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mere liye jiine sahārā hai abhī tak

vo ahd-e-tamannā ki tumheñ yaad na hogā

mere liye jine ka sahaara hai abhi tak

wo ahd-e-tamanna ki tumhein yaad na hoga

Habeeb Ahmad Siddiqui
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samjhā liyā fareb se mujh ko to aap ne

dil se to pūchh lījiye kyuuñ be-qarār hai

samjha liya fareb se mujh ko to aap ne

dil se to puchh lijiye kyun be-qarar hai

Lala Madhav Ram Jauhar
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likhne ko likh rahe haiñ ġhazab kahāniyāñ

likkhī na sakī magar apnī dāstāñ

likhne ko likh rahe hain ghazab ki kahaniyan

likkhi na ja saki magar apni hi dastan


merī rusvā.ī ke asbāb haiñ mere andar

aadmī huuñ so bahut ḳhvāb haiñ mere andar

meri ruswai ke asbab hain mere andar

aadmi hun so bahut KHwab hain mere andar

Asad Badayuni
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tamām umr mirā mujh se iḳhtilāf rahā

gila na kar jo kabhī terā ham-navā na huā

tamam umr mera mujh se iKHtilaf raha

gila na kar jo kabhi tera ham-nawa na hua



  • ख़ाना-बदोश
  • خانَہ بَدوش



mujh ko to ḳhair ḳhāna-badoshī raas thī

tere liye makān banānā paḌā mujhe

mujh ko to KHair KHana-badoshi hi ras thi

tere liye makan banana paDa mujhe


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The words that we use countless times in our everyday speech, they, too, show striking aspects about them when reflected maturely. Two such words are ‘Na’ and ‘Naa’.
guu.njtii hai tirii hasii.n aavaaz
jaise naadiida ko.ii bajtaa saaz

“Naa-Diida” means that which can’t be seen, or invisible. Another word, on the same lines, is ‘Nadiida’, meaning a greedy person. Although it literally means one who has not seen- why? -because a greedy person looks at a thing in a manner as if he had never seen it before. The word ‘Naa’, when prefixed to nouns, functions as a pleonasm, and conveys negation. For example, ‘Naa-Laaiq’, ‘Naa-Khush”, etc.
Those who know the language, know it well enough as to where and how ‘Na’, ‘Naa’, and ‘Nahin’ are to be used.
Na suno gar buraa kahe koi
Na kaho gar bura kare koi

Interestingly, Javed Akhtar's famous film song "Kuchh Naa Kaho, Kuchh Bhi Naa Kaho", although written to the tune, never comes out as an oddity. 
Let the purists say whatever they wish to!

In Urdu, ‘Naa’ is also used as an article of emphasis and affirmation. For instance:
Kisi buzurg ke bose ki ik nishaani hai
Humaare maathe pe thoDii sii raushnii hai naa



Josh Malihabadi spent a few years at Shalimar Studios in Pune and wrote songs for a few films there. Josh wrote six of the seven songs in the famous 1944 film "Man Ki Jeet ", based on the famous English writer Thomas Hardy's novel "Tess of the d'Urbervilles", which was directed by W. Z. Ahmed. In this movie, one of his songs, ‘Morey Jubna Ka Dekho Ubhar’, sung by Zuhra Bai Ambalewali became very popular.
Although the government at the time considered it obscene and banned the song from being aired on All India Radio, the similes given to the beloved’s beauty in this song were extremely novel:
Jaise Bhanvro.n ki jhoom
Jaise sawan ki dhoom
Jaise sagar ki bhor
Jaise uDta chakor
Jaise naddi ki mauj
Jaise turko.n ki fauj
In a remarkably similar manner, years later, Javed Akhtar wrote the song ‘Ek laDki ko dekha to aisa laga’ for the movie "1942 A Love Story".
The songs that Josh wrote were never pre-composed to the tune, for he would always write the lyrics first with respect to the situation in the film. It was the task of the music composer and the film’s director to put his lyrics to music.


Poetry that’s recited without a Tarannum (tune) is known as ‘Taht-ul-Lafz’, or differently, ‘Taht Mein Padhna’. If read in Tarannum, the reciter’s tone and voice largely draw the attention of the audiences. However, in Taht-ul-Lafz, one enjoys the full effect of poetry with the grandeur of words and the crescendo of the rise and fall of the reciter’s voice. Although Taht-ul Lafz recitation is common in Mushairas, but those who recited Marsiyas (elegies) in this manner in mourning assemblies, turned it into a dramatic artform. A contemporary of famous Marsiya-reciter Meer Anis, and who didn’t find favor with Anis’s Marsiya composition, wrote:
“Ek martaba Ittefaqan Anis Ki Majlis mein shirkat hui. Marsiye Ke doosre hi band ki Bait…
Saato.n Jahannum Atish-e-Furqat mein jalte hain
Sho’le tirii talaash mein baahar nikalte hain
… Anis ne is andaz se paDhi ki mujhe sho’le bhadakte hue dikhai dene lage aur main un ka padhna-sunna mein aisa mahv hua ki tan-badan kaa hosh na rahaa.”
When new poetry appeared in the form Azad Nazm, it found no takers as no one seemed willing to listen to it. Then, Famous actor and broadcaster Zia Mohiuddin experimented with reciting Noon Meem Rashid's poems at various events. He recited some of these poems in such a way that the listeners, for whom these poems were ambiguous, meaningless and far from poetry, they too became enchanted by them; even managing to discover in those poems a bit of poetry.



The Bombay-based Urdu monthly ‘Shayar’, which was first published from Agra in 1930, continues to this day. Iftikhar Imam Siddiqui (1947-2021), the grandson of Simab Akbarabadi, founded this historical and purely literary monthly, and has been publishing the magazine for decades, despite all the financial woes, from a small Kholi in Bombay; which also happens to be his office and home. The special issues of Shayar are immensely treasured by literary researchers.
Iftikhar Imam had a firm grip on both poetry and prose. He had interviewed 100 literary personalities. A poet of mellifluous tone, he was once very popular in Mushairas. Since his childhood, he was very fond of singing. One of his father's students was a ghazal singer, from whom he even took some Music lessons. Initially, he sang film songs and Ghazals. His grandfather Simab Akbarabadi used to listen him recite ghazals. In the movie ‘Arth’, his Ghazal “Tu nahin to zindagi mein aur kya rah jaega’, became very popular in the voice of Chitra Singh. Many other singers have also sung his ghazals.
Once, while returning from a mushaira, he was met with an accident in Jabalpur and became handicapped. But, under the editorship of his brother Nazir Noman Siddiqui, he kept running ‘Shayar’ for over fifty years. Also, he never got married.



Jigar Moradabadi was one of the most prominent pre-modern poets who enjoyed stunning popularity and fan-following. He is known for his moody nature; spent his life migrating between Moradabad, Agra and then finally moved to Gonda, where he lived with famous poet Asghar Gondvi as a friend and benefactor. He also earned his reputation as an iconic mushaira poet who earned huge applause from the audience, and used to charge ₹500 for one Mehfil. Despite all this, his marital life was very fragmented and his wife was very upset with his frequent drinking and alcohol addiction. It is said that on the advice of Asghar Gondvi, he divorced his wife Naseem and she got married to Asghar Gondvi after that.

Today's Special

Saghar Siddiqui

Saghar Siddiqui


Urdu and Punjabi poet

tāroñ se merā jaam bharo maiñ nashe meñ huuñ

ai sākinān-e-ḳhuld suno maiñ nashe meñ huuñ

taron se mera jam bharo main nashe mein hun

ai sakinan-e-KHuld suno main nashe mein hun

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E-Books Library

Kulliyat-e-Anwar Shaoor

Anwar Shuoor 

2015 Kulliyat

Iqbal Dulhan

Bashiruddin Ahmad Dehlvi 

1908 Moral and Ethical

Mughal Tahzeeb

Mahboob-Ullah Mujeeb 


Audhoot Ka Tarana


1958 Nazm

Shumara Number-002

Dr. Mohammad Hasan 

1970 Asri Adab

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