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Main kuch kuch bhulta jata hoon ab tujhko.flv/// nazm by Gulzar

The phrase "Main kuch kuch bhoolta jaata hoon ab tujhko" (मैं कुछ कुछ भूलता जाता हूँ अब तुझको), which translates to "I am slowly forgetting you now," is deeply characteristic of the profound and often melancholic poetry of Gulzar Sahab.

While a specific full-length video explaining this single line by Gulzar may not be readily available (as the search results show related poetry content), we can analyze the meaning and context in which he would typically use such a powerful expression.

Explanation of the Feeling

The phrase encapsulates a complex mix of loss, healing, and reluctant acceptance in a separation or breakup.

1. The Pain of Transition ("Kucch Kucch" - Slowly)

• Meaning: The use of "kuch kuch" (slowly/bit by bit) is crucial. It signifies that the forgetting is not sudden or forceful, but a gradual, painful process. The narrator is not happy to forget; they are merely acknowledging the sad reality that memory is fading over time.

• Gulzar's Style: This reflects Gulzar's mastery of using simple, everyday words to convey immense emotional depth. The slow fading of memory often hurts more than a clean, immediate break.

2. The Shift from Passive to Active (Jaata Hoon - I am going)

• Meaning: The phrase "bhoolta jaata hoon" implies an ongoing, active state of forgetting. It suggests the narrator is a weary traveler on the path of forgetting. It's not "I have forgotten you," but "I am in the process of forgetting you."

• Thematically: This theme often appears in his works dealing with the passage of time, where memories are the only remnants of a lost relationship, and the character is fighting to hold onto them even as they slip away.

3. The Reluctant Acceptance

• Subtext: The line acknowledges a crucial moment in heartbreak: the point where the pain starts to dull and the beloved's image begins to blur. It is a moment of sadness because forgetting means the end of the connection, even if the connection was only in memory.

Context in Gulzar's Poetry

Gulzar's poems often treat memories as physical, tangible things. This line is likely part of a longer poem where the narrator details what exactly they are forgetting:

• Perhaps they are forgetting the sound of the person's voice, the details of their handwriting, or the smell of their favourite perfume.

• This detailed description of the fading memories would serve to make the final statement—"I am slowly forgetting you"—even more heartbreaking.

In short, this quote is a beautiful, melancholic acknowledgment of the sad, slow process of moving on from a profound love.

(This video is posted by channel –  Atif Vohra on YouTube, and Raree India has no direct claims to this video. This video is added to this post for knowledge purposes only.)

सपने.......

मैंने 
सपने खरीदे हैं 

तरह तरह के सपने  …
कुछ महंगे …
कुछ सस्ते …
कुछ झूठे …
कुछ सच्चे …

कुछ सच मुच 
सच मुच बहुत अच्छे  !!

लेकिन अफ़सोस 
मेरी आँखों में 
कोई फिट नहीं बैठता 

अब 
मेरे सामने है
मेरे सपनों का ढेर 
और -एक सवाल 

है कोई…
जो तराश सके  ?

या आँखें 
या सपने  !!


(मंजू मिश्रा )

Ab umr ki naqdi khatm huyi by Ibn-e-Insha

Ab umar ki naqdi khatam huyi 

ab hum ko udhaar ki haajat hai 

hai koi jo sahokaar bane? 

hai koi jo dewan haar bane? 

kuch saal maheene din logon! 

par sood biyaj ke bin logo! 

haan apni jaan ke khazane se 

haan umer ke tosha-e-khane se 

kya koi bhi sahokaar nahi? 

kya koi bhi dewan haar nahi? 

jab naam udhaar ka aaya hai 

kyun sab ne sar ko jhukaya hai 

kuch kaam hamein niptaane hain 

jinhen janne waale jane hain 

kuch pyar dulaar ke dhande hain 

kuch jag ke doosre phande hain 

hum mangte nahi hazaar baras 

dus paanch baras do chaar baras 

haan sood boyaaj bhi de leinge 

haan aur khiraaj bhi de leinge 

asaan bane dushwaar bane 

par koi to dewan haar bane 

tum kon tumhara naam hai kya? 

kuchhum se tum ko kaam hai kya? 

kyun is majme me aaye ho? 

kuch maangte ho?kuch laye ho? 

teh kaarobaar ki bateen hain 

yeh naqad udhaar ki bateen hain 

hum bethain hain kashkool liye 

sab umar ki naqdi khatam kiye 

gar shair ke rishte aaye ho 

tab samjho jald judai ho 

ab geet gaya sangeet gaya 

haan shair ka mousam beet gaya 

ab patjhar aayi paat girey 

kuch subha girey kuch raat girein

yeh apne yaar purane hain 

ik umer se hum ko jaane hain 

in sab ke paas hai maal bohat 

haan! umer ke maah-o-saal bohat 

in sab ko humne bulaya hai 

aur jholi ko phelaya hai 

tum jao, insey baat karein 

hum tum se na mulaqaat karein

kya paanch baras? 

kya umer ke apne paanch baras? 

tum jaan ki thaili laye ho? 

kya pagal ho soodai ho? 

jab umer ka aakhir aata hai 

har din sadiyaan ban jata hai 

jeene ki hawis hi nirali hai 

hai koun jo issey khaali hai 

kya mout se pehle marna hai? 

tum ko to bohat kuch karna hai 

phir tum ho hamari koun bhala 

Haan tum se hammara kiya Rishta??

Kiya sood byaaj ka laalach hai?

Kisi aur kharaaj ka laalach hai?

Tum sohni ho, man- mohni ho!

Tum ja ker poori umr jeeyoo!

Yeah paanch baras yeah chaar baras

Chhin jayein tou laggeiN hazar baras

Sub dost gaye sub yaar gaye

They jitnay sahookaar gaye

Bus Eik yeah naari bethi hai!

Yeah kon hai?kiya hai? kaisi hai?

HaaN ummr hummeiN darkaar bhi hai

HaaN jeenay se hummeiN pyaar bhi hai

Jab maaNgeiN jeevan ki ghaRiyaaN

"Gustaakh AkhiyaaN kith Ja laRiyaaN"

Hum qarz tummeiN lauta deinge

Kuch aur bhi ghaRiyaaN la Deinge

Ju Saa'at-o mah-o saal nahiN

Wo ghaRiyaaN jin ko zavaal nahiN

Lo Apnay Ji MeiN Utaar Liya

Lo Hum Nay Tum Se Udhaar Liya...

 Ibn-e-Insha

The poem uses the metaphor of a Sahokaar (Money Lender) and Naqdi (Cash) to represent the transaction of life and time.

Section 1: The Request for a Loan

The narrator begins with a stark realization of his mortality and the depletion of his life's savings:

• "Ab umar ki naqdi khatam huyi / ab hum ko udhaar ki haajat hai..." (The cash of my age is now finished / now I have a need for a loan...)

  • Explanation: The poet equates his life span with a bank account that has run dry. He urgently needs more time, which he frames as a loan.

• "hai koi jo sahokaar bane? / hai koi jo dewan haar bane?" (Is there anyone who can be a money-lender? / Is there anyone who can be a giver?)

  • Explanation: He pleads with an unknown entity (perhaps God, life, or the universe) for an extension.

• "kuch saal maheene din logon! / par sood biyaj ke bin logo!" (A few years, months, days, people! / But without interest or profit, people!)

  • Explanation: He makes a simple request for time, hoping to avoid the heavy price (interest) of borrowed time.

Section 2: The World's Silence

The narrator's request is met with silence, leading to reflection on unfinished business:

• "kya koi bhi sahokaar nahi? / kyun sab ne sar ko jhukaya hai..." (Is there no money-lender? / Why has everyone lowered their head...)

  • Explanation: When the topic of lending time (life) comes up, everyone (representing his peers or the world) turns away, acknowledging the impossibility of the request.

• "kuch kaam hamein niptaane hain... / kuch pyar dulaar ke dhande hain / kuch jag ke doosre phande hain" (I have some tasks to complete... / some business of love and affection / some other worldly traps/dealings)

  • Explanation: He justifies his need for more time by listing the unfulfilled emotional tasks—the gentle dealings of life and love he still needs to attend to.

Section 3: Negotiation and Desperation

His plea becomes more desperate, showing he is willing to pay any price:

• "hum mangte nahi hazaar baras / dus paanch baras do chaar baras" (I am not asking for a thousand years / just ten, five, two, or four years.)

• "haan sood boyaaj bhi de leinge / haan aur khiraaj bhi de leinge" (Yes, I will give the interest too / Yes, I will also give the tax/tribute.)

  • Explanation: He retracts his earlier request for a free loan and is now willing to pay the price—be it sood (interest) or khiraaj (tribute/tax)—for a short extension.

Section 4: The Intruder and the Friends

A sudden shift introduces an unexpected presence and dismisses his initial audience:

• "tum kon tumhara naam hai kya? / kyun is majme me aaye ho?" (Who are you, what is your name? / Why have you come to this gathering?)

  • Explanation: He confronts someone new who has entered the "gathering" of his financial crisis (his friends/peers).

• "ab geet gaya sangeet gaya / haan shair ka mousam beet gaya... / ab patjhar aayi paat girey" (Now the song is gone, the music is gone / Yes, the season of poetry is over... / Now autumn has come, the leaves have fallen.)

  • Explanation: He uses the metaphor of autumn to describe his age, signaling the end of his prime creative life.

• "tum jao, insey baat karein / hum tum se na mulaqaat karein" (You go, I will speak to them / I will not meet with you.)

  • Explanation: He tells the intruder to leave, preferring to deal with his old friends (yaar purane), who possess umer ke maah-o-saal (the months and years of age), hoping one of them will offer him time.

Section 5: The Recognition and The Twist

The poem reaches its emotional climax as the old friends flee, leaving only the intruder:

• "Sub dost gaye sub yaar gaye / They jitnay sahookaar gaye" (All friends left, all lovers left / All the money-lenders left.)

• "Bus Eik yeah naari bethi hai! / Yeah kon hai? kiya hai? kaisi hai?" (Only this one woman is sitting! / Who is she? What is she? How is she?)

  • Explanation: His peers, who had plenty of time, all fled when asked to share. The only one left is the mysterious, beautiful woman he had initially dismissed.

• "Tum sohni ho, man-mohnni ho! / Tum ja ker poori umr jeeyoo!" (You are beautiful, heart-stealing! / You go and live your full life!)

  • Explanation: He sees her youth and urges her not to sacrifice her precious years, acknowledging the value of the time he is asking for.

Section 6: The Final Deal

The poem concludes with the narrator realizing that only love and affection can truly offer an extension of life, not money or logic:

• "Jab maaNgeiN jeevan ki ghaRiyaaN / "Gustaakh AkhiyaaN kith Ja laRiyaaN" (When I ask for the moments of life / "Where did the naughty eyes go and fight [i.e., meet]?)

  • Explanation: This line suggests the woman is his beloved, and the memory of their loving gaze is what brings life back.

• "Hum qarz tummeiN lauta deinge / Kuch aur bhi ghaRiyaaN la Deinge" (I will return the loan to you / I will bring you some more moments.)

• "Ju Saa'at-o mah-o saal nahiN / Wo ghaRiyaaN jin ko zavaal nahiN" (Those moments that are not hours, months, or years / Those moments which have no end [decay].)

  • Explanation: He promises to repay her not with time itself, but with eternal, timeless moments of love and memory—moments of joy that defy the decay of age.

• "Lo Apnay Ji MeiN Utaar Liya / Lo Hum Nay Tum Se Udhaar Liya......" (See, I have absorbed it within my soul / See, I have taken the loan from you...)

The "loan" is ultimately taken from his beloved's essence, suggesting that the best part of living longer is the love and emotional fulfillment it brings, which is the only thing that can truly conquer the fear of death.

Tumhein humse mohabbat hai

Bohat Muddat Say Aesa Hai

Keh Tum Khamosh Rehtay Ho

Koii Gehra Hai Ghum Shayed 

Jisay Chup Chaap Sehtay Ho 

Yoon Hi Chaltay Huye Tanha 

Koii Ghumgeen Sa Nagma

Tum Akser Gungunaatay Ho 

Douraan -e- Guftagu Yun Hi 

Mili Nazron Say Jab Nazrain 

Tu Baatain Bhool Jaate Ho 

Kaise Gum Sum Si Haalat Mein 

Ya Phir Barish Ke Mousam Mein 

Faqat Itna Hi Kehte Ho 

Udaasi Be-Wajah Si Hai 

Bohat Bojhal Tabiyat Hai

Bhala Sach Kyun Nahi Kehte 

" Tumhay Mujh Se Mohabbat Hai "

Unknown

Sunn....ek Nazm

Usney kaha sunn!
Aehad nibhaney ki Khaatir mat aana
Aehad nibhaaney vaale aksar majaburi ya
Mahjuri ki thakan se lauta karte hain
Tum jaao aur dariya-dariya pyaas bujhaao
Jin aankhon mein Doobo
Jis dil mein bhi utro
Meri talab awaaz na degi
Lekin jab meiri chahat aur meri Khwahish ki lau
Itni taiz aur itni oonchi ho jaaye
Jab dil ro dey
Tab laut aanaa.....

Unknown

Explanation of the Nazm: The Ultimate Freedom

Line 1-4: Rejecting Obligation

• "Usney kaha sunn! / Aehad nibhaney ki Khaatir mat aana" (She/He said, listen! / Do not come merely for the sake of fulfilling a promise.)

  • Explanation: This sets the central theme: the speaker refuses to accept love based on duty or a contract (Aehad - promise/oath). They want the lover to be genuinely free in their choice.

• "Aehad nibhaaney vaaley aksar majaburi ya / Mahjuri ki thakan se lauta karte hain" (Those who fulfill promises often return out of helplessness or / the fatigue of separation.)

  • Explanation: "People who keep promises often return because of helplessness or because they are tired of being separated."

    Detailed Breakdown:

    The speaker is reflecting on the common (and often disappointing) nature of people who come back after a long absence:

    1. The Problem with "Majaburi" (Helplessness/Compulsion):

    • "Aksar majaburi se lauta karte hain" means: "They often return because of compulsion."

    • What this means: The person isn't coming back because they truly missed the speaker or realized their mistake. They are coming back because:

      • Their new path didn't work out.

      • They failed to find happiness elsewhere.

      • They need the stability, comfort, or convenience the speaker offered.

    • The speaker's objection: A return out of "majaburi" is not love; it's a desperate retreat. The speaker does not want to be a fallback option or a safe harbor for someone who has nowhere else to go.

    2. The Problem with "Mahjuri ki Thakan" (Fatigue of Separation):

    • "Mahjuri ki thakan se lauta karte hain" means: "They return because they are tired of separation."

    • What this means: "Mahjuri" is the feeling of being cut off or separated. The "thakan" (fatigue) is the exhaustion, loneliness, or boredom that comes from being alone for too long.

    • The speaker's objection: The person is returning just to end their own loneliness, not because they are drawn by the unique love of the speaker. They are trying to soothe their own weariness. The speaker wants to be a destination, not just a cure for fatigue.

Line 5-8: Granting Absolute Freedom

• "Tum jaao aur darya darya pyaas bujhaao" (You go and quench your thirst from river to river.)

  • Explanation: This is a dramatic license, giving the lover permission to explore, experience life, and seek other forms of satisfaction (pyaas bujhaao - quench thirst). It's an affirmation of the lover's freedom to explore other relationships.

• "Jin aankhon mein Doobo / Jis dil mein bhi utro" (In whichever eyes you drown / In whichever heart you reside.)

  • Explanation: An unprecedented level of trust and emotional release. The speaker is sanctioning the other person's search for connection, no matter how deep or intimate it becomes with others.

• "Meri talab awaaz na degi" (My longing will not call out to you.)

  • Explanation: The speaker vows to contain their own need and jealousy. They promise that their longing (talab) will remain silent, putting no emotional pressure on the traveler.

Line 9-11: The Condition for Return (True Desire)

• "Lekin jab meiri chahat aur meri Khwahish ki lau / Itni taiz aur itni oonchi ho jaaye" (But when the flame of my love and my desire / becomes so intense and so high...)

  • Explanation: Here is the condition. The lover must return, not when they are tired, but when the speaker's own longing reaches a pinnacle of emotional intensity. The signal for return is not the traveler's need, but the intensity of the one waiting.

• "Jab dil ro dey / Tab laut aanaa..." (When the heart cries out / Then return.)

  • Explanation: This is the most profound line. The speaker sets the heartbreak of the one waiting as the signal. The lover should return only when the passion and true love of the one waiting is so strong that it causes an involuntary emotional response (dil ro dey). This ensures the return is met with a pure, overwhelming torrent of genuine feeling, not obligation.

Conclusion: The Meaning

The Nazm is a testament to a non-possessive, unconditional love. It tells the beloved:

"I love you so much that I want you to be absolutely certain I am your choice. Go and explore everything. I will not pressure you. But when you feel my love—the raw, undeniable power of my longing—drawing you back, then and only then should you return."

Tumhari qabr per......Nida Fazli's nazm on death of his father

Nida Fazli wrote this nazm at the death of his father. He was not able to reach the burial coz of some reasons and he paid his tribute to his father in diz Nazm....

Tumhari qabr per main
Fateha parhne nahi aaya

mujhe maaloon tha, tum marr nahi sakte
tumhari maut ki sachi khabar
jis ne uraaii thi, woh jhoota tha
woh tum kab the?
koi sookha hua pattaa, hawa mein gir ke toota tha.

meri aankhein
tumhare manzaron mein qaid hain ab takk
main jo bhi dekhta hoon, sochta hoon
woh, wohi hai
jo tumhari nek-naami aor bad-naami ki duniya thi

kaheen kuch bhi nahi badla

tumhare haath meri ungliyun mein saans lete hain
main likhne ke liye jab bhi, qalam kaagaz uthaata hoon
tumhein baitha hua main
apni hi kursi mein pata hoon

badan mein mere, jitna bhi lahu hai
woh tumhari
lagzishon, na-kaamiyun ke saath behta hai
meri awaz mein chup ker, tumhara zehn rehta hai

meri beemariyun mein tum,
meri laa-chaariyun mein tum

tumhari qabr per jis ne tumhara naam likha hai
woh jhoota hai
tumhari qabr mein, main dafn hoon
tum zinda ho !
tum zinda ho !
mile fursat kabhi to Fateha parhne chale aana...

(Nida Fazli)