Sher on Zarb-ul-masal

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.

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.

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.

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.

I admit, Ghalib, that I have gained nothing at all.

But if it came into my hands for free, what’s wrong with that?

The couplet mixes resignation with wry humor: the speaker accepts that the outcome is “nothing,” yet still defends it because it cost no effort or price. “Free in hand” becomes a metaphor for whatever life or fate hands over without investment. The emotional core is a dry, self-protective contentment—turning loss into something acceptable through irony.

I admit, Ghalib, that I have gained nothing at all.

But if it came into my hands for free, what’s wrong with that?

The couplet mixes resignation with wry humor: the speaker accepts that the outcome is “nothing,” yet still defends it because it cost no effort or price. “Free in hand” becomes a metaphor for whatever life or fate hands over without investment. The emotional core is a dry, self-protective contentment—turning loss into something acceptable through irony.

Life brought us here so we came; when Death took us away, we departed.

We did not arrive by our own choice, nor are we leaving by our own will.

This couplet captures the philosophical essence of human helplessness regarding existence. It highlights that the two most significant events—birth and death—are entirely out of human control. Man is portrayed as a traveler who follows the dictates of fate without any personal agency in the beginning or the end of his journey.

Life brought us here so we came; when Death took us away, we departed.

We did not arrive by our own choice, nor are we leaving by our own will.

This couplet captures the philosophical essence of human helplessness regarding existence. It highlights that the two most significant events—birth and death—are entirely out of human control. Man is portrayed as a traveler who follows the dictates of fate without any personal agency in the beginning or the end of his journey.