Sher on Famous shayari

I accept that I am not worthy of seeing you.

But look at my longing and see how I keep waiting for you.

The speaker admits unworthiness before the beloved, showing humility rather than complaint. Yet he presents his intense desire and steadfast waiting as his real “qualification.” The couplet turns worthiness into an emotional measure: sincerity, persistence, and love itself become the proof. Its core feeling is hopeful, aching devotion that refuses to fade.

I accept that I am not worthy of seeing you.

But look at my longing and see how I keep waiting for you.

The speaker admits unworthiness before the beloved, showing humility rather than complaint. Yet he presents his intense desire and steadfast waiting as his real “qualification.” The couplet turns worthiness into an emotional measure: sincerity, persistence, and love itself become the proof. Its core feeling is hopeful, aching devotion that refuses to fade.

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.

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.

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.

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.

For a long time, your memory hasn’t even come to me.

But it’s not true that I have forgotten you.

The couplet holds a quiet contradiction: the beloved hasn’t been consciously remembered for ages, yet the bond hasn’t ended. The speaker separates “not thinking of you” from “forgetting you,” suggesting love can go silent without dying. It conveys emotional numbness, distance, and a lingering attachment that survives even in absence.

For a long time, your memory hasn’t even come to me.

But it’s not true that I have forgotten you.

The couplet holds a quiet contradiction: the beloved hasn’t been consciously remembered for ages, yet the bond hasn’t ended. The speaker separates “not thinking of you” from “forgetting you,” suggesting love can go silent without dying. It conveys emotional numbness, distance, and a lingering attachment that survives even in absence.

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.

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.

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.

It feels as if you are right here with me.

Especially when there is no one else around.

The couplet ties the beloved’s “presence” to the speaker’s solitude: when the world is absent, the beloved becomes vividly near. “As if” signals that this closeness may be imagined—born from memory and longing rather than physical meeting. Emotional comfort arises, but it also exposes how deeply loneliness depends on that one person.

It feels as if you are right here with me.

Especially when there is no one else around.

The couplet ties the beloved’s “presence” to the speaker’s solitude: when the world is absent, the beloved becomes vividly near. “As if” signals that this closeness may be imagined—born from memory and longing rather than physical meeting. Emotional comfort arises, but it also exposes how deeply loneliness depends on that one person.

Rekhta AI Explanation

इस शे’र में कई अर्थ ऐसे हैं जिनसे अंदाज़ा लगाया जा सकता है कि वसीम बरेलवी शे’र में अर्थ के साथ कैफ़ियत पैदा करने की कला से परिचित हैं। ‘जहाँ’ के सन्दर्भ से ‘वहीं’ और इन दोनों के सन्दर्भ से ‘मकाँ’, ‘चराग़’ के सन्दर्भ से ‘रौशनी’ और इससे बढ़कर ‘किसी’ ये सब ऐसे लक्षण हैं जिनसे शे’र में अर्थोत्पत्ति का तत्व पैदा हुआ है।

शे’र के शाब्दिक अर्थ तो ये हो सकते हैं कि चराग़ अपनी रौशनी से किसी एक मकाँ को रौशन नहीं करता है, बल्कि जहाँ जलता है वहाँ की फ़िज़ा को प्रज्वलित करता है। इस शे’र में एक शब्द 'मकाँ' केंद्र में है। मकाँ से यहाँ तात्पर्य मात्र कोई ख़ास घर नहीं बल्कि स्थान है।

अब आइए शे’र के भावार्थ पर प्रकाश डालते हैं। दरअसल शे’र में ‘चराग़’, ‘रौशनी’ और ‘मकाँ’ की एक लाक्षणिक स्थिति है। चराग़ रूपक है नेक और भले आदमी का, उसके सन्दर्भ से रोशनी रूपक है नेकी और भलाई का। इस तरह शे’र का अर्थ ये बनता है कि नेक आदमी किसी ख़ास जगह नेकी और भलाई फैलाने के लिए पैदा नहीं होते बल्कि उनका कोई विशेष मकान नहीं होता और ये स्थान की अवधारणा से बहुत आगे के लोग होते हैं। बस शर्त ये है कि आदमी भला हो। अगर ऐसा है तो भलाई हर जगह फैल जाती है।

Shafaq Sopori

Rekhta AI Explanation

इस शे’र में कई अर्थ ऐसे हैं जिनसे अंदाज़ा लगाया जा सकता है कि वसीम बरेलवी शे’र में अर्थ के साथ कैफ़ियत पैदा करने की कला से परिचित हैं। ‘जहाँ’ के सन्दर्भ से ‘वहीं’ और इन दोनों के सन्दर्भ से ‘मकाँ’, ‘चराग़’ के सन्दर्भ से ‘रौशनी’ और इससे बढ़कर ‘किसी’ ये सब ऐसे लक्षण हैं जिनसे शे’र में अर्थोत्पत्ति का तत्व पैदा हुआ है।

शे’र के शाब्दिक अर्थ तो ये हो सकते हैं कि चराग़ अपनी रौशनी से किसी एक मकाँ को रौशन नहीं करता है, बल्कि जहाँ जलता है वहाँ की फ़िज़ा को प्रज्वलित करता है। इस शे’र में एक शब्द 'मकाँ' केंद्र में है। मकाँ से यहाँ तात्पर्य मात्र कोई ख़ास घर नहीं बल्कि स्थान है।

अब आइए शे’र के भावार्थ पर प्रकाश डालते हैं। दरअसल शे’र में ‘चराग़’, ‘रौशनी’ और ‘मकाँ’ की एक लाक्षणिक स्थिति है। चराग़ रूपक है नेक और भले आदमी का, उसके सन्दर्भ से रोशनी रूपक है नेकी और भलाई का। इस तरह शे’र का अर्थ ये बनता है कि नेक आदमी किसी ख़ास जगह नेकी और भलाई फैलाने के लिए पैदा नहीं होते बल्कि उनका कोई विशेष मकान नहीं होता और ये स्थान की अवधारणा से बहुत आगे के लोग होते हैं। बस शर्त ये है कि आदमी भला हो। अगर ऐसा है तो भलाई हर जगह फैल जाती है।

Shafaq Sopori

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.