Love Rain :)

Love Rain :)

Monday, August 15, 2011

Main Naashe Mein Hoon




Baheki Baheki Si Meri Kadam Hain
Dhundli Dhundli Si Hain Meri Nazar
Ek Ajnabi Si Dhun Mein Hoon Main Madhhosh
Koi Vi Dard Koi Vi Chot Se Hoon BeAssar

Kaheti Hain Zamana Hamare Pass Baithon
Tumhe Pila Ke Paimaane Urra De Hosh
Aisa Dikhade  Manzar-e-Sharara 
Ke Sare Badan Mein Aa Jaye Josh

Sharara Jalti Hain Aag-e- Touhin Mein
Haasti Hain Soch ke  Sitam-e-Naseeb
Hamne Toh Dekha Woh Roti Hain Dil Mein
Kyun ke Raqib Hain Wohi, Jo Hain Mehfil-e-Habib

Maine Toh Pee Hain Unn Aakhon ki Sharab
Woh hi Jiski Surat Pe Thi Ek Naqab
Woh Hain Chand Tanha Meri Duniya Ki
Shabnam Se Dhuli,Meri Lauti Khowab

Duniya Kahe Chahe Mujhe Deewana
Main Nehi Hoon Kisi Mein Shamil
Mujhe Kahe Log Qatil Ya Masihaa
Iss Se Akhir Kya Hota Hain Hassil

Nasha Ishq Ka Aisi Hain Yaaron
Ke Jhutha Lage Yeh Rashmein Haazaron
Dil Ki Lagan Hain Asli Matlab
Surat Chahe Apna Kitna vi Nikharon

Khusbu Aati Hain Door Se Uski
Woh Khamosi se Deti Hain Sadah
Na Hoke Bhi Pass Hain Meri Woh
Ajnabi Si Rangon Mein Dhali Uski Aadah

Nafah Nuksan Bahut Dekhi Hain
Hardin Har Saache Mein Khud Ko Bechi Hain
Khuss Karte Karte Savi Ko Humne
Na Khusiyan Kavi Apni Dekhi Hain

Jabse Woh Mili Khud Ko Bhuli Hoon
Aab Bandh Darwazen Dil Ki Khuli Hoon
Main Uski Ulfat Mein Dubyee Khubsurat Si Maiyekashe Mein Hoon
Haan Duniya Tumne Sahi Jaana
Main Meri Jaan Ki Nashe Mein Hoon

                                                                   














Sunday, August 14, 2011

THE WOMEN HOOD

                                    

Women in Hinduism

 A Courtesy Of  Wikipedia

The role of women in Hinduism is often disputed, and positions range from equal status with men to restrictive.[1] Hinduism is based on numerous texts, some of which date back to 2000 BCE or earlier. They are varied in authority, authenticity, content and theme, with the most authoritative being the Vedas. The position of women in Hinduism is widely dependent on the specific text and the context. Positive references are made to the ideal woman in texts such as the Ramayana and the Mahabharata, while some texts such as the Manu Smriti advocate a restriction of women's rights. In modern times the Hindu wife has traditionally been regarded as someone who must at all costs remain chaste or pure.[2] This is in contrast with the very different traditions that have prevailed at earlier times in 'Hindu' kingdoms, which included highly respected professional courtesans (such as Amrapali of Vesali), sacred devadasis, mathematicians and female magicians (the basavis, the Tantric kulikas). Some European scholars observed in the nineteenth century Hindu women were "naturally chaste" and "more virtuous" than other women, although what exactly they meant by that is open to dispute. In any case, as male foreigners they would have been denied access to the secret and sacred spaces that women often inhabited.[3] Mahabharata and Manusmriti asserts that gods are delighted only when women are worshiped or honoured, otherwise all spiritual actions become futile.[4]

Gender of God

There is a wide variety of viewpoints within the different schools and sects of Hinduism concerning the exact nature and gender (where applicable) of the Supreme person or being; there are even sects that are skeptical about the existence of such a being. Shaktism, for example, focuses worship on the goddess Devi as the supreme embodiment of power, or Shakti (feminine strength; a female form of God). Vaishnavism and Shaivism both worship Lakshmi with Vishnu and Parvati with Shiva respectively as beings on an equal level of magnitude (the male and female aspects of God). In some instances such as with Gaudiya Vaishnavism, specific emphasis is placed on the worship of God's female aspect (Radharani) even above that of her paramour Krishna. Thus it could be said that Hinduism considers God to have both male and female aspects, as the original source of both.
Male deities (such as Shiva and Indra) are believed, in some traditions, to themselves offer worship to the Goddess, Durga:
"O Parameshwari, (The supreme Goddess) who is praised by the husband of the daughter of Himalayas (Shri Shiva)..." "O Parameshwari, who is worshipped with true feelings by the husband of Indrani (Indra) please give us the spiritual personality, the victory, the glory and destroy our enemies."[5]
Elsewhere Shiva and Vishnu are also described as possessing feminine qualities represented through their Ardhanarishvara and Mohini forms respectively. There have also been male devotees who have claimed to be incarnations of goddesses, such as Narayani Peedam and Bangaru Adigalar of Melmaruvathur, Tamil Nadu who claim to be forms or avatars of the goddess Narayani.[citation needed]
Hindu feminists such as Phoolan Devi have also used the goddess Durga as their icon. Traditions which follow the advaita philosophy consider that ultimately the supreme being is formless without any particular gender, or is transcendental to such considerations.

Women in Rig Vedic hymns

In the marriage hymn (RV 10.85.26), the wife "should address the assembly as a commander."[6]
A Rig Veda hymn says:[7]
Rig Veda, Book 10. HYMN CLIX. Saci Paulomi.
—I am the banner and the head, a mighty arbitress am I: I am victorious, and my Lord shall be submissive to my will.
There are also verses which demean women. [8]
Rig Veda, Book 8. HYMN XXXIII. Verse 17. Saci Paulomi.
—Indra himself hath said, The mind of woman brooks not discipline, Her intellect hath little weight.
These are probably the earliest references to the position of women in Hindu society.

Status of Mothers in Hindu Scripture

 "A son must always serve his mother even if she has been an outcast."

"The professor is equivalent of ten teachers, the father is equal to hundred professors, the mother exceeds a thousand fathers."
"All other sins are expiable but he who is cursed the mother never liberated."
"An outcast father may be forsaken, but not the mother, she is never an outcast to the son".
"One conquers this world through respect for the mother, the middle religion (the firmament) through respect for the father, and through service to the preceptor one gains the region of Brahman."
"Janani Janmabhumischa Svargadapi Gariasi" i.e. The mother and the motherland are superior to heaven

Property rights

Arthashastra and Manusamhita are sources about the woman's right to property or ‘Stridhan’, (literally meaning, property of wife). It is of two types: maintenance (in money or land given by the husband), and anything else like ornaments given to her by her family, husband, in-laws and the friends of her husband. Manu further subdivides this into six types - the property given by parents at marriage, given by the parental family when she is going to her husband’s house, given by her husband out of affection (not maintenance which he is bound to give), and property given separately by brother, mother and father [Manu IX 194]. Pre-nuptial contracts are also mentioned where the groom would agree to give a set amount of brideprice to both parents and the bride. Such property belonged to the wife alone and was not to be touched by the groom or her parents except in emergencies (in sickness, in famine, threatened by robbers, or for performing holy deeds). At the same time, the Manu Smriti contradicts itself by declaring that a wife has no property and the wealth earned is for the husband [Manu VIII.416].
Daughters and sons equally inherited their mother's property; but some scriptures insist that a mother's property belongs solely to the daughters [Manu IX 131], in order of preference: unmarried daughters, married but poor daughters, married and rich daughters. When a father died, unmarried daughters had to be given a share in their father’s property, equal to one-fourth from every brother's share [since it is assumed that the married daughter had been given her share at marriage] [Manu IX. 118]. If the family has no sons, the (appointed) daughter is the sole inheritor of the property [Manu IX 127].

Study of scriptures

Several women sages and seers are mentioned in the Upanishads, the philosophical part of the Vedas, notable among them being Gargi and Maitreyi. The Sanskrit word for female teachers as Acharyā (as opposed to Acharya for teacher and Acharyini for teacher's wife) reveal that women were also given a place as Gurus.
The Harita Dharmasutra (of the Maitrayaniya school of Yayurveda) declares that there are two kind of women: Sadhyavadhu who marry, and the Brahmavaadini who are inclined to religion, they can wear the sacred thread, perform rituals like the agnihotra and read the Vedas. Bhavabhuti's Uttararamacharita 2.3 says that Atreyi went to Southern India where she studied the Vedas and Indian philosophy. Shankara debated with the female philosopher Ubhaya Bharati, and Madhava's Shankaradigvijaya (9.63) mentions that she was well versed in the Vedas. Tirukkoneri Dasyai (15th century) wrote a commentary on Nammalvar's Tiruvaayamoli, with reference to Vedic texts like the Taittiriya Yajurveda.
The Bhagavata Purana states that the Mahabharata was written specifically for women and also men who were not in the priestly Brahmin caste :
"Out of compassion, the great sage thought it wise that this would enable men to achieve the ultimate goal of life. Thus he compiled the great historical narration called the Mahabharata for women, laborers and friends of the twice-born."[9]
In several schools for Vedic priests, many graduates are women.[10]

Education

Katyayana's Varttika 125, 2477 mentions that there were female teachers of grammar. Patanjali wrote in his comments to Ashtadhyayi 3.3.21 and 4.1.14, that women undergo the thread ceremony before beginning their education, and says that women studied grammar.

Marriage

 The most sacred part of the Hindu wedding ceremony involves circumambulating the sacred fire in seven steps to a Vedic mantra where the groom addresses his wife.

In the Manu Smriti, on the other hand, 8 types of marriage are specified: two involve bedecking the bride with costly garments and ornaments before giving her away, two involve the groom's family giving a gift to the family of the bride, and the other four do not involve an exchange of gifts. According to Manusmriti there are eight different types of Hindu marriages. Among the eight types all didn't have religious sanction. The last four were not religiously defined and were condemned. These are: Brahma Marriage, Daiva Marriage, Arsha Marriage, Prajapatya Marriage, Gandharva Marriage, Asura Marriage, Rakshasa Marriage, Paishacha Marriage. In Brahma marriage, once the boy completes his Brahmacharya Ashram (religious student hood), he is eligible to get married. His parents then approach the parents or guardian of a girl belonging to a good family and ask them for the hand of their daughter for their son. The father of the girl also carefully chooses the bridegroom who is well versed in Vedas and of a noble character. This is how a Brahma marriage was arranged. The bride came with only two garments and few ornaments. According to Dharmashastras "Brahma Vivah" is the best marriage among all.``The son born of the Brahma marriage sanctifies 21 GENERATION.-(that of the Daiva marriage 14 generations that of Arsha marriage and Kayah marriage six each.')
The Manusmriti enjoins, "'Let mutual fidelity continue until death.' This may be considered the summation of the highest law for husband and wife. (Manu Smriti IX 101)
Rigvedic verses suggest that the women married at a mature age and were probably free to select their husband.[11] The wedding hymn in the Rigveda (RV 10.85.37-38) speaks of "husbands" (plural) for a single wife, but this may have a mythological character.[11]

Dowry

 The practice of dowry is not endorsed by orthodox Hinduism and "may be a perversion of Sanskritic marriage prescriptions."[12] Dowries are linked to caste status: among higher castes a dowry is expected from the girl's family; among lower caste families the dowry is paid to the girl's family.[13] As a result, the prevalence of dowry increases with the processes known as "Sanskritisation" and urbanization; abuse of the practice has thus increased in recent years.[12]

 Polygamy

Thus certain mantras in Vedas describe demerits of Polygamy.
- Rig Veda 10.105.8 compares existence of multiple wives with multiple worldly miseries.[14]
- Rig Veda 10.101.11 states that a man with two wives is pressed from both sides and weeps like a horse that neighs when pressed from both sides by spokes while driving a chariot.
- Rig Veda 10.101.11 state that two wives make life aimless.
- Atharva Veda 3.18.2 prays that may a woman never face threat of another co-wife.
However, other mantras in the Vedas seem to support polygamy.
- Rig Veda 1.62.11 states that "As yearning wives cleave to their yearning husband, so cleave our hymns to thee, O Lord most potent." [15]

Divorce

 Hinduism in general disapproves of divorce. A divorced woman is generally forced to live as a widow. However in theological terms, both the Manusamhita and the Arthashastra state that if a husband is impotent, a traitor, an ascetic or an outcast, or missing for a prescribed number of years, the wife may leave him without blame and marry again. The Arthashastra also declares that in other circumstances, divorce can take place only by mutual consent. Manu discusses situations where the wife wishes to return to her first husband, whether she has simply deserted him or married another.

Widowhood and remarriage

In traditional families, widows were, and in some cases still are, required to wear white sarees, and to give up their ornaments, including the bindi, which signifies auspiciousness. The presence of widows at religious rites in such families is considered inauspicious. Widows are expected to devote their lives to an austere pursuit of religion.[16] These restrictions are traditionally strongest in the highest castes, in which the head is frequently shaved as well. The highest castes also have severe restrictions on remarriage.[17] Such restrictions are now strictly observed only by a small minority of widows, though some degree of ritual inauspiciousness lingers.[16]
In NAsmR 12.45-48, there are three types of punarbhu, or a remarried widow: The virgin widow, the woman who abandons her husband to take up with another man and then returns to her husband, and the woman who has no brothers-in-law whom can give her offspring. Although this list is not exhaustive, it makes it clear that a punarbhu is not just any widow. Indeed, she may not have been a widow at all (as in the second case). In the other two cases, she is a childless widow, which is an important distinction. Although many texts do seem to address the remarriage of widows and sometimes permit it, it is not considered an ideal situation. A punarbhu is often not given the same rights as a woman who was married only once. The son of a punarbhu, a punarbhava, is often listed as one who is unfit to invite to a sacrifice, as is the husband of a remarried woman. The punarbhava also does not inherit as would a 'natural son'.
As of 2007, 3 per cent of the population of India consists of widows.[18] Most widows are abandoned to survive on charity, and many are reduced to begging on the streets. Some surveys show that as they are steeped in their religious beliefs and fearful of violating social customs, many widows do not wish to remarry.

Sati

Sati (as verb) is the act of immolation of a woman on her husband's funeral pyre. Sati (as noun) refers to one who either immolated herself willingly or through societal inducement and compulsion.
Sati was ideally performed as an act of immortal love, and was believed to purge the couple of all accumulated sin. (Sati was practiced by the ancient peoples of Scythia, Egypt, Scandinavia and China).[citation needed]
Though no scripture mandates sati, the Puranas, part of the Hindu Smriti, mention sati as highly meritorious in several instances. A few examples of sati are recorded in the Hindu epics, which are otherwise replete with influential widows. Some examples from the Mahabharata include:
Moreover, Kunti in the Mahabharata even had a son before marriage (Karna,given as boon by Sun God), but went on to become a queen by marrying another man (king Pandu). This tale shows that society valued women more for their qualities of intelligence, determination, loyalty and leadership over personal and private issues like pre-marital virginity. Needless to say, Kunti, in spite of her pre-marital indiscretion, not only married a king, but also remained highly respected and loved by all (family and others) throughout her entire long life, and did not choose to commit sati at the time of her husband's death.

SO ALL MY BELOVED WOMEN PLEASE ENJOY THE WOMENHOOD

YOU ARE THE WOMEN NOT AN UNDERWEAR !!!! :-)


                                                           


                                                       




 




Saturday, August 13, 2011

THE TREE

                                              
You are the Life of Mine
My Icon of live the Shadow of Divine

Your Silence Has Always Makes Me Mute
You are the Miracle of Nature a Sign of Absolute

Your Seed of Creation Is  Almost Eternal
You Rebirth Time to Time in the Form of External

Your Roots Grasp's the Soil Just like A Baby Spoil
But You Bend Your Leafy Twig's After the Stormy Toil

You are Steady in the Greenery and Quite in the Dry
You Embrace the Rain in Your Bough when the Clouds Droop's silent Cry

  By Blooming of the Erotic Flower You welcome Colorful Passionate Spring
You Suffer the Cruelty of Winter with It's Countless Frosty Sting

You Release The Breath of Air in which we are Alive and Get Refreshed
We Cut Thy Stem like an Animal to burn for Light to Warm of Our Flesh

You Conceive the Divine Fruit  with the Taste of Heaven
We Consume it As a Granted Deed Like a Seductive Food Of  Eden

Once A Time We Worshiped You As a Wisdom of  BodhGaya
But Now-a-Days You Desired as a Lusty Tree of Apple, From Abroad Not The Himalaya.

SAVE THE TREE --- M-e-Z. :-)




                                                            



Thursday, August 4, 2011

BADAL

 



Main Badal Hoon, Tumhari Badal
Asmaan ke sine Mein lipti, Aur Sarakti hui Aachal hoon
Haan Main wohi Kaali Ghata, Manchali si Paagal Hoon
Main Badal Tumhari Badal ,

Jab Suraj Apni Tapti Kirno ki Aagosh Mein
Sagar Ko Bahon Mein leke chumti hain
Jab Samandar Suraj ki Pyar Mein
Laheron Mein Machal ke Jhumti hain

Main Tab leti hoon Janam chupke se 
Nazuk si Dagmagati Safed si Dhuan

Kohre si Meri shakal Aur Namee si Narmi se
Meri Badan Hawaon ki Goad mein Anchuuah

Phir Hoti Hain meri safar shuru
Main Subhah se Sham tak Duniya ko Dekhti hoon
Kavi Asman ko chuna chahti hoon
Kavi Zameen ko Chumti Hoon
Ek Anjana Aheeshah Mein, Main Raat Din Ghumti Hoon.

Phir Tufan se Hoti Hain Meri Mulakat
Woh Le Aata Hain Mere Liyeh Pyar ka Saugat
Woh Kaheta Hain Chalo Tumhe Urra ke le Jaaye
Apni Taqat ke Bal pe Tumhe Sari Jahan Dikha laaye

Main chalti Hoon Uss ke Saath, Usski Joshile Bahon mein Samaye
Woh Mujhe Garmiyon se Jhulasti, Sukha Maidaan Dikhayee,
Mujhe Woh Sukhe Khet, Woh Pyasse Chehre Par Aati Hain Taras
Saara Maidan Var Jaaye Hariyali se, Jab Jati hoon Main Baras 

Meri Iss Nadani Par Tufan Hota Hain Naraz
Woh zor se Garaj Ta Hain Aur Na Aata Hain Baaz
Kaheta Hain Mujhse Tum Sirf Thamogi Mera Saath
Nehi Toh Main Jaunga Chhor ke Tumhari Nazuk Haath

Main Kaheti Hoon Meri vi Apni Hain ek Pahechaan
Meri vi Dil Hain Aur Meri vi Hain Kuch Armaan
Yeh Sunke Tufan Mujhe Zor se Khichta Hain
Aur Mujhe Diya Pahuchake Jahan Hain Registan

Main Kamjor Dukh se Vari Na hain Abb koi Sawari
Tapti Reat ki Laharon se Ghayel Bikhri Bikhri Meri Jawani
Mujhe Dekh ke Koi Banzara Haath Faila ke Mange Pani
Par Raheta Hain Khamosh woh bechara Jab Sunta Hain Meri Kahani

Ab Main hu Aur Meri Tanhai Na Meri hain Koi Thikana
Aise mein Na Jaane Kahan se Aata Hain Khudah Ka Parwana
Deta Hain woh Mujhe Sukun Lahera ke Thandi Shital Hawa
Uski Dilasa Aur Meherbani se Main Hoti Hoon Jawa

Khudah Mujhe Nadiya, Jharne Aur Jheelon se Karati Hain Mulakat
Yeh Saari Saheli Mujhe Pyaar se Bahelake, Deti Hain Pani Bhara Saugat
Main Khussi se Phir se Naachi Aur Meri Kismat Gayi Badal
Inn Sari Shakhiyon ko Rulake Main Phir se Gayi Nikal

Aab Main Jana chahti Hoon waha Jahan Hain Khudah Ka Ghar
Dekhi Hain Maine Duniya Dari, Duniya ki Sari Manzar
Urrte Urrte Dekha Main Samne Ek Bara sa Parbat
Sadhuon ke Jaise Karta Hain Dhayn Aur Na leta Hain Karbat

Yeh Parbat Raheta Hain Khamosh, Par Usski Sine Mein Hain Josh
Sirf Kudh ki Talash Karta Hain woh, Prabhu ke Naam Liye Madhosh
Maine Usski Daman Mein Apna Jhuka Diya Sar
Uss ne Kaha Yahan se Shuru Hota Hain Khudah Ka Dar

Main Khusi se Pagal Hoke Uss ki Pair mein Bahaya Neer
Sare Vadiyan, Sare Poolon Ke Per Ne Kaha Yahan Ruko Thori Derr
Aab Aayega Khudah Ke Bande woh Karega Tumhara Nav Nirmaan
Tum Paoge Anant Khusiyan Ki Khoj Jab Milegi Tumhe  NIRVAN !!!

THE ULTIMATE STORY OF MY INSPIRATION, MY LOVE ---- THE CLOUD. <3  :-)

M-e-Z 







Tuesday, August 2, 2011

SUKUN


                                                          


Jabse Maine Kadam Rakkha Iss Dharti pe
Ek Hi Sawal Sunti Aa Rahi Hu

Har Koi Kaheta Hain, Sab Kuch Hain Mere Pass
Par Aye Sukun Hain Kahan Tu????



Kisi ne Sukun ko Dhunda Bazar ke Beshkimat Kismon Mein
Kisi ne Ussi ko Dhunda Insan ki Pighalti Jismon Mein

Koi Dhunta hain Usse Kisi ke Dil ko Laga ke Thess
Koi sochta hain  Milegi Sukun Agar Badlu Roz Nayi Veash

Koi Kaheta Hain Mujhe Mano,Sukun Milegi Tumhe Beshak
Koi Kaheta Hain Mujhe Mango, Nehi toh tum Jaoge Thak

Kisi ne Sukun ko Khoja Karke  Dussron ki Burayee
Aur Khud Jalte Rahen Ghutaan ki Aag mein, Jab Khudse Nazar Milayee


Kisi Ne Mehboob ke Dil tora, Sukun se Hasa karke Bewafayee
Wohi Sukun Bana Chingaree, Jab Kisi ne Usko Waise hi Thukrayee



Main Kaheti Hoon Mere Pass Hain Sukun
Kyun ki Main Hoon Aur Meri Tanhayee

Phir Kyun Dhunti Hoon Koi HumRahi
Jab Chaane Lage Shaam-e-Tanhai??

Na Daulat mein Mili, Na Shahurat mein Mili
Na Ragon mein mili, Na Sahadat mein Mili



Dhund Liya Inn Aakhon ne Har ek Bagichaa
Na Kahin bhi Sukun-e-Gul ki koi vi Gul Khili

Haar ke Khudse Chora Sukun ki Talash
Sab kuch mit Gayi, Na miti Sukun Ki Aash

Jab Khudah se Pucha Toh woh Rahete Hass
Uss ne Kaha toh Hua Yeh Aheshaash

Na Kimat Mein Hain , Na Khidmat mein
Na Gulami Mein Hain, Na Hukumat mein

Na Chahat Mein Hain, Na Haasrat mein
Na Khayeraat Mein hain, Na Tejarat Mein 




Yeh Sukun hain  chipa Sirf Aur Sirf

                                      MOHABBAT Mein  !!!                  :-)  M-e-Z.
<3 

















Saturday, July 30, 2011

Mohabbat/ Love/ Ishq/ Prem

 


" Tu Ishq Hain , Tu Prem Hain, Tu Mann Hain, Tu hi Jaawani
Tu Duniya Mein Leke Aayi Hain Sadion se , Saat Rangon Ki Kahani

Tere Hi Karan Radha ne Kishan Ki Sahi Hain Barso Se Tanhai
Pike Zahar Ranaji Ki Mira, Geet Banwari ke Gaayi

Tune Majnu ko Pyassa Rakhha,Aur Laila Ko Reat Mein Bhatkayee
Aur Doob Gayee Soni Dariyah ke Pani mein, Jab Mahiwal  se hui Judai


Tere Liyeh hi Ranjha Bana Dewana ,Ho Kar Duniya se  Begana
Aur Heer ne Khoya Kaha Apni Wajood, Yeh Na Jan Saka Zamana

Tere Hi Khatir Juliet ne Kar Diyah, Kurbaan Apni Jawani
Aur Romeo ne Voka Sine mein khanjar, kiya Nissar Zindegani


Tere Chahat Mein Hoke Pagal, Paris ne Helen ko leke Bhagyee
Aur Ek hi Din mein Lut Gayee Troy Nagree, Tune Aisa Aag Lagayee


Tune Khela Aisa khel, Jo Othelo ne na Dil se Mani
Ghot Diya Gala Apni Jaan ki ,Jab Tujhse Hui Maan Mani

Tune Chalaya Aisa Nishana, ShahJahan ne li Angrayee
Dekhte hi Dekhte Bana Tajmahal, Jo hain Mumtaz ki Hain Parchayee

 Tune Bikhraya Aisa Roshni , Jis mein Doobi AmraPali
Ajatshatru ne kiya Buddh Ko salam, leke Haath mein Phoolon ke Dali

Tere Chand se Roushan hui, Tab Akbar ki Darbar Sari
Sekhu ne Jab Nivaya Rashmein Mohabbat, Aur Nachi Anarkali

Na Teri Rang Hain, Na Teri Roop hain, Na Teri Sparsh Hain , Na Teri Zaat
Tujhe Main Ek Janam Mein Samjhu, Na hain Meri Itni Aukat

Tu Sajdah Hain , Tu Sukun Hain, Tu hi Hain Meri Chahat
             Tu Jurm Hain, Tu Junoon Hain, Aur Tu hi Meri Ibadaat" ----    :-)  

<3  M-e-Z <3



 

Sunday, July 24, 2011

TUM



                                         TUM


Duniya mein Aake Do Jism mile, Tan se Tan Mile Sau Baar
Jab  Tumhe Dekha toh Aisa laga ke Khudse mile, Aur Tumse Lagaya Dil,
Haar Galiyare Main Raat Din Bhatka, Kavi Jeet mili toh kavi Haar
Jab Tumse Mulakat hui toh Aisa laga, Aaya ab Hosh ka thikana aur mil gayi Manzil,

Main Hoon Aur Main hi Hoon, Lekin Meri hain Kya?
Tumse toh Pucha Har Roz maine , Par  Khamosh Raha Tumhari hoth-e-Saaz
Jab Uvra Har Baar Jahannum se , Aur Jannat ki Khoj Mila
Tumne Muskurake Haath Barhaya chupke se,Toh samjha khamoshi ki Raaz

Suraj ki Roshni ko Roushan kiya hain Tumne,Jab Bikhraya Apni Aakhon se Tez
Unhi Tez se kiya Samandar ko Garam, Aur Nikhar diya Noor-e-Laheron ki sejh
Phir Duba Diya Duniya ko apni Aakhon ke Pani se, Jaab sansar hua Pyasaa
Samandar ke pani ko hawa mein urra ke Tumne Baarsat-e-badal bana diya

Tumne diya Har ek shaqsh ko Honsla , Tumne sab mein kiya Raham
Koi Tumhe Kaman se Urra  Diya, Kisine Talwar se kiya Zakham
Tum ne kaha karo "AHIMSA" kyun ki yehi hain sresth "DHARM"
Phir kyun Duniya kare Jung-e-Tabahi, Kare Khud pe Sitam?

Hum khudgraz hain,Bhul jate hain tumhe
Kyun ke tum nivate ho "MADHYAM MARG"
Hum Daulat ke Andhere mein Gumsudha Rahte hain
Jab ke Apni Dil mein hain Tumhari Chirag

BUDHHAM SARANAM GACCHAMI ----  M-e-Z. :-)