Sher on Popular verses

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.

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.

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.

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.

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.

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.

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.

Why should I not present you with a mirror, creating what one calls a spectacle?

For where else can I find someone whom one could call your equal?

The poet expresses the absolute uniqueness of the beloved. Since there is no one else in the world who compares to the beloved's beauty, the only way to show them a match is to present a mirror. The 'spectacle' is the beloved seeing their own reflection, as that is the only image that rivals their reality.

Why should I not present you with a mirror, creating what one calls a spectacle?

For where else can I find someone whom one could call your equal?

The poet expresses the absolute uniqueness of the beloved. Since there is no one else in the world who compares to the beloved's beauty, the only way to show them a match is to present a mirror. The 'spectacle' is the beloved seeing their own reflection, as that is the only image that rivals their reality.

When she heard the news of my death, she spoke to my rivals.

She said: God forgive him—there were many fine qualities in the one who died.

The couplet turns grief into sharp irony: the beloved, who didn’t value the lover in life, offers praise only after his death—and that too before his rivals. Her words sound like a formal condolence, yet they sting because the appreciation comes too late. The emotional core is the lover’s bitter sense that recognition is easiest when it costs nothing.

When she heard the news of my death, she spoke to my rivals.

She said: God forgive him—there were many fine qualities in the one who died.

The couplet turns grief into sharp irony: the beloved, who didn’t value the lover in life, offers praise only after his death—and that too before his rivals. Her words sound like a formal condolence, yet they sting because the appreciation comes too late. The emotional core is the lover’s bitter sense that recognition is easiest when it costs nothing.

I didn’t realize that someone can leave this world (die) at any moment.

You came too late, my kind one—by the time you arrived, it was already late.

The couplet is a lament spoken at the edge of separation: life is fragile, and departure can happen without warning. The “kind one” (beloved or dear person) arrives after the crucial moment has passed, turning affection into pain. The emotional core is regret—both for not foreseeing mortality and for the delayed care that cannot undo loss.

I didn’t realize that someone can leave this world (die) at any moment.

You came too late, my kind one—by the time you arrived, it was already late.

The couplet is a lament spoken at the edge of separation: life is fragile, and departure can happen without warning. The “kind one” (beloved or dear person) arrives after the crucial moment has passed, turning affection into pain. The emotional core is regret—both for not foreseeing mortality and for the delayed care that cannot undo loss.

Meer says: does anyone really choose to die on purpose?

Dear one, if life remains, then the whole world still remains for you.

The couplet counters despair with a practical, loving reminder: deliberate self-destruction is unnatural, because life is the condition for everything else. “Jaan” (life) becomes the key metaphor—once it is saved, “jahaan” (the world, possibilities, relationships) is still accessible. The emotional core is tender counsel to hold on, because survival itself keeps meaning and hope alive.

Meer says: does anyone really choose to die on purpose?

Dear one, if life remains, then the whole world still remains for you.

The couplet counters despair with a practical, loving reminder: deliberate self-destruction is unnatural, because life is the condition for everything else. “Jaan” (life) becomes the key metaphor—once it is saved, “jahaan” (the world, possibilities, relationships) is still accessible. The emotional core is tender counsel to hold on, because survival itself keeps meaning and hope alive.

Oh Zauq, be careful and do not let the 'daughter of the vine' (wine) touch your lips.

Once this cruel temptress gets attached to the mouth, it becomes impossible to let go.

The poet personifies wine as 'Dukhtar-e-raz' (daughter of the grape) and warns against tasting it. By calling it 'Kafir' (infidel or cruel one), he suggests that wine is an enchanting but dangerous mistress. The core theme is the difficulty of breaking an addiction; once one indulges, the habit refuses to leave.

Oh Zauq, be careful and do not let the 'daughter of the vine' (wine) touch your lips.

Once this cruel temptress gets attached to the mouth, it becomes impossible to let go.

The poet personifies wine as 'Dukhtar-e-raz' (daughter of the grape) and warns against tasting it. By calling it 'Kafir' (infidel or cruel one), he suggests that wine is an enchanting but dangerous mistress. The core theme is the difficulty of breaking an addiction; once one indulges, the habit refuses to leave.

Wherever Hazrat Dagh sat down, he settled there for good.

Now there will still be others who rise to prominence from your gathering.

The poet asserts his own stature: when Dagh takes a seat, it is as if the place is claimed and the matter is decided. Yet he also concedes that the beloved’s assembly is so fertile and dazzling that new celebrated figures can still emerge from it. The emotional core blends confident self-regard with a wry acknowledgement of the rival-filled, fame-making world of the mehfil.

Wherever Hazrat Dagh sat down, he settled there for good.

Now there will still be others who rise to prominence from your gathering.

The poet asserts his own stature: when Dagh takes a seat, it is as if the place is claimed and the matter is decided. Yet he also concedes that the beloved’s assembly is so fertile and dazzling that new celebrated figures can still emerge from it. The emotional core blends confident self-regard with a wry acknowledgement of the rival-filled, fame-making world of the mehfil.

Whatever the world declares to be right, you must also consider it right.

Regard the voice of the people as the proclamation (drum) of God.

This couplet highlights the sanctity and weight of public consensus. It draws upon the concept that when a large number of people agree on something, it carries a divine validation, akin to the maxim 'Vox populi, vox Dei' (The voice of the people is the voice of God). Therefore, one should respect collective judgment as a reflection of truth.

Whatever the world declares to be right, you must also consider it right.

Regard the voice of the people as the proclamation (drum) of God.

This couplet highlights the sanctity and weight of public consensus. It draws upon the concept that when a large number of people agree on something, it carries a divine validation, akin to the maxim 'Vox populi, vox Dei' (The voice of the people is the voice of God). Therefore, one should respect collective judgment as a reflection of truth.