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Sher on Ruswai

Shers in this category

have had a context in love poetry. There are many occasions when lovers have to cut a sorry figure and face embarrassment. Urdu poets have exploited this idea a great deal. Here are some examples.

kaun maslūb huā husn kirdār ki ham

shohrat-e-ishq meñ badnām huā yaar ki ham

kaun maslub hua husn ka kirdar ki hum

shohrat-e-ishq mein badnam hua yar ki hum

Masood Qureshi

parda-dāroñ ne ḳhud-kushī kar

sahn jhāñkā gayā kisī chhat se

parda-daron ne KHud-kushi kar li

sahn jhanka gaya kisi chhat se

Nadeem Bhabha

kyā milā tum ko mire ishq charchā kar ke

tum bhī rusvā hue āḳhir mujhe rusvā kar ke

kya mila tum ko mere ishq ka charcha kar ke

tum bhi ruswa hue aaKHir mujhe ruswa kar ke

Unknown

baat niklegī to phir duur talak jā.egī

log be-vaj.h udāsī sabab pūchheñge

baat niklegi to phir dur talak jaegi

log be-wajh udasi ka sabab puchhenge

Kafeel Aazar Amrohvi

maiñ ise shohrat kahūñ apnī rusvā.ī kahūñ

mujh se pahle us galī meñ mere afsāne ga.e

main ise shohrat kahun ya apni ruswai kahun

mujh se pahle us gali mein mere afsane gae

Khatir Ghaznavi

koī tohmat ho mire naam chalī aatī hai

jaise bāzār meñ har ghar se galī aatī hai

koi tohmat ho mere nam chali aati hai

jaise bazar mein har ghar se gali aati hai

Anjum Khayali

hamāre ishq meñ rusvā hue tum

magar ham to tamāshā ho ga.e haiñ

hamare ishq mein ruswa hue tum

magar hum to tamasha ho gae hain

Athar Nafees

itnī rusvā.iyāñ sah haiñ to ik ye bhī sahī

ham ko manzūr he minnat-kash-e-darbāñ honā

itni ruswaiyan sah li hain to ek ye bhi sahi

hum ko manzur he minnat-kash-e-darban hona

Jameeluddin Aali

yādoñ bauchhāroñ se jab palkeñ bhīgne lagtī haiñ

soñdhī soñdhī lagtī hai tab maazī rusvā.ī bhī

yaadon ki bauchhaaron se jab palken bhigne lagti hain

sondhi sondhi lagti hai tab mazi ki ruswai bhi

Gulzar

kis qadar bad-nāmiyāñ haiñ mere saath

kyā batā.ūñ kis qadar tanhā huuñ maiñ

kis qadar bad-namiyan hain mere sath

kya bataun kis qadar tanha hun main

Anwar Shuoor

merī rusvā.ī agar saath na detī merā

yuuñ sar-e-bazm maiñ izzat se nikaltā kaise

meri ruswai agar sath na deti mera

yun sar-e-bazm main izzat se nikalta kaise

Akhtar Shumar

kam-zarf mezbān dā'vat nahīñ qubūl

thoḌī bahut pilā ke jatānā hai baar baar

kam-zarf mezban ki da'wat nahin qubul

thoDi bahut pila ke jatana hai bar bar

Anwar Shuoor

zarā der ko us ne palaT ke dekhā thā

zarā baat charchā kahāñ kahāñ huā hai

zara si der ko us ne palaT ke dekha tha

zara si baat ka charcha kahan kahan hua hai

Khurshid Rabbani

daf.atan tark-e-ta.alluq meñ bhī rusvā.ī hai

uljhe dāman ko chhuḌāte nahīñ jhaTkā de kar

dafatan tark-e-talluq mein bhi ruswai hai

uljhe daman ko chhuDate nahin jhaTka de kar

Arzoo Lakhnavi

merī shohrat ke pīchhe hai

haath bahut rusvā.ī

meri shohrat ke pichhe hai

hath bahut ruswai ka

Prem Bhandari

apnī gardan jhukā ke baat karo

tum nikāle ga.e ho jannat se

apni gardan jhuka ke baat karo

tum nikale gae ho jannat se

Nadeem Bhabha

kaise kah duuñ ki mujhe chhoḌ diyā hai us ne

baat to sach hai magar baat hai rusvā.ī

How can I say that I have been deserted by my beau

Its true but this will cause me to be shamed for evermore

kaise kah dun ki mujhe chhoD diya hai us ne

baat to sach hai magar baat hai ruswai ki

How can I say that I have been deserted by my beau

Its true but this will cause me to be shamed for evermore

Parveen Shakir

vo mere naam nisbat se mo'tabar Thahre

galī galī mirī rusvā.iyoñ sāthī ho

wo mere nam ki nisbat se mo'tabar Thahre

gali gali meri ruswaiyon ka sathi ho

Iftikhar Arif

tañg aa gayā huuñ vusat-e-mafhūm-e-ishq se

niklā jo harf muñh se vo afsāna ho gayā

tang aa gaya hun wusat-e-mafhum-e-ishq se

nikla jo harf munh se wo afsana ho gaya

Ahsan Marahravi

ḳhār-o-ḳhas-o-ḳhāshāk to jāneñ ek tujhī ko ḳhabar na mile

ai gul-e-ḳhūbī ham to abas badnām hue gulzār ke biich

KHar-o-KHas-o-KHashak to jaanen ek tujhi ko KHabar na mile

ai gul-e-KHubi hum to abas badnam hue gulzar ke bich

Ibn۔e۔Insha

ahl-e-havas to ḳhair havas meñ hue zalīl

vo bhī hue ḳharāb, mohabbat jinhoñ ne

ahl-e-hawas to KHair hawas mein hue zalil

wo bhi hue KHarab, mohabbat jinhon ne ki

Ahmad Mushtaq

us ghar badaulat mire sheroñ ko hai shohrat

vo ghar ki jo is shahr meñ badnām bahut hai

us ghar ki badaulat mere sheron ko hai shohrat

wo ghar ki jo is shahr mein badnam bahut hai

Mazhar Imam

shaġhl-e-mai fart-e-ġham meñ kyā karte

is meñ thī duḳht-e-raz rusvā.ī

shaghl-e-mai fart-e-gham mein kya karte

is mein thi duKHt-e-raz ki ruswai

Prem Shankar Goila Farhat

jo terī bazm se uTThā vo is tarah uTThā

kisī aañkh meñ aañsū kisī ke dāman meñ

jo teri bazm se uTTha wo is tarah uTTha

kisi ki aankh mein aansu kisi ke daman mein

Salik Lakhnavi

dahr fazāoñ meñ kaun raqs kartā hai

kaun kar rahā hai yuuñ aap apnī rusvā.ī

dahr ki fazaon mein kaun raqs karta hai

kaun kar raha hai yun aap apni ruswai

Kaleem Ahmadabadi

ai qais-e-junūñ-pesha 'inshā' ko kabhī dekhā

vahshī ho to aisā ho rusvā ho to aisā ho

ai qais-e-junun-pesha 'insha' ko kabhi dekha

wahshi ho to aisa ho ruswa ho to aisa ho

Ibn۔e۔Insha

ishq jab tak na kar chuke rusvā

aadmī kaam nahīñ hotā

till love does not cause him disgrace

in this world man has no place

ishq jab tak na kar chuke ruswa

aadmi kaam ka nahin hota

till love does not cause him disgrace

in this world man has no place

Jigar Moradabadi

dekhe haiñ bahut ham ne hañgāme mohabbat ke

āġhāz bhī rusvā.ī anjām bhī rusvā.ī

dekhe hain bahut hum ne hangame mohabbat ke

aaghaz bhi ruswai anjam bhi ruswai

Sufi Ghulam Mustafa Tabassum

'qamar' zarā bhī nahīñ tum ko ḳhauf-e-rusvā.ī

chale ho chāñdnī shab meñ unheñ bulāne ko

'qamar' zara bhi nahin tum ko KHauf-e-ruswai

chale ho chandni shab mein unhen bulane ko

Qamar Jalalvi

ghar se us bhī nikalnā ho gayā āḳhir muhāl

merī rusvā.ī se shohrat kū-ba-kū us bhī thī

ghar se us ka bhi nikalna ho gaya aaKHir muhaal

meri ruswai se shohrat ku-ba-ku us ki bhi thi

Zuhoor Nazar

pyaar karne bhī na paayā thā ki rusvā.ī milī

jurm se pahle mujh ko sañg-e-ḳhamyāza lagā

pyar karne bhi na paya tha ki ruswai mili

jurm se pahle hi mujh ko sang-e-KHamyaza laga

Iqbal Sajid

jis jagah baiThe mirā charchā kiyā

ḳhud hue rusvā mujhe rusvā kiyā

Interpretation: Rekhta AI

The couplet captures the irony of slander: people who gossip to ruin someone’s name expose their own smallness. The poet suggests that malicious talk rebounds on the speaker, turning their attempt at shaming into self-shame. The emotional core is a calm, cutting confidence that truth and dignity outlast backbiting.

jis jagah baiThe mera charcha kiya

KHud hue ruswa mujhe ruswa kiya

Interpretation: Rekhta AI

The couplet captures the irony of slander: people who gossip to ruin someone’s name expose their own smallness. The poet suggests that malicious talk rebounds on the speaker, turning their attempt at shaming into self-shame. The emotional core is a calm, cutting confidence that truth and dignity outlast backbiting.

Dagh Dehlvi

kahiye jo jhuuT to ham hote haiñ kah ke rusvā

sach kahiye to zamāna yaaro nahīñ hai sach

kahiye jo jhuT to hum hote hain kah ke ruswa

sach kahiye to zamana yaro nahin hai sach ka

Mushafi Ghulam Hamdani

jo kiran thī kisī darīche

markaz-e-bām ho rahī hai ab

jo kiran thi kisi dariche ki

markaz-e-baam ho rahi hai ab

Dushyant Kumar

merī rusvā.ī ke asbāb haiñ mere andar

aadmī huuñ so bahut ḳhvāb haiñ mere andar

meri ruswai ke asbab hain mere andar

aadmi hun so bahut KHwab hain mere andar

Asad Badayuni

kisī shaḳhsiyat majrūh kar

zamāne bhar meñ shohrat ho rahī hai

kisi ki shaKHsiyat majruh kar di

zamane bhar mein shohrat ho rahi hai

Ahmad Ashfaq

vo junūñ ko baḌhā.e jā.eñge

un shohrat hai merī rusvā.ī

wo junun ko baDhae jaenge

un ki shohrat hai meri ruswai

Saleem Ahmed

saarī rusvā.ī zamāne gavārā kar ke

zindagī jiite haiñ kuchh log ḳhasāra kar ke

sari ruswai zamane ki gawara kar ke

zindagi jite hain kuchh log KHasara kar ke

Hashim Raza Jalalpuri

sar phoḌ ke mar jā.eñge badnām kareñge

jis kaam se Darte ho vahī kaam kareñge

sar phoD ke mar jaenge badnam karenge

jis kaam se Darte ho wahi kaam karenge

Lala Madhav Ram Jauhar

ham tālib-e-shohrat haiñ hameñ nañg se kyā kaam

badnām agar hoñge to kyā naam na hogā

hum talib-e-shohrat hain hamein nang se kya kaam

badnam agar honge to kya nam na hoga

Shefta Mustafa Khan

log kahte haiñ ki bad-nāmī se bachnā chāhiye

kah do be is ke javānī mazā miltā nahīñ

log kahte hain ki bad-nami se bachna chahiye

kah do be is ke jawani ka maza milta nahin

Akbar Allahabadi

har-chand tujhe sabr nahīñ dard va-lekin

itnā bhī na miliyo ki vo badnām bahut ho

har-chand tujhe sabr nahin dard wa-lekin

itna bhi na miliyo ki wo badnam bahut ho

Khwaja Meer Dard

na rakhnā thā kahīñ bhī na rakkhā zauq-e-hastī ne

tamāshā karnā thā āḳhir tamāshā kar diyā mujh ko

na rakhna tha kahin ka bhi na rakkha zauq-e-hasti ne

tamasha karna tha aaKHir tamasha kar diya mujh ko

Khizr Nagpuri

ye chalan haiñ to tumheñ hashr se deñge tashbīh

log saffāk kaheñge baḌī rusvā.ī hai

ye chalan hain to tumhein hashr se denge tashbih

log saffak kahenge baDi ruswai hai

Dattatriya Kaifi

vo jo terā daaġh ġhulāmī māthe par liye phirtā hai

us naam to 'inshā' Thahrā nāhaq ko badnām hai chāñd

wo jo tera dagh ghulami mathe par liye phirta hai

us ka nam to 'insha' Thahra nahaq ko badnam hai chand

Ibn۔e۔Insha

dhuup rusvā.ī sāmān liye phirtī hai

us ko aanā thā to aa jaatā magar shaam ke baad

dhup ruswai ka saman liye phirti hai

us ko aana tha to aa jata magar sham ke baad

Qamar Suroor

nikalnā ḳhuld se aadam sunte aa.e haiñ lekin

bahut be-ābrū ho kar tire kūche se ham nikle

From Eden, of Adam's exile, I am familiar, though

Greatly humiliated from your street didI have to go

Interpretation: Rekhta AI

Ghalib contrasts Adam’s expulsion from Heaven with the lover’s dismissal from the beloved’s street. Paradise stands for ultimate honor, while the beloved’s lane becomes a personal heaven that the speaker is forced to leave. The core emotion is wounded pride: rejection in love feels more humiliating than the biblical fall itself. The exaggeration intensifies how crushing the beloved’s coldness is.

nikalna KHuld se aadam ka sunte aae hain lekin

bahut be-abru ho kar tere kuche se hum nikle

From Eden, of Adam's exile, I am familiar, though

Greatly humiliated from your street didI have to go

Interpretation: Rekhta AI

Ghalib contrasts Adam’s expulsion from Heaven with the lover’s dismissal from the beloved’s street. Paradise stands for ultimate honor, while the beloved’s lane becomes a personal heaven that the speaker is forced to leave. The core emotion is wounded pride: rejection in love feels more humiliating than the biblical fall itself. The exaggeration intensifies how crushing the beloved’s coldness is.

Mirza Ghalib

chaah chitvan merī aañkh us sharmā.ī huī

taaḌ majlis meñ sab ne saḳht rusvā.ī huī

chah ki chitwan meri aankh us ki sharmai hui

taD li majlis mein sab ne saKHt ruswai hui

Jurat Qalandar Bakhsh

kiyā kalīm ko armān-e-dīd ne rusvā

dikhā ke jalva-e-parvardigār thoḌā

kiya kalim ko arman-e-did ne ruswa

dikha ke jalwa-e-parwardigar thoDa sa

Shabbar Jilani Qamri

uchhāle jis pe malāmat ke sang logoñ ne

vajūd us muqaddas kitāb ubhrā

uchhaale jis pe malamat ke sang logon ne

wajud us ka muqaddas kitab sa ubhra

Abdul Matin Jami
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