We are well aware of the actual reality regarding Paradise, but...

To keep the heart happy, Ghalib, this idea is quite good.

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.

We are well aware of the actual reality regarding Paradise, but...

To keep the heart happy, Ghalib, this idea is quite good.

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.

Love has rendered Ghalib completely useless and idle.

Otherwise, I too was a capable person of great worth.

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.

Love has rendered Ghalib completely useless and idle.

Otherwise, I too was a capable person of great worth.

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.

When I see them, a sudden glow comes to my face.

They assume that means the sick person is doing well.

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.

When I see them, a sudden glow comes to my face.

They assume that means the sick person is doing well.

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.

In love, living and dying feel the same; there is no real difference.

We keep ourselves alive only by looking at the beloved whose glance can take our breath away.

The couplet says that true love dissolves the boundary between life and death: both become equally acceptable states. The lover’s survival depends on the beloved’s presence, yet that same beloved is so cruel or powerful that a single look can kill. This tension—being sustained and destroyed by the same sight—captures the intensity and helpless devotion of عشق.

In love, living and dying feel the same; there is no real difference.

We keep ourselves alive only by looking at the beloved whose glance can take our breath away.

The couplet says that true love dissolves the boundary between life and death: both become equally acceptable states. The lover’s survival depends on the beloved’s presence, yet that same beloved is so cruel or powerful that a single look can kill. This tension—being sustained and destroyed by the same sight—captures the intensity and helpless devotion of عشق.

She feigns ignorance and asks others, Who is this person named Ghalib?

Someone please advise me, what answer should I give to such a question?

This couplet highlights a moment of witty irony and deep pathos where the beloved pretends not to know the poet, despite his fame being entirely due to his love for her. Ghalib is left speechless, wondering how to define his identity to the very person who is the center of his existence.

She feigns ignorance and asks others, Who is this person named Ghalib?

Someone please advise me, what answer should I give to such a question?

This couplet highlights a moment of witty irony and deep pathos where the beloved pretends not to know the poet, despite his fame being entirely due to his love for her. Ghalib is left speechless, wondering how to define his identity to the very person who is the center of his existence.

Oh God, who would not sacrifice their life for such innocence?

They are fighting with me, yet they do not even hold a sword in their hand.

The poet marvels at the beloved's paradoxical nature, where they engage in a conflict or claim to be a slayer without wielding any physical weapon. Ghalib implies that the beloved's beauty and glances are far more lethal than any sword, yet the beloved innocently believes they are 'fighting' unarmed. It highlights the deadly charm of such naivety, where the lover is defeated not by force, but by the beloved's simple, unarmed presence.

Oh God, who would not sacrifice their life for such innocence?

They are fighting with me, yet they do not even hold a sword in their hand.

The poet marvels at the beloved's paradoxical nature, where they engage in a conflict or claim to be a slayer without wielding any physical weapon. Ghalib implies that the beloved's beauty and glances are far more lethal than any sword, yet the beloved innocently believes they are 'fighting' unarmed. It highlights the deadly charm of such naivety, where the lover is defeated not by force, but by the beloved's simple, unarmed presence.

I am not convinced by the worth of blood that merely circulates within the veins.

If it does not drip from the eyes as tears, then what purpose does that blood serve?

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.

I am not convinced by the worth of blood that merely circulates within the veins.

If it does not drip from the eyes as tears, then what purpose does that blood serve?

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.

After killing me, the beloved finally vowed to abstain from cruelty.

Alas, what is the use of repentance from someone who is usually so quick to feel remorse?

This couplet highlights the tragic irony of a repentance that comes too late. Ghalib mocks the beloved's nature of being 'quick to regret' (zood-pashemaan) because, in this specific instance, the decision to stop being cruel occurred only after the lover had already died from that very cruelty.

After killing me, the beloved finally vowed to abstain from cruelty.

Alas, what is the use of repentance from someone who is usually so quick to feel remorse?

This couplet highlights the tragic irony of a repentance that comes too late. Ghalib mocks the beloved's nature of being 'quick to regret' (zood-pashemaan) because, in this specific instance, the decision to stop being cruel occurred only after the lover had already died from that very cruelty.

I have countless desires, and each desire feels so intense it could take my breath away.

Many of my wishes did come true, yet they still feel too few.

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.

I have countless desires, and each desire feels so intense it could take my breath away.

Many of my wishes did come true, yet they still feel too few.

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.

One has no control over love; it cannot be forced or restrained.

Ghalib says love is such a fire that neither can you ignite it at will nor can you extinguish it.

The couplet presents love as an uncontrollable inner blaze. It arrives on its own terms and refuses to obey the lover’s will, so both starting and stopping it lie beyond human power. The metaphor of “fire” captures love’s consuming intensity and the speaker’s helpless surrender to it.

One has no control over love; it cannot be forced or restrained.

Ghalib says love is such a fire that neither can you ignite it at will nor can you extinguish it.

The couplet presents love as an uncontrollable inner blaze. It arrives on its own terms and refuses to obey the lover’s will, so both starting and stopping it lie beyond human power. The metaphor of “fire” captures love’s consuming intensity and the speaker’s helpless surrender to it.

I accept that you will not keep ignoring me, at least not forever.

But by the time you finally notice and understand, I will have turned to dust.

Mirza Ghalib frames a bitter irony: even if the beloved’s neglect ends, it may end too late. “Dust” is a metaphor for death, exhaustion, or complete disappearance of the self. The couplet captures the pain of waiting for care and recognition that arrives after irreparable loss. Love here is shadowed by time’s cruelty and the speaker’s helplessness.

I accept that you will not keep ignoring me, at least not forever.

But by the time you finally notice and understand, I will have turned to dust.

Mirza Ghalib frames a bitter irony: even if the beloved’s neglect ends, it may end too late. “Dust” is a metaphor for death, exhaustion, or complete disappearance of the self. The couplet captures the pain of waiting for care and recognition that arrives after irreparable loss. Love here is shadowed by time’s cruelty and the speaker’s helplessness.

When a person becomes used to grief, the grief itself fades away.

So many hardships fell on me that they started to feel easy.

Mirza Ghalib turns pain into a psychological metaphor: repeated suffering trains the heart until sorrow loses its sting. What once felt unbearable becomes familiar, and familiarity reduces fear and intensity. The emotional core is a hardened, seasoned resilience—born not from comfort, but from continuous trials.

When a person becomes used to grief, the grief itself fades away.

So many hardships fell on me that they started to feel easy.

Mirza Ghalib turns pain into a psychological metaphor: repeated suffering trains the heart until sorrow loses its sting. What once felt unbearable becomes familiar, and familiarity reduces fear and intensity. The emotional core is a hardened, seasoned resilience—born not from comfort, but from continuous trials.

There are indeed many other excellent masters of poetry in the world.

But people say that Ghalib's style of expression is something truly unique.

This couplet is a classic example of 'ta'alli' or poetic self-praise. While Ghalib acknowledges the existence of other talented poets, he subtly asserts his superiority by citing public opinion. The focus is on the distinctiveness of his 'andaz-e-bayan' (style), suggesting that artistic identity matters more than mere technical skill.

There are indeed many other excellent masters of poetry in the world.

But people say that Ghalib's style of expression is something truly unique.

This couplet is a classic example of 'ta'alli' or poetic self-praise. While Ghalib acknowledges the existence of other talented poets, he subtly asserts his superiority by citing public opinion. The focus is on the distinctiveness of his 'andaz-e-bayan' (style), suggesting that artistic identity matters more than mere technical skill.

My heart again searches for that same free time of old, day and night.

So that I may just sit and remain absorbed in the beloved’s image.

The speaker longs for an unbroken leisure where time stops being practical and becomes purely emotional. “Day and night” suggests a continuous hunger, not a momentary wish. The “image of the beloved” is a refuge: sitting still becomes a form of devotion and survival. The couplet captures love as a persistent inner occupation that needs silence and time to fully unfold.

My heart again searches for that same free time of old, day and night.

So that I may just sit and remain absorbed in the beloved’s image.

The speaker longs for an unbroken leisure where time stops being practical and becomes purely emotional. “Day and night” suggests a continuous hunger, not a momentary wish. The “image of the beloved” is a refuge: sitting still becomes a form of devotion and survival. The couplet captures love as a persistent inner occupation that needs silence and time to fully unfold.

They have come into my home—this feels like God’s sheer miracle.

Sometimes I stare at them, and sometimes I stare at my own house in disbelief.

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.

They have come into my home—this feels like God’s sheer miracle.

Sometimes I stare at them, and sometimes I stare at my own house in disbelief.

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.

Ghalib, this loss of self is not happening without a reason.

There is something—some truth or pain—that must be kept hidden.

The speaker insists that his dazed, self-forgetful state has a real cause, not mere whim. “Veiling” suggests a secret sorrow, love, or truth that cannot be openly named. The couplet captures an inner disturbance that shows itself as bewilderment while its source stays concealed. It turns confusion into evidence of a deeper, guarded reality.

Ghalib, this loss of self is not happening without a reason.

There is something—some truth or pain—that must be kept hidden.

The speaker insists that his dazed, self-forgetful state has a real cause, not mere whim. “Veiling” suggests a secret sorrow, love, or truth that cannot be openly named. The couplet captures an inner disturbance that shows itself as bewilderment while its source stays concealed. It turns confusion into evidence of a deeper, guarded reality.

We kept ourselves alive on your promise—know this as a lie, my dear.

If we had truly trusted it, we would have died happily long ago.

The lover says their survival was tied to the beloved’s promise, but that promise proved false. The sharp paradox is that real trust would have brought such overwhelming relief that the lover would have “died of joy.” The couplet turns faith into a life-support and exposes how betrayal converts hope into bitter self-reproach. Love here is shown as suspended between trust and the pain of being deceived.

We kept ourselves alive on your promise—know this as a lie, my dear.

If we had truly trusted it, we would have died happily long ago.

The lover says their survival was tied to the beloved’s promise, but that promise proved false. The sharp paradox is that real trust would have brought such overwhelming relief that the lover would have “died of joy.” The couplet turns faith into a life-support and exposes how betrayal converts hope into bitter self-reproach. Love here is shown as suspended between trust and the pain of being deceived.

What kind of friendship is this, that my friends have turned into moral advisers?

If they were true friends, one would offer a remedy and another would share and soothe my sorrow.

Ghalib questions a hollow “friendship” where companions only preach instead of caring. The word “naseh” suggests judgment and sermonizing, not warmth. In contrast, he longs for a healer of troubles and a comforter in grief—someone who helps or at least sits with pain. The emotional core is disappointment: advice without empathy feels like abandonment.

What kind of friendship is this, that my friends have turned into moral advisers?

If they were true friends, one would offer a remedy and another would share and soothe my sorrow.

Ghalib questions a hollow “friendship” where companions only preach instead of caring. The word “naseh” suggests judgment and sermonizing, not warmth. In contrast, he longs for a healer of troubles and a comforter in grief—someone who helps or at least sits with pain. The emotional core is disappointment: advice without empathy feels like abandonment.

We are holding onto the hope of faithfulness from them,

Those who do not even understand what faithfulness means.

The poet mocks his own naivety in expecting loyalty from a beloved who is completely oblivious to the concept. It highlights a tragic irony where the lover's intense expectations are directed at someone incapable of fulfilling them, either due to innocence or cruel indifference.

We are holding onto the hope of faithfulness from them,

Those who do not even understand what faithfulness means.

The poet mocks his own naivety in expecting loyalty from a beloved who is completely oblivious to the concept. It highlights a tragic irony where the lover's intense expectations are directed at someone incapable of fulfilling them, either due to innocence or cruel indifference.

Ghalib, do not think that you are the only master of Urdu poetry.

People say that in the past era, there was also a poet named Mir.

In this famous closing couplet, Ghalib displays a mix of modesty and reverence for literary history. He acknowledges that while he is a master of his craft, he is not the sole authority, paying homage to his legendary predecessor, Mir Taqi Mir. It suggests that true artistic greatness is a continuum, and Ghalib bows to the mastery of the past.

Ghalib, do not think that you are the only master of Urdu poetry.

People say that in the past era, there was also a poet named Mir.

In this famous closing couplet, Ghalib displays a mix of modesty and reverence for literary history. He acknowledges that while he is a master of his craft, he is not the sole authority, paying homage to his legendary predecessor, Mir Taqi Mir. It suggests that true artistic greatness is a continuum, and Ghalib bows to the mastery of the past.

Ghalib, do not provoke me, for due to the intense urge to weep,

I am sitting here, fully resolved to unleash a storm of tears.

The poet warns against disturbing his fragile emotional state. He is barely holding back his sorrow, and his suppressed tears have gathered such force that a single touch or provocation would release a cataclysmic flood, likened here to a storm.

Ghalib, do not provoke me, for due to the intense urge to weep,

I am sitting here, fully resolved to unleash a storm of tears.

The poet warns against disturbing his fragile emotional state. He is barely holding back his sorrow, and his suppressed tears have gathered such force that a single touch or provocation would release a cataclysmic flood, likened here to a storm.

The prison of life and the bondage of grief are, in reality, one and the same.

Therefore, how can a human being expect to find freedom from sorrow before death?

Ghalib posits an existential truth that life and suffering are inseparable; to exist is to suffer. He argues that life itself is a form of imprisonment, identical to the chains of grief. Consequently, seeking relief from pain while still alive is futile, as true liberation is only possible through the cessation of life, which is death.

The prison of life and the bondage of grief are, in reality, one and the same.

Therefore, how can a human being expect to find freedom from sorrow before death?

Ghalib posits an existential truth that life and suffering are inseparable; to exist is to suffer. He argues that life itself is a form of imprisonment, identical to the chains of grief. Consequently, seeking relief from pain while still alive is futile, as true liberation is only possible through the cessation of life, which is death.

Ghalib, these profound discussions on Sufism and your eloquent speech are truly impressive.

We would have actually considered you a Saint if only you were not a drinker of wine.

This couplet is a masterpiece of wit and self-deprecation mixed with subtle boasting. Ghalib highlights the contrast between his deep intellectual grasp of spiritual matters and his hedonistic lifestyle. He playfully suggests that his wisdom is of the level of a saint, and only his vice of drinking prevents society from revering him as one.

Ghalib, these profound discussions on Sufism and your eloquent speech are truly impressive.

We would have actually considered you a Saint if only you were not a drinker of wine.

This couplet is a masterpiece of wit and self-deprecation mixed with subtle boasting. Ghalib highlights the contrast between his deep intellectual grasp of spiritual matters and his hedonistic lifestyle. He playfully suggests that his wisdom is of the level of a saint, and only his vice of drinking prevents society from revering him as one.

It was not written in my destiny that I would be united with my beloved.

Even if I had lived longer, I would have spent that time merely waiting.

The poet resigns himself to the fact that union with the beloved was impossible due to fate, not a lack of time. He rationalizes his sorrow or death by arguing that a longer life would have been futile. More time would not have brought success in love, but only prolonged the agony of endless waiting.

It was not written in my destiny that I would be united with my beloved.

Even if I had lived longer, I would have spent that time merely waiting.

The poet resigns himself to the fact that union with the beloved was impossible due to fate, not a lack of time. He rationalizes his sorrow or death by arguing that a longer life would have been futile. More time would not have brought success in love, but only prolonged the agony of endless waiting.

Where the body has burned away, the heart must have surely burned as well.

Why are you sifting through the ashes now; what is it that you seek?

The poet addresses someone looking for remnants of the past after a tragedy. He argues that the destruction is total; since the physical self (the body) is annihilated, the emotional core (the heart) could not have survived. It emphasizes the futility of searching for signs of life or love in a pile of ashes.

Where the body has burned away, the heart must have surely burned as well.

Why are you sifting through the ashes now; what is it that you seek?

The poet addresses someone looking for remnants of the past after a tragedy. He argues that the destruction is total; since the physical self (the body) is annihilated, the emotional core (the heart) could not have survived. It emphasizes the futility of searching for signs of life or love in a pile of ashes.

I am in such a place/state that even from there I cannot reach myself.

No news or awareness of my own condition comes to me anymore.

Ghalib portrays an extreme inner distance: the speaker is so lost that even self-knowledge cannot arrive. The “place” is less physical than psychological—an abyss of confusion or sorrow. The metaphor suggests a collapse of identity, where one becomes a stranger to oneself. The emotion is bewildered solitude and helplessness.

I am in such a place/state that even from there I cannot reach myself.

No news or awareness of my own condition comes to me anymore.