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Meer Taqi Meer
Ghazal 343
Nazm 1
Sher-o-Shayari 255
nāzukī us ke lab kī kyā kahiye
pañkhuḌī ik gulāb kī sī hai
How can one even describe the delicacy of her lips?
They are like a single petal of a rose.
The speaker is struck by the beloved’s refined beauty and finds ordinary language inadequate. By comparing the lips to a rose petal, the couplet conveys softness, freshness, and fragile tenderness. The rhetorical question intensifies wonder, suggesting that this beauty is almost beyond expression.
nazuki us ke lab ki kya kahiye
pankhuDi ek gulab ki si hai
How can one even describe the delicacy of her lips?
They are like a single petal of a rose.
The speaker is struck by the beloved’s refined beauty and finds ordinary language inadequate. By comparing the lips to a rose petal, the couplet conveys softness, freshness, and fragile tenderness. The rhetorical question intensifies wonder, suggesting that this beauty is almost beyond expression.
rāh-e-dūr-e-ishq meñ rotā hai kyā
aage aage dekhiye hotā hai kyā
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.
rah-e-dur-e-ishq mein rota hai kya
aage aage dekhiye hota hai kya
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.
pattā pattā buuTā buuTā haal hamārā jaane hai
jaane na jaane gul hī na jaane baaġh to saarā jaane hai
only the flower's unaware, rest of the garden knows
my state,each leaf and every bud that in the garden grows
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.
patta patta buTa buTa haal hamara jaane hai
jaane na jaane gul hi na jaane bagh to sara jaane hai
only the flower's unaware, rest of the garden knows
my state,each leaf and every bud that in the garden grows
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.
koī tum sā bhī kaash tum ko mile
mudda.ā ham ko intiqām se hai
I wish you, too, would meet someone exactly like you.
My real aim is not mere revenge; it is to make you understand the pain you cause.
The speaker’s ‘revenge’ is a moral, ironic wish: that the beloved experiences the same coldness or cruelty from a person just like themselves. By mirroring the beloved’s behavior back to them, the speaker seeks recognition and self-realization rather than harm. The emotional core is wounded love that turns into a desire for the beloved to finally ‘feel’ what the speaker has endured.
koi tum sa bhi kash tum ko mile
muddaa hum ko intiqam se hai
I wish you, too, would meet someone exactly like you.
My real aim is not mere revenge; it is to make you understand the pain you cause.
The speaker’s ‘revenge’ is a moral, ironic wish: that the beloved experiences the same coldness or cruelty from a person just like themselves. By mirroring the beloved’s behavior back to them, the speaker seeks recognition and self-realization rather than harm. The emotional core is wounded love that turns into a desire for the beloved to finally ‘feel’ what the speaker has endured.
ab to jaate haiñ but-kade se 'mīr'
phir mileñge agar ḳhudā laayā
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.
ab to jate hain but-kade se 'mir'
phir milenge agar KHuda laya
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.
