Amir Minai kahā jo maiñ ne ki yūsuf ko ye hijāb na thā to hañs ke bole vo muñh qābil-e-naqāb na thā Mufti Ahmad Yar Khan
Amir Minai ai zabt dekh 'ishq kī un ko ḳhabar na ho dil meñ hazār dard uThe aañkh tar na ho muddat meñ shām-e-vasl huī hai mujhe nasīb do-chār saal tak to ilāhī sahar na ho ik phuul hai gulāb kā aaj un ke haath meñ dhaḌkā mujhe ye hai ki kisī kā jigar na ho DhūñDe se bhī na ma.ani-e-bārīk jab milā dhokā huā ye mujh ko ki us kī kamar na ho ulfat kī kyā umiid vo aisā hai bevafā sohbat hazār saal rahe kuchh asar na ho tūl-e-shab-e-visāl ho misl-e-shab-e-firāq nikle na āftāb ilāhī sahar na ho Alahazrat
Many naʿts composed by our esteemed ʿUlamāʾ employ metres strikingly akin, or at times identical, to those found in ghazals and other non-naʿtiyyah poetic compositions. A notable example I recently encountered is by Amir Minai, a disciple of Dagh Dihlawi Copied from Rekhta: haTāo aa.ina ummīd-vār ham bhī haiñ tumhāre dekhne vāloñ meñ yaar ham bhī haiñ taḌap ke ruuh ye kahtī hai hijr-e-jānāñ meñ ki tere saath dil-e-be-qarār ham bhī haiñ rahe dimāġh agar āsmāñ pe duur nahīñ ki tere kūche meñ mast-e-ġhubār ham bhī haiñ kaho ki naḳhl-e-chaman ham se sar-kashī na kareñ unhīñ kī tarah se bāġh-o-bahār ham bhī haiñ hamāre aage zarā ho samajh ke zamzama-sanj ki ek naġhma-sarā ai hazār ham bhī haiñ kahāñ tak aa.ine meñ dekh-bhāl idhar dekho ki ik nigāh ke ummīd-vār ham bhī haiñ sharāb muñh se lagāte nahīñ haiñ ai zāhid firāq-e-yār meñ parhez-gār ham bhī haiñ hamārā naam bhī likh lo jo hai qalam jaarī qadīm aap ke ḳhidmat-guzār ham bhī haiñ humā haiñ gird mirī haDDiyoñ ke aaTh pahr sag aa ke kahte haiñ ummīd-vār ham bhī haiñ jo laḌkhaḌā ke gire tū qadam pe saaqī ke 'amīr' mast nahīñ hoshyār ham bhī haiñ Interestingly, Mawlana Ḥasan Riḍa Khan, himself also a student of Dagh Dehlawi, composed a naʿt in precisely the same metre, frequently even drawing upon identical turns of phrase Are such instances mere coincidences, or might they be deliberate ripostes or intertextual engagements?
