

Mushafi(1750-1785)

Mir Dard(1720-1785)

Qaim Chand Puri(1724-1794)

Haider Ali Atish(1778-1846)

Ustad Zauk

Mir Babr Ali Anis(1802-74)

Mirza Asad Ullah Khan Galib(1797-1869) is the greatest poet of urdu language .

He was a specialized Ghazal poet and his work is still popular among the masses.

Urdu poetry did not take his final form until 17th century when it was declared the official language of court. The 18th century saw a phenomenal rise in urdu literature especially urdu poetry. It was at this time when Urdu replaced Persian as lingua franca of the region.

Mughal emperor Bahadur Shah Zafar is also highly esteemed among urdu poets because of his unique style. Amongst the poets of 19th century Allama Mohamad Iqbal(1877-1938) stands out, because he was the first one who introduced revolutionary concepts and ideas in his poetry. Faiz Ahmad Faiz is the most well-known and an distinguished poet of modern era. His work revolves around the concepts of communism and social justice. Beside others Sufi Saints have also contributed a lot in Urdu poetry.

The short story in Urdu began with Munshi Premchand ‘ s ‘ Soz-e-Vatan ‘ . Mohammad Hasan Askari, Sajjad Zaheer, Rajinder Singh Bedi, Krishan Chandar, Saddat Hassan Manto, Ismat Chugtaii, Mumtaz Muffati, Ahmad Nadeem Qasmi and Ashafaq Ahmad are counted among leading lights of Urdu short story.

Novel writing in Urdu can be traced to Nazir Ahmed (1836-1912 CE) who composed several novels like Mirat-ul-Urus (1869 CE), Banat-un-Nash (1873 CE), Taubat-un-Nasuh (1877 CE) etc. Realism in urdu novel was introduced by PremChand. Mirza Mohamad Hadi Ruswa, Sajjad Haider Yaldrem, Niaz Fateh Puri, Abdul Haleem Sharar, Ratan Nath Sharshar are the pioneer Urdu novelists. Khadija mastur, Intizar Hussain, Bano Qudssiya, Aziz Ahmed are the urdu novel writers of modern times.

Akbar Allahabadi (1846-1921) was the pioneer among the Urdu humorists and satirists. Majeed Lahori, Mehdi Ali Khan, Patras Bokhari (1898-1958), Mirza Farhatullah Beg, Shafiq-ur-Rahman, Azim Baig Chughtai, Ibn-e-Insha, Mushfiq Khwaja, Mushtaq Ahmed Yousifi, K.L.Kapur, Amjad Hussain, Mujtaba Hussain, Himayatullah and Talib Khundmeri are the other leading names in the field of humour

In the first half of the nineteenth century, drama started appearing at Urdu scene. The first dramatist is believed to be Amant Lucknowi, and his drama Indar Sabha is considered as the first Urdu drama. Urdu drama has made a lot of progress in recent years. Imtiaz Ali Taj, Agha Hashar Kashmiri, Amjad Islam Amjad, Haseena Moin, Fatim Suriya Bajiha are the most distinguished play writers of present day.

The word ‘ Urdu ‘ is derived from Turkish word ‘ Ordu ‘ meaning ‘ Army Camp ‘ or ‘Lashkar ‘ . Exact origin of ‘ Urdu ‘ is some what difficult to trace; but many different theories have been developed to explain it. Mohammad Hussain Azad, an eminent Indian scholar, believes that Brij Bhasha, a dialect of Western Hindi, is the mother language of Urdu. Later on the invasion of Delhi by Muslims engrafted many Persian elements, which resulted in the creation of a new hybrid language called Urdu. Mehmud Sherani, on the contrary, maintains that Urdu language originated due to the interaction and intermixing of Muslim soldiers and locals (Hindus) after the conquest of Punjab and sindh by Mehmud of Ghazni. During this era many Punjabi words and idioms got interwoven in Hindi of Delhi and thus a new language came into being. But the most established theory relating the origination, evolution and development of Urdu language is that Urdu is a conglomeration of many different languages manly Arabic, Persian, Pashtu, Turkish, Hindi and some local dialects of India. Muslims ruled over India for about 1,000 years. Muslim army comprised of soldiers of different origins and nationalities speaking different languages. Interaction among these soldiers and with the locals led to the development of a new language, mutually understood by all. This new language named as ‘ Urdu ‘ proved to be a unifying communication tool between the Muslim soldiers during their conquest of ancient India (including Mayanmar). Languages do not originate overnight, they take centuries to evolve and develop, similarly it took about 5 to 6 centuries to standardize grammatical structure of urdu. Origin of Urdu is traced back to the mid of 10th and beginning of 11th century, but these were the formative years of Urdu language and no significant either literary or grammatical work was done during this period; in the initial years of its birth it was only used as a communication lingo. This hybrid language was called ‘ Hindvi ‘ or ‘ Dehlvi ‘ and was written in ‘ Devnagri ‘ Script. Later on in 14th century this language was introduced in Southern India (Hyderabad Deccan), here also the vocabulary of hindvi expanded many words and idioms of local languages were embedded. People start calling this new version of language spoken in Southern India as ‘ Deccani ‘ . The expansion of vocabulary continued and it changed from ‘ Deccani ‘ to ‘ Rekhta ‘ , and this Rekhta is believed to be the forerunner of modern Urdu language. The standardization of Rekhta(Urdu) took place in 16th and 17th century during the reign of Shah Jehan and Aurangzeb Alamgir, when synthetic character of Urdu acquired a complete form and greater content and power. Like most other languages of the world, Urdu also started its literature through poetry.

Amir Khusro(1253-1325) a remarkable scholar of Persian and Arabic is considered to be the first ever poet of urdu language. He composed his poems in the then prevailing ‘ Hindvi ‘ language. Wali Deccani (1635-1707) and Quli Qutab Shah are believed to be the predecessors of Amir Khusro. Other eminent poets of this era wereMir Taqi Mir(1727-1810)Mushafi(1750-1785)Mir Dard(1720-1785)Qaim Chand Puri(1724-1794)Haider Ali Atish(1778-1846)Ustad ZaukMir Babr Ali Anis(1802-74)Mirza Asad Ullah Khan Galib(1797-1869) is the greatest poet of urdu language . He was a specialized Ghazal poet and his work is still popular among the masses.Urdu poetry did not take his final form until 17th century when it was declared the official language of court.

The 18th century saw a phenomenal rise in urdu literature especially urdu poetry. It was at this time when Urdu replaced Persian as lingua franca of the region. Mughal emperor Bahadur Shah Zafar is also highly esteemed among urdu poets because of his unique style. Amongst the poets of 19th century Allama Mohamad Iqbal(1877-1938) stands out, because he was the first one who introduced revolutionary concepts and ideas in his poetry. Faiz Ahmad Faiz is the most well-known and an distinguished poet of modern era. His work revolves around the concepts of communism and social justice. Beside others Sufi Saints have also contributed a lot in Urdu poetry. The short story in Urdu began with Munshi Premchand ‘ s ‘ Soz-e-Vatan ‘ . Mohammad Hasan Askari, Sajjad Zaheer, Rajinder Singh Bedi, Krishan Chandar, Saddat Hassan Manto, Ismat Chugtaii, Mumtaz Muffati, Ahmad Nadeem Qasmi and Ashafaq Ahmad are counted among leading lights of Urdu short story. Novel writing in Urdu can be traced to Nazir Ahmed (1836-1912 CE) who composed several novels like Mirat-ul-Urus (1869 CE), Banat-un-Nash (1873 CE), Taubat-un-Nasuh (1877 CE) etc.

Realism in urdu novel was introduced by PremChand. Mirza Mohamad Hadi Ruswa, Sajjad Haider Yaldrem, Niaz Fateh Puri, Abdul Haleem Sharar, Ratan Nath Sharshar are the pioneer Urdu novelists. Khadija mastur, Intizar Hussain, Bano Qudssiya, Aziz Ahmed are the urdu novel writers of modern times. Akbar Allahabadi (1846-1921) was the pioneer among the Urdu humorists and satirists. Majeed Lahori, Mehdi Ali Khan, Patras Bokhari (1898-1958), Mirza Farhatullah Beg, Shafiq-ur-Rahman, Azim Baig Chughtai, Ibn-e-Insha, Mushfiq Khwaja, Mushtaq Ahmed Yousifi, K.L.Kapur, Amjad Hussain, Mujtaba Hussain, Himayatullah and Talib Khundmeri are the other leading names in the field of humour In the first half of the nineteenth century, drama started appearing at Urdu scene. The first dramatist is believed to be Amant Lucknowi, and his drama Indar Sabha is considered as the first Urdu drama. Urdu drama has made a lot of progress in recent years. Imtiaz Ali Taj, Agha Hashar Kashmiri, Amjad Islam Amjad, Haseena Moin, Fatim Suriya Bajiha are the most distinguished play writers of present day.

Bahut Kathin hai dagar panghat ki,..Khusrow

HERITAGE

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Ameer Khusro: a legend remembered

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History of Muslim India is replete with the luminaries of art and architecture and men of letters and literature. Their untiring endeavors for the amalgamation of culture and civilization are par excellence. Many gifted men migrated to India and laid the foundations of a vigorous culture. The genesis of Indo-Persian literature can be traced during this period.

Yaminuddin Abul Hasan Ameer Khusro’s forefathers also migrated to this part of the world in same age. Born of a Turkish Lajin (Lachin) later Saifuddin Shamsi, Amir Khusro eclipsed all his predecessors. His interests were kaleidoscopic and his genius versatile. But he enjoyed fame in the field of Persian poetry, in which his position is next to Saadi and can favorably be compared with Hafiz in lyrics.

Bahut Kathin hai dagar panghat ki, Kaisay main bhar laaun madhva say matki? Paniya bharan ko main jo gayi thi, Daud jhapat mori matki patki. Bahut kathin hai dagar panghat ki. Khusro Nizam kay bal bal jayyiye Laaj rakho moray ghoonghat pat ki. Bahut kathin hai dagar panghat ki.The road to the well is much too difficult, How to get my pot filled? When I went to fill the water, In the furore, I broke my pot. Khusro has given his whole life to you, O Nizam. Would you please take care of my veil (of self respect), The road to the well is much too difficult.

Born at Delhi in 1253 AD, Amir Khusro served seven kings and three princes from the times of Sultan Balban to Mohammad Bin Tughlaq. His passion for his birthplace Delhi was ripped to the extent that when he was posted in Patiali, he not only lamented but completed a masanwi under the title ‘Shikayatnamah-e-Patiali’. Condemning Patiali and recalling the beauty and pleasure of his hometown Delhi, he compares himself with Joseph, who in separation from his home town Kan’an, feeling himself distressed, always pined for it.

"As Joseph, after having been taken away as a captive from his home town, Kan’an, used to sing the praise of his home town, so is the case with me. Though I happen to be faraway from my home town, yet I always sing of its beauty. My place was Quwat-ul-Islam (a title of Delhi) a qibla of the kings of seven climes (i.e. of the entire world). That place is Delhi, which is a twin sister of the holy paradise and true copy of Arsh (throne of God or a highest heaven) on the page of the earth."

Poetry was inherent in Ameer Khusro. The day he was born, his father took him to a God absorbed darwesh, who said to his father, "You have brought one who would go two steps a head of khaqani (nightingale)."

In his early childhood, Khusro had developed a putting together in verse form worse of discordant meaning. Up to the age of sixteen, whichever book of verse he happened to lay his hand on, he tried to follow its author in the art of composition.

His adolescence ushered him under the guidance of both Mufti Muizzudin Gharifi and Hazrat Nizamuddin Aulia, his mentor. Both of them guided him to the path of following the style of Saddi and Kamal Isfahani. Even at that young age, he used to lambaste his contemporaries, including Hasan Dehlavi in qitah (quatrains).

"And occasionally I used to lambaste my contemporary poets, with the sword of my tongue in a qitah form." Ameer Khusro was quite indifferent in politics, he never indulged himself in the intrigues of courtiers. He is considered as the pioneer figure of the Indo-Muslim music. In fact, it was he who started the process of synthesizing Turko-Persian music with Indian music. He has credited three books on music just as three diwans of poetry.

"My verses have so far been collected in three diwans, would you believe, that if there were a system of notation for registering musical compositions, my performance in the field of music too, would have been collected in three registers" He invented number of ragas and raginis which include such novelties as Qaul, Qulbanah, Taranah. He also composed verses in Persian and Hindwi.

On the one hand Sultan Aalauddin, for the sake of righteousness and expediency of empire, stamped out all kinds of intoxicants, the prohibited things, the wherewithals of disobedience, debauchery and wickedness with the use of chastisement and and on the other side Ameer Khusro opened wide the gate of discipleship and accepted all kinds of men as his murids, be they high or low, wealthy or impecunious, noble or faqir, learned or ignorant, high born or low born, urbane or rustic, soldier or warrior.

They all abstained from improper acts and if anyone would commit a sin, he would come and confess his guilt before Khusro and would indeed renew his discipleship. Men and women, young and old, merchants and ordinary men, slaves and servants and even young children began offering prayers regularly including the late morning prayers. Even the royal ameers, the armed acquirers, secretaries, clerks, sepoys and royal slaves, were particular about offering these supererogatory prayers. Owing to Khusro’s barakah (blessings), most people of the area including the high and low and irrespective of cast and creed became involved in prayers, tasawwuf (mysticism) and tark (renunciation) and turned to piety. During the last few years of Sultan Alauddin’s reign no person would talk of liquor, of beloveds, of debauchery and gambling, of obscenities and indecent life and no one would commit usury or usurp others’ rights.

Out of the teachings of Khusro, the shop people gave up lying and cheating and underweighing. Scholars visiting Khusro would talk of books on tasawwuf such as Fawaid-ul-Fuwad, Qut-ul-Qulub, Ihya-ul-Uloom, Kashif-ul-Mahjub, Awarif and Malfuzat of Hazrat Nizamuddin Aulia. People visited the bookshops in search of the books on suluk (deportment and self-control). Owing to the increased demand among the Sufis for lota (water vessel used specially for ritual cleansing) and tasht (basin for washing hands), the prices of these articles had slightly gone up showing that most people bent towards spiritual Sufi lifestyle.

Ameer Khusro served as an ambassador of Hindu-Muslim unity in his time. His Hindu or Hindwi poetry for which he has been so popular among the school-going children as well as elderly generation. In his introduction to Ghurra-ul-Kamal, Khusro writes, "A few poems that I have composed in Hindwi, I have made a gift of them to my friends. I am a Hindustani Turk. I compose verses in Hindwi with the fluency of running water."

It was he, who himself called Tuti-e-Hind’(parrot of India). ‘To speak the truth, I am an Indian Parrot. If you want to listen from me some subtle verses, ask me then to recite some of my Hindwi poems." He himself did not collect and preserve his Hindwi poems but made a gift of them to his friends. His poem, Kaliq Bari is a lexicon composed of synonymous words, from four languages, Arabic, Persian, Turkish and Hindwi.

Hazrat Ameer Khusro was a devout Muslim. He was a friend and disciple of Hazrat Nizamuddin Aulia. He was a profound expounder of ethics and strict observant of Sharia. Sharia acquires meaning when it maintains a close relation with reality partaking the essence of reality-love of God. If Sharia is lacking in that or in other words if it is without ain (the alphabet meaning the essence of God-love) it becomes shar (evil). Like Shah Waliullah of the subsequent year, his attitude towards the Sufis of hypocrisy was very critical.

"Ah! what a shameful scene this band of the ‘pretenders to abstinence. They wear short sleeves (pose as fakirs) but keep their hands stretched in begging. They pretend abstinence but they are always in pursuit of money. They have commercialized faqiri (begging). How can one love God at the same time? As God’s unity is without any shadow of duality, he does not like dualism in the path of His love.

Hazrat Ameer Khusro’s spiritualism, in fact, consisted in his philosophy of love, which he shared with all the Sufis. The depth of humanism in his poetry springs from that source of ‘Divine love’. He has composed as many as 99 works and four lac lyrics, which cover almost every aspect of life. He was a living legend. He was more of a qalandar (a free soul), though not less of a Sufi, Khusro’s humanism transcended all barriers of cast, colour and creed. In an autocratic age, when the king’s wilful actions were unrestricted, Khusro had the courage and the intrepidity to speak before the king, of the value of the equality of the man.

"Though my value may be, a little less, than that of yours yet, if your veins were to be cut open, our blood will come out of the same colour." Khusro not only upheld the values of equality and dignity of labour but also the principles of social justice. His love and respect for Hazrat Nizamuddin Aulia reached the apogee that when he heard about his death at Lakhnawati, he immediately arrived and went to his grave, where he blackened his face and rolled over in dust in utter grief, tearing his garments. Six months after that event, he died on Friday 29th Ziq’ad 725AH/1325. His death is not a death in the literal sense of the world for, he would always remain one of the very few unforgettable legends of literature. «

Hindavi couplets

ख़ुसरो दरिया प्रेम का, उलटी वा की धार,
जो उभरा सो डूब गया, जो डूबा सो पार.

Khusro dariya prem ka, ulṭī vā kī dhār,
Jo ubhrā so ḍūb gayā, jo ḍūbā so pār.

Khusro! the river of love has a reverse flow
He who floats up will drown (will be lost), and he who drowns will get across.

सेज वो सूनी देख के रोवुँ मैं दिन रैन,
पिया पिया मैं करत हूँ पहरों, पल भर सुख ना चैन.
Sej vo sūnī dekh ke rovun main din rain,
Piyā piyā main karat hūn pahron, pal bhar sukh nā chain.

Seeing the empty bed I cry night and day
Calling for my beloved all day, not a moment's happiness or rest.

Hindwi persian

छाप तिलक सब छीनी रे मोसे नैना मिलाइके
बात agam कह दीनी रे मोसे नैना मिलाइके
प्रेम भटी का मदवा पिलाइके
मतवारी कर लीन्ही रे मोसे नैना मिलाइके
गोरी गोरी बईयाँ, हरी हरी चूड़ियाँ
बईयाँ पकड़ हर लीन्ही रे मोसे नैना मिलाइके
बल बल जाऊं मैं तोरे रंग रजवा
अपनी सी रंग दीन्ही रे मोसे नैना मिलाइके
खुसरो निजाम के बल बल जाए
मोहे सुहागन कीन्ही रे मोसे नैना मिलाइके
छाप तिलक सब छीनी रे मोसे नैना मिलाइके
बात अजब कह दीनी रे मोसे नैना मिलाइके

Chhāp tilak sab chīnī re mose nainā milāike
Bāt agam keh dīnī re mose nainā milāike
Prem bhaṭī kā madvā pilāike
Matvālī kar līnhī re mose nainā milāike
Gorī gorī baīyān, harī harī chuṛiyān
baīyān pakaṛ har līnhī re mose nainā milāike
Bal bal jāūn main tore rang rajvā
Apnī sī kar līnhī re mose nainā milāike
Khusro Nijām ke bal bal jaiye
Mohe suhāgan kīnhī re mose nainā milāike
Bāt adham keh dīnī re mose nainā milāike

You've taken away my looks, my identity, by just a glance.
By making me drink the wine from the distillery of love
You've intoxicated me by just a glance;
My fair, delicate wrists with green bangles in them,
Have been held tightly by you with just a glance.
I give my life to you, Oh my cloth-dyer,
You've dyed me in yourself, by just a glance.
I give my whole life to you Oh, Nijam,
You've made me your bride, by just a glance.

Hindavi riddles

Nar naari kehlaati hai,
aur bin warsha jal jati hai;
Purkh say aaway purkh mein jaai,
na di kisi nay boojh bataai.

Is known by both masculine and feminine names,
And lightens up (or burns up) without rain;
Originates from a man and goes into a man,
But no one has been able to guess what it is.

Answer: Nadi (Stream)

Pawan chalat weh dehe badhavay
Jal peevat weh jeev ganvavay
Hai weh piyari sundar naar,
Naar nahin par hai weh naar.

With the blow of wind she flares up,
And dies as soon as she drinks water;
Even though she is a pretty woman,
She’s not a woman, though she’s feminine.

Unique Multi-lingual Poem

Zeehaal-e miskeen makun taghaful,
duraye naina banaye batiyan;
ki taab-e hijran nadaram ay jaan,
na leho kaahe lagaye chhatiyan.

Shaban-e hijran daraz chun zulf
wa roz-e waslat cho umr kotah;
Sakhi piya ko jo main na dekhun
to kaise kaatun andheri ratiyan.

Yakayak az dil do chashm-e jadoo
basad farebam baburd taskin;
Kise pari hai jo jaa sunaave
piyare pi ko hamaari batiyan.

Cho shama sozan cho zarra hairan
hamesha giryan be ishq aan meh;
Na neend naina na ang chaina
Na aap aaven na bhejen patiyan.

Bahaqq-e roz-e wisal-e dilbar
ki daad mara ghareeb Khusrau;
Sapet man ke waraaye raakhun
jo jaaye paaon piya ke khatiyan.

Meaning

The phrase "Zeehaal-e-miskeen" comes from a poem of Amir Khusrow. The unique thing about this poem is that it is a macaronic, written in Persian and Brij Bhasha. In the first verse, the first line is in Persian, the second in Brij Bhasha, the third in Persian again, and the fourth in Brij Bhasha. In the remaining verses, the first two lines are in Persian, the last two in Brij Bhasha. The poem showcases Amir Khusrau's mastery over both languages. The English translation is:

Do not overlook my misery
Blandishing your eyes, and weaving tales;
My patience has over-brimmed, O sweetheart,
Why do you not take me to your bosom.

The nights of separation are long like tresses,
The day of our union is short like life;
When I do not get to see my beloved friend,
How am I to pass the dark nights?

Suddenly, as if the heart, by two enchanting eyes
Is beset by a thousand deceptions and robbed of tranquility;
But who cares enough to go and report
To my darling my state of affairs?

The lamp is aflame; every atom excited
I roam, always, afire with love;
Neither sleep to my eyes, nor peace for my body,
neither comes himself, nor sends any messages

In honour of the day of union with the beloved
who has lured me so long, O Khusrau;
I shall keep my heart suppressed,
if ever I get a chance to get to his place

Khumaar Naves-Wasi

Wasi Shah is Asian Great Urdu poet from Punjab Pakistan. He is wellknown famous and most favorite of teens college girls all age of guys and all teacher professor well educated persons.

Wais Shah’s poetry books include “Mujhe Sandal Ker do” and his nazams include “Kash main tere Haseen Hathon ka Kangan Hota”. “Aankhein bheeg jaati hain”. and many more nice potry. He is very great and well mannered person, Asian Pakistani are proude of him.

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Maa! Mujhe Neend Nahi ate hai
Aik Mudat se Mujhe Neend nahi ate hai
Maa! Mujhe LoorY SuNaoOo nA
SuLa DoNa Mujhe

Maa! Mujhe Neend Nahi ate hai

Rat jagey ab tu Muqadar hain Meri pulkon ka
Neend aye tu liye ate hai bagdad ki Yaad
Ankh lagte he koi bewa utha dete hai
Pait kitna he bharon bhook nahi Mitti hai

jalte Basra ki Mujhe Piyass jaga dete hai
koi qandhar ki waddi se bulta hai Mujhe
zikar qandoz ka aye tu mujhe lagta hai
kat ker sar koi hansta hia,jalata hia mujhe
bomb ki awazain mujhe kuch nahi kehti hain maagar
zakham in bacho ke sone nahi dete hian mujhe
Maa Meri ankhian tu pather ki hue jate hian
nojawaan lashey yeh rone nahi dete hian mujhe
Mere seene per rakho hath

RuLa DoNa Mujhe....!
Maa!Mujhe LorrY SuNaoOo Na
SuLa DoNa Mujhe....!
Maa! Mujhe Neend Nahi ate hai
Aik Mudat se Mujhe Neend nahi ate hai....!

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Eik Masoom Takaddus Me Bhigoya Huwa Lams,
Kitna Pakiza Hay Ehsas Me Dhoya Huwa Lams.

Ye Tere Jism Ki Khushbu Ka Sonehra Ehsas,
Jis Terha Chand K Haaley Me Paroya Huwa Lams.

Us K Hontoon Ko Me Chhu Loon To Gumaan Hota Hay,
Jese Jannat K Gulaboon Me Daboya Huwa Lams.

Jo Meri Rooh Me Utrey He Chale Jaate Ho,
Ik Nae Rang Me Ubhrey Ga Ye Boya Huwa Lams.

Bhegi Khusbo Mae Basa, Wasl Me Bhega Bhega,
Kitna Masoom Hay Pehlo Me Ye Soya Huwa Lams.

Tishnagi Aan Basi Hay Meri Pooroon Me WASI,
Dhondta Phirta Hun Muddat Se Main Khoya Huwa Lams.

Te Ankhun K Haseen Jaal Me Aa Jaon Ga Mai,

Mujh Ko Lagta Hai Teri Chaal Me Aa Jao Ga Mai.

Zindagi Baad Tere Hona Thi Mushkil Lekin,
Ye Na Socha Tha K Is Haal Me Aa Jao Ga Mai.

[ "Dekh Kr Us Ko Mujhe Yaad Kre Gi Dunya,
Eik Din Us K Khadokhaal Me Aa Jao Ga Mai." ]

Kitne Mosam The Jo De Kr Mujhe Taaney Guzrey,
Tum To Kehte They K Ik Saal Me Aa Jaon Ga Mai.

Sur Me Aa Jaye Ga Jewan Tere Jane Se,
Tere Aane Se Kisi Taal Me Aa Jao Ga Mai.

 
Abi to ishq me aisa b haal hona ha

K ashk rokna b tm se mahaal hona ha

Tmain khber ha nae tum to lot jao gy
Tmhary hijer me lmha be saal hona ha

Humari roh py jeb be azaab utrain gy
Tmhari yadon ko es dil ke dhaal hona ha

Milain ge hmko be apny naseeb ke khushian
Bus entazar ha k kb ye kmaal hona ha

Her ek shekhs chaly ga hmari rahoon per
Mohabbton me hmain wo misaal hona ha

WASI mjh ko yaqeen ha k wo lot aye ga
Ussy be apny be kiye ka mlaal hona ha!

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kaash main tere hasiin haath kaa kangan hotaa 

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tuu baDe pyaar se ba.De chaao se baDe aramaan ke saath 

apanii naazuk sii kalaaii men chaDhaatii mujh ko 

aur betaabii se furqat ke KhizaaN lamhon men 

tuu kisii soch mein Duubii jo ghumaatii mujh ko 

mai.n tere haath kii Khushbuu se mahak saa jaataa 

jab kabhii muuD men aa kar mujhe chuumaa karatii 

tere honThon kii shiddat se main dahak saa jaataa 

raat ko jab bhii tuu niindo.n ke safar par jaatii 

marmarii haath kaa ik takiyaa banaayaa karatii 

main tere kaan se lag kar kaii baaten karataa 

terii zulfon ko tere gaal ko chuumaa karataa 

jab bhii tuu band qabaa kholane lagatii jaanaaN 

apanii aaNkhon ko tere husn se kheraa karataa 

mujh ko betaab saa rakhataa terii chaahat kaa nashaa 

mai.n terii ruuh ke gulashan mein mahakataa rahataa 

mai.n tere jism ke aa.Ngan me.n khanakataa rahataa 

kuchh nahiin to yahii benaam saa bandhan hotaa 
 

kaash main tere hasiin haath kaa kangan hotaa 

 
dayaar-e-Gair men kaise tujhe sadaa dete 

tuu mil bhii jaataa to tujhe gaNvaa dete 
 

tumhiin ne ham ko sunaayaa na apanaa dukh varanaa 

duaa vo karate ke ham aasamaan hilaa dete 
 

hamen ye zom rahaa ab ke vo pukaarenge 

unhen ye zid thii ke har baar ham sadaa dete 
 

vo teraa Gam thaa ke taasiir mere lahaje kii 

ke jis ko haal sunaate use rulaa dete 
 
 

tumhen bhulaanaa hii avval to dastaaras men nahiin 

jo iKhtiyaar bhii hotaa to kyaa bhulaa dete 
 

tumhaarii yaad ne koii javaab hii na diyaa 

mere Khayaal ke aaNsuu rahe sadaa dete 
 

sama'ton ko main taa-umr kosataa Syed

vo kuchh na kahate magar honTh to hilaa dete 

 
tum merii aaNkh ke tevar na bhulaa paaoge 

ankahii baat ko samajhoge to yaad aauuNgaa 

ham ne Khushiyo.n kii tarah dukh bhii ikaTThe dekhe 

safaah-e-ziist ko palaToge to yaad aauuNgaa 
 

isii andaaz men hote the muKhaatib mujh se 

Khat kisii aur ko likhoge to yaad aauuNgaa 
 

sard raaton ke mahakate hue sannaaTon men 

jab kisii phuul ko chuumoge to yaad aauuNgaa 

ab tere ashk main honThon se churaa letaa huuN 

haath se Khud inhen ponchhoge to yaad aauuNgaa 
 

shaal pahanaayegaa ab kaun disambar men tumhen 

baarishon men kabhii bhiigoge to yaad aauuNgaa 
 

aaj tum mahafil-e-yaaraaN pe ho maGaruur bahut 

jab kabhii TuuT ke bikharoge to yaad aauuNgaa 
 

haadase aayenge jiivan me.n to tum hoke niDhaal 

kisii diivaar ko thaamoge to yaad aauuNgaa 
 

is men shaamil hai merii baKht kii taariikii bhii 

tum siyaah rang jo pahanoge to yaad aauuNgaa 

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Sumandar Mein Utarta Hoon Tou Aankhen Bheeg Jaati Hain
Teri Aankhon Ko Parhta Hoon Tou Aankhen Bheeg Jaati Hain

Tumhara Naam Likhne Ki Ijazat Chhin Gayi Jab Se
Koi Bhi Lafz Likhta Hoon Tou Aankhen Bheeg Jaati Hain

Teri Yaadon Ki Khushbu Khirkiyon Mein Raqs Karti hay
Tere Gham Mein Sulagta Hoon Tou Aankhen Bheeg Jaati Hain

Main Hans K Jheel Leta Hoon Judai Ki Sabhi Rasmein
Gale Jab Uss K Lagta Hoon Tou Aankhen Bheeg Jaati Hain

Na Jane Ho Gaya Hoon Iss Qadar Hassas Main Kab Se
Kisi Se Baat Karta Hoon Tou Aankhen Bheeg Jaati Hain

Wo Sub Guzre Hue Lamhat Mujh Ko Yaad Aate Hain
Tumhare Khat Jo Parhta Hoon Tou Aankhen Bheeg Jaati Hain

Main Saara Din Bahot Masroof Rehta Hoon Magar Junhi
Qadam Choukhat Pe Rakhta Hoon Tou aankhen Bheeg Jaati Hain

Her Ek Muflis K Maathe Per Alum Ki Daastanen Hain
Koi Chehra Bhi Parhta Hoon Tou Aankhen Bheeg Jaate Hain

Bare Logon K Oonche Badnuma Aur Sard Mahlon Ko
Ghareeb Aankhon Se Takta Hoon Tou Aankhen Bheeg Jaati Hain

Tere Kooche Se Ab Mera Ta'alluq Wajbi Sa Hay
Magar Jab Bhi Guzarta Hoon Tou Aankhen Bheeg Jaati Hain

Hazaron Mausamon Ki Hukmarani Hay Mere Dil Per
Wasi Main Jab Bhi Hansta Hoon Tou Aankhen Bheeg Jaati Hain

Tre Gale Mein Jo Banhon Ko Daal Rakhte Hain
Tujhe Manane Ka Kaisa Kamal Rakhte Hain

Tujhe Khabar Hay Tujhe Sochne kI khatir
Bahot Se Kaam Muqaddar Pe Taal Rakhte Hain

Koi Bhi Faisla Hum Soch Kar Nahi Karte
Tumhare  Naam Ka Sikka Uchhaal Rakhte Hain

Tumhare Ba'ad Ye Aadat Si Ho Gayi Apni
bikharte Sookhte Patte Sanbhaal Rakhte Hain

Khushi Si Milti Hay Khud ko Aziyyaten De Kar
So Jaan Boojh K Dil Ko Nidhaal Rakhte Hain

Kabhi Kabhi Wo Mujhe Hans K Dekh Lete Hain
Kabhi Kabhi Mera Behad Khayaal Rakhte Hain

Tumhare Hijr Main Ye Haal ho Gaya Apna 
Kisi Ka Khat Ho Usse Bhi Sanbhaal Rakhte Hain

Khushi Mile Tou Tere Ba'ad Khush Nahi Hote
Hum Apni Aankh Mein Her Dam Malaal Rakhte Hain

Zamane Bhar Se Chhupa Kar Wo Apne Aanchal Mein 
Mere Wujood K Tukre Sanbhaal Rakhte Hain

Kuchh Iss Liye Bhi Tou Behaal ho Gaye Hum Log
Tumhari Yaad Ka Behad Khayaal Rakhte Hain

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Baandh Lein Haath Pe Seene Pe Saja Lein Tum Ko
Jee Mein Aata Hay K Ta'aveez Bana Lein Tum Ko

Phir Tumhein Roz Sanwarein Tumhein Barhta Dekhein
Kiyon Na Aangan Mein Chanbeli Sa Laga Lein Tum Ko

Jaise Baalon Mein Koi Phool Chuna Karta Hay
Ghar K Guldaan Mein Phoolon Sa Saja Lein Tum Ko

Kia Ajab Khahishein Utthati Hain Hamare Dil Mein
Kar K Munna Sa Hawaon Mein Uchhalein Tum Ko

Iss Qadar Toot K Tum Pe Hamein Pyar Aata Hay
Apni Banhon Mein Bharein Maar He Dalein Tum Ko

Kabhi Khuwabon Ki Tarah Aankh K Parde Mein Raho
kabhi Khahish Ki Tarah Dil Mein Bula Lein Tum Ko

Hay Tumhare Liye Kuchh Aisi Aqeedat Dil Mein
Apne Haathon Mein Duaon Sa Uttha Lein Tum Ko

Jaan Dene Ki Ijaazat Bhi Nahi Dete Ho
Warna Mar Jayen Abhi, Mar K Mana Lein Tum ko

Jis Tarah Raat K Seene Mein Hay Mahtab Ka Noor
Apne Taareek Makanon Mein Saja Lein Tum Ko

Ab Tou Bus Ek He Khahish Hay Kisi Mor Per Tum
Hum Ko Bikhre Hue Mil Jao, Sanbhalein Tum Ko

Aaj yun mausam ne dee jashn-e-muhabbat ki khabar
Phoot ker rone lage hain mai muhabbat aur tum

Hum ney joon hi ker liya mehsoos manzil hai qareeb
Raastey khone lage hain mai muhabbat aur tum

Chaand ki kirno ne humko is tarah bosa diya
Devta hone lage hain mai muhabbat aur tum

Aaj phir mehroomiyon ki daastane orh ker
Khak mai sone lage hain mai muhabbat aur tum

Kho gaye andaaz bhi awaz bhi alfaz bhi
Khamshi dhone lage hain mai muhabbat aur tum

chandani raat k hatoon pe swar utari hai
koi khooshbo meri dehlees ke paar utri hai

is mai kuch rang bi hain khawab bi mehkar bi hai
jhilmilaati hovi khawish bi hai inkar bi hai
isi khushboo mai kai dard bi afsaanay bi
isi khushbo ne banay kai dewane bi
maire anchal pe ye umidoon ki kitaar utri hai
koi khushbo meri dehlees ke paar utri hai

isi khushbo se kisi yaad ke dar khulte hain
maire pairoon se jo lipte to safar kilte hain
yehi khushboo jo mujhe ghar se utha laai thi
ub kisi toor palat kar nahi jane daiti
meri dehlees bulaati hai mujhe loot aao
ye hi khushbo mujhe wapis nahi aanai daiti

runj or dard mai doobi ye bhaar utri hai
koi khushboo meri dehlees ke paar utri hai

chandani raat ke haathoon pe sawaar utri hai
koi khushboo meri dehlees kay paar utri hai

 
Ab jo bichray hain toh ehsaas hua hai hum ko

Dard kya hotah hai tanhai kisay kehtay hain

Char so gunjti ruswai kisay kehtay hain
Ab jo bichray ko ehsaas hua hai hum ko

Koi lamha ho tere yaad mai kho jatay hain
Ab toh khud ko bhe muyassar nahi aaa patay hain
Raat ho din ho tere pyar mai hum behtay hain

Dard kya hotah hai tanhai kisay kehtay hain
Ab jo bichray hain toh ehsaas hua hai hum ko

Woh jo ghum aye usay dil pay saha kertey thay
aik saith hum mil ker raha kertey thay
Ab akelay he zamanay ke sitam sehtay hain

Dard kya hotah hai tanhai kisay kehtay hain
Ab Jo bichray toh ehsaas hua hai hum ko

Hum Nay khud apni rahon mai bichaye kantay
Gher mai phoolon ke jagah la ker sajaye kantay
Zakham iss dil mai basaye howe khud rehtay hain

Yun toh duniya ki har cheez haseen hoti hai
Pyar say maghar kuch bhe nahi hoti hai
Rastah rok kay har aik say yehi kehtay hain

Ab jo bichray hain toh ehsaas hua hai hum ko
Dard kya hotah hai tanhai kisay kehtay hain
Char so gunjti ruswai kisay kehtay hain
Ab jo bichray ko ehsaas hua hai hum ko