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Sher on Wada

Human beings can be

distinguished on account of the skills they have. Everyone has one skill or the other which may be perfected with care and practice. This ultimately becomes the hallmark of one’s personality. Here are some verses that would help you see human skill, art, and craftsmanship in multiple ways.

tire va.ade par jiye ham to ye jaan jhuuT jaanā

ki ḳhushī se mar na jaate agar e'tibār hotā

that your promise made me live, let that not deceive

happily my life I'd give, If I could but believe

We kept ourselves alive on your promise—know this as a lie, my dear.

If we had truly trusted it, we would have died happily long ago.

The lover says their survival was tied to the beloved’s promise, but that promise proved false. The sharp paradox is that real trust would have brought such overwhelming relief that the lover would have “died of joy.” The couplet turns faith into a life-support and exposes how betrayal converts hope into bitter self-reproach. Love here is shown as suspended between trust and the pain of being deceived.

tere wade par jiye hum to ye jaan jhuT jaana

ki KHushi se mar na jate agar e'tibar hota

that your promise made me live, let that not deceive

happily my life I'd give, If I could but believe

We kept ourselves alive on your promise—know this as a lie, my dear.

If we had truly trusted it, we would have died happily long ago.

The lover says their survival was tied to the beloved’s promise, but that promise proved false. The sharp paradox is that real trust would have brought such overwhelming relief that the lover would have “died of joy.” The couplet turns faith into a life-support and exposes how betrayal converts hope into bitter self-reproach. Love here is shown as suspended between trust and the pain of being deceived.

Mirza Ghalib

ham ko un se vafā hai ummīd

jo nahīñ jānte vafā kyā hai

From her I hope for constancy

who knows it not, to my dismay

We are holding onto the hope of faithfulness from them,

Those who do not even understand what faithfulness means.

The poet mocks his own naivety in expecting loyalty from a beloved who is completely oblivious to the concept. It highlights a tragic irony where the lover's intense expectations are directed at someone incapable of fulfilling them, either due to innocence or cruel indifference.

hum ko un se wafa ki hai ummid

jo nahin jaante wafa kya hai

From her I hope for constancy

who knows it not, to my dismay

We are holding onto the hope of faithfulness from them,

Those who do not even understand what faithfulness means.

The poet mocks his own naivety in expecting loyalty from a beloved who is completely oblivious to the concept. It highlights a tragic irony where the lover's intense expectations are directed at someone incapable of fulfilling them, either due to innocence or cruel indifference.

Mirza Ghalib

vafā kareñge nibāheñge baat māneñge

tumheñ bhī yaad hai kuchh ye kalām kis thā

You used to say: I will be faithful, I will stand by it, I will listen to you.

Do you still remember whose words those were?

The couplet recalls a lover’s old assurances—faithfulness, constancy, and obedience—and then turns them into a pointed question. By asking “whose words were these,” the speaker highlights the gap between promises and present behavior. The tone carries reproach mixed with sorrow, using memory as evidence against forgetfulness and betrayal.

wafa karenge nibahenge baat manenge

tumhein bhi yaad hai kuchh ye kalam kis ka tha

You used to say: I will be faithful, I will stand by it, I will listen to you.

Do you still remember whose words those were?

The couplet recalls a lover’s old assurances—faithfulness, constancy, and obedience—and then turns them into a pointed question. By asking “whose words were these,” the speaker highlights the gap between promises and present behavior. The tone carries reproach mixed with sorrow, using memory as evidence against forgetfulness and betrayal.

Dagh Dehlvi

na koī va.ada na koī yaqīñ na koī umiid

magar hameñ to tirā intizār karnā thā

no promise,surety, nor any hope was due

yet I had little choice but to wait for you

There was no promise, no certainty, and no real hope from you.

Yet I still had to keep waiting for you.

The couplet captures love as an inner compulsion: even when the beloved offers no commitment, assurance, or hope, the speaker cannot stop waiting. The repetition of "no" intensifies the emptiness on one side, while "had to" shows helpless devotion on the other. Waiting becomes a fate the lover accepts, despite knowing it may be futile.

na koi wada na koi yaqin na koi umid

magar hamein to tera intizar karna tha

no promise,surety, nor any hope was due

yet I had little choice but to wait for you

There was no promise, no certainty, and no real hope from you.

Yet I still had to keep waiting for you.

The couplet captures love as an inner compulsion: even when the beloved offers no commitment, assurance, or hope, the speaker cannot stop waiting. The repetition of "no" intensifies the emptiness on one side, while "had to" shows helpless devotion on the other. Waiting becomes a fate the lover accepts, despite knowing it may be futile.

Firaq Gorakhpuri

tire va.adoñ pe kahāñ tak mirā dil fareb khaa.e

koī aisā kar bahāna mirī aas TuuT jaa.e

tere wadon pe kahan tak mera dil fareb khae

koi aisa kar bahana meri aas TuT jae

Fana Nizami Kanpuri

ādatan tum ne kar diye va.ade

ādatan ham ne e'tibār kiyā

aadatan tum ne kar diye wade

aadatan hum ne e'tibar kiya

Gulzar

ġhazab kiyā tire va.ade pe e'tibār kiyā

tamām raat qayāmat intizār kiyā

I did something unbelievable: I trusted your promise.

All night long, I waited as if awaiting Doomsday.

The speaker rebukes himself for believing the beloved’s word, treating that trust as a shocking mistake. The “night-long wait” becomes so intense and crushing that it feels like waiting for the end of the world. “Qayamat” is a metaphor for unbearable anxiety and emotional devastation, showing how a broken promise turns time into torment.

ghazab kiya tere wade pe e'tibar kiya

tamam raat qayamat ka intizar kiya

I did something unbelievable: I trusted your promise.

All night long, I waited as if awaiting Doomsday.

The speaker rebukes himself for believing the beloved’s word, treating that trust as a shocking mistake. The “night-long wait” becomes so intense and crushing that it feels like waiting for the end of the world. “Qayamat” is a metaphor for unbearable anxiety and emotional devastation, showing how a broken promise turns time into torment.

Dagh Dehlvi

terī majbūriyāñ durust magar

ne va.ada kiyā thā yaad to kar

teri majburiyan durust magar

tu ne wada kiya tha yaad to kar

Nasir Kazmi

vo jo ham meñ tum meñ qarār thā tumheñ yaad ho ki na yaad ho

vahī yaanī va.ada nibāh tumheñ yaad ho ki na yaad ho

the love that 'tween us used to be, you may, may not recall

those promises of constancy, you may, may not recall

Do you remember—or not—the understanding we once had between us?

Do you remember—or not—that very promise to keep faith and stay true?

The speaker addresses the beloved with a restrained ache, asking whether they still recall the old mutual bond. “Qarar” suggests an agreed, steady relationship, and “wada nibah” is the pledge of loyalty. By repeating “remember or not,” the poet conveys uncertainty, hurt, and quiet accusation: forgetting itself becomes a form of betrayal. The couplet turns memory into a test of love and commitment.

wo jo hum mein tum mein qarar tha tumhein yaad ho ki na yaad ho

wahi yani wada nibah ka tumhein yaad ho ki na yaad ho

the love that 'tween us used to be, you may, may not recall

those promises of constancy, you may, may not recall

Do you remember—or not—the understanding we once had between us?

Do you remember—or not—that very promise to keep faith and stay true?

The speaker addresses the beloved with a restrained ache, asking whether they still recall the old mutual bond. “Qarar” suggests an agreed, steady relationship, and “wada nibah” is the pledge of loyalty. By repeating “remember or not,” the poet conveys uncertainty, hurt, and quiet accusation: forgetting itself becomes a form of betrayal. The couplet turns memory into a test of love and commitment.

Momin Khan Momin

kyuuñ pashemāñ ho agar va.ada vafā ho na sakā

kahīñ va.ade bhī nibhāne ke liye hote haiñ

kyun pasheman ho agar wada wafa ho na saka

kahin wade bhi nibhane ke liye hote hain

Ibrat Machlishahri

ab tum kabhī na aaoge yaanī kabhī kabhī

ruḳhsat karo mujhe koī va.ada kiye baġhair

ab tum kabhi na aaoge yani kabhi kabhi

ruKHsat karo mujhe koi wada kiye baghair

Jaun Eliya

ek ik baat meñ sachchā.ī hai us lekin

apne va.adoñ se mukar jaane ko chāhtā hai

ek ek baat mein sachchai hai us ki lekin

apne wadon se mukar jaane ko ji chahta hai

Kafeel Aazar Amrohvi

din guzārā thā baḌī mushkil se

phir tirā va.ada-e-shab yaad aayā

din guzara tha baDi mushkil se

phir tera wada-e-shab yaad aaya

Nasir Kazmi

ḳhātir se lihāz se maiñ maan to gayā

jhūTī qasam se aap īmān to gayā

for reasons of formality, I've chosen to believe

you have surely lost your faith when you so deceive

Out of regard or politeness, I did accept what you said.

But with that false oath, your faith and credibility are gone.

The speaker says he agreed not because he was convinced, but to maintain courtesy. The beloved tries to prove truth with a sworn statement, yet the oath is clearly false. That lie doesn’t just break trust; it exposes moral bankruptcy—‘imaan’ here stands for integrity and reliability. The couplet’s sting is that the other person “wins” the argument but loses honor.

KHatir se ya lihaz se main man to gaya

jhuTi qasam se aap ka iman to gaya

for reasons of formality, I've chosen to believe

you have surely lost your faith when you so deceive

Out of regard or politeness, I did accept what you said.

But with that false oath, your faith and credibility are gone.

The speaker says he agreed not because he was convinced, but to maintain courtesy. The beloved tries to prove truth with a sworn statement, yet the oath is clearly false. That lie doesn’t just break trust; it exposes moral bankruptcy—‘imaan’ here stands for integrity and reliability. The couplet’s sting is that the other person “wins” the argument but loses honor.

Dagh Dehlvi

subūt hai ye mohabbat sāda-lauhī

jab us ne va.ada kiyā ham ne e'tibār kiyā

subut hai ye mohabbat ki sada-lauhi ka

jab us ne wada kiya hum ne e'tibar kiya

Josh Malihabadi

saaf inkār agar ho to tasallī ho jaa.e

jhūTe va.adoñ se tire ranj sivā hotā hai

saf inkar agar ho to tasalli ho jae

jhuTe wadon se tere ranj siwa hota hai

Qaisar Haideri Dehlvi

ek muddat se na qāsid hai na ḳhat hai na payām

apne va.ade ko to kar yaad mujhe yaad na kar

ek muddat se na qasid hai na KHat hai na payam

apne wade ko to kar yaad mujhe yaad na kar

Jalal Manikpuri

ummīd to bañdh jaatī taskīn to ho jaatī

va.ada na vafā karte va.ada to kiyā hotā

ummid to bandh jati taskin to ho jati

wada na wafa karte wada to kiya hota

Chiragh Hasan Hasrat

vo ummīd kyā jis ho intihā

vo va.ada nahīñ jo vafā ho gayā

wo ummid kya jis ki ho intiha

wo wada nahin jo wafa ho gaya

Altaf Hussain Hali

tere vaade ko kabhī jhuuT nahīñ samjhūñgā

aaj raat bhī darvāza khulā rakkhūñgā

tere wade ko kabhi jhuT nahin samjhunga

aaj ki raat bhi darwaza khula rakkhunga

Shahryar

kis muñh se kah rahe ho hameñ kuchh ġharaz nahīñ

kis muñh se tum ne va.ada kiyā thā nibāh

kis munh se kah rahe ho hamein kuchh gharaz nahin

kis munh se tum ne wada kiya tha nibah ka

Hafeez Jalandhari

phir baiThe baiThe vāda-e-vasl us ne kar liyā

phir uTh khaḌā huā vahī rog intizār

phir baiThe baiThe wada-e-wasl us ne kar liya

phir uTh khaDa hua wahi rog intizar ka

Ameer Minai

maiñ bhī hairān huuñ ai 'dāġh' ki ye baat hai kyā

va.ada vo karte haiñ aatā hai tabassum mujh ko

I too am puzzled, O Dagh, about what this strange matter is.

They make promises, and yet it only makes me smile.

The lover is amazed at his own reaction: the beloved’s promises no longer inspire hope but provoke a knowing smile. “Promise” becomes a metaphor for empty assurance, repeated so often that it turns into a joke. The emotional core is weary disbelief mixed with quiet irony, as trust has been replaced by amused skepticism.

main bhi hairan hun ai 'dagh' ki ye baat hai kya

wada wo karte hain aata hai tabassum mujh ko

I too am puzzled, O Dagh, about what this strange matter is.

They make promises, and yet it only makes me smile.

The lover is amazed at his own reaction: the beloved’s promises no longer inspire hope but provoke a knowing smile. “Promise” becomes a metaphor for empty assurance, repeated so often that it turns into a joke. The emotional core is weary disbelief mixed with quiet irony, as trust has been replaced by amused skepticism.

Dagh Dehlvi

maiñ us ke va.ade ab bhī yaqīn kartā huuñ

hazār baar jise aazmā liyā maiñ ne

To this day her promises I do still believe

who a thousand times has been wont to deceive

main us ke wade ka ab bhi yaqin karta hun

hazar bar jise aazma liya main ne

To this day her promises I do still believe

who a thousand times has been wont to deceive

Makhmoor Saeedi

thā va.ada shaam magar aa.e vo raat ko

maiñ bhī kivāḌ kholne fauran nahīñ gayā

tha wada sham ka magar aae wo raat ko

main bhi kiwaD kholne fauran nahin gaya

Anwar Shuoor

va.ada nahīñ payām nahīñ guftugū nahīñ

hairat hai ai ḳhudā mujhe kyuuñ intizār hai

wada nahin payam nahin guftugu nahin

hairat hai ai KHuda mujhe kyun intizar hai

Lala Madhav Ram Jauhar

aur kuchh der sitāro Thahro

us va.ada hai zarūr aa.egā

aur kuchh der sitaro Thahro

us ka wada hai zarur aaega

Ehsan Danish Kandhlvi

phir chāhe to na aanā o aan baan vaale

jhūTā va.ada kar le sachchī zabān vaale

phir chahe to na aana o aan ban wale

jhuTa hi wada kar le sachchi zaban wale

Arzoo Lakhnavi

aap to muñh pher kar kahte haiñ aane ke liye

vasl va.ada zarā āñkheñ milā kar kījiye

aap to munh pher kar kahte hain aane ke liye

wasl ka wada zara aankhen mila kar kijiye

Lala Madhav Ram Jauhar

barsoñ hue na tum ne kiyā bhuul kar bhī yaad

va.ade tarah ham bhī farāmosh ho ga.e

barson hue na tum ne kiya bhul kar bhi yaad

wade ki tarah hum bhi faramosh ho gae

Jaleel Manikpuri

jo tumhārī tarah tum se koī jhūTe va.ade kartā

tumhīñ munsifī se kah do tumheñ e'tibār hotā

If someone made you false promises the way you make them,

then judge fairly and tell me—would you still be able to trust them?

The speaker turns the beloved’s own habit of false promises back on them, using a moral mirror. By asking for an honest judgment, he exposes hypocrisy: what feels tolerable when you do it becomes unacceptable when done to you. The core emotion is wounded trust, seeking fairness and accountability. The couplet’s bite lies in making the beloved answer their own standard.

jo tumhaari tarah tum se koi jhuTe wade karta

tumhin munsifi se kah do tumhein e'tibar hota

If someone made you false promises the way you make them,

then judge fairly and tell me—would you still be able to trust them?

The speaker turns the beloved’s own habit of false promises back on them, using a moral mirror. By asking for an honest judgment, he exposes hypocrisy: what feels tolerable when you do it becomes unacceptable when done to you. The core emotion is wounded trust, seeking fairness and accountability. The couplet’s bite lies in making the beloved answer their own standard.

Dagh Dehlvi

aap ne jhūTā va.ada kar ke

aaj hamārī umr baḌhā

aap ne jhuTa wada kar ke

aaj hamari umr baDha di

Kaif Bhopali

us ke vādoñ se itnā to sābit huā us ko thoḌā pās-e-ta.alluq to hai

ye alag baat hai vo hai vāda-shikan ye bhī kuchh kam nahīñ us ne vaade kiye

us ke wadon se itna to sabit hua us ko thoDa sa pas-e-talluq to hai

ye alag baat hai wo hai wada-shikan ye bhi kuchh kam nahin us ne wade kiye

Amir Usmani

vo phir va.ada milne karte haiñ yaanī

abhī kuchh dinoñ ham ko jiinā paḌegā

wo phir wada milne ka karte hain yani

abhi kuchh dinon hum ko jina paDega

Aasi Ghazipuri

jhūTe vaade bhī nahīñ karte aap

koī jiine sahārā nahīñ

jhuTe wade bhi nahin karte aap

koi jine ka sahaara hi nahin

Jaleel Manikpuri

bhūlne vaale ko shāyad yaad va.ada aa gayā

mujh ko dekhā muskurāyā ḳhud-ba-ḳhud sharmā gayā

bhulne wale ko shayad yaad wada aa gaya

mujh ko dekha muskuraya KHud-ba-KHud sharma gaya

Asar Lakhnavi

dil kabhī laakh ḳhushāmad pe bhī raazī na huā

kabhī ik jhūTe va.ade pe bahalte dekhā

dil kabhi lakh KHushamad pe bhi raazi na hua

kabhi ek jhuTe hi wade pe bahalte dekha

Jaleel Manikpuri

jhūTe va.adoñ par thī apnī zindagī

ab to vo bhī aasrā jaatā rahā

jhuTe wadon par thi apni zindagi

ab to wo bhi aasra jata raha

Mirza Mohammad Hadi Aziz Lakhnavi

savāl-e-vasl par kuchh soch kar us ne kahā mujh se

abhī va.ada to kar sakte nahīñ haiñ ham magar dekho

sawal-e-wasl par kuchh soch kar us ne kaha mujh se

abhi wada to kar sakte nahin hain hum magar dekho

Bekhud Dehlvi

vo aur va.ada vasl qāsid nahīñ nahīñ

sach sach batā ye lafz unhī zabāñ ke haiñ

wo aur wada wasl ka qasid nahin nahin

sach sach bata ye lafz unhi ki zaban ke hain

Mufti Sadruddin Aazurda

maan letā huuñ tere va.ade ko

bhuul jaatā huuñ maiñ ki hai vahī

your promises once again I believe

forgetting it is you who will deceive

man leta hun tere wade ko

bhul jata hun main ki tu hai wahi

your promises once again I believe

forgetting it is you who will deceive

Jaleel Manikpuri

saaf kah dījiye va.ada kiyā thā kis ne

uzr kyā chāhiye jhūToñ ke mukarne ke liye

Tell me plainly: who was it that even made a promise at all?

What excuse do liars need when they want to deny their own words?

The speaker challenges the beloved with cutting clarity, implying that no real promise was ever made. The second line sharpens the accusation: for people who lie, backing out needs no justification—they can always deny. The metaphor is moral rather than physical: “excuse” becomes a mask, and “denial” exposes character. The emotional core is hurt turning into blunt, bitter honesty.

saf kah dijiye wada hi kiya tha kis ne

uzr kya chahiye jhuTon ke mukarne ke liye

Tell me plainly: who was it that even made a promise at all?

What excuse do liars need when they want to deny their own words?

The speaker challenges the beloved with cutting clarity, implying that no real promise was ever made. The second line sharpens the accusation: for people who lie, backing out needs no justification—they can always deny. The metaphor is moral rather than physical: “excuse” becomes a mask, and “denial” exposes character. The emotional core is hurt turning into blunt, bitter honesty.

Dagh Dehlvi

tujh ko dekhā tire va.ade dekhe

ūñchī dīvār ke lambe saa.e

tujh ko dekha tere wade dekhe

unchi diwar ke lambe sae

Baqi Siddiqui

va.ada jhūTā kar liyā chaliye tasallī ho ga.ī

hai zarā baat ḳhush karnā dil-e-nāshād

All right—make a false promise; at least I feel reassured now.

It’s a small thing, just to cheer up a sorrowful heart.

The speaker asks for comfort even if it comes through a lie: a promise that isn’t true still gives momentary peace. The couplet frames consolation as something easy—just a few words can lift a dejected heart. Beneath the light tone is deep loneliness: the heart is so needy that even false hope feels like mercy.

wada jhuTa kar liya chaliye tasalli ho gai

hai zara si baat KHush karna dil-e-nashad ka

All right—make a false promise; at least I feel reassured now.

It’s a small thing, just to cheer up a sorrowful heart.

The speaker asks for comfort even if it comes through a lie: a promise that isn’t true still gives momentary peace. The couplet frames consolation as something easy—just a few words can lift a dejected heart. Beneath the light tone is deep loneliness: the heart is so needy that even false hope feels like mercy.

Dagh Dehlvi

in vafādārī ke vādoñ ko ilāhī kyā huā

vo vafā.eñ karne vaale bevafā kyuuñ ho ga.e

in wafadari ke wadon ko ilahi kya hua

wo wafaen karne wale bewafa kyun ho gae

Akhtar Shirani

va.ada vo kar rahe haiñ zarā lutf dekhiye

va.ada ye kah rahā hai na karnā vafā mujhe

wada wo kar rahe hain zara lutf dekhiye

wada ye kah raha hai na karna wafa mujhe

Jaleel Manikpuri

ba.az va.ade kiye nahīñ jaate

phir bhī un ko nibhāyā jaatā hai

baz wade kiye nahin jate

phir bhi un ko nibhaya jata hai

Anjum Khayali

mujhe hai e'tibār-e-va.ada lekin

tumheñ ḳhud e'tibār aa.e na aa.e

mujhe hai e'tibar-e-wada lekin

tumhein KHud e'tibar aae na aae

Akhtar Shirani

bas ek baar toḌā jahāñ ne ahd-e-vafā

kisī se ham ne phir ahd-e-vafā kiyā nahīñ

bas ek bar hi toDa jahan ne ahd-e-wafa

kisi se hum ne phir ahd-e-wafa kiya hi nahin

Ibrahim Ashk

kam-sinī meñ to hasīñ ahd-e-vafā karte haiñ

bhuul jaate haiñ magar sab jo shabāb aatā hai

kam-sini mein to hasin ahd-e-wafa karte hain

bhul jate hain magar sab jo shabab aata hai

Anu raz
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