Momin Khan Momin
Ghazal 51
Sher-o-Shayari 67
tum mire paas hote ho goyā
jab koī dūsrā nahīñ hotā
in such a manner are you close to me
when no one else at all there ever be
It feels as if you are right here with me.
Especially when there is no one else around.
The couplet ties the beloved’s “presence” to the speaker’s solitude: when the world is absent, the beloved becomes vividly near. “As if” signals that this closeness may be imagined—born from memory and longing rather than physical meeting. Emotional comfort arises, but it also exposes how deeply loneliness depends on that one person.
tum mere pas hote ho goya
jab koi dusra nahin hota
in such a manner are you close to me
when no one else at all there ever be
It feels as if you are right here with me.
Especially when there is no one else around.
The couplet ties the beloved’s “presence” to the speaker’s solitude: when the world is absent, the beloved becomes vividly near. “As if” signals that this closeness may be imagined—born from memory and longing rather than physical meeting. Emotional comfort arises, but it also exposes how deeply loneliness depends on that one person.
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'umr saarī to kaTī 'ishq-e-butāñ meñ 'momin'
āḳhirī vaqt meñ kyā ḳhaak musalmāñ hoñge
Momin all your life in idol worship you did spend
How can you be a Muslim say now towards the end?
Momin says his whole life passed in loving idols—worldly beauty and desire.
So at the final moment, how could he possibly be a true Muslim?
The couplet is a sharp confession of wasted life and a fear of ending badly. “Ishq-e-butan” symbolizes attachment to worldly charms that distract from faith. The poet mocks his own last-minute hope of piety, suggesting that a lifetime of misdirected love cannot be undone at death’s door. Its emotional core is regret mixed with self-judgment.
'umr sari to kaTi 'ishq-e-butan mein 'momin'
aaKHiri waqt mein kya KHak musalman honge
Momin all your life in idol worship you did spend
How can you be a Muslim say now towards the end?
Momin says his whole life passed in loving idols—worldly beauty and desire.
So at the final moment, how could he possibly be a true Muslim?
The couplet is a sharp confession of wasted life and a fear of ending badly. “Ishq-e-butan” symbolizes attachment to worldly charms that distract from faith. The poet mocks his own last-minute hope of piety, suggesting that a lifetime of misdirected love cannot be undone at death’s door. Its emotional core is regret mixed with self-judgment.
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tum hamāre kisī tarah na hue
varna duniyā meñ kyā nahīñ hotā
your love by any means I could not gain
Or else in life what would not one attain
You never became mine, no matter how I tried.
Otherwise, in this world, what is it that cannot happen?
The speaker laments that despite every effort, the beloved did not accept the relationship. The second line uses a rhetorical question to say that almost everything is possible in the world—yet this one wish failed. It conveys helplessness before fate and the sharp ache of unfulfilled love. The contrast between “everything” and “this one thing” intensifies the regret.
tum hamare kisi tarah na hue
warna duniya mein kya nahin hota
your love by any means I could not gain
Or else in life what would not one attain
You never became mine, no matter how I tried.
Otherwise, in this world, what is it that cannot happen?
The speaker laments that despite every effort, the beloved did not accept the relationship. The second line uses a rhetorical question to say that almost everything is possible in the world—yet this one wish failed. It conveys helplessness before fate and the sharp ache of unfulfilled love. The contrast between “everything” and “this one thing” intensifies the regret.
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vo jo ham meñ tum meñ qarār thā tumheñ yaad ho ki na yaad ho
vahī yaanī va.ada nibāh kā tumheñ yaad ho ki na yaad ho
the love that 'tween us used to be, you may, may not recall
those promises of constancy, you may, may not recall
Do you remember—or not—the understanding we once had between us?
Do you remember—or not—that very promise to keep faith and stay true?
The speaker addresses the beloved with a restrained ache, asking whether they still recall the old mutual bond. “Qarar” suggests an agreed, steady relationship, and “wada nibah” is the pledge of loyalty. By repeating “remember or not,” the poet conveys uncertainty, hurt, and quiet accusation: forgetting itself becomes a form of betrayal. The couplet turns memory into a test of love and commitment.
wo jo hum mein tum mein qarar tha tumhein yaad ho ki na yaad ho
wahi yani wada nibah ka tumhein yaad ho ki na yaad ho
the love that 'tween us used to be, you may, may not recall
those promises of constancy, you may, may not recall
Do you remember—or not—the understanding we once had between us?
Do you remember—or not—that very promise to keep faith and stay true?
The speaker addresses the beloved with a restrained ache, asking whether they still recall the old mutual bond. “Qarar” suggests an agreed, steady relationship, and “wada nibah” is the pledge of loyalty. By repeating “remember or not,” the poet conveys uncertainty, hurt, and quiet accusation: forgetting itself becomes a form of betrayal. The couplet turns memory into a test of love and commitment.
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thī vasl meñ bhī fikr-e-judā.ī tamām shab
vo aa.e to bhī niiñd na aa.ī tamām shab
Even in union, I spent the whole night worrying about separation.
Even when they came, I could not fall asleep the whole night.
The couplet shows how love’s fear can survive even its fulfillment: union does not erase the dread of parting. The lover’s mind keeps anticipating loss, so peace never arrives. That anxious expectation becomes so strong that even the beloved’s presence cannot bring sleep.
thi wasl mein bhi fikr-e-judai tamam shab
wo aae to bhi nind na aai tamam shab
Even in union, I spent the whole night worrying about separation.
Even when they came, I could not fall asleep the whole night.
The couplet shows how love’s fear can survive even its fulfillment: union does not erase the dread of parting. The lover’s mind keeps anticipating loss, so peace never arrives. That anxious expectation becomes so strong that even the beloved’s presence cannot bring sleep.
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Rubai 4
BOOKS 54
Image Shayari 16
ho ga.e naam-e-butaa.n sunte hii 'momin' be-qaraar ham na kahte the ki hazrat paarsaa kahne ko hai.n
hai kuchh to baat 'momin' jo chhaa ga.ii KHamoshii kis but ko de diyaa dil kyuu.n but se ban ga.e ho
vo jo ham me.n tum me.n qaraar thaa tumhe.n yaad ho ki na yaad ho vahii ya.anii va.ada nibaah kaa tumhe.n yaad ho ki na yaad ho vo jo lutf mujh pe the beshtar vo karam ki thaa mire haal par mujhe sab hai yaad zaraa zaraa tumhe.n yaad ho ki na yaad ho vo na.e gile vo shikaayate.n vo maze maze kii hikaayate.n vo har ek baat pe ruuThnaa tumhe.n yaad ho ki na yaad ho kabhii baiThe sab me.n jo ruu-ba-ruu to ishaarato.n hii se guftuguu vo bayaan shauq kaa barmalaa tumhe.n yaad ho ki na yaad ho hu.e ittifaaq se gar baham to vafaa jataane ko dam-ba-dam gila-e-malaamat-e-aqribaa tumhe.n yaad ho ki na yaad ho ko.ii baat aisii agar hu.ii ki tumhaare jii ko burii lagii to bayaa.n se pahle hii bhuulnaa tumhe.n yaad ho ki na yaad ho kabhii ham me.n tum me.n bhii chaah thii kabhii ham se tum se bhii raah thii kabhii ham bhii tum bhii the aashnaa tumhe.n yaad ho ki na yaad ho suno zikr hai ka.ii saal kaa ki kiyaa ik aap ne va.ada thaa so nibaahane kaa to zikr kyaa tumhe.n yaad ho ki na yaad ho kahaa mai.n ne baat vo koThe kii mire dil se saaf utar ga.ii to kahaa ki jaane mirii balaa tumhe.n yaad ho ki na yaad ho vo biga.Dnaa vasl kii raat kaa vo na maan.naa kisii baat kaa vo nahii.n nahii.n kii har aan adaa tumhe.n yaad ho ki na yaad ho jise aap ginte the aashnaa jise aap kahte the baa-vafaa mai.n vahii huu.n 'momin'-e-mubtalaa tumhe.n yaad ho ki na yaad ho