Top 10 Shayari by Ibn e Insha: A Journey Through His Wit and Wisdom

                       Ibn-e-Insha, real name Sher Mohammad Khan, was born on June 15, 1927, in Phillaur tehsil of Jalandhar District, Punjab. He was a renowned poet, columnist, humorist, translator, and significant figure in Urdu literature. He completed his education at Punjab University and later earned an MA in Urdu from Karachi's Urdu College in 1953. After migrating to Pakistan in 1947, he contributed extensively to the literary world, particularly through his columns in Anjam newspaper under the title "Batein Insha Ji."

A passionate writer, Insha also represented UNESCO in Pakistan on educational content matters. His literary contributions span poetry, humor, travelogues, and translations, with notable works such as Chand Nagar, Is Bastī Ke Ik Kooche Mein (poetry), Bloo Ka Basta (children's poetry), Duniya Gol Hai, Aawara Gard Ki Diary (humor), Chalte Ho To Cheen Ko Chaliye, Ibn-e-Battuta Ke Taqabum Mein (travelogues), Sahar Hone Tak (translation of a Russian novel), Insha Ji Ke Khutoot, and Nagri Nagri Phira Musafir. Ibn-e-Insha passed away in London on January 11, 1978, leaving a legacy of humor, poignant emotions, and literary brilliance. Here, let's remember his legacy by going through this list of "Top Ten Shayari by Ibn-e-Insha":

1) انشا جی اٹھو, اب کوچ کرو, اس شہر میں جی کو لگانا کیا
وحشی کو سکوں سے کیا مطلب, جوگی کا نگر میں ٹھکانہ کیا

Translation:

"Insha G, rise up, now move on, What is the point of staying in this city?
What does the savage care for peace? What is the place of a yogi in a worldly town?"

Explanation:

This couplet by Ibn-e-Insha conveys a sense of spiritual disillusionment and detachment from worldly concerns. The poet uses two striking characters: the savage and the yogi, as metaphors to express his feelings of alienation in the materialistic world.

• "Insha ji, rise up, now move on": This line is a call to action for Ibn-e-Insha himself, urging him to rise above the distractions and limitations of worldly life, suggesting that there is no reason to stay in a place that does not bring fulfillment.

• "What is the point of staying in this city?": The poet feels disconnected from the city, hinting that staying in such an environment is meaningless. The word "city" could symbolize the materialistic world where the soul does not find peace.

• "What does the savage care for peace?": The savage here is a metaphor for someone wild and untamed, someone who has no desire for the tranquility that peace offers. The poet contrasts the savage’s indifference to the idea of peace with the yogi, who seeks inner peace.

• "What is the place of a yogi in a worldly town?": The yogi, representing a person who renounces worldly pleasures for spiritual peace, cannot find a place in a materialistic society. The poet here questions the compatibility of spiritual seekers with the distractions and chaos of worldly life.

Poetic Devices:

1. Metaphor: The "savage" (وحشی) and "yogi" (جوگی) serve as metaphors for two contrasting figures—the wild, worldly person who doesn’t care for peace and the spiritually detached individual who seeks peace but finds no place in worldly life.

2. Rhetorical Questions: The questions posed in the second and third lines emphasize the poet's feelings of alienation. They reflect the idea that peace and spirituality don't belong in a chaotic, materialistic world.

3. Direct Address: The direct call "Insha ji" personalizes the message, turning it inward and urging self-reflection. This makes the poem more introspective and intimate.

This verse is one of Ibn-e-Insha’s most iconic, especially after being popularized through Mehndi Hassan’s famous qawwali rendition. The combination of profound longing and spiritual detachment, paired with the intense emotion of the qawwali, gives the poetry an enduring resonance with audiences, making it a celebrated piece in both literary and musical traditions.

2) دل ہجر کے درد سے بوجھل ہے, اب آن ملو تو بہتر ہو
اس بات سے ہم کو کیا مطلب, یہ کیسے ہو, یہ کیوں کر ہو

Translation:

"My heart is heavy with the pain of separation, It would be better if you came now.
What does it matter to us, How it happens, or why it happens?"

Explanation:

This couplet by Ibn-e-Insha poignantly expresses the torment of love and separation. The poet speaks to the depth of emotional pain caused by being apart from a loved one, coupled with a sense of helplessness or resignation to the circumstances.

• "The heart is heavy with the pain of separation": The poet begins by describing a heart weighed down by the pain of separation (ہجر کے درد). The heaviness of the heart is a metaphor for the overwhelming emotional burden of longing for a loved one. This line evokes a universal sentiment that anyone who has experienced separation can relate to.

• "It would be better if you came now": The poet expresses a longing for reunion, and the phrase "if you came now" suggests a sense of urgency and a desperate desire for the lover's return. The simple phrasing reflects how deeply the speaker craves the presence of the beloved.

• "What does it matter to us": This line introduces a shift, showing a resignation to the situation. The speaker implies that the "how" and "why" of the reunion are no longer important. What matters is the reunion itself, regardless of the circumstances or explanations.

• "How it happens, or why it happens?": This rhetorical question underlines the poet's indifference to the reasons behind the reunion. The poet asks his beloved to come back no matter how he comes back and why. The emotional yearning has reached such an intensity that the details no longer matter—the only thing of importance is being together once more.

Poetic Devices:

1. Metaphor: The "heavy heart" (دل بوجھل) symbolizes emotional pain and longing. The metaphor of weight conveys the suffocating nature of the heart’s burden during separation.

2. Rhetorical Question: The final line, "How it happens, or why it happens?" emphasizes the poet's resignation. It implies that the process of reunion is not as significant as the outcome—the return of the loved one.

3. Anaphora: The repetition of the word "how" in the last line highlights the poet's emotional surrender. The speaker is less concerned with the logistics of how or why the reunion occurs but instead desires the simple fact of it.

4. Direct Address: Though not explicit, the implied address to the beloved makes the poem intimate. The urgency of the speaker’s words reflects the deep personal connection they feel toward the subject of their longing.

This couplet is a profound reflection on the pain of love and separation, themes that Ibn-e-Insha often explored in his work. The simplicity of the language and the raw emotion captured in the verses have made it a beloved piece in Urdu poetry, particularly as it was later immortalized through music and qawwali performances. The focus on emotional depth, overthinking or questioning the "how" or "why," resonates deeply with listeners and readers, making it an enduring classic in both poetic and musical traditions.

3) جب شہر کے لوگ نہ رستہ دیں, کیوں بن میں نہ جا بسرام کرے
دیوانوں کی سی نہ بات کرے تو اور کرے دیوانا کیا

Translation:

"When the people of the city don't show the way, Why not live in the wilderness?
If one doesn’t speak like a madman, Then what else can a madman do?"

Explanation:

In this couplet, Ibn-e-Insha speaks of an individual who feels out of place in society and chooses to embrace madness or unconventional behavior. The poet reflects on societal indifference and the need for self-expression, even if it comes in the form of madness.

• "When the people of the city don't show the way": This line portrays a sense of alienation. The "people of the city" represent societal norms or the mainstream society that doesn’t offer guidance or support. The poet suggests that in such a situation, there is no clear path or direction in life, leading to confusion or disorientation.

• "Why not live in the wilderness?": The wilderness here is symbolic of a place of freedom, where the constraints of societal norms and expectations don't exist. The poet is proposing that if one cannot find their place in the structured world of the city, perhaps the wild, unstructured life outside the city may offer peace or clarity.

• "If one doesn’t speak like a madman": This line refers to the idea that in a society that does not understand or support individuality, the only way to be heard or noticed is through madness. "Speaking like a madman" signifies unconventional behavior or speaking in a manner that society considers irrational or absurd.

• "Then what else can a madman do?": The final line emphasizes the inevitability of madness or eccentric behavior. If society refuses to accept someone’s authenticity, they are left with no choice but to adopt a rebellious or unconventional stance, which is often seen as "madness" by others. The poet is pointing out the futility of conforming to societal expectations and the only recourse is to embrace madness.

Poetic Devices:

1. Metaphor: The "wilderness" (بن) symbolizes a place of freedom and escape from societal norms. It is not necessarily a literal wilderness, but a metaphor for living outside conventional expectations.

2. Rhetorical Question: The question "Why not live in the wilderness?" challenges the audience to think about the choice between conforming to society and living authentically. It serves as a reflection of the poet's frustration with societal constraints.

3. Repetition: The phrase "madman" (دیوانہ) is repeated to emphasize the theme of madness as an escape from the pressures of society. This repetition draws attention to the only available option for those who feel alienated or misunderstood.

4. Irony: The poet uses irony by presenting madness as a form of liberation. In a society where conformity is expected, madness becomes the ultimate act of defiance or self-expression, creating a stark contrast between societal expectations and individual freedom.

5. Alliteration: The repetition of the "b" sound in "بن" (wilderness) and "بات" (talk) adds a rhythmic quality to the verse, reinforcing the idea of a madman's chaotic speech and actions.

This couplet reflects Ibn-e-Insha's recurring theme of individualism and freedom in his poetry. It addresses the conflict between personal identity and societal norms, a central concern for poets who express discontent with the restrictive structures of society. The poet's words suggest that when one cannot find acceptance in the conventional world, they are forced to retreat into unconventional ways of thinking or living. The piece resonates with those who have experienced alienation or who feel that their individuality has been stifled by societal expectations.

4) کل چودہویں کی رات تھی شب بھر رہا چرچا ترا
کچھ نے کہا یہ چاند ہے, کچھ نے کہا چہرا ترا

Translation:

"It was the night of the full moon, Throughout the night, there was talk of you.
Some said it’s the moon, Others said it’s your face."

Explanation:

This couplet by Ibn-e-Insha uses the imagery of a full moon to describe the speaker’s intense admiration for someone. The moon, traditionally a symbol of beauty and allure, becomes a metaphor for the beloved’s face. The poet creates a sense of fascination and longing, as the people around him compare the moon to the beloved’s beauty, emphasizing the depth of his admiration.

• "It was the night of the full moon": The poet begins with the imagery of a full moon night, setting the scene for something beautiful and significant. The full moon is often a symbol of completeness, beauty, and serenity in poetry.

• "Throughout the night, there was talk of you": This line indicates that the speaker’s thoughts are consumed by the beloved, and the people around him are also discussing the person’s beauty. It suggests that the subject of admiration is so striking that it captures everyone’s attention, making them speak of it all night long.

• "Some said it’s the moon": Here, the poet compares the beloved’s beauty to the moon, a traditional symbol of elegance and radiance. The comparison elevates the beloved’s charm, likening it to something universally admired and envied.

• "Others said it’s your face": This line shifts the focus directly to the beloved’s face, implying that the comparison with the moon is not just an external beauty but something more intimate and personal. It highlights the subject’s face as the source of fascination, creating a sense of intimacy and connection between the speaker and the object of their admiration.

Poetic Devices:

1. Metaphor: The moon (چاند) is used as a metaphor for the beloved’s face. This is a common metaphor in classical poetry, where the moon represents beauty, elegance, and allure.

2. Imagery: The imagery of the full moon night sets a romantic and dreamy mood. The mention of "night" and "moon" evokes a sense of quiet beauty, perfect for the contemplation of love and admiration.

3. Repetition: The comparison of the beloved’s face to the moon is repeated, first in the form of "some said it’s the moon" and then "some said it’s your face." This repetition emphasizes the central theme of beauty and the all-encompassing admiration of the beloved.

4. Contrast: There is a subtle contrast between the moon as a distant celestial body and the face of the beloved, which is close and personal. This contrast highlights the unique beauty of the beloved, which surpasses even the most beautiful natural objects.

5. Alliteration: The repeated use of "چ" sounds in "چرچا" (talk), "چاند" (moon), and "چہرا" (face) creates a smooth, flowing rhythm in the verse, enhancing its lyrical quality.

This verse is a classic example of the romantic imagery often found in Urdu poetry, where the poet expresses deep admiration for the beloved, often comparing them to celestial objects like the moon. Ibn-e-Insha uses this comparison not just to highlight the physical beauty of the beloved but also to reflect the speaker’s emotional attachment and the reverence they feel. The people around the poet’s world also recognize this beauty, further elevating the beloved’s status. This couplet is often remembered for its vivid, romantic imagery and its celebration of the power of love to captivate and enchant.

5) ہم بھی وہاں موجود تھے ہم سے بھی سب پوچھا کئے
ہم چپ رہے, ہم ہنس دیئے, منظور تھا پردا ترا

Translation:

"We were also present there, Everyone asked us as well,
We remained silent, we smiled, The veil of yours was acceptable to us."

Explanation:

This couplet by Ibn-e-Insha speaks of a situation where the poet, perhaps in the presence of the beloved, chooses to remain silent yet expresses their acceptance of the beloved’s actions, even the act of concealing or maintaining a veil (symbolic of hiding). Despite the curiosity and questioning of others, the poet chooses not to reveal anything about the beloved, maintaining their secrecy. The silence and smile of the poet reflect their loyalty and respect for the beloved’s desire for privacy.

• "We were also present there": The poet mentions his presence at a particular event or situation where others were also involved. This could imply that the poet was part of a larger gathering or moment where the beloved’s actions were being observed.

• "Everyone asked us as well": The "everyone" in this line indicates that people around the poet were curious, perhaps about the nature of the relationship between the poet and the beloved. There is a sense of curiosity from others about the poet’s feelings.

• "We remained silent, we smiled": In response to the questions and attention, the poet chooses silence, which could signify an inner acceptance or an unwillingness to voice their emotions. The smile could be interpreted as a silent acknowledgment or a form of resignation, indicating that the poet is at peace with the situation despite the absence of verbal communication.

• "The veil of yours was acceptable to us": Here, the veil (پردا) explicitly represents the concealment of the beloved’s actions, perhaps their flaws, mistakes, or even their deeper truths. By stating that the veil was "acceptable," the poet shows their unwavering devotion and willingness to uphold the beloved’s dignity, no matter what is being hidden.

Poetic Devices:

1. Symbolism: The veil (پردا) serves as a direct symbol of secrecy and concealment, representing the beloved’s desire to hide their actions or emotions. It could also symbolize societal norms or the beloved’s personal boundaries.

2. Loyalty: The poet’s silence highlights their loyalty. They protect the beloved by neither questioning nor exposing what the beloved seeks to hide.

3. Irony: The irony lies in the fact that, despite being asked about the beloved, the poet chooses silence and a smile, indirectly reinforcing their own role as a protector of the beloved’s secrets.

4. Contrast: The contrast between the external curiosity (others asking questions) and the poet’s inward composure (silence and acceptance) heightens the emotional depth of the couplet.

5. Metaphor: The veil metaphorically extends beyond physical concealment, symbolizing emotional and moral complexities, as well as the poet’s ability to preserve the sanctity of the beloved’s hidden truths.

This couplet captures a moment of personal reflection in a relationship where the poet, despite being surrounded by external curiosity, chooses to remain composed and silent. The poet makes the couplet even more profound by capturing a love so selfless and respectful that the poet willingly shields the beloved's secrets, embodying the themes of devotion, understanding, and honor. The poet’s smile and silence reflect a deeper acceptance of the beloved’s ways, demonstrating a quiet understanding of love that transcends words. 

6) ہم پر یہ سختی کی نظر ہم ہیں فقیر رہگزر
رستہ کبھی روکا ترا؟ دامن کبھی تھاما ترا؟

Translation:

"Why this harsh gaze upon us? We are mere travelers, wandering in humility.
Have we ever blocked your path? Have we ever held onto your garment?"

Explanation:

This couplet reflects the poet’s gentle plea against unjust treatment by the beloved. The poet positions themselves as a humble wanderer, someone who has never caused trouble or intrusion in the beloved’s life, yet is subjected to unnecessary harshness. Through rhetorical questions, the poet seeks to remind the beloved of their innocence and the lack of any wrongdoing.

Poetic Devices:

1. The tone of Humility:
   The poet adopts a tone of humility by referring to themselves as "faqeer-e-rahguzar" (a beggar or a traveler of the road). This metaphor evokes an image of someone unassuming, insignificant, and non-threatening.

2. Rhetorical Questions:
   Both lines are structured as rhetorical questions that emphasize the poet's innocence. By asking whether they have ever blocked the beloved’s path or held their garment, the poet is subtly proving their lack of intrusion or imposition.

3. Contrast:
   There is a stark contrast between the beloved’s “harsh gaze” and the poet’s harmless demeanor. The beloved’s unjustified treatment adds to the pathos of the couplet.

4. Symbolism:

   • "Path": Symbolizes the beloved's life or journey, highlighting how the poet never obstructed it.
   • "Garment": A symbolic reference to dignity, suggesting the poet never sought to tarnish or overstep boundaries.

5. Repetition:
   The use of "Kabhi" (ever) adds rhythm and emphasizes the poet’s innocence, reinforcing the plea.

The poet might also be addressing the imbalance in their relationship with the beloved. Despite their harmlessness, the beloved’s gaze is harsh—perhaps symbolic of rejection, judgment, or disdain. This couplet touches on themes of unreciprocated love, misunderstandings, and the poet’s self-awareness of their own insignificance.

It portrays the pain of being misunderstood by someone you revere deeply and highlights a poignant sense of injustice faced by the lover.

7) کوچے کو تیرے چھوڑ کر, جوگی ہی بن جائیں مگر
جنگل ترے, پربت ترے, بستی تری, صحرا ترا

Translation:

"Leaving your street, we may become ascetics, but
The forests are yours, the mountains are yours, the settlements are yours, the deserts are yours."

Explanation:

This couplet reflects the inescapable hold of the beloved on the poet’s life and psyche. Even if the poet chooses to leave the beloved's realm and adopt the ascetic lifestyle of a "Jogi" (hermit), they realize that every corner of the world is imbued with the beloved’s essence. The poet’s attempt to escape is futile, as the beloved's presence is omnipresent, encompassing all spaces, be it nature or civilization.

Absolutely, this piece can indeed be interpreted as a reference to God or a divine presence. Let’s refine the explanation with this deeper perspective. The couplet can be understood as a reflection of the poet's spiritual struggle and surrender to the omnipresence of God. The poet, considering abandoning worldly distractions ("koocha," the street), contemplates a life of renunciation as a "jogi" (hermit). However, even in the wilderness, mountains, or deserts, the poet finds that the essence of the divine permeates everything. The realization dawns that there is no escape from the presence of God, who exists in every corner of the universe.

Poetic Devices:

1. Symbolism:

   • "Koocha" (Street): Represents the beloved’s proximity or the emotional connection the poet shares with them. It also represents attachment to the material world or the distractions of worldly life. 
   • "Jogi" (Hermit): Symbolizes detachment, renunciation, or an attempt to escape worldly ties. It symbolizes a seeker of spiritual truth who renounces the material to find the divine connection.
   • "Jungle, Parbat, Basti, Sehra" (Forest, Mountains, Settlements, Deserts): These natural and man-made landscapes symbolize the vastness of the world. The poet finds the beloved’s metaphorical presence everywhere. In spiritual meanings, the poet depicts the vast expanse of creation, all of which reflects God's presence.

2. Contrast:
   The couplet contrasts the poet’s desire to escape with the reality of the beloved’s all-encompassing influence. It highlights the futility of running away when the beloved’s presence transcends physical boundaries.

3. Repetition:
   The repetition of "tera" (yours) emphasizes the poet’s realization that the beloved’s influence is pervasive. This creates a rhythm that mirrors the inevitability of the beloved’s presence.

4. The tone of Resignation:
   The poet’s tone shifts from a hopeful resolution (leaving the street) to a resigned acceptance (the beloved is everywhere). This reflects a deeply philosophical and emotional struggle. The tone is one of humble submission, recognizing the inescapable and all-encompassing nature of God. The poet’s voice conveys awe and a sense of surrender.

5. Mysticism:
   This couplet aligns with Sufi and mystic traditions where the beloved is often a metaphor for God. The poet suggests that true renunciation is not about physical distance but about spiritual realization. God's essence is inseparable from all of creation.

6. Allusion:
   The mention of a "Jogi" alludes to mystic traditions where ascetics renounce the material world for spiritual enlightenment. Here, the poet suggests that even such renunciation would not free them from the beloved's grasp.

The couplet portrays the beloved as a divine or cosmic presence rather than just an individual. The poet recognizes the futility of seeking freedom from their love, as it has transcended the physical and become a universal truth. It reflects themes of love’s inescapable nature, spiritual surrender, and the impossibility of severing ties with the beloved, who now represents the entire universe for the poet.

By reading this through a spiritual lens, the couplet becomes a profound meditation on the relationship between humanity and God, illustrating themes of unity, divine omnipresence, and the impossibility of severing the bond with the Creator. This couplet expresses the futility of escaping divine presence, as God is not confined to specific places or forms. The poet’s journey from attachment to renunciation ultimately leads to the realization that God is everywhere—in nature, in human settlements, and even in solitude. It echoes the Sufi belief that the divine resides within and around us, making separation from God impossible. The poet is left in a state of spiritual surrender, acknowledging the universality and omnipresence of the divine.

This couplet masterfully intertwines romance with mysticism, echoing Sufi philosophies where the beloved symbolizes the divine, and every aspect of existence is a reflection of their essence.

8) ایک سے ایک جنوں کا مارا اس بستی میں رہتا ہے
ایک ہمیں ہشیار تھے یارو! ایک ہمیں بد نام ہوئے

Translation:

"In this town resides one madman after another,
We were the only sensible ones, yet we became infamous."

Explanation:

This couplet by Ibn-e-Insha is a brilliant commentary on society's tendency to stigmatize those who deviate from the norm, even slightly. The poet sarcastically remarks that in a place filled with people behaving irrationally ("جنوں کا مارا" - afflicted with madness), he stood out as the only "sensible" or rational one. Yet, ironically, instead of being appreciated, he was the one labeled infamous.

Poetic Devices:

1. Irony:
   The poet’s statement is steeped in irony. He points out that in a society full of irrational behavior, being rational or different doesn't earn respect but rather makes one a target of criticism or gossip. The madness of others becomes the norm, and rationality becomes an anomaly.

2. Hyperbole:

   • "ایک سے ایک جنوں کا مارا" (one madman after another) exaggerates the state of society, where madness or irrationality is widespread.
   • This overstatement underscores the poet's frustration with the collective irrationality of people.

3. Symbolism:

   • "جنوں کا مارا" (afflicted with madness): Represents societal chaos, herd mentality, or the inability to think critically.
   • "بدنام" (infamous): Symbolizes the social cost of being different, rational, or standing against the tide.

4. Contrast:
   The poet juxtaposes himself ("ہشیار" - sensible) against the rest of the town ("جنوں کا مارا" - mad), emphasizing the absurdity of his infamy.

5. Sarcasm:
   The poet’s tone is biting and sarcastic, highlighting his disillusionment with a society where conformity is valued more than individuality or wisdom.

This couplet sheds light on the societal phenomenon where those who challenge the status quo or refuse to conform are often ridiculed or misunderstood. It critiques the collective irrationality of people and their tendency to ostracize the very individuals who might bring a fresh perspective or rationality to the table.

On a broader level, the couplet might also reflect the poet's personal experiences of being misunderstood as a creative and critical thinker. It resonates with anyone who has felt isolated for thinking differently in a world that often celebrates mediocrity or madness disguised as the norm.

The themes of individuality, societal hypocrisy, and the struggle of being misunderstood are central to this couplet, making it timeless and relatable.

9) آن کے اس بیمار کو دیکھے, تجھ کو بھی توفیق ہوئی
لب پر اس کے نام تھا تیرا, جب بھی درد شدید ہوا

Translation:

"This ailing soul awaited your presence, and you finally showed mercy,
Your name was on their lips whenever the pain became unbearable."

Explanation:

This couplet paints a vivid image of deep, unrequited love or devotion. The poet portrays the agony of a "بیمار" (ailing person) who longs for their beloved’s presence. The arrival of the beloved seems like an act of mercy or divine intervention. The intensity of the lover's devotion is such that, even in their greatest pain, the beloved’s name is the only solace.

Poetic Devices:

1. Imagery:

   • The poet evokes a powerful image of a sick person (the lover) waiting desperately for the beloved.
   • "لب پر اس کے نام تھا تیرا" (Your name was on their lips) creates a poignant visual of undying love and longing.

2. Personification:

   • "توفیق" (mercy or divine inspiration): The beloved's arrival is depicted as a merciful act, almost elevating them to a godlike status.

3. Repetition:

   • The repeated emphasis on the beloved's name (whether literal or symbolic) highlights their significance in the lover’s life.

4. Hyperbole:

   • "جب بھی درد شدید ہوا" (Whenever the pain became unbearable): Amplifies the intensity of the lover’s suffering to convey the depth of their feelings.

5. Symbolism:

   • "بیمار" (ailing person): Represents the lover, whose emotional or physical suffering stems from separation.
   • "توفیق" (mercy): Symbolizes either the beloved’s eventual compassion or the divine intervention that brought them closer.

6. The theme of Unrequited Love:

   • The lover’s unwavering devotion contrasts with the delayed or minimal attention from the beloved, capturing the bittersweet essence of unfulfilled love.

This couplet explores themes of love, patience, and divine will. The lover’s pain is both physical and emotional, but their unwavering focus on the beloved acts as both a balm and a reminder of their suffering. The beloved’s eventual "توفیق" (mercy) could be interpreted in two ways: as a rare act of compassion from the beloved or as a metaphorical nod to the divine timing of relief.

The second line underscores the all-consuming nature of love, where the beloved's name becomes the anchor during moments of intense agony. The imagery resonates deeply with those who have experienced the duality of longing and fleeting moments of connection in love.

10) جنم جنم کے ساتوں دکھ ہیں اس کے ماتھے پر تحریر
اپنا آپ مٹانا ہوگا یہ تحریر مٹانے میں

Translation:

"The sorrows of countless lifetimes are inscribed upon their forehead,
One must erase their own self to wipe away this inscription."

Explanation:

This couplet delves into profound existential and spiritual themes, reflecting on the weight of suffering and the sacrifice required to alleviate it. The "تحریر" (inscription) of sorrows on the forehead symbolizes a destiny or burden etched into the very essence of a person. The poet suggests that only through complete selflessness or obliteration of the ego can one hope to erase these enduring sorrows.

Poetic Devices:

1. Symbolism:

   • "تحریر" (Inscription): Represents a predestined fate or deep-rooted suffering.
   • "ماتھے پر" (Forehead): A metaphor for destiny, as the forehead is often seen as a space where fate is metaphorically written.
   • "اپنا آپ مٹانا" (Erasing oneself): Symbolizes self-sacrifice, ego dissolution, or transcending the self to attain freedom from pain.

2. Hyperbole:

   • "جنم جنم کے ساتوں دکھ" (Sorrows of countless lifetimes): This exaggeration emphasizes the magnitude and perpetuity of the suffering being discussed.

3. Alliteration:

   • The repetition of sounds in "مٹانا" and "تحریر" gives the couplet a rhythmic flow.

4. The theme of Sacrifice and Redemption:

   • The couplet suggests that true redemption and relief from suffering demand an extraordinary act of selflessness.

5. Duality of Pain and Liberation:

   • The poem juxtaposes the permanence of sorrow with the transient nature of self-identity, highlighting the paradox of finding liberation through self-erasure.

6. Imagery:

   • The vivid picture of fate written on the forehead and the act of erasing oneself add a visual and almost spiritual dimension to the verse.

This couplet resonates deeply with themes of spirituality and self-realization. The "جنم جنم کے ساتوں دکھ" evokes the concept of karmic cycles, where sorrows accumulate over lifetimes. The poet points toward an almost mystical solution: relinquishing the ego ("اپنا آپ") as the path to liberation from this destiny.

In a broader interpretation, this couplet could also address the sacrifices required in love or devotion. The erasure of the self could signify giving up one's identity, desires, or individuality for the sake of the beloved or a higher purpose. The profound existential weight carried by the couplet reflects Ibn-e-Insha’s ability to blend the personal and universal, leaving readers with a sense of awe and introspection.

Conclusion:

His verses, rich in emotional depth and intellectual insight, continue to resonate with readers across generations. From themes of love and longing to spiritual awakening and existential reflections, Ibn-e-Insha's poetry offers a unique lens through which we can view the complexities of life. His words remind us of the power of expression, the beauty of self-reflection, and the depth of human emotion.

We hope this journey through his top 10 Shayari has been both enlightening and inspiring. Feel free to share your thoughts in the comments below, and don’t forget to revisit these timeless verses whenever you seek solace, wisdom, or a moment of poetic escape.

Thank you for reading, and may the words of Ibn-e-Insha continue to inspire and uplift you!