tamana Teri Hai Agar Hai Tamana
Teri Aarzú Hai Agar Aarzú Hai
Khwaja Mir Dard
-----------------
Khwaja Meer Dard was born in 1721 and to ‘Khwaja Mohd. Nasir Andaleeb’. His father was a mystic saint and a poet. Dard received his education in an informal way at home, and in the company of the learned people. He acquired a command of Arabic and Persian, as also of the Sufi lore. He also developed a deep love of music, possibly, through his association with the singers and Qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.
Dard lived in a turbulent social and political scenario. At that time Delhi was subjected to the repeated assaults of invaders like Ahmed Shah and Nadir Shah, and the people of Delhi were forced to migrate to safer places. Dard's mysticism, though it was an inherited trait deeply ingrained in his nature, could also be explained as a reaction to the harsh realities of the outside world. Unlike his contemporary poets, Meer and Sauda, both of whom had moved to Lucknow under the circumstances, Dard stuck to Delhi. He sought strength in the tenets of the Sufi creed, which stressed the virtues of faith and fortitude, and taught a happy submission to the will of God. It is this faith which lends an element of courage and restraint to Dard's poetry and sets it apart from the plaintive manner of Meer.
Dard is one of the three major poets of the Delhi School, the other two being ‘Mir Taqi Mir’ and ‘Mirza Sauda’, who could be called the pillars of the classical Urdu ghazal. While Mir Taqi Mir, the greatest of them all, is remembered as a poet of love and pathos, and Sauda as a spedalistin satire and panegyric, Dard is first and foremost a mystic, who regards the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home.
Dard inherited his mystical temperament from his father, Nasir Andlib. However, the secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. He is not a voluminous writer.
His publications are a collection of Urdu ghazals, a divan in Persian, and some articles in Urdu and Persian prose. Dard's Persian prose works are extensive, consisting of the “Ilm ul Kitab”, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the “Chahar Risalat”, collections of more than a thousand mystical aphorisms and sayings.
Khwaja Mir Dard is one of the three major poets of the Delhi School — the other two being Mir Taqi Mir and 'Sauda' — who could be called the pillars of the classical Urdu ghazal.
Philosophy
---------------
Dard was first and foremost a mystic, a prominent member of the Naqshbandi Mujaddidi order, and the head of the Muhammadi path (tariqah muhammadiyah, a Mujaddidi offshoot) in Delhi. He regarded the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home. Dard inherited his mystical temperament from his father, Khwaja Muhammad Nasir Andalib, who was a mystic saint and a poet, and the founder of the Muhammadi path.
Education
---------------
Dard received his education in an informal way at home, and in the company of the learned, acquiring in due course a command of Arabic and Persian, as also of Sufi lore. He also developed a deep love of music, possibly, through his association with singers and qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.
Poetry
----------
The secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all and sundry. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. His poetry includes a collection of Urdu ghazals and a divan in Persian.
Dard's Persian prose works are extensive, consisting of the Ilm ul Kitab, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the Chahar Risalat, collections of more than a thousand mystical aphorisms and sayings.
"My friend, we've seen enough fine sights, through which we loved to roam.
You stay on to enjoy them; we are ready to go home."
Khwaja Meer Dard was born in 1721 and to ‘Khwaja Mohd. Nasir Andaleeb’. His father was a mystic saint and a poet. Dard received his education in an informal way at home, and in the company of the learned people. He acquired a command of Arabic and Persian, as also of the Sufi lore. He also developed a deep love of music, possibly, through his association with the singers and Qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.
Dard lived in a turbulent social and political scenario. At that time Delhi was subjected to the repeated assaults of invaders like Ahmed Shah and Nadir Shah, and the people of Delhi were forced to migrate to safer places. Dard's mysticism, though it was an inherited trait deeply ingrained in his nature, could also be explained as a reaction to the harsh realities of the outside world. Unlike his contemporary poets, Meer and Sauda, both of whom had moved to Lucknow under the circumstances, Dard stuck to Delhi. He sought strength in the tenets of the Sufi creed, which stressed the virtues of faith and fortitude, and taught a happy submission to the will of God. It is this faith which lends an element of courage and restraint to Dard's poetry and sets it apart from the plaintive manner of Meer.
Dard is one of the three major poets of the Delhi School, the other two being ‘Mir Taqi Mir’ and ‘Mirza Sauda’, who could be called the pillars of the classical Urdu ghazal. While Mir Taqi Mir, the greatest of them all, is remembered as a poet of love and pathos, and Sauda as a spedalistin satire and panegyric, Dard is first and foremost a mystic, who regards the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home.
Dard inherited his mystical temperament from his father, Nasir Andlib. However, the secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. He is not a voluminous writer.
His publications are a collection of Urdu ghazals, a divan in Persian, and some articles in Urdu and Persian prose. Dard's Persian prose works are extensive, consisting of the “Ilm ul Kitab”, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the “Chahar Risalat”, collections of more than a thousand mystical aphorisms and sayings.
-----------------------------------------------
Tohmaten Chand Apne Zimme Dhar Chale
Jis Liye Aaye The So Ham Kar Chale
Zindegi Hai Ya Koi Tufaan Hai
Ham To Is Jine Ke Haathon Mar Chale
Kya Hamen Kaam Is Gulon Se Ai Saba
Ek Dam Aaye Idhar Udhar Chale
Dosto Dekha Tamasha Yaan Ka Sab
Tum Raho Khush Ham To Apne Ghar Chale
Aah Bas Ji Mat Jala Tab Jaaniye
Jab Koi Afsun Tera Us Paar Chale
Shamaa Ki Maanind Ham Is Bazm Main
Chashm-Nam Aaye The Daaman-Tar Chale
Dhundhte Hain Aap Se Usko Pare
Shekh Saahib Chhod Ghar Baahar Chale
Ham Jahaan Main Aaye The Tanhavaale
Saath Apne Ab Use Lekar Chale
Jun Sharaar Ai Hasti-E-Bebud Yaan
Baare Ham Bhi Apni Baari Bhar Chale
Ek Main Dil Resh Hun Vaisa Hi Dost
Zakhm Kitno Ka Suna Hai Bhar Chale
Ham Na Jaane Paaye Baahar Aap Se
Vo Bhi Aade Aa Gaya Jidhar Chale
Saaqiya Yaan Lag Raha Hai Chal Chalaao
Jab Talak Bas Chal Sake Saaghar Chale
“Dard” Kuch Maalum Hai Ye Log Sab
Kis Taraf Se Aaye The Kidhar Chale
-----------------------------------------------
Agar Yon Hi Ye Dil Satata Rahe Ga
To Ik Din Mera Ji Hi Jaata Rahe Ga
Main Jaata Hoon Dil Ko Tere Paas Chhode
Meri Yaad Tujhko Dilata Rahe Ga
Gali Se Teri Dil Ko Le To Chala Hoon
Main Pahunchun Ga Jab Tak Ye Aata Rahe Ga
Qafas Main Koi Tum Se Ai Ham-Safiron
Khabar Kal Ki Hamko Sunata Rahe Ga
Khafa Ho Ki Ai “Dard” Mar To Chala Tu
Kahaan Tak Gham Apna Chhupata Rahe Ga
------------------------------------------
Chaman Main Subah Ye Kahti Thi Ho Kar Chashm-E-Tar Shabnam
Bahaar-E-Baag To Yun Hi Rahi Lekin Kidhar Shabnam
Arq Ki Bund Us Ki Zulf Se Rukhsaar Par Tapki
Tajjub Ki Hai Jaage Ye Padi Khurshid Par Shabnam
Hamen To Baagh Tujh Bin Khaana-E-Maatam Nazar Ayaa
Idhar Gul Pharte The Jeb, Roti Thi Udhar Shabnam
Kare Hai Kuch Na Kuch Taasir Sohbat Saaf Taabon Ki
Hui Aatish Se Gul Ke Baithte Rashq-E-Sharar Shabnam
Bhala Tuk Subah Hone Do Ise Bhi Dekh Levenge
Kisi Aashiq Ke Rone Se Nahin Rakhti Khabar Shabnam
Nahin Asbaab Kuch Laazim Subak Saaron Ke Uthane Ko
Gai Ud Dekhte Apne Bagair Az Baal-O-Par Shabnam
Na Paaya Jo Gaya Is Baag Se Hargiz Suraag Uska
Na Palti Phir Sabaa Idhar, Na Phir Aai Nazar Shabnam
Na Samjha Dard Hamne Bhed Yaan Ki Shaadi-O-Gham Ka
Sahar Khandaan Hai Kyon Roti Hai Kis Ko Yaak Kar Shabnam
-------------------------------------------------------------
zindagii hai yaa koii tuufaan hai
ham to is jiine ke haathon mar chale
kyaa hame.n kaam is gulon se ai sabaa
ek dam aaye idhar udhar chale
dosto dekhaa tamaashaa yaaN kaa sab
tum raho Khush ham to apane ghar chale
aah bas jii mat jalaa tab jaaniye
jab koii afsun teraa us paar chale
shamaa kii maanind ham is bazm men
chashm-nam aaye the daaman-tar chale
DhuuNdhate hain aap se usako pare
sheKh saahib chhoD ghar baahar chale
ham jahaaN men aaye the tanhaavaale
saath apane ab use lekar chale
juu.N sharaar ai hasti-e-bebud yaaN
baare ham bhii apanii baarii bhar chale
ek main dil resh huuN vaisaa hii dost
zaKhm kitanon kaa sunaa hai bhar chale
ham na jaane paaye baahar aap se
vo bhii aaDe aa gayaa jidhar chale
saaqiiyaa yaaN lag rahaa hai chal chalaao
jab talak bas chal sake saaGar chale
"Dard" kuchh maaluum hai ye log sab
kis taraf se aaye the kidhar chale
-----------------------------------------------------------------------------------------------------------
ham tujh se kis havas kii falak justajuu karen
dil hii nahiin rahaa hai jo kuchh aarazuu karen
miT jaayen ek aan men kasarat namayaaN
ham aaiine ke saamane aa kar jo huu karen
taar-daamani pe sheiKh hamaarii na jaaiio
daaman nichoD den to farishte vazuu karen
sar taa qadam zabaaN hai juuN shamaa go ke ham
par ye kahaaN majaal jo kuchh guftaguu karen
har chand aaiinaa huuN par itanaa na qabuul
muuNh pher le vo jisake mujhe ruubaruu karen
ne gul ko hai sabaat ne ham ko aitabaar
kis baat par chaman havas-e-rang-o-buu karen
hai apanii ye salaah ke sab zahidaan-e-shahar
ai "Dard" aa ke bet-e-dast-e-sabuu karen
----------------------------------------------------------
mera jii hai jab tak teri justajuu hai
zabaan jab talak hai yahi guftagu hai
Khuda jaane kyaa hogaa anjaam is kaa
main besabar itana huN wo tund Khuu hai
tamannaa hai teri agar hai tamannaa
terii aarazuu hai, agar arazu hai
kiya sair hamane gulzaar-e-duniya
gul-e-dostii men ajab rang-o-buu hai
Ganimat hai ye diid waa diid-e-yaaraaN
jahaaN mund gayii aaNkh, main huuN na tu hai
nazar mere dil ki paDii "dard" kis par
jidhar dekhataa huuN wahii ruu-ba-ruu hai
----------------------------------------------
tujhii ko jo yaaN jalwaa farmaa na dekhaa
baraabar hai duniyaa ko dekhaaa na dekhaa
mera Guncha-e-dil hai woh dil-girifata
ke jis ko kaso ne kabhii waa na dekha
aziat, musibat, malaamat, balaayen
tere ishq men ham ne kyaa kyaa na dekha
kiya mujh ko daaGon sarv-e-chiraaGaaN
kabho tu ne aakar tamaashaa na dekha
taGaaful ne tere ye kuchh din dikhaaye
idhar tu ne lekin na dekhaa, na dekha
hijaab-e-ruKh-e-yaar the aap hii ham
khulii aa.Nkh jab, koii paradaa na dekha
shab-o-roz aye "Dard" darapaii huN us ke
kaso ne jise yaaN samajhaa na dekha
---------------------------------------------
jag men aakar idhar udhar dekhaa
tuu hii aayaa nazar jidhar dekhaa
jaan se ho gaye badan Khaalii
jis taraf tune aaNkh bhar ke dekhaa
naala fariyaad aah aur zaarii
aap se ho sakaa so kar dekhaa
un labon ne kii na masihaaii
ham ne sau -sau tarah se mar dekhaa
zor aashiq mizaaj hai koii
"Dard" ko qisaa-e-muKhtasar dekhaa
-----------------------------------------------
Khwaja Meer Dard was born in 1721 and to ‘Khwaja Mohd. Nasir Andaleeb’. His father was a mystic saint and a poet. Dard received his education in an informal way at home, and in the company of the learned people. He acquired a command of Arabic and Persian, as also of the Sufi lore. He also developed a deep love of music, possibly, through his association with the singers and Qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.
Dard lived in a turbulent social and political scenario. At that time Delhi was subjected to the repeated assaults of invaders like Ahmed Shah and Nadir Shah, and the people of Delhi were forced to migrate to safer places. Dard's mysticism, though it was an inherited trait deeply ingrained in his nature, could also be explained as a reaction to the harsh realities of the outside world. Unlike his contemporary poets, Meer and Sauda, both of whom had moved to Lucknow under the circumstances, Dard stuck to Delhi. He sought strength in the tenets of the Sufi creed, which stressed the virtues of faith and fortitude, and taught a happy submission to the will of God. It is this faith which lends an element of courage and restraint to Dard's poetry and sets it apart from the plaintive manner of Meer.
Dard is one of the three major poets of the Delhi School, the other two being ‘Mir Taqi Mir’ and ‘Mirza Sauda’, who could be called the pillars of the classical Urdu ghazal. While Mir Taqi Mir, the greatest of them all, is remembered as a poet of love and pathos, and Sauda as a spedalistin satire and panegyric, Dard is first and foremost a mystic, who regards the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home.
Dard inherited his mystical temperament from his father, Nasir Andlib. However, the secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. He is not a voluminous writer.
His publications are a collection of Urdu ghazals, a divan in Persian, and some articles in Urdu and Persian prose. Dard's Persian prose works are extensive, consisting of the “Ilm ul Kitab”, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the “Chahar Risalat”, collections of more than a thousand mystical aphorisms and sayings.
Khwaja Mir Dard is one of the three major poets of the Delhi School — the other two being Mir Taqi Mir and 'Sauda' — who could be called the pillars of the classical Urdu ghazal.
Philosophy
---------------
Dard was first and foremost a mystic, a prominent member of the Naqshbandi Mujaddidi order, and the head of the Muhammadi path (tariqah muhammadiyah, a Mujaddidi offshoot) in Delhi. He regarded the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home. Dard inherited his mystical temperament from his father, Khwaja Muhammad Nasir Andalib, who was a mystic saint and a poet, and the founder of the Muhammadi path.
Education
---------------
Dard received his education in an informal way at home, and in the company of the learned, acquiring in due course a command of Arabic and Persian, as also of Sufi lore. He also developed a deep love of music, possibly, through his association with singers and qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.
Poetry
----------
The secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all and sundry. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. His poetry includes a collection of Urdu ghazals and a divan in Persian.
Dard's Persian prose works are extensive, consisting of the Ilm ul Kitab, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the Chahar Risalat, collections of more than a thousand mystical aphorisms and sayings.
"My friend, we've seen enough fine sights, through which we loved to roam.
You stay on to enjoy them; we are ready to go home."
Khwaja Meer Dard was born in 1721 and to ‘Khwaja Mohd. Nasir Andaleeb’. His father was a mystic saint and a poet. Dard received his education in an informal way at home, and in the company of the learned people. He acquired a command of Arabic and Persian, as also of the Sufi lore. He also developed a deep love of music, possibly, through his association with the singers and Qawaals who frequented his father's house. He renounced earthly pleasures at the young age of 28, and led a life of piety and humility.
Dard lived in a turbulent social and political scenario. At that time Delhi was subjected to the repeated assaults of invaders like Ahmed Shah and Nadir Shah, and the people of Delhi were forced to migrate to safer places. Dard's mysticism, though it was an inherited trait deeply ingrained in his nature, could also be explained as a reaction to the harsh realities of the outside world. Unlike his contemporary poets, Meer and Sauda, both of whom had moved to Lucknow under the circumstances, Dard stuck to Delhi. He sought strength in the tenets of the Sufi creed, which stressed the virtues of faith and fortitude, and taught a happy submission to the will of God. It is this faith which lends an element of courage and restraint to Dard's poetry and sets it apart from the plaintive manner of Meer.
Dard is one of the three major poets of the Delhi School, the other two being ‘Mir Taqi Mir’ and ‘Mirza Sauda’, who could be called the pillars of the classical Urdu ghazal. While Mir Taqi Mir, the greatest of them all, is remembered as a poet of love and pathos, and Sauda as a spedalistin satire and panegyric, Dard is first and foremost a mystic, who regards the phenomenal world as a veil of the eternal Reality, and this life as a term of exile from our real home.
Dard inherited his mystical temperament from his father, Nasir Andlib. However, the secret of Dard's appeal as a poet lies not in his mysticism, but in his ability to transmute this mysticism into poetry, and to present transcendental love in terms of human and earthly love. Although he has written ghazals which are unambiguously mystical in their intent, his best couplets can be read at both the secular and spiritual levels, and are, for this reason, acceptable to all. In addition, Dard had also written ghazals which deal with a patently sensuous and earthly love, and deserve to be classed with the best poetry of this kind. Dard generally excels in short ghazals of about seven to nine verses, written in comparatively short measures. His style is simple, natural and musical; his content, thoughtful and thought-provoking. He is not a voluminous writer.
His publications are a collection of Urdu ghazals, a divan in Persian, and some articles in Urdu and Persian prose. Dard's Persian prose works are extensive, consisting of the “Ilm ul Kitab”, a 600+ page metaphysical work on the philosophy of the Muhammadi path, and the “Chahar Risalat”, collections of more than a thousand mystical aphorisms and sayings.
-----------------------------------------------
Tohmaten Chand Apne Zimme Dhar Chale
Jis Liye Aaye The So Ham Kar Chale
Zindegi Hai Ya Koi Tufaan Hai
Ham To Is Jine Ke Haathon Mar Chale
Kya Hamen Kaam Is Gulon Se Ai Saba
Ek Dam Aaye Idhar Udhar Chale
Dosto Dekha Tamasha Yaan Ka Sab
Tum Raho Khush Ham To Apne Ghar Chale
Aah Bas Ji Mat Jala Tab Jaaniye
Jab Koi Afsun Tera Us Paar Chale
Shamaa Ki Maanind Ham Is Bazm Main
Chashm-Nam Aaye The Daaman-Tar Chale
Dhundhte Hain Aap Se Usko Pare
Shekh Saahib Chhod Ghar Baahar Chale
Ham Jahaan Main Aaye The Tanhavaale
Saath Apne Ab Use Lekar Chale
Jun Sharaar Ai Hasti-E-Bebud Yaan
Baare Ham Bhi Apni Baari Bhar Chale
Ek Main Dil Resh Hun Vaisa Hi Dost
Zakhm Kitno Ka Suna Hai Bhar Chale
Ham Na Jaane Paaye Baahar Aap Se
Vo Bhi Aade Aa Gaya Jidhar Chale
Saaqiya Yaan Lag Raha Hai Chal Chalaao
Jab Talak Bas Chal Sake Saaghar Chale
“Dard” Kuch Maalum Hai Ye Log Sab
Kis Taraf Se Aaye The Kidhar Chale
-----------------------------------------------
Agar Yon Hi Ye Dil Satata Rahe Ga
To Ik Din Mera Ji Hi Jaata Rahe Ga
Main Jaata Hoon Dil Ko Tere Paas Chhode
Meri Yaad Tujhko Dilata Rahe Ga
Gali Se Teri Dil Ko Le To Chala Hoon
Main Pahunchun Ga Jab Tak Ye Aata Rahe Ga
Qafas Main Koi Tum Se Ai Ham-Safiron
Khabar Kal Ki Hamko Sunata Rahe Ga
Khafa Ho Ki Ai “Dard” Mar To Chala Tu
Kahaan Tak Gham Apna Chhupata Rahe Ga
------------------------------------------
Chaman Main Subah Ye Kahti Thi Ho Kar Chashm-E-Tar Shabnam
Bahaar-E-Baag To Yun Hi Rahi Lekin Kidhar Shabnam
Arq Ki Bund Us Ki Zulf Se Rukhsaar Par Tapki
Tajjub Ki Hai Jaage Ye Padi Khurshid Par Shabnam
Hamen To Baagh Tujh Bin Khaana-E-Maatam Nazar Ayaa
Idhar Gul Pharte The Jeb, Roti Thi Udhar Shabnam
Kare Hai Kuch Na Kuch Taasir Sohbat Saaf Taabon Ki
Hui Aatish Se Gul Ke Baithte Rashq-E-Sharar Shabnam
Bhala Tuk Subah Hone Do Ise Bhi Dekh Levenge
Kisi Aashiq Ke Rone Se Nahin Rakhti Khabar Shabnam
Nahin Asbaab Kuch Laazim Subak Saaron Ke Uthane Ko
Gai Ud Dekhte Apne Bagair Az Baal-O-Par Shabnam
Na Paaya Jo Gaya Is Baag Se Hargiz Suraag Uska
Na Palti Phir Sabaa Idhar, Na Phir Aai Nazar Shabnam
Na Samjha Dard Hamne Bhed Yaan Ki Shaadi-O-Gham Ka
Sahar Khandaan Hai Kyon Roti Hai Kis Ko Yaak Kar Shabnam
-------------------------------------------------------------
zindagii hai yaa koii tuufaan hai
ham to is jiine ke haathon mar chale
kyaa hame.n kaam is gulon se ai sabaa
ek dam aaye idhar udhar chale
dosto dekhaa tamaashaa yaaN kaa sab
tum raho Khush ham to apane ghar chale
aah bas jii mat jalaa tab jaaniye
jab koii afsun teraa us paar chale
shamaa kii maanind ham is bazm men
chashm-nam aaye the daaman-tar chale
DhuuNdhate hain aap se usako pare
sheKh saahib chhoD ghar baahar chale
ham jahaaN men aaye the tanhaavaale
saath apane ab use lekar chale
juu.N sharaar ai hasti-e-bebud yaaN
baare ham bhii apanii baarii bhar chale
ek main dil resh huuN vaisaa hii dost
zaKhm kitanon kaa sunaa hai bhar chale
ham na jaane paaye baahar aap se
vo bhii aaDe aa gayaa jidhar chale
saaqiiyaa yaaN lag rahaa hai chal chalaao
jab talak bas chal sake saaGar chale
"Dard" kuchh maaluum hai ye log sab
kis taraf se aaye the kidhar chale
-----------------------------------------------------------------------------------------------------------
ham tujh se kis havas kii falak justajuu karen
dil hii nahiin rahaa hai jo kuchh aarazuu karen
miT jaayen ek aan men kasarat namayaaN
ham aaiine ke saamane aa kar jo huu karen
taar-daamani pe sheiKh hamaarii na jaaiio
daaman nichoD den to farishte vazuu karen
sar taa qadam zabaaN hai juuN shamaa go ke ham
par ye kahaaN majaal jo kuchh guftaguu karen
har chand aaiinaa huuN par itanaa na qabuul
muuNh pher le vo jisake mujhe ruubaruu karen
ne gul ko hai sabaat ne ham ko aitabaar
kis baat par chaman havas-e-rang-o-buu karen
hai apanii ye salaah ke sab zahidaan-e-shahar
ai "Dard" aa ke bet-e-dast-e-sabuu karen
----------------------------------------------------------
mera jii hai jab tak teri justajuu hai
zabaan jab talak hai yahi guftagu hai
Khuda jaane kyaa hogaa anjaam is kaa
main besabar itana huN wo tund Khuu hai
tamannaa hai teri agar hai tamannaa
terii aarazuu hai, agar arazu hai
kiya sair hamane gulzaar-e-duniya
gul-e-dostii men ajab rang-o-buu hai
Ganimat hai ye diid waa diid-e-yaaraaN
jahaaN mund gayii aaNkh, main huuN na tu hai
nazar mere dil ki paDii "dard" kis par
jidhar dekhataa huuN wahii ruu-ba-ruu hai
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tujhii ko jo yaaN jalwaa farmaa na dekhaa
baraabar hai duniyaa ko dekhaaa na dekhaa
mera Guncha-e-dil hai woh dil-girifata
ke jis ko kaso ne kabhii waa na dekha
aziat, musibat, malaamat, balaayen
tere ishq men ham ne kyaa kyaa na dekha
kiya mujh ko daaGon sarv-e-chiraaGaaN
kabho tu ne aakar tamaashaa na dekha
taGaaful ne tere ye kuchh din dikhaaye
idhar tu ne lekin na dekhaa, na dekha
hijaab-e-ruKh-e-yaar the aap hii ham
khulii aa.Nkh jab, koii paradaa na dekha
shab-o-roz aye "Dard" darapaii huN us ke
kaso ne jise yaaN samajhaa na dekha
---------------------------------------------
jag men aakar idhar udhar dekhaa
tuu hii aayaa nazar jidhar dekhaa
jaan se ho gaye badan Khaalii
jis taraf tune aaNkh bhar ke dekhaa
naala fariyaad aah aur zaarii
aap se ho sakaa so kar dekhaa
un labon ne kii na masihaaii
ham ne sau -sau tarah se mar dekhaa
zor aashiq mizaaj hai koii
"Dard" ko qisaa-e-muKhtasar dekhaa
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