Sad Poetry in Urdu for Girls for Boys in English SMS Images SMS In Urdu Pic Wallpapers Photos Pics: Sad Poetry About Love In Urdu Sad Poetry in Urdu for Girls for Boys in English SMS Images SMS In Urdu Pic Wallpapers Photos Pics Images

Sad Poetry About Love In Urdu Biography

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Na Murawat,

Na Mohabbat,

Na Khaloos Hai Mohsin

Mein To Shirminda Hoon

Is Door Ka Insan Ho Ker

Haan ! yeah such hai ke mujhe tum se mohabbat hai

Yeah bhi such hai ke mein tumhari chahat hoon

Per meri zindagi mein chahtoon ki kami to nahi

Rishte aur bhi hain sirf tum hi nahi

Apni zaat ke is pehloo se aaj milwaoon tumhien

Mein kia hoon, Kaisi hoon, Zara batlaoon tumhien

Mein apni maa'n ke tarbiyat mein dhala sancha hoon

Apne BABA ki umeedoon se pur ik khaka hoon

Apne bhai ki ghairat hoon janti hoon mein

Mujh se hi hai ghar ki izzat manti hoon mein

To behak jaoon mein yeah kabhi mumkin hi nahi!

Ke dil wo bhi rakhte hain

Sirf HUM TUM hi nahi!

Humdam ke liye humdam se gay, humdam ki qasam humdam na milla

Marham ke liye marham se gay, marham ki qasam marham na milla

Kabhi jo chair gaye yaad-e-raftgaa'n Mohsin

Bikher gaye hain nighahien kahan kahan Mohsin

Hawa ne raakh urdaye to dil ko yaad aya

Ke jal bhujien mere khawab ki bastiyan Mohsin

Kuch aisay ghar bhi mile jin mein ghongtoon ke aewaz

Hoi hain dafn dupatoon mein larkiyan Mohsin

Khandar hai ahd-e-ghasta, na cho na chair ise

Khulien to band na hoon iski khirkiyan Mohsin

Bhujha hai kon sitara ke apni ankh ke sath

Hoye hain saray manzir dhuwan dhuwan Mohsin

Nahi ke us ne ghanwaye hain maah-o-saal apne

Tamam umer katti yoon bhi raigaa'n Mohsin

Mila to aur bhi taqseem ker gaya mujh ko

Smaitna thien jise meri kirchiyan Mohsin

Kahien se us ne bhi torda hai, khud se rabt-e-wafa

Kahien se bhool gaya mein dastaa'n Mohsin

Ho sadaqat ke liye jis dil mein marne ki tamanha

Pehle apne khaki mein jaan paida kere

Phir uske bad nighahoon mein bas gaya wo shakhsh

Agar-che hum ne use be-dilli se dekha tha

Aik lafz mohabbat hai, use ker ke dekho tum

Barbad na ho jaoo, to mera naam badal dena

Aik lafz muqadar hai, us se lard ke dekho tum

Haar na jaoo to mera naam badal dena

Aik lafz wafa hai, jo duniya mein nahi milti

Kahien se agar mil jaye to, mera naam badal dena

Aik lafz ansoo hai, use dil mein chupa ker dekho tum

Ankhoon se na beh jaye to, mera naam badal dena

Aik lafz judai hai, use seh ker dekho tum

Toot ker na bikher jaoo to, mera naam badal dena

"Safar-e-Ishq"

"Maa'n"

Meri ankhoon se.....

Mut pocho....

Karab ke sumandar ka

Bikherna hai kaisa

Bachpan mein jo sekhaya tha

Guriya ko sajana

Rait se gharwanday banana

Sabar ki char-deewari se

Ansoon se pyar ghondna

Maa'n sab janti ho tum

Meri ankhoon se....

Mut pochoo...

Ik bar aur dekh ker azad ker de mujhe "Mohsin"

Ke mein aaj bhi teri pehli nazar ki qaid mein hoon

Ibtadaae ishq hai rota hai kya,

Aage aage dekhiye hota hai kya.

Qafile mein subah ke ek shor hai,

Yaani ghaafil ham chale sota hai kya.

Sabz hoti hi nahin yeh sar zamin,

Tukhm-e-khwahish dil mein tu bota hai kya.

Yeh nishaan-e-ishq hain jaate nahin,

Daagh chhaati ke abas dhota hai kya.

Ghairat-e-Yousaf hai yeh waqt-e-aziz,

Mir isko raigaan khota hai kya.

Faqiraana aae sadaa kar chale,

Miyaan khush raho ham dua kar chale.

Jo tujh bin na jeene ko kahte the ham,

So is ahd ko ab wafa kar chale.

Koi naumidana karte nigah,

So tum ham se munh bhi chhipa kar chale.

Bahut aarzoo thi gali ki teri,

So yaan se lahu mein naha kar chale.

Dikhai diye yun ke bekhud kiya,

Hamen aap se bhi juda kar chale.

Jabin sijda karte hi karte gayi,

Haq-e-bandgi ham ada kar chale.

Prastash ki yaan taeen ke ai but tujhe,

Nazr mein sabhon ki Khuda kar chale.

Gayi umr dar band-e-fikr-e-ghazal,

So is fan ko aisa bara kar chale.

Kahen kya jo puchhe koi ham se Mir,

Jahaan mein tum ae the kya kar chale.

Kya kahun tum se main ke kya hai ishq,

Jaan ka rog hai, bala hai ishq.

Ishq hi ishq hai jahaan dekho,

Saare aalam mein bhar raha hai ishq.

Ishq maashuq ishq aashiq hai,

Yaani apna hi mubtala hai ishq.

Ishq hai tarz-o-taur ishq ke taeen,

Kahin banda kahin Khuda hai ishq.

Kaun maqsad ko ishq bin pohuncha,

Aarzoo ishq wa mudda hai ishq.

Koi khwaahan nahin mahabbat ka,

Tu kahe jins-e-narawa hai ishq.

Mir ji zarad hote jaate hain,

Kya kahin tum ne bhi kiya hai ishq?

Patta patta, boota boota, haal hamaaraa jaane hai,

Jaane na jaane gul hi na jaane, baagh to saaraa jaane hai.

Aage us mutkabbar ke ham Khuda Khuda kiya karte hain,

Kab maujud Khuda ko woh maghrur khud-aara jaane hai.

Aashiq saa to saada koi aur na hoga dunya mein,

Ji ke zian ko ishq mein uske apna waara jaane hai.

Chaaraa gari beemari-e-dil ki rasm-e-shahr-e-husn nahin,

Warna dilbar-e-naadaan bhi is dard kaa chaara jaane hai.

Mehr-o-wafa-o-lutaf-o-inait, ek se waqif in mein nahin,

Aur to sab kuchh tanz-o-kanaya, ramz-o-ishara jaane hai.

Aashiq to murdah hai hamesha ji uthta hai dekhe use,

Yaar ke aa jaane ko yakaayak umr do baara jaane hai.

Tashna-e-khun hai apna kitna, Mir bhi naadaan, talkhi-kash,

Damdaar aab-e-tegh ko uske aab-e-gawara jaane hai.

Ghazal originated in Iran in the 10th century A.D. It grew from the Persian qasida, which verse form had come to Iran from Arabia. The qasida was a panegyric written in praise of the emperor or his noblemen. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in monorhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven. Because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form of poetry in Iran.

The ghazal came to India with the advent and extension of the Muslim influence from the 12th century onwards. The Moghuls brought along with them Iranian culture and civilization, including Iranian poetry and literature. When Persian gave way to Urdu as the language of poetry and culture in India, the ghazal, the fruit of Indo-Iranian culture, found its opportunity to grow and develop. Although the ghazal is said to have begun with Amir Khusro (1253-1325) in Northern India, Deccan in the South was its real home in the early stages. It was nursed and trained in the courts of Golconda and Bijapur under the patronage of Muslim rulers. Mohd. Quli Qutab Shah, Wajhi, Hashmi, Nusrati and Wali may be counted among its pioneers. Of these, Wali Deccany (1667-1707) may be called the Chaucer of Urdu poetry. Wali's visit to Delhi made in 1700 acquires a historic significance. This visit was instrumental in synthesizing the poetic streams of the South and the North. Wali's poetry awakened the minds of the Persian-loving North to the beauty and richness of Urdu language, and introduced them to the true flavor of ghazal, thus encouraging its rapid growth and popularity.

In its form, the ghazal is a short poem rarely of more than a dozen couplets in the same metre. It always opens with a rhyming couplet called matla. The rhyme of the opening couplet is repeated at the end of second line in each succeeding verse, so that the rhyming pattern may be represented as AA, BA, CA, DA, and so on. In addition to the restriction of rhyme, the ghazal also observes the convention of radif. Radif demands that a portion of the first line -- comprising not more than two or three words -- immediately preceding the rhyme-word at the end, should rhyme with its counterpart in the second line of the opening couplet, and afterwards alternately throughout the poem. The opening couplet of the ghazal is always a representative couplet: it sets the mood and tone of the poem and prepares us for its proper appreciation. The last couplet of the ghazal called makta often includes the pen-name of the poet, and is more personal than general in its tone and intent. Here the poet may express his own state of mind, or describe his religious faith, or pray for his beloved, or indulge in poetic self-praise. The different couplets of the ghazal are not bound by the unity and consistency of thought. Each couplet is a self-sufficient unit, detachable and quotable, generally containing the complete expression of an idea.