Font by Mehr Nastaliq Web

aaj ik aur baras biit gayā us ke baġhair

jis ke hote hue hote the zamāne mere

CANCEL DOWNLOAD SHER

Sher on Mashwara

Here is a collection

of verses that will help you at different stages of your life to make a choice and move accordingly. These are no ordinary pieces of advice; on the contrary they sum up the philosophy of life and living. You may like to have a closer look and find your gems.

vo afsāna jise anjām tak laanā na ho mumkin

use ik ḳhūb-sūrat moḌ de kar chhoḌnā achchhā

wo afsana jise anjam tak lana na ho mumkin

use ek KHub-surat moD de kar chhoDna achchha

Sahir Ludhianvi

maiñ akelā chalā thā jānib-e-manzil magar

log saath aate ga.e aur kārvāñ bantā gayā

main akela hi chala tha jaanib-e-manzil magar

log sath aate gae aur karwan banta gaya

Majrooh Sultanpuri

apne man meñ Duub kar surāġh-e-zindagī

agar merā nahīñ bantā na ban apnā to ban

Dive into your own inner self and find the clue to what life truly is.

If you cannot belong to me, then don’t—at least become your own.

The couplet urges deep self-exploration: the “clue of life” is not outside, but within one’s own consciousness. The speaker refuses shallow dependence and asks for inner sovereignty—if you can’t be mine, don’t be anyone’s tool. The emotional core is a call to awaken selfhood and live with purpose. Freedom here means becoming truly oneself.

apne man mein Dub kar pa ja suragh-e-zindagi

tu agar mera nahin banta na ban apna to ban

Dive into your own inner self and find the clue to what life truly is.

If you cannot belong to me, then don’t—at least become your own.

The couplet urges deep self-exploration: the “clue of life” is not outside, but within one’s own consciousness. The speaker refuses shallow dependence and asks for inner sovereignty—if you can’t be mine, don’t be anyone’s tool. The emotional core is a call to awaken selfhood and live with purpose. Freedom here means becoming truly oneself.

Allama Iqbal

tire māthe pe ye āñchal bahut ḳhuub hai lekin

is āñchal se ik parcham banā letī to achchhā thā

Rekhta AI Explanation

यह शे’र इसरार-उल-हक़ मजाज़ के मशहूर अशआर में से एक है। माथे पे आँचल होने के कई मायने हैं। उदाहरण के लिए शर्म लाज का होना, मूल्यों का रख रखाव होना आदि और भारतीय समाज में इन चीज़ों को नारी का शृंगार समझा जाता है। मगर जब नारी के इस शृंगार को पुरुष सत्तात्मक समाज में नारी की कमज़ोरी समझा जाता है तो नारी का व्यक्तित्व संकट में पड़ जाता है। इसी तथ्य को शायर ने अपने शे’र का विषय बनाया है। शायर नारी को सम्बोधित करते हुए कहते हैं कि यद्यपि तुम्हारे माथे पर शर्म हया का आँचल ख़ूब लगता है मगर उसे अपनी कमज़ोरी मत बना। वक़्त का तक़ाज़ा है कि आप अपने इस आँचल से क्रांति का झंडा बनाएं और इस ध्वज को अपने अधिकारों के लिए उठाएं।

Shafaq Sopori

tere mathe pe ye aanchal bahut hi KHub hai lekin

tu is aanchal se ek parcham bana leti to achchha tha

Rekhta AI Explanation

यह शे’र इसरार-उल-हक़ मजाज़ के मशहूर अशआर में से एक है। माथे पे आँचल होने के कई मायने हैं। उदाहरण के लिए शर्म लाज का होना, मूल्यों का रख रखाव होना आदि और भारतीय समाज में इन चीज़ों को नारी का शृंगार समझा जाता है। मगर जब नारी के इस शृंगार को पुरुष सत्तात्मक समाज में नारी की कमज़ोरी समझा जाता है तो नारी का व्यक्तित्व संकट में पड़ जाता है। इसी तथ्य को शायर ने अपने शे’र का विषय बनाया है। शायर नारी को सम्बोधित करते हुए कहते हैं कि यद्यपि तुम्हारे माथे पर शर्म हया का आँचल ख़ूब लगता है मगर उसे अपनी कमज़ोरी मत बना। वक़्त का तक़ाज़ा है कि आप अपने इस आँचल से क्रांति का झंडा बनाएं और इस ध्वज को अपने अधिकारों के लिए उठाएं।

Shafaq Sopori

Asrarul Haq Majaz

vatan fikr kar nādāñ musībat aane vaalī hai

tirī barbādiyoñ ke mashvare haiñ āsmānoñ meñ

fear for your country, trouble will soon arise

words of your destruction have been spoken by the skies

Think about your homeland, naïve one; trouble is about to arrive.

In the heavens, plans are being discussed for your ruin.

Allama Iqbal addresses the careless person with a stark warning: a nation’s safety depends on vigilance and concern for the homeland. “Heavens” suggests higher powers, destiny, or the larger forces of the world already moving against you. The emotional core is urgency—wake up and take responsibility before decline becomes irreversible.

watan ki fikr kar nadan musibat aane wali hai

teri barbaadiyon ke mashware hain aasmanon mein

fear for your country, trouble will soon arise

words of your destruction have been spoken by the skies

Think about your homeland, naïve one; trouble is about to arrive.

In the heavens, plans are being discussed for your ruin.

Allama Iqbal addresses the careless person with a stark warning: a nation’s safety depends on vigilance and concern for the homeland. “Heavens” suggests higher powers, destiny, or the larger forces of the world already moving against you. The emotional core is urgency—wake up and take responsibility before decline becomes irreversible.

Allama Iqbal

tamannā dard-e-dil ho to kar ḳhidmat faqīroñ

nahīñ miltā ye gauhar bādshāhoñ ke ḳhazīnoñ meñ

serve mendicants if you desire empathy to gain

treasuries of emperors do not this wealth contain

If you long to understand the pain of the heart, serve the poor and needy.

This precious gem is not found in the treasuries of kings.

Iqbal contrasts inner, spiritual insight with worldly power. “Heart’s pain” is not mere suffering but a refined sensitivity that awakens through compassion. Serving the faqirs becomes the path to that priceless “gem,” while royal wealth symbolizes riches that cannot purchase empathy or truth. The couplet urges humility and service as the real source of inner treasure.

tamanna dard-e-dil ki ho to kar KHidmat faqiron ki

nahin milta ye gauhar baadshahon ke KHazinon mein

serve mendicants if you desire empathy to gain

treasuries of emperors do not this wealth contain

If you long to understand the pain of the heart, serve the poor and needy.

This precious gem is not found in the treasuries of kings.

Iqbal contrasts inner, spiritual insight with worldly power. “Heart’s pain” is not mere suffering but a refined sensitivity that awakens through compassion. Serving the faqirs becomes the path to that priceless “gem,” while royal wealth symbolizes riches that cannot purchase empathy or truth. The couplet urges humility and service as the real source of inner treasure.

Allama Iqbal

dushmanī laakh sahī ḳhatm na kiije rishta

dil mile na mile haath milāte rahiye

enmity however strong, the contact never break

hearts and minds may be apart, the hands must ever shake

dushmani lakh sahi KHatm na kije rishta

dil mile ya na mile hath milate rahiye

enmity however strong, the contact never break

hearts and minds may be apart, the hands must ever shake

Nida Fazli

hayāt le ke chalo kā.enāt le ke chalo

chalo to saare zamāne ko saath le ke chalo

hayat le ke chalo kaenat le ke chalo

chalo to sare zamane ko sath le ke chalo

Makhdoom Mohiuddin

khīñcho na kamānoñ ko na talvār nikālo

jab top muqābil ho to aḳhbār nikālo

neither bow and arrow nor a sword do you require

pubish a newspaper when faced with cannon fire

khincho na kamanon ko na talwar nikalo

jab top muqabil ho to aKHbar nikalo

neither bow and arrow nor a sword do you require

pubish a newspaper when faced with cannon fire

Akbar Allahabadi

baare duniyā meñ raho ġham-zada shaad raho

aisā kuchh kar ke chalo yaañ ki bahut yaad raho

In this world, live either in sorrow or in happiness—however your fate turns out.

But before you leave from here, do something so meaningful that you are long remembered.

Meer Taqi Meer contrasts life’s shifting states—grief and joy—with the one enduring demand: purposeful action. The couplet suggests emotions come and go, but what truly matters is leaving a mark. “Walking from here” hints at life’s departure, so the speaker urges deeds that outlast the self. The emotional core is a sober, motivating call to make one’s life memorable through meaningful work.

bare duniya mein raho gham-zada ya shad raho

aisa kuchh kar ke chalo yan ki bahut yaad raho

In this world, live either in sorrow or in happiness—however your fate turns out.

But before you leave from here, do something so meaningful that you are long remembered.

Meer Taqi Meer contrasts life’s shifting states—grief and joy—with the one enduring demand: purposeful action. The couplet suggests emotions come and go, but what truly matters is leaving a mark. “Walking from here” hints at life’s departure, so the speaker urges deeds that outlast the self. The emotional core is a sober, motivating call to make one’s life memorable through meaningful work.

Meer Taqi Meer

zindagī yūñhī bahut kam hai mohabbat ke liye

ruuTh kar vaqt gañvāne zarūrat kyā hai

zindagi yunhi bahut kam hai mohabbat ke liye

ruTh kar waqt ganwane ki zarurat kya hai

Unknown

ai 'zauq' takalluf meñ hai taklīf sarāsar

ārām meñ hai vo jo takalluf nahīñ kartā

save trouble, in formality, zauq nothing else can be

at ease he then remains he who, eschews formality

Oh Zauq, adhering to strict formalities causes nothing but utter distress.

The person who lives without pretense remains in a state of comfort and peace.

The poet argues that social etiquette and formal behavior ('takalluf'), often adopted to please others, actually impose a heavy burden of suffering on the individual. True peace of mind is found only in simplicity, where one is free from the exhausting obligations of artificial manners and societal expectations.

ai 'zauq' takalluf mein hai taklif sarasar

aaram mein hai wo jo takalluf nahin karta

save trouble, in formality, zauq nothing else can be

at ease he then remains he who, eschews formality

Oh Zauq, adhering to strict formalities causes nothing but utter distress.

The person who lives without pretense remains in a state of comfort and peace.

The poet argues that social etiquette and formal behavior ('takalluf'), often adopted to please others, actually impose a heavy burden of suffering on the individual. True peace of mind is found only in simplicity, where one is free from the exhausting obligations of artificial manners and societal expectations.

Shaikh Ibrahim Zauq

bhañvar se laḌo tund lahroñ se uljho

kahāñ tak chaloge kināre kināre

bhanwar se laDo tund lahron se uljho

kahan tak chaloge kinare kinare

Raza Hamdani

bichhaḌne irāda hai to mujh se mashvara kar lo

mohabbat meñ koī bhī faisla zaatī nahīñ hotā

bichhaDne ka irada hai to mujh se mashwara kar lo

mohabbat mein koi bhi faisla zati nahin hota

Afzal Khan

saaya hai kam khajūr ke ūñche daraḳht

ummīd bāñdhiye na baḌe aadmī ke saath

saya hai kam khajur ke unche daraKHt ka

ummid bandhiye na baDe aadmi ke sath

Kaif Bhopali

kahāñ aa ke rukne the rāste kahāñ moḌ thā use bhuul

vo jo mil gayā use yaad rakh jo nahīñ milā use bhuul

kahan aa ke rukne the raste kahan moD tha use bhul ja

wo jo mil gaya use yaad rakh jo nahin mila use bhul ja

Amjad Islam Amjad

duniyā to chāhtī hai yūñhī fāsle raheñ

duniyā ke mashvaroñ pe na us galī meñ chal

duniya to chahti hai yunhi fasle rahen

duniya ke mashwaron pe na ja us gali mein chal

Habib Jalib

diloñ meñ hubb-e-vatan hai agar to ek raho

nikhārnā ye chaman hai agar to ek raho

dilon mein hubb-e-watan hai agar to ek raho

nikhaarna ye chaman hai agar to ek raho

Jafar Malihabadi

paidā vo baat kar ki tujhe ro.eñ dūsre

ronā ḳhud apne haal pe ye zaar zaar kyā

create that aspect in yourself that others cry for thee

paida wo baat kar ki tujhe roen dusre

rona KHud apne haal pe ye zar zar kya

create that aspect in yourself that others cry for thee

Mirza Mohammad Hadi Aziz Lakhnavi

haañ samundar meñ utar lekin ubharne bhī soch

Dūbne se pahle gahrā.ī andāza lagā

han samundar mein utar lekin ubharne ki bhi soch

Dubne se pahle gahrai ka andaza laga

Arsh Siddiqui

baat zaḳhm hai talvār ke zaḳhmoñ se sivā

kījiye qatl magar muñh se kuchh irshād na ho

A wound caused by words hurts more than a wound caused by a sword.

Kill me if you must, but do not say anything from your mouth.

Dagh Dehlvi contrasts physical injury with the deeper, lingering hurt of speech. The “sword” stands for visible pain, while “words” become an invisible blade that keeps cutting inside. The speaker begs for restraint: even extreme harm feels easier than being pierced by cruel remarks. The couplet’s emotional core is the fear of humiliation and the lasting sting of harsh language.

baat ka zaKHm hai talwar ke zaKHmon se siwa

kijiye qatl magar munh se kuchh irshad na ho

A wound caused by words hurts more than a wound caused by a sword.

Kill me if you must, but do not say anything from your mouth.

Dagh Dehlvi contrasts physical injury with the deeper, lingering hurt of speech. The “sword” stands for visible pain, while “words” become an invisible blade that keeps cutting inside. The speaker begs for restraint: even extreme harm feels easier than being pierced by cruel remarks. The couplet’s emotional core is the fear of humiliation and the lasting sting of harsh language.

Dagh Dehlvi

is se pahle ki log pahchāneñ

ḳhud ko pahchān lo to behtar hai

is se pahle ki log pahchanen

KHud ko pahchan lo to behtar hai

Divakar Rahi

bad-tar hai maut se bhī ġhulāmī zindagī

mar jā.iyo magar ye gavārā na kījiyo

bad-tar hai maut se bhi ghulami ki zindagi

mar jaiyo magar ye gawara na kijiyo

Hafeez Merathi

farāġhat se duniyā meñ har dam na baiTho

agar chāhte ho farāġhat ziyāda

faraghat se duniya mein har dam na baiTho

agar chahte ho faraghat ziyaada

Altaf Hussain Hali

kabhī bhuul kar kisī se na karo sulūk aisā

ki jo tum se koī kartā tumheñ nāgavār hotā

kabhi bhul kar kisi se na karo suluk aisa

ki jo tum se koi karta tumhein nagawar hota

Ismail Merathi

itnā na apne jaame se bāhar nikal ke chal

duniyā hai chal-chalāv rasta sambhal ke chal

Don’t walk so far beyond your limits, stepping out of your proper bounds.

This world is a passing road; move carefully and keep yourself steady.

Bahadur Shah Zafar advises restraint and humility: don’t overreach or act as if you’re above your place. Life is portrayed as a transient journey where everything moves on and slips away. Because the road is unstable and short-lived, one must walk with caution, balance, and awareness of one’s mortality.

itna na apne jame se bahar nikal ke chal

duniya hai chal-chalaw ka rasta sambhal ke chal

Don’t walk so far beyond your limits, stepping out of your proper bounds.

This world is a passing road; move carefully and keep yourself steady.

Bahadur Shah Zafar advises restraint and humility: don’t overreach or act as if you’re above your place. Life is portrayed as a transient journey where everything moves on and slips away. Because the road is unstable and short-lived, one must walk with caution, balance, and awareness of one’s mortality.

Bahadur Shah Zafar

ḳhudā ne nek sūrat to sīkho nek bāteñ bhī

bure hote ho achchhe ho ke ye kyā bad-zabānī hai

KHuda ne nek surat di to sikho nek baaten bhi

bure hote ho achchhe ho ke ye kya bad-zabani hai

Ameer Minai

itnī kāvish bhī na kar merī asīrī ke liye

kahīñ merā giraftār na samjhā jaa.e

itni kawish bhi na kar meri asiri ke liye

tu kahin mera giraftar na samjha jae

Saleem Ahmed

fursat-e-kār faqat chaar ghaḌī hai yaaro

ye na socho abhī umr paḌī hai yaaro

fursat-e-kar faqat chaar ghaDi hai yaro

ye na socho ki abhi umr paDi hai yaro

Jan Nisar Akhtar

merī jaan ke dushman haiñ nasīhat vaale

mujh ko samjhāte haiñ un ko nahīñ samjhāte haiñ

meri hi jaan ke dushman hain nasihat wale

mujh ko samjhate hain un ko nahin samjhate hain

Lala Madhav Ram Jauhar

zaḳhm jo ne diye tujh ko dikhā to duuñ magar

paas tere bhī nasīhat ke sivā hai aur kyā

zaKHm jo tu ne diye tujh ko dikha to dun magar

pas tere bhi nasihat ke siwa hai aur kya

Irfan Ahmad

mai-kasho aage baḌho tishna-labo aage baḌho

apnā haq māñgā nahīñ jaatā hai chhīnā jaa.e hai

mai-kasho aage baDho tishna-labo aage baDho

apna haq manga nahin jata hai chhina jae hai

Kaif Bhopali

dekh rah jaa.e na ḳhvāhish ke gumbad meñ asiir

ghar banātā hai to sab se pahle darvāza lagā

dekh rah jae na tu KHwahish ke gumbad mein asir

ghar banata hai to sab se pahle darwaza laga

Arsh Siddiqui

na gird-o-pesh se is darja be-niyāz guzar

jo be-ḳhabar se haiñ sab ḳhabar bhī rakhte haiñ

na gird-o-pesh se is darja be-niyaz guzar

jo be-KHabar se hain sab ki KHabar bhi rakhte hain

Dil Ayubi

mazra-e-duniyā meñ daanā hai to Dar kar haath Daal

ek din denā hai tujh ko daane daane hisāb

mazra-e-duniya mein dana hai to Dar kar hath Dal

ek din dena hai tujh ko dane dane ka hisab

Shaikh Zahuruddin Hatim
Speak Now