Sher on Tasawwuf
Tasavvuf, or mysticism,
has been one of the most popular subjects of study, especially in the philosophy and literatures of the Orient. It relates with the divine whom one reaches through multiple routes. While Sufi poets and writers have pondered closely over these, others too have developed their own perspectives on tasavvuf. The following verses would bring you close to their understanding of these aspects.
tar-dāmanī pe shaiḳh hamārī na jā.iyo
dāman nichoḌ deñ to farishte vazū kareñ
do not be deceived by it damp disposition
if I wring my cloak, angels will do ablution
tar-damani pe shaiKH hamari na jaiyo
daman nichoD den to farishte wazu karen
do not be deceived by it damp disposition
if I wring my cloak, angels will do ablution
bas jaan gayā maiñ tirī pahchān yahī hai
tū dil meñ to aatā hai samajh meñ nahīñ aatā
bas jaan gaya main teri pahchan yahi hai
tu dil mein to aata hai samajh mein nahin aata
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Tag : Khuda
hai ġhalat gar gumān meñ kuchh hai
tujh sivā bhī jahān meñ kuchh hai
hai ghalat gar guman mein kuchh hai
tujh siwa bhi jahan mein kuchh hai
zāhir kī aañkh se na tamāshā kare koī
ho dekhnā to dīda-e-dil vā kare koī
No one should judge the world’s spectacle with only the outward eye.
If you truly want to see, open the eye of the heart.
Allama Iqbal contrasts physical sight with inner insight. The “outward eye” catches appearances and distractions, while the “eye of the heart” symbolizes awakened conscience and spiritual perception. The couplet urges a shift from surface-level looking to deeper seeing, where truth becomes visible. Its emotional core is a call to inner awakening and meaningful understanding.
zahir ki aankh se na tamasha kare koi
ho dekhna to dida-e-dil wa kare koi
No one should judge the world’s spectacle with only the outward eye.
If you truly want to see, open the eye of the heart.
Allama Iqbal contrasts physical sight with inner insight. The “outward eye” catches appearances and distractions, while the “eye of the heart” symbolizes awakened conscience and spiritual perception. The couplet urges a shift from surface-level looking to deeper seeing, where truth becomes visible. Its emotional core is a call to inner awakening and meaningful understanding.
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Tags : Deedarand 1 more
ze-hāl-e-miskīñ makun taġhāful durā.e naināñ banā.e batiyāñ
ki tāb-e-hijrāñ nadāram ai jaañ na lehū kaahe lagā.e chhatiyāñ
ze-haal-e-miskin makun taghaful durae nainan banae batiyan
ki tab-e-hijran nadaram ai jaan na lehu kahe lagae chhatiyan
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Tags : Famous shayariand 1 more
ḳhabar-e-tahayyur-e-ishq sun na junūñ rahā na parī rahī
na to tū rahā na to maiñ rahā jo rahī so be-ḳhabarī rahī
KHabar-e-tahayyur-e-ishq sun na junun raha na pari rahi
na to tu raha na to main raha jo rahi so be-KHabari rahi
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Tags : Bekhabariand 1 more
jag meñ aa kar idhar udhar dekhā
tū hī aayā nazar jidhar dekhā
jag mein aa kar idhar udhar dekha
tu hi aaya nazar jidhar dekha
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Tag : Khuda
arz-o-samā kahāñ tirī vus.at ko pā sake
merā hī dil hai vo ki jahāñ tū samā sake
arz-o-sama kahan teri wusat ko pa sake
mera hi dil hai wo ki jahan tu sama sake
shabān-e-hijrāñ darāz chuuñ zulf roz-e-vaslat chū umr kotāh
sakhī piyā ko jo maiñ na dekhūñ to kaise kāTūñ añdherī ratiyāñ
shaban-e-hijran daraaz chun zulf roz-e-waslat chu umr kotah
sakhi piya ko jo main na dekhun to kaise kaTun andheri ratiyan
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Tags : Famous shayariand 2 more
jaan se ho ga.e badan ḳhālī
jis taraf tū ne aañkh bhar dekhā
jaan se ho gae badan KHali
jis taraf tu ne aankh bhar dekha
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Tag : Eyes
tamāshā-e-dair-o-haram dekhte haiñ
tujhe har bahāne se ham dekhte haiñ
We go to see the sights of both temple and mosque.
In truth, we use every excuse just to see you.
The lover claims to be roaming between “dair” (temple) and “haram” (the sacred sanctuary), as if on a religious or cultural outing. But this is only a veil: every journey and every ‘spectacle’ is a pretext to catch a glimpse of the beloved. The couplet fuses sacred spaces with romantic desire, showing how obsession turns the whole world into a route toward one face.
tamasha-e-dair-o-haram dekhte hain
tujhe har bahane se hum dekhte hain
We go to see the sights of both temple and mosque.
In truth, we use every excuse just to see you.
The lover claims to be roaming between “dair” (temple) and “haram” (the sacred sanctuary), as if on a religious or cultural outing. But this is only a veil: every journey and every ‘spectacle’ is a pretext to catch a glimpse of the beloved. The couplet fuses sacred spaces with romantic desire, showing how obsession turns the whole world into a route toward one face.
har tamannā dil se ruḳhsat ho ga.ī
ab to aa jā ab to ḳhalvat ho ga.ī
har tamanna dil se ruKHsat ho gai
ab to aa ja ab to KHalwat ho gai
dil-e-har-qatra hai sāz-e-anal-bahar
ham us ke haiñ hamārā pūchhnā kyā
Every single drop-like heart is a musical instrument that proclaims: “I am the sea.”
We belong to that vast Whole—so what is there to ask about what is ‘ours’?
Ghalib portrays each individual soul as a tiny “drop” that still resonates with the grandeur of the ocean, suggesting unity between part and whole. The phrase “I am the sea” becomes a metaphor for inner vastness and oneness with the Infinite. In the second line, the speaker dissolves personal ownership: once you are of the Beloved/Absolute, claims of “mine” lose meaning. The emotional core is awe, self-effacement, and serene surrender.
dil-e-har-qatra hai saz-e-anal-bahar
hum us ke hain hamara puchhna kya
Every single drop-like heart is a musical instrument that proclaims: “I am the sea.”
We belong to that vast Whole—so what is there to ask about what is ‘ours’?
Ghalib portrays each individual soul as a tiny “drop” that still resonates with the grandeur of the ocean, suggesting unity between part and whole. The phrase “I am the sea” becomes a metaphor for inner vastness and oneness with the Infinite. In the second line, the speaker dissolves personal ownership: once you are of the Beloved/Absolute, claims of “mine” lose meaning. The emotional core is awe, self-effacement, and serene surrender.
kah sake kaun ki ye jalvagarī kis kī hai
parda chhoḌā hai vo us ne ki uThā.e na bane
Who has the ability to declare whose manifestation constitutes this visible world?
He has let down such a veil over reality that it is impossible for anyone to lift it.
Ghalib explores the mystical paradox of the Divine being both revealed and concealed simultaneously. The universe is a manifestation of God's beauty, yet this physical world serves as an impenetrable veil that hides His true essence. The poet suggests that the mystery of existence is designed so profoundly that human intellect is incapable of uncovering the ultimate reality.
kah sake kaun ki ye jalwagari kis ki hai
parda chhoDa hai wo us ne ki uThae na bane
Who has the ability to declare whose manifestation constitutes this visible world?
He has let down such a veil over reality that it is impossible for anyone to lift it.
Ghalib explores the mystical paradox of the Divine being both revealed and concealed simultaneously. The universe is a manifestation of God's beauty, yet this physical world serves as an impenetrable veil that hides His true essence. The poet suggests that the mystery of existence is designed so profoundly that human intellect is incapable of uncovering the ultimate reality.
laayā hai mirā shauq mujhe parde se bāhar
maiñ varna vahī ḳhalvatī-e-rāz-e-nihāñ huuñ
TRANSLATION
My own passion brought me out from behind the curtain,
for I am really one who dwells in mystery, in secret seclusion.
Shamsur Rahman Faruqi
My own longing has brought me out from behind the veil, into the open.
Otherwise I am the same person who lives in the private solitude of hidden secrets.
The speaker says it isn’t habit or show that makes him appear openly; it is desire that pulls him out of concealment. The “veil” stands for privacy, restraint, or anonymity, while “solitude of hidden secrets” suggests an inward, guarded nature. Emotionally, the couplet frames self-revelation as something forced by passion, not chosen by temperament.
laya hai mera shauq mujhe parde se bahar
main warna wahi KHalwati-e-raaz-e-nihan hun
TRANSLATION
My own passion brought me out from behind the curtain,
for I am really one who dwells in mystery, in secret seclusion.
Shamsur Rahman Faruqi
My own longing has brought me out from behind the veil, into the open.
Otherwise I am the same person who lives in the private solitude of hidden secrets.
The speaker says it isn’t habit or show that makes him appear openly; it is desire that pulls him out of concealment. The “veil” stands for privacy, restraint, or anonymity, while “solitude of hidden secrets” suggests an inward, guarded nature. Emotionally, the couplet frames self-revelation as something forced by passion, not chosen by temperament.
thā musta.ār husn se us ke jo nuur thā
ḳhurshīd meñ bhī us hī kā zarra zuhūr thā
The light that appeared in him was actually borrowed from her beauty.
Even the sun’s glow is only a tiny manifestation of that same source.
The couplet exalts the beloved’s beauty as the original fountain of light, making all other brightness seem secondary. “Borrowed” suggests that whatever radiance the speaker (or the world) possesses is not its own, but taken from the beloved. By saying the sun itself contains only a “particle” of her manifestation, the poet intensifies the metaphor: earthly and cosmic light are mere traces of the beloved’s splendor. The emotional core is awe and surrender before an overpowering beauty.
tha mustaar husn se us ke jo nur tha
KHurshid mein bhi us hi ka zarra zuhur tha
The light that appeared in him was actually borrowed from her beauty.
Even the sun’s glow is only a tiny manifestation of that same source.
The couplet exalts the beloved’s beauty as the original fountain of light, making all other brightness seem secondary. “Borrowed” suggests that whatever radiance the speaker (or the world) possesses is not its own, but taken from the beloved. By saying the sun itself contains only a “particle” of her manifestation, the poet intensifies the metaphor: earthly and cosmic light are mere traces of the beloved’s splendor. The emotional core is awe and surrender before an overpowering beauty.
dariyā se mauj mauj se dariyā judā nahīñ
ham se judā nahīñ hai ḳhudā aur ḳhudā se ham
dariya se mauj mauj se dariya juda nahin
hum se juda nahin hai KHuda aur KHuda se hum
tū hī zāhir hai tū hī bātin hai
tū hī tū hai to maiñ kahāñ tak huuñ
tu hi zahir hai tu hi baatin hai
tu hi tu hai to main kahan tak hun
fareb-e-jalva kahāñ tak ba-rū-e-kār rahe
naqāb uThāo ki kuchh din zarā bahār rahe
fareb-e-jalwa kahan tak ba-ru-e-kar rahe
naqab uThao ki kuchh din zara bahaar rahe
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Tag : Welcome
kareñ ham kis kī puujā aur chaḌhā.eñ kis ko chandan ham
sanam ham dair ham but-ḳhāna ham but ham barahman ham
karen hum kis ki puja aur chaDhaen kis ko chandan hum
sanam hum dair hum but-KHana hum but hum barahman hum
in āñkhoñ ko jab se basārat milī hai
sivā tere kuchh maiñ ne dekhā nahīñ hai
in aankhon ko jab se basarat mili hai
siwa tere kuchh main ne dekha nahin hai
donoñ aalam se vo begāna nazar aatā hai
jo tire ishq meñ dīvāna nazar aatā hai
donon aalam se wo begana nazar aata hai
jo tere ishq mein diwana nazar aata hai
tamām hosh kī duniyā nisār hai us par
tirī galī meñ jise niiñd aa ga.ī hogī
tamam hosh ki duniya nisar hai us par
teri gali mein jise nind aa gai hogi
kārḳhāna hai usī husn kā aalam saarā
bas jidhar us ne lagāyā hai udhar lag ga.e haiñ
karKHana hai usi husn ka aalam sara
bas jidhar us ne lagaya hai udhar lag gae hain
itnā to jānte haiñ ki āshiq fanā huā
aur us se aage baḌh ke ḳhudā jaane kyā huā
itna to jaante hain ki aashiq fana hua
aur us se aage baDh ke KHuda jaane kya hua
bijlī tire jalvoñ kī gir jaa.e kabhī mujh par
ai jaan mirī hastī is aag meñ jal jaa.e
bijli tere jalwon ki gir jae kabhi mujh par
ai jaan meri hasti is aag mein jal jae
mirā sar kaT ke maqtal meñ gire qātil ke qadmoñ par
dam-e-āḳhir adā yuuñ sajda-e-shukrāna ho jaa.e
mera sar kaT ke maqtal mein gire qatil ke qadmon par
dam-e-aKHir ada yun sajda-e-shukrana ho jae
na dair meñ na haram meñ jabīñ jhukī hogī
tumhāre dar pe adā merī bandagī hogī
na dair mein na haram mein jabin jhuki hogi
tumhaare dar pe ada meri bandagi hogi
aarzū hasrat tamanna mudda.ā koī nahīñ
jab se tum ho mere dil meñ dūsrā koī nahīñ
aarzu hasrat tamanna muddaa koi nahin
jab se tum ho mere dil mein dusra koi nahin
ai 'fanā' miltā hai āshiq ko baqā kā paiġhām
zindagī jab rah-e-ulfat meñ fanā hotī hai
ai 'fana' milta hai aashiq ko baqa ka paigham
zindagi jab rah-e-ulfat mein fana hoti hai
gorī sove sej par mukh par Daare kes
chal 'ḳhusro' ghar aapne rain bha.ī chahuñ des
gori sowe sej par mukh par Dare kes
chal 'KHusro' ghar aapne rain bhai chahun des
jis pe martā huuñ use dekh to luuñ jī bhar ke
itnī jaldī tū mire qatl meñ jallād na kar
jis pe marta hun use dekh to lun ji bhar ke
itni jaldi tu mere qatl mein jallad na kar
mujhe shikva nahīñ barbād rakh barbād rahne de
magar allāh mere dil meñ apnī yaad rahne de
mujhe shikwa nahin barbaad rakh barbaad rahne de
magar allah mere dil mein apni yaad rahne de
'ishq kī ibtidā bhī tum husn kī intihā bhī tum
rahne do raaz khul gayā bande bhī tum ḳhudā bhī tum
'ishq ki ibtida bhi tum husn ki intiha bhi tum
rahne do raaz khul gaya bande bhi tum KHuda bhi tum
jo maiñ din-rāt yuuñ gardan jhukā.e baiThā rahtā huuñ
tirī tasvīr sī dil meñ khiñchī mā'lūm hotī hai
jo main din-raat yun gardan jhukae baiTha rahta hun
teri taswir si dil mein khinchi ma'lum hoti hai
zamīñ se āsmāñ tak āsmāñ se lā-makāñ tak hai
ḳhudā jaane hamāre ishq kī duniyā kahāñ tak hai
zamin se aasman tak aasman se la-makan tak hai
KHuda jaane hamare ishq ki duniya kahan tak hai
tasavvur meñ vo baar baar aa rahe haiñ
jhalak apnī parde se dikhlā rahe haiñ
tasawwur mein wo bar bar aa rahe hain
jhalak apni parde se dikhla rahe hain
adā se dekh lete haiñ maiñ jab jaane ko kahtā huuñ
phir us par kahte haiñ ham kab tumheñ majbūr karte haiñ
ada se dekh lete hain main jab jaane ko kahta hun
phir us par kahte hain hum kab tumhein majbur karte hain
sāqiyā aañkh milā kar mujhe de jām-e-sharāb
yuuñ to mai se na bharegī kabhī niyyat merī
saqiya aankh mila kar mujhe de jam-e-sharab
yun to mai se na bharegi kabhi niyyat meri
kaam kuchh tere bhī hote terī marzī ke ḳhilāf
haañ magar mere ḳhudā terā ḳhudā koī nahīñ
kaam kuchh tere bhi hote teri marzi ke KHilaf
han magar mere KHuda tera KHuda koi nahin
