Sher on Filmi Shayari

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.

Raise your selfhood so high that it stands ahead of every fate.

So that God Himself asks His servant: tell me, what is your wish?

The couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “Selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. The striking image of God asking the servant highlights the dignity of human agency when aligned with higher values. Emotionally, it is a call to confidence, effort, and responsible choice.

Raise your selfhood so high that it stands ahead of every fate.

So that God Himself asks His servant: tell me, what is your wish?

The couplet urges inner elevation—strengthening character, will, and moral self—until one is no longer passive before destiny. “Selfhood” is a metaphor for a disciplined, awakened self that acts with purpose. The striking image of God asking the servant highlights the dignity of human agency when aligned with higher values. Emotionally, it is a call to confidence, effort, and responsible choice.

For thousands of years, the narcissus flower keeps grieving over its lack of light (its blind eye).

Only with great difficulty does a truly discerning person appear in the garden (the world).

The poet uses the narcissus—often imagined as an eye—to symbolize a world that longs for true sight. Its “lack of light” suggests spiritual or intellectual blindness and a persistent yearning to see clearly. The “garden” stands for society, where a genuine seer—someone with insight and guidance—emerges only rarely. The emotional core is both lament for blindness and hope for the arrival of real vision.

For thousands of years, the narcissus flower keeps grieving over its lack of light (its blind eye).

Only with great difficulty does a truly discerning person appear in the garden (the world).

The poet uses the narcissus—often imagined as an eye—to symbolize a world that longs for true sight. Its “lack of light” suggests spiritual or intellectual blindness and a persistent yearning to see clearly. The “garden” stands for society, where a genuine seer—someone with insight and guidance—emerges only rarely. The emotional core is both lament for blindness and hope for the arrival of real vision.

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.

Beyond the stars, there are still more worlds and horizons.

And the tests of love are not over yet; more trials remain.

The couplet urges the seeker not to stop at visible limits: even the farthest “stars” are not the end. “Worlds beyond” symbolizes higher goals and deeper truths still to be reached. The second line frames love as a journey of continual testing—each stage brings new challenges. Emotionally, it blends hope with resolve: keep moving forward, keep proving your love.

Beyond the stars, there are still more worlds and horizons.

And the tests of love are not over yet; more trials remain.

The couplet urges the seeker not to stop at visible limits: even the farthest “stars” are not the end. “Worlds beyond” symbolizes higher goals and deeper truths still to be reached. The second line frames love as a journey of continual testing—each stage brings new challenges. Emotionally, it blends hope with resolve: keep moving forward, keep proving your love.

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.

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.

We can recognize the sound of those approaching footsteps long in advance.

O life, we can identify you from far away.

The speaker says that with long experience, they can sense what is coming even before it arrives. “Footsteps” stand for the familiar arrival of life’s troubles, routines, and inevitable demands. Addressing life directly, they convey a tired, knowing intimacy: nothing in life surprises them anymore. The emotion is a mix of foreknowledge, resignation, and hard-earned insight.

We can recognize the sound of those approaching footsteps long in advance.

O life, we can identify you from far away.

The speaker says that with long experience, they can sense what is coming even before it arrives. “Footsteps” stand for the familiar arrival of life’s troubles, routines, and inevitable demands. Addressing life directly, they convey a tired, knowing intimacy: nothing in life surprises them anymore. The emotion is a mix of foreknowledge, resignation, and hard-earned insight.

Why are you crying on the long road of love?

Go on—keep watching what still lies ahead.

Meer Taqi Meer presents love as a long, demanding journey where early tears are premature. The speaker urges endurance, hinting that harsher trials may come later. The couplet carries a stoic, almost teasing consolation: don’t collapse at the start; love reveals its true cost as one moves forward.

Why are you crying on the long road of love?

Go on—keep watching what still lies ahead.

Meer Taqi Meer presents love as a long, demanding journey where early tears are premature. The speaker urges endurance, hinting that harsher trials may come later. The couplet carries a stoic, almost teasing consolation: don’t collapse at the start; love reveals its true cost as one moves forward.

Every leaf and every little plant knows what I’m going through.

Whether the flower knows it or not, the whole garden surely knows my state.

The speaker’s grief has become so visible that even nature seems aware of it. Each leaf and twig is a witness to the lover’s condition, while the “flower” (the beloved) remains unaware or indifferent. By contrasting the garden’s knowing with the flower’s not knowing, the couplet captures the ache of unreturned attention and public, undeniable sorrow.

Every leaf and every little plant knows what I’m going through.

Whether the flower knows it or not, the whole garden surely knows my state.

The speaker’s grief has become so visible that even nature seems aware of it. Each leaf and twig is a witness to the lover’s condition, while the “flower” (the beloved) remains unaware or indifferent. By contrasting the garden’s knowing with the flower’s not knowing, the couplet captures the ache of unreturned attention and public, undeniable sorrow.

Meer says: now I am leaving the idol-temple.

We will meet again only if God allows it.

The couplet is a quiet goodbye filled with uncertainty: the speaker departs from the beloved’s place, called a “but-kadah” in the lover’s idiom. By saying “if God brings it about,” he admits that reunion is not in his control but in fate’s hands. The emotional core is a restrained sadness—hope remains, yet it is surrendered to divine will.

Meer says: now I am leaving the idol-temple.

We will meet again only if God allows it.

The couplet is a quiet goodbye filled with uncertainty: the speaker departs from the beloved’s place, called a “but-kadah” in the lover’s idiom. By saying “if God brings it about,” he admits that reunion is not in his control but in fate’s hands. The emotional core is a restrained sadness—hope remains, yet it is surrendered to divine will.

Why should anyone try to win someone’s heart, and why should anyone attach their heart to another?

Those who used to sell cures for the heart have shut their shop and gone away.

Bahadur Shah Zafar voices deep disillusionment with love and dependence. The first line questions the very point of pleasing others or forming emotional bonds, as if all such efforts end in pain. In the second line, the “heart-healers” are a metaphor for trusted consolers—beloveds, friends, or hope itself—who have withdrawn, leaving no remedy. The mood is resigned: the speaker turns toward detachment because solace has disappeared.

Why should anyone try to win someone’s heart, and why should anyone attach their heart to another?

Those who used to sell cures for the heart have shut their shop and gone away.

Bahadur Shah Zafar voices deep disillusionment with love and dependence. The first line questions the very point of pleasing others or forming emotional bonds, as if all such efforts end in pain. In the second line, the “heart-healers” are a metaphor for trusted consolers—beloveds, friends, or hope itself—who have withdrawn, leaving no remedy. The mood is resigned: the speaker turns toward detachment because solace has disappeared.

Every plan backfired; no remedy or medicine worked at all.

In the end, this illness of the heart finished the matter—completely.

Meer portrays love and grief as a “heart-illness” that defeats all human effort: strategies fail and cures prove useless. The phrase “finished the matter” suggests total ruin—either the end of hope, the end of the self, or even death-like finality. The emotional core is helpless surrender before an inner pain that becomes fate itself.

Every plan backfired; no remedy or medicine worked at all.

In the end, this illness of the heart finished the matter—completely.

Meer portrays love and grief as a “heart-illness” that defeats all human effort: strategies fail and cures prove useless. The phrase “finished the matter” suggests total ruin—either the end of hope, the end of the self, or even death-like finality. The emotional core is helpless surrender before an inner pain that becomes fate itself.

EXPLANATION

यह मुस्हफ़ी के मशहूर अशआर में से एक है। ख़्याल नाज़ुक है इसलिए लोग इसे पसंद करते हैं। इस शे'र में दो किरदार हैं, एक मुस्हफ़ी से गुफ़्तगू करने वाला और दूसरा ख़ुद मुस्हफ़ी।

हम तो ये समझते थे, में तअ'ज्जुब भी और अफ़सोस का इज़हार भी कि “होगा कोई ज़ख़्म” यानी कोई एक-आध आम सा या छोटा सा ज़ख़्म होगा जो ख़ुदबख़ुद भर जाएगा। रफ़ू करने के मानी हैं, फटे हुए कपड़े को धागे से मरम्मत करना, फटी हुई जगह को भरना। उर्दू शायरी में “रफ़ू” लफ़्ज़ का बहुत इस्तेमाल हुआ है और इससे तात्पर्य आशिक़ के दिल के ज़ख़्मों की मरम्मत करना यानी टाँके लगाना है।

शायर से वाचक यानी बात करने वाला कहता है, ऐ मुस्हफ़ी तुमने तो ये जाना था कि तुम्हारे दिल में कोई छोटा सा ज़ख़्म होगा जो ख़ुद-ब-ख़ुद भर जाएगा मगर जब मैंने उसमें झांक कर देखा तो मैंने ये पाया कि तुम्हारे दिल में बहुत से ज़ख़्म मौजूद हैं जिन्हें मरम्मत की ज़रूरत है। ज़ाहिर है कि ये इश्क़ के ज़ख़्म हैं। कोई असली ज़ख़्म नहीं हैं कि जिन पर टाँके लगाए जाएं, जिन पर मरहम रखा जाए। इसलिए यहाँ रफ़ू से ये मतलब है कि इन ज़ख़्मों की मरम्मत तभी होगी जब शायर का महबूब उसकी तरफ़ तवज्जो देगा।