Dhanakk - The Colors of Life

Kuchh tujhko hai khabar ham kya kya ai shorish-e-dauraan bhool gaye Woh zulf-e-pareeshan bhool gaye, woh deedae-giryan bhool gaye Ab gul se nazar milti nahin, ab dil ki kali khilti nahin Ai fasl-e-bahaaran rukhsat ho hum to luft-e-bahaaran bhool gaye Ai shauq-e-nazaara kya kahiye, nigahon mei koi surat hi nahin Ai zauq-e-tasavvur kya kahiye hum to surat-e-jaanan hi bhool gaye Sab ka madawa kar daala apna madawa kar na sake Sab ke gireban see daale apna hi girebaan bhool gaye Ab apni wafa ka yeh aalam, unki wafa ko kya kahiye Ek nashtar-e-zeher aageen rakh kar sarhaane, rag-e-jaan bhool gaye

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. Mir Taqi Mir Tashna-e-khun hai apna kitna, Mir bhi naadaan, talkhi-kash, Damdaar aab-e-tegh ko uske aab-e-gawara jaane hai.

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. Mir Taqi Mir

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. Mir Taqi Mir

Mir Taqi Mir was born at Agra in 1723. He spent his early childhood under the care and companionship of his father, whose constant emphasis on the importance of love and the value of continence and compassion in life went a long way in moulding the character of the poet, and this became the chief thematic strand of his poetry. Mir is one of the immortals among Urdu poets. He is a perfect artist of the ghazal, which makes its peculiar appeal through compression, suggestion, imagery and musicality. He builds his poetry on the foundations of his personal experience. His favourite theme is love - love unfulfilled - and his favourite manner is conversational. Mir lived at a time when Urdu poetry was yet at a formative stage - its language was getting reformed and purged of native crudities, and its texture was being enriched with borrowings from Persian imagery and idiom. Aided by his aesthetic instincts, Mir struck a fine balance between the old and the new, the indigenous and the importe

Born at Delhi in 1253 AD, Amir Khusro served seven kings and three princes from the times of Sultan Balban to Mohammad Bin Tughlaq. His passion for his birthplace Delhi was ripped to the extent that when he was posted in Patiali, he not only lamented but completed a masanwi under the title ‘Shikayatnamah-e-Patiali’. Condemning Patiali and recalling the beauty and pleasure of his hometown Delhi, he compares himself with Joseph, who in separation from his home town Kan’an, feeling himself distressed, always pined for it. Poetry was inherent in Ameer Khusro. The day he was born, his father took him to a God absorbed darwesh, who said to his father, "You have brought one who would go two steps a head of khaqani (nightingale)." In his early childhood, Khusro had developed a putting together in verse form worse of discordant meaning. Up to the age of sixteen, whichever book of verse he happened to lay his hand on, he tried to follow its author in the art of composition. His adolesc

Sir jiss pay na jhuk ja'ay usay dar nahi kehtay her dar pay jo jhuk ja'ay usay sir nahi kehtay kiya tujh ko jahan walay sitamgar nahi kehtay kehtay to hein laikin tere moun per nahi kehtay kaabe mein her ik sajday ko kehtay hein ibadat maikhane mein her jaam ko sagar nahi kehtay kaabe mein musalman ko bhi keh daite hein kaafir maikhane mein kafir ko bhi kafir nahi kehtay apne dil e sadchaak ko see sakta hoon mehroom e karam ho ke ji sakta hoon mouqoof nahi jaam pay rindi meri saqi tere ghussay ko bhi pe sakta hoon mujh ko tasleem hai sharabi hoon phir bhi fitrat ajeeb paaye hai mein nazar say sharab peeta hoon meri rindi bhi parsayi hai fikr e sood o zayaan to chotay gi minnat e een o aan to chootay gi khair dozakh mein mai milay na milay shaikh sahib say jaan to chootay gi hum apni shaam ko jab nazr e jaam kartay hein adab say hum ko sitaray salaam kartay hein saja'ein kiyoon na isay yeh sara'ay hein dil ki yahaan haseen musafir qayaam kartay hein gale lagaatay hein du