ShringaraIntermediate

तेरा हर लफ्ज़ मेरी रूह को छूकर निकलता है

Tera Har Lafz Meri Rooh Ko Chookar Nikalta Hai

Ashok Anjum

1 min read 5 versesSoul Flute

5 verses · ~1 min

तेरा हर लफ्ज़ मेरी रूह को छूकर निकलता है. तू पत्थर को भी छू ले तो बाँसुरी का स्वर निकलता है.

कमाई उम्र भर कि और क्या है, बस यही तो है में जिस दिल में भी देखूं वो ही मेरा घर निकलता है.

मैं मंदिर नहीं जाता मैं मस्जिद भी नही जाता मगर जिस दर पर झुक जाऊं वो तेरा दर निकलता है

ज़माना कोशिशें तो लाख करता है डराने की तुझे जब याद करता हूँ तो सारा दर निकलता है.

यहीं रहती हो तुम खुशबू हवाओं की बताती है यहाँ जिस ज़र्रे से मिलिए वही शायर निकलता है.

इति

Rasa: Shringara
Stanzas: 5
Lines: 10
Reading time: ~1 min
Form: Ghazal
Metre: ghazal
Rhyme: AA BA CA DA EA

Bathed in a deeply romantic and devotional shringara rasa, the emotional atmosphere of the poem is one of sublime intimacy, transcendent love, and spiritual sanctuary. Visually, a painting of this scene would depict a lone lover moving through a mystical landscape where inanimate stones transform into melodic flutes, and every grain of dust in the wind carries the poetic essence of the beloved. The imagery implies a profound narrative of omnipresence and inner awakening, where the speaker transcends traditional religious boundaries of temple and mosque, finding their only true threshold at the feet of the beloved. The overall artistic tone is reverent, tender, and intensely lyrical, blending the earthy warmth of a ghazal with the ethereal ache of a soul utterly consumed by divine longing.

तेरा हर लफ्ज़ मेरी रूह को छूकर निकलता है (Tera Har Lafz Meri Rooh Ko Chookar Nikalta Hai), by Ashok Anjum runs to 10 lines across 5 stanzas, set as Couplets (Sher). Its governing rasa is Shringara, shaded by Shanta. The metre is ghazal. Rhyme falls as AA BA CA DA EA.

It belongs to the 1961 · 2000s span of Ashok Anjum's working life, and keeps the plain, spoken register that period is known for.

Read it for प्रेम की रूहानी अनुभूति और उसका प्रभाव and ईश्वरीय सत्ता के प्रति समर्पण. 2 words in it carry older or regional senses, so the poem rewards a second pass.

The verse is hung beside Radha and Krishna: Bathed in a warm, contemplative glow, the painting exudes an atmosphere of quiet devotion and intimate reverence within a sacred space. Radha stands gracefully before a seated Krishna inside an intricately carved stone…

Words worth pausing on

लफ्ज़: शब्द
ज़र्रे: कण

Threads

Soul Flute

The Poet

अशोक अंजुम

Ashok Anjum

1961 · 2000s

Ashok Anjum holds a highly respected place in modern Hindi literature as a devoted guardian of lyrical traditions. Born in 1958 in Aligarh, he dedicated his creative life to enriching the Navgeet, Doha, and Ghazal forms. At a time when contemporary poetry heavily favored free verse, Anjum insisted on the necessity of rhythm and classical structure. He writes with profound sensitivity about changing human values, rural displacement, and the moral decay of modern society. Beyond his own poetic output, he has been a prominent editor and a guiding force in reviving the literary prestige of the Aligarh region. His verses carry the quiet dignity of a man who observes the world deeply, using gentle melodies to deliver razor sharp social critique.