शृंगार· Shringara
01सुनते हैं फिर छुप छुप उनके घर में आते जाते हो
Sunte Hain Phir Chhup Chhup Unke Ghar Me Aate Jate Ho
Ibn-e-Insha
5 verses · ~11 lines · 1 min
Shringara
सुनते हैं फिर छुप छुप उन के घर में आते जाते हो
Sunte Hain Phir Chhup Chhup Una Ke Ghara Me Ate Jate Ho
Ibn-e-Insha 1 min read 5 versesचोरीsecrecyवहशत
5 verses · ~1 min
सुनते हैं फिर छुप छुप उन के घर में आते जाते हो ‘इंशा’ साहब नाहक़ जी को वहशत में उलझाते हो
दिल की बात छुपानी मुश्किल लेकिन ख़ूब छुपाते हो बन में दाना शहर के अंदर दीवाने कहलाते हो
बेकल बेकल रहते हो पर महफ़िल के आदाब के साथ आँख चुरा कर देख भी लेते भोले भी बन जाते हो
पीत में ऐसे लाख जतन हैं लेकिन इक दिन सब नाकाम आप जहाँ में रूस्वा होगे वाज़ हमें फ़रमाते हो
हम से नाम जुनूँ का क़ाइम हम से दश्त की आबादी हम से दर्द का शिकवा करते हम को ज़ख़्म दिखाते हो
इति
The Poet
इब्ने इंशा
Ibn-e-Insha
1927 · 1978
Sher Muhammad Khan, immortalized under the pen name Ibn-e-Insha, was a literary wanderer who observed the world with a brilliant mix of deep melancholy and razor sharp wit. Born in 1927 in the Jalandhar district of Punjab, he migrated to Pakistan and became one of the most beloved Urdu poets and travelogue writers of his generation. His most famous ghazal Insha Ji Utho Ab Kooch Karo carries an overwhelming sense of world weariness and final departure, sung beautifully by generations of classical vocalists. Yet, alongside this intense sorrow, he authored travelogues filled with hilarious, biting satire that dissected human follies across the globe. He served in the United Nations, traveling extensively before his premature death in London in 1978. He remains the poet of the restless soul, wrapping profound existential grief inside breathtaking lyrical beauty.
Paired Painting
Simhika and Sairandhri
This masterwork captures a deeply tense and emotionally charged episode from the Mahabharata, unfolding during the final year of the Pandavas exile in disguise. Draupadi, living under the assumed identity of the maidservant Sairandhri in the court of Virata, finds herself trapped in a terrifying encounter with the evil commander Kichaka, whose advances she repeatedly spurns. Here, the scheming Simhika, sister to Kichaka, approaches Sairandhri with cunning persuasion, coaxing her to meet the infatuated general. Raja Ravi Varma masterfully contrasts the two figures, portraying Simhika with a deceptive, calculating allure, her arm outstretched in direction, while Sairandhri clings to herself in profound distress, her eyes filled with sorrow and foreboding. Through his exquisite command of European academic realism infused with Indian theatrical sensibilities, Varma immortalizes not just a mythological encounter, but the universal vulnerability and quiet resilience of a woman standing alone in peril.
Open the viewer →
If this held you
Four more, in the same key.
Chosen for their rasa and their register, not their popularity. Each one carries some part of what Sunte Hain Phir Chhup Chhup Una Ke Ghara Me Ate Jate Ho carries.
