Wednesday, 30 January 2013

सारी रात किया मैंने------- एक ग़ज़ल

अर्ज है:----


छोड़ आए है पीछे, न जाने कितने मक़ाम; 
धुँधली धुँधली यादें है, कुछ बिखरे अरमान; 
वह चेहरों का जमघट, वह अनजान राहें ! 
हर मुसाफ़िर के जीवन का यही है अन्जाम ।

क्योंकि :----


सारी रात किया मैंने जिनका इन्तज़ार,
आए नहीं वह लेकिन किया था इकरार;------2

अब न रखेंगे क़दम, हम तेरी गलियों में,
क्यों मंडराएगा, भँवरा अब कलियों पे ?-----2

Thursday, 10 January 2013

आवारा बन्जारा----- एक गीत


                            आवारा - बन्जारा



      सपने में इक चेहरे ने मेरे दिल को यूं पुकारा,
    गली गली में ढूंढे उसको दिल यह मारा-मारा;
                आवारा हूं, मैं बन्जारा;  
                आवारा था, मैं बेचारा;
                अवारा हूं, आवारा था;
     सडकों और बाजारों में दिल पूछ पूछ के हारा,
      घूर घूर के सब ने इसको बार बार फटकारा;
                   आवारा हूं, मैं बन्जारा;  
                आवारा था, मैं बेचारा;
                अवारा हूं, आवारा था;
      रातों में हमे नींद न आए, खो गया चैन हमारा,
      कहां छिपा अन्जान लुटेरा, कोई न दे इशारा;
                   आवारा हूं, मैं बन्जारा;  
                आवारा था, मैं बेचारा;
                अवारा हूं, आवारा था;
       नफरत से देखे दुनिया, सब लोग कहे नाकारा;
       इतने सस्ते में देंगे क्यों "राजी" दिल दोबारा?
                   आवारा हूं, मैं बन्जारा;  
                आवारा था, मैं बेचारा;
                अवारा हूं, आवारा था;


 AN  AFGHAN TEENAGER VOTED AS HAVING MOST BEAUTIFUL EYES IN THE WORLD----BEAUTY REDEFINED! MOVE ON AISHWARYA and-----?


Tuesday, 8 January 2013

LOOK LONDON; TALK TOKYO -EMERGING CULTURE


LOOK LONDON; TALK TOKYO ! ! EMERGING SULEKHA CULTURE!!!


     Sulekha is under attack----yea, seriously I mean it. I pity poor Team Sulekha. You know why? It is because of hordes of new cum old bloggers who indulge in  LLTT-----You know this---no, you don't ---its full form is LOOK LONDON ;TALK TOKYO. I mean you write something else but mean something else. But you know your target and you are confident that your arrow of words would hit the person. Sometimes, the title of blog itself is the intended message and there would be unnecessary padding in the blog---as a philosophical rant, and some of you would congratulate the blogger. Rightly so, he/she won't respond to your comments because you do not figure in the scheme of things----making virtue out of one's DIL KI MAJBOORI.   
        While most would appreciate it as classic work of literature and go  ga- ga over it yet the fact remains only the person targetted would really understand it.  I can espy a line of '' MAJNUs & LAILAS' roaming the pages of Sulekha. Their tribe is multiplying day in and day out.  I say , " Team Sulekha watch out---lest you become a place for only AASHIQI" You understand AASHIKI----Yea, it means 'AANKH -MATAQA' in my part of the country.
       Often, guys like me are branded as 'drab and dull' and even friends like Mukesh Sablu would say, " KYA RAJEE BHAI-----HAMESHA 'MAAR-KAAT' WAALI BAAT KARTE REHTE HO------KUCHH NAHI HOGA IS DESH KO-----AAP KUCHH MASAALEDAR LIKHO----TAAKIH HUM GAA SAKE".  I tried my hand at that but failed miserably because as the saying goes: E-CHAAND TUJH MEIn HAI DAAG ---HUMNE BE-DAAG DEKHE HAI----meaning---"-Dear me, you are tainted----we have seen spotless people". 
        Anyway forget about me---let us talk about these experts of LLTT-----I know you would blame me too for LLTT---but I can not name these gentlemen or may be ladies, too. In virtual world, sex -transformation is very easy------You would only find old guys here with real identity---most others have as mysterious names as their writings------even some old guys indulge in this----I know one----I won't tell you. 
     These guys not only indulge in mysterious writings but they also relish them. They think everyone on Sulekha is a fool. Take the caseof this Mystery Master -1. You can clearly make out that he has a wounded heart----Some one might have ruled his heart sometime back----I don't know whether it hapened on Sulekha or somewhere else-----but I think he has been sending some coded messages through his mysterious blogs-----I don't know who that prince or princess is---but sure he can not bear the pain-----so he indulges in LLTT.
      Take another Mystery Master-2. I don't know what is the real personna----- whether  an oldie or young---one can not even make out the gender-----he/she is deft in mysterious writings-----got a variety-----has number of targets-----fires  at them through his/her multi barrelled rocket launcher ( MBRL) heart. This person is a perfect foil for Mystery Master-1. Both have a running battle of taunts and insidious blabberings mouthed at each other.
       LLTT has become a fashion on Sulekha-----most of these guys hide behind their tongue-twisting identities of the virtual world. But some of them have a real identity too-----it is they who mostly resort to LLTT. On the face of it, you won't find anything odd but just read between lines, you would find the message for someone. The title of the blog would be unassuming-----take   the case of Mysterious Master-1 or MM-1------Tittle would be : UNCHI UDDAN MAT BHARO-------you would go there thinking what a beautiful poem it would be---but it would turn out to be a treatise on appeals to " ROOTHA AASHIQ"  to respond----even if he/she hates him. And sure there would be a response, which I have been trying to earth out of Sulekha pages. I will one day---.But for now, I leave it to VISH SHANKAR to unearth his/her ROOTHA MEHBOOB or MEHBOOBA---whatever.
      MM-2 is no less. This personna is quite unique----lot of sulekhites are this person's fans----excels in double talk-----don't know whether male or female but  write-ups makes interesting reading-----do you want to know who is this person? I give you a chance to guess. A fair chance-----No, you are all wrong-- no, not----not that oldie----let this oldie enjoy his own 'writing- aerobatics' to fool some butterflies-------Ok, a hint you want----- recently I read a written spat between MM-2 and the person targetted------I know what I won't tell you------
     Accusing me of LLTT---Go ahead -----I don't care---but LLTT business is on the rise on Sulekha----God bless this site-------But I do advise these' MAJNUS & LAILAS' and also these DIL JALA AASHIQ----
      MAT ROYA KARO TUM YUn BAITH KAR,
                              AANSOOYON SE NA MITATE, DIL-e-DARD-e NISHAn;
    KHAUF LAGTA HAI IKK JAL-JALE SE JINHE,
                              DUBO LE KASHTI BINA WOH 'NAM-O-NISHAn';
    CHHOD MANJHDHAAR MEIN TUMKO JO CHALE GAYE,
                             KYA LAGAAYnGE TUMHARE ZAKHMOn PE MARHAM? 
     "RAJEE" UTHO, CHALO ZAMAANE KE SATH-SATH,
                              NAYE SAATHI MILENGE, KOYI BANEGA SANAM .
     Move on----LLTT is here to stay------a gift of 'VALENTINE CULTURE'!----Phool kisi ko---Piyar kisi se----Aankh Matakka kisi se-------Love song kisi ko-----aur shaadi kisi se---Long live LLTT.

INDIAN MARRIAGE IS A 'SOCIAL CONTRACT' --OR SO IT WAS ?

 
 
"Every lady hopes that her daughter will marry a better man than she did
and is convinced that her son will never find a wife as good as his father did! "
 
-------------------------ANONYMOUS----A PUNJABI SAYING--------------------
 
           Marriage has always been a CONTRACT, though unwritten one. It is only lately that we see the WRITTEN CONTRACTS are now becoming a fashion. There could be number of reasons for the same, such as economic concerns, social insecurity and waning mutual interests . I won't like to debate on them but highlight the difference between Sub- Continental and Western marriages.  As they always say, " In the subcontinent ,one does not marry a person but one marries into a family". In the Western culture, Marriage is an Individual affair-----I am basically talking of the APPROVAL part of the marriage when two persons of different genders seek a union.
             Let me first define marriage for you. I define marriage as MUTUALLY ASSERTING RELATIONSHIP REDEEMING INTIMACY, AFFINITY & GENDER EQUALITY .It has a deeper meaning. How? I'll explain. It is very important to understand that the basic foundation of marriage rests upon the two-way and simultaneous flow of positive emotions depicting mutual care, concern, respect and sacrifice. You can not get away from this, if you want marriage to survive. The moment the flow of positive emotions stops---a Western marriage goes into a tail spin. But, Indian marriages linger on and the break in flow of positive emotions is recreated because the 'DHARMA of MARRIAGE'.
         Physical infatuation, intellectual compatibility or even 'gender-magnetization 'an not and will not become the lasting  foundations of marital love. At best they are biological & psychological parameters explaining behavioural patterns of similiar human beings,albiet of different genders.There is a difference between various kinds of love. Pre-martial love, whether arranged or self generated, is blind and full of formalities .It is so because you live in a world of dreams. Everything seems good. At times, people do cheat but they are aberrations.Such love will not last long. It will not lead to union of two minds- the ultimate goal of love.  Similarly, if either of the two, cheats post-marriage, it will lead to marital discord, disharmony and friction.Post-maritial love demands true relationship because it is a real world. Neither of the partner can afford to show neglect & lack of attention towards eah other.
          Sacrifice is not a one way traffic for females alone. Gents too will have to forgo a lot of pre-marital activities, if the love has to strengthen its bonding. Both must operate with open,receptive and pious mind to reinforce the moorings of love. THERE FORE ONE MUST NOTE THAT LOVE DEMANDS FROM THE PARTNERS PIETY OF THE MIND,FRANKNESS OF VIEWS N RIGHTEOUSNESS OF SELF CONDUCT. Love ,more so post-marriage,needs sanctity of conduct n purity of trust. This makes the relationship mutually assertive.It makes them adjust to each other freely. The leading gesture is to voluntarily surrender to each other or what you call intimacy. Both treat each other at par- a guided equality. This is the type of love which welds the two into a 'MADE-FOR-EACH-OTHER-PRODUCT' which empowers them collectively or singly to weather all social storms that rage in their lives or in the society.They ,thus acquire the capability to fulfil their social contract. And the big question. What is it? 
           IN THE INDIAN SOCIAL CONTEXT, REGARDLESS OF THE CAST CREED AND RELIGION,MARRIAGE IS A 'SOCIAL CONTRACT 'PLUS LOVE.  NO MATTER, HOW IT COMES ABOUT? WE ARE NOT REARED AND NOURISHED IN THE 'ANIMAL-KINGDOM-PHILOSOPHY' OF THE WEST, WHO ALLUDE A LOPSIDED MEANING TO LIBERTY  AND FREEDOM AS THE ANIMALS DO IN THE JUNGLE.I only wish to remind you that we belong to a far too-superior-culture and a social system which has withstood the test of times. Let me stop at this for the time being. 
          'Social contract' is 'DHARMA'. I know it would raise your heckles raised and erect antennas.  No? OK,If i tell you that English word "RELIGION" does not contain its meaning in entirety, would you agree? In fact, there is no equivalence of"DHARMA" in this language.It is an irony that the most popular language of the world is the most unscientific and underdeveloped.
           You don't seem to agree wih me. Give you another example.Look at the word "LOVE". It seems to cater for 'PARENTAL-AFFECTION','BROTHER-SISTER-EMOTIONAL- AFFINITY'; 'EMOTIONAL-INFATUATION OF MARRIED COUPLE' N 'PHYSICAL VIBES BETWEEN A BOY N THE GIRL'.In 'Hindi' it will be 'MAMTA';SANEH';PREM'N 'PYAR'respectively. U people still don't agree.Ok, look at the words Uncle and Auntie. Do they fully define social relationships? There  are tons of examples I can give you.REMEMBER, LANGUAGE IS THE MIRROR OF A SOCIAL SYSTEM AND ITS GOVERNING ETHOS.  LIKE ITS LANGUAGES, THE WESTERN SOCIAL SYSTEMS, ARE MOST OBSSESSED WITH INDIVIDUALISTIC ETHOS.
            TECHNOLOGICAL  ADVANCEMENT DOES NOT JUSTIFY THE CLAIM THAT WESTERN SOCIAL SYSTEMS WERE SCIENTIFIC, TOO. 'Freedom and Liberty' of the Western philosphy owe  its origin to 'Slave-Mentality' and 'Jungle-Thinking'. Their craving for 'Individuality' bears no responsibilities and accountability.Their concept based upon  'FREE-FOR-ALL-DICTUM' , LEADS TO SOCIAL CHAOS & DISORDER;  SELFISHNESS AND GREED; INDIVIDUALIZATION  AND CONFLICT. AS A CONTRAST TO THIS, SOUTH ASIAN SOCIAL SYSTEM AND ALSO OF THE ORIENT, PAY ATTENTION TO SOCIAL EXISTENCE IN AN ORDERLY MANNER.

              'Freedom and Liberty' ,in this culture, have a far deeper meaning.We had systems like 'SVYAMAMBER', where a bride used to select a groom for herself. Our 'Guru-Shishya' system of the past was the best example of freedom and liberty in the learning process.Honour and dignity with discipline was the central theme of this freedom. So there you  are.
            Let us now revert to 'Dharma'. The word 'religion' does not mean 'DHARMA'. You see religion in its dictionary meaning stands for temporal rituals and method of worshiping your chosen god. It tells you 'what to do' and 'how to do' in seeking unison with your god.  "Dharma", on the other hand is a 'way of life'. Religion has only temporal connotations, 'DHARMA' has religious,societal, economical,military ,familial and existentional connotations. It speaks of values,ethos, moralities, etiquettes, ethics, attitudes, postures,inclinations in a given human activity. It leaves no scope for different interprettations. And it has a very scientific way of evolving themselves.
           What you see in modern India today is cultural abberratins brought about by alien philosphies heavily dominated by religious practices. India of the past never gave importance to religion, cast and creed. Importance was given to disciplined existence of human beings.There were conflicts. But they were between "Dharma" and "Adharma"-the 'right and the wrong'. 'Right n wrong' was not decided by an individual but by the social system of the community. Zones of freedom and liberty were well defined for individuals----male n female, groups, pairs,communities, societies, polities and kingdoms.There was no free for all system of the animal societies. 'DHARMA' HAD COMMITTMENTS,DUTIES, RESPONSIBILITIES, ACCOUNTABILITIES, RESTRICTIONS, STIPULATIONS, DO'S N DON'TS ON ALL SPHERES OF HUMAN ACTIVITY. IT DEMANDS SACRIFICES, CARE, CONCERN, HONESTY, INTEGRITY  AND LOYALTY FOR ALL RELATIONSHIPS.
           'DHARMA is thus a self binding code of conduct.  It is an unwritten contract with self to do every thing within the frame work of 'Dharma'-which is an evolved philosophy of the South Asia.Incidentally,'Dharma' is a 'Sanskrit' word and  "HINDU' is a Persian word.The latter is as foriegn as the word 'India'is. More on this in some other time. Remember, Dharma is an all encompassing self speaking philosophy, which becomes binding to follow. It is a contract.
              Why doI say,"Marriage is a social contract"? Simply put, it is a social phenomenon between two individuals. It is not an individual activity in isolation. If Marriage is a social contract,It is simply a DHARMA, as defined above. It is not and can not be an individual activity. Western social systems,though treat it as an individual phenomenon and thus apply the rules of 'jungle living'.Our marriages,no matter how they are brought about, whether arranged or the familial acceptance of emotional vibes between two individuals, they are family affairs unlike the West which are individual affairs. In our marriages, honour, respect,dignity and prestige of two families are invested.
            Therefore, marriages, in Indian context, have to operate within the given frame work of social contract, which is Dharma. It does not allow freedom to operate outside the contract.  This is the difference. Finally, what is love? To simpify: it is Loyalty (L) Orchestrated(O) Vibes(V) and  Emotions(E)experienced during a visual, platonic, physical and social interaction between two individuals . Marriage is therefore, LOVE BACKED BY DHARMA. It must honour the ethos of its route.

तुम कहो न---- एक कविता दोस्त के लिए


TUM KAHO NA----------
 
yogesh chandra by rajee kushwaha
 

     Aap kaho toh aapka pyar dila duN,
    Aap kaho uske liye ik raag bana duN;
    ---------kuchh toh kaho, O' deevaane aashik!
             Mat rote raho tum 'raanjhe' ke maafik!!
 
    Hum chand bhi tod ke laa denge;
    Teri palko pe use bithaa denge ;
    --------Kuchh meri suno, O' chhote bhai!
            Tere haal pe hame bohat daya aayi .

    Kya hua agar us ne wafa nahi ki?
    kya aap se bhai, koi khata hui thii? 
    ---------Gar hum se kabhi kaha toh hota?
              YuN piyar meN tu pagal nahi hota.

    Aap kaho abhi toh line  laga duN,
    Husan ki tum pe Bochhar kara duN.
    ---------- Magar bhool jayo usko mere bhai,
               Woh khud ko hi kabhi samajh na payi?

     Aap kaho toh piyar kuchh hum bhi kar leN,
     Is husan ke saagar meN dubki bhar leN
     ----------Magar kuchh kaho toh, kuchh kaho na?
               Yun mayoosi meN "rajee' tum baitho na?    
  


ज़रूरत-ए-हिन्दोस्तान



     "आप कैसे हो", उसने बडी ही नजाकत से पूछा?
     चुपचाप खडा उसे यूं ही बस मैं निहारने लगा;
     "कैसे हो आप", उसने फिर से प्रश्न दोहराया?
      "क्या जवाब दूं", मैं खामोश फिर सोचने लगा । 
      "कौन है यह, क्यों पूछ रहा है मेरा हाल?"
       उठने लगे मेरे जहन में बार-बार यह सवाल"
      अनजान सी आवाज और अजनबी सा चेहरा-
       कैसे पूछता मैं उसको, "क्या मन्तव्य है तेरा?" 
      "मै वक्त हूं, तेरा हमराज, ओ प्यारे हिन्दोस्तान!
       क्या अब भी नही कर पाए तुम मेरी पहचान?
       मैं करना चाह्ता हूं तुझे तेरी हरकतों से आगाह,
       तेरी गुलामी की फिर से न बन जाए यह बजह" 
     "ओह! भाषण तो तुम अच्छा दे लेते हो मेरे यार,"
     यकायक मेरे लवों से हो गई यह शव्दों की फुहार;
     "भाषण और हमदर्दी की नही है मुझे आज जरूरत-
      दिखा दो मुझे किसी कर्मठ और निष्ठावान की सूरत"


प्यार का तूफ़ान-----


1_fall-7 by rajee kushwaha



DIL-E-MANMAANI              
              Arz Kiya Hai:- 
              Khushi se jhoomti lehren saagar ke seene mein--
                            Magar woh toot jaati hai aa ke kinaron pe;
                  Dillagi ke maze har dum leta toh hai dil,
                            Magar roti rahti hain aankhen uske isharon pe;
                 Humne daikhe hain chehron ke badlte rang,
                            Aah jab bhi nikli toote huye dil ki diwaron se;
                 Lekin koi seema nahin dil ki manmani ki jaanam,
                            Hosh ud jaate hain sipahsalaaron ke. 
                                             KIYONKI:-     
            Piyar ka toofan jab Kisi dil mein chalta hai,
                            Har lamha judai ka fir khalne lagta hai.  
              Khushiyon ka ehsas hota jiske vaydon se-
                            Raaton ko preshaan kar de apni yaadon se,
              Unse har dum milne ko dil khoya rahta hai,
                             Piyar ka toofan jab kisi dil mein chalta hai,
                             Har lamha judai------------------------- 1.
               Har dharkan, har saans pe jo raaz karta hai,
                             Deewangi ki hud tak dil uspe hi marta hai;
               Kuchh bhi naseehat de koi par bus na chalta hai,
                            Piyar ka toofan-------------------------
                            Har lamha judai---------------------2. 
               Aisa jadoo hota hai un mithi baton mein,
                            Armaanon ka mehal banta tanha raaton mein,
                Sapnon ki duniyan mein dil to khoya rahta hai,
                            Piyar ka toofan-------------------------
                            Har lamha judai-----------------------3.

               Dil ke aaine mein toh ik tasveer hoti hai,
                            Aankhon se dilvar ki par tasdeek hoti hai;
               Khaane, peene, sone ka na khyal rahta hai,
                            Piyar ka toofan jab---------------------------
                            Har lamha Judai-----------------------------4. 
                Dil se dil ka khel yeh sadiyon purana hai,
                            'Rajee’ par is mail ka dushman zamana hai;
                Dard, gam aur aahon ka bhi kissa banta hai-
                             Piyar ka toofan--------------------------------
                             Har lamha judai-------------------------------5. 

Monday, 7 January 2013

अन्ना की आन्धी----


अर्ज किया हैः-
ईमान से रहने आया था मैं शहर में तुम्हारे,
मगर यहां तो मुझ से भी बडे कमीने है यार;
उकता के छोडना पडेगा मुझे यह शहर तेरा,  
क्योंकि शहर बाले तेरे मां के दीने है यार|
क्योंकि :-
राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो, 
उठा के सर पे चले है हम कफन दोस्तो; 
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो, 
फना होने का हमने अब इरादा कर लिया-- 
ताबूत शिकारी का भी साथ ले आए, दोस्तो।
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,
बेईमानो की देश में मनमानी चल रही--
आबाज उठाना भी मुमकिन नही है, दोस्तो;
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,
'संसद सब से बडी' अब यह दाबा हो रहा,
काली-करतूतों का चिट्ठा खुला जब, दोस्तो;
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,
देश को सदगुणों का पाठ यह पढाते रहे--
मगर दिन के उजाले में लूटा देश, दोस्तो । 
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,
क्यों गद्दी पे बिठाया 'मिट्टी के माधो' को?
कुछ कुछ माजरा समझ, यह आया दोस्तो;
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,
'माधो' दब गया है इतना एहसानो तले,
अब न आंखे, न कान, न मुंह है, दोस्तो; 
-----राह-ए-इन्साफ पे बैठे है शिकारी दोस्तो; 
कोई कोसे भ्रष्टाचार, कोई कोसता उग्रबाद,
पर सब से बुरी देश की सियासत दोस्तो । 
----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,
आम-आदमी के संयम की अब इन्तहा हो गई,
बन्दूक उठाने से रोको, किस किस को दोस्तो?
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो, 
ऐसे 'अन्ना' के नाम की आज चली है आन्धी,
  चोर-उच्चकों का जीना अब दुश्वार दोस्तो।
-----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो, 
तंग होके "राजी" लोग 'नक्स्लबादी' बन रहे,
कहीं 'अन्नबादी' उनसे न मिल जाएं दोस्तो? 
----राह-ए-ईमान पे बैठे कुछ शिकारी दोस्तो,


 ENGLISH  FONTS 

अपनी अपनी औक़ात


हर किसी की होवे, अपनी अपनी औकात है,    Har kisi ki hove, apni apni aukat hai,
कहीं ज्यादा, कही कम, इसका अनुपात है;      KhiN jyada, kahiN kumm, iska anupat hai;

बहार आए तो आए  चमन में भी  बुलबुल,      Bahaar aaye toh aaye chaman meN bhi bulbul,
टूटे आईने में लगता है सौम्य भी धूमिल;     Toote aaine meN lagta hai saumya bhi dhumil.
औरत हो या मर्द, माना दोनो इन्सान है,      Aurat ho ya mard, mana dono insan hai,
 इनकी भी होती लेकिन अलग पह्चान है;     Inki bhi hoti lekin alag pehchan hai;
गुलिस्तान को अगर तो गुल  मह्काता है ,    GulistaN ko agar toh gul mehkata hai,
वैसे ही आसमान को तारा चमकाता है।        Vaise hi AasmaN ko tara chamkata hai.


माना कि फ़ूल माला में पिरोया जाता है-     Mana ki phool ko mala meN piroya jata hai---
महापुरूषों के गले मे पहनाया जाता है;        MahapurshoN ke gale meN pehnaya jata hai;
रातों को तारा भी तो खूब टिमटिमाता है,    RaatoN ko tara bhi toh khoob timtimata hai,
चांदनी रात में अपने ही रंग भर जाता है।   Chandni raat meN apne hi rang bhar jata hai.


सही है कि गुलदान में गुल की शान है,      Sahi hai ki guldan meN gul ki bhi shan hai,
मगर यह तो केवल महक की पह्चान है;    Magar yeh to kewal mehak ki pehchan hai;
तारों की छांव में जो गीत गाए  आशिक,       TaroN ki chhanv meN jo geet gaye Aashik;
दिन का उज़ाला  बन जाए सपनो का नाशक।  Din ka ujala ban jaaye sapno ka nashak.



डाल से अलग फ़ूल का भविष्य क्या है?      Daal se alag phool ka kya bhavishya hai?
आसमान से टूटे तारे का रूप क्या है?        AasmaN se toote taare ka roop kya hai?
जैसे तेल के बिना दिया बुझ ही जाएगा,      Jaise tel ke bina toh diya bujh hi jayega,
वैसे क्या औरत के बिना मर्द जी पाएगा?     Vaise kya aurat ke bina mard jee payega?


सुन, 'ए हुसन' ! तेरी भी यही कहानी है,        Sun, E- Husan! teri bhi yehi kahani hai,
चेहरे पे झुरियां, पतन की निशानी है;            Chehre pe jhuriyaN patan ki nishani hai;
नही रहेंगे "राजी" पल जो गुज़र जाएंगे,          Nahi raheNge "Rajee" pal jo gujar jayeNge,
आज  जो दोस्त तेरे, कल बिखर जाएंगे.              Aaj jo dost tere kal bikhar jayenge.