Side-by-Side Transcription, Transliteration, and Translation – Summary

Timestamp (Approx)	Urdu Script	Roman Transliteration	English Translation
0:00 – 0:50	(Instrumental & Alaap)	(Instrumental & Alaap)	(Instrumental & Alaap)
0:50 – 1:03	سوچا تھا تجھ سے دور نکل جائیں گے کہیں	Socha tha tujhse duur nikal jaayenge kahin	I thought I would go somewhere far away from You
1:04 – 1:16	دیکھا تو ہر مقام تیری رہگزر میں ہے	Dekha toh har maqaam teri raahguzar mein hai	[But when] I looked, every station is on Your pathway.
1:17 – 1:23	دنیا تیرے وجود کو کرتی رہی تلاش	Duniya tere wujood ko karti rahi talaash	The world kept searching for Your existence
1:24 – 1:30	ہم نے تیرے خیال کو یکجا بنا لیا	Humne tere khayaal ko yakjaa bana liya	[While] We made Your thought/remembrance our sole focus.
1:50 – 2:11	(Main Refrain – Repeated)	(Main Refrain – Repeated)	(Main Refrain – Repeated)
	ہوش و مستی سے مجھے کوئی سروکار نہیں	Hosh-o-masti se mujhe koi sarokaar nahin	With worldly consciousness or intoxication, I have no concern
	تشنہء دید ہوں، ساغر مجھے درکار نہیں	Tishna-e-deed hun, saaghar mujhe darkaar nahin	I am thirsty for the Vision (Deed), the wine cup (Saaghar) I do not require
2:12 – 2:19	مجھے خاک میں ملا کر میری خاک بھی اڑا دے	Mujhe khaak mein mila kar meri khaak bhi udaa de	Mix me into the dust, then blow away even my dust
2:20 – 2:33	تیرے نام پر مٹا ہوں، مجھے کیا غمِ نشاں ہے؟	Tere naam par mitaa hun, mujhe kya gham-e-nishaan hai?	I am annihilated in Your name, what sorrow can I have for [losing] my trace/identity?
2:34 – 3:13	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
3:14 – 3:23	اے جانِ جہاں، تو ہی تو ہے مقصودِ کائنات	Aye Jaan-e-Jahaan, tu hi toh hai maqsood-e-kaayenaat	O Life of the World! You indeed are the purpose/goal of the universe
3:24 – 3:30	میرا نشاں رہے نہ رہے، تو مگر رہے!	Mera nishaan rahe na rahe, Tu magar rahe!	Whether my trace/sign remains or not, You, however, must remain!
3:31 – 3:42	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
3:43 – 3:50	ساقی شراب لا کے پلا بھی۔۔۔ پر وہ رنگ کہاں؟	Saaqi sharaab laa ke pila bhi… par woh rang kahaan?	O Saqi, bring wine and serve it too… but where is that colour/effect?
3:51 – 3:55	ساقی شراب سے تو میں بے خود نہیں ہوا	Saaqi sharaab se toh main be-khud nahin hua	O Saqi, from [mere] wine, I did not become ecstatic (lost to myself)
3:56 – 4:08	لیکن، تیری نگاہ عجب کام کر گئی!	Lekin, teri nigaah ajab kaam kar gayi!	But, Your Gaze (Nigaah) performed a wondrous task!
4:09 – 4:19	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
4:20 – 4:25	کام کرتی ہے نظر، نام ہے پیمانے کا	Kaam karti hai nazar, naam hai paimaaney ka	It is the Gaze (Nazar) that does the work, the wine cup (Paimana) merely has the name/reputation
4:26 – 4:49	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
4:50 – 4:57	آنکھوں آنکھوں میں پلا دی میرے ساقی نے مجھے	Aankhon aankhon mein pila di mere Saqi ne mujhe	My Saqi made me drink directly from eye to eye
4:58 – 5:07	اب نہ شیشے کی ضرورت ہے، نہ پیمانے کی!	Ab na sheeshe ki zaroorat hai, na paimaaney ki!	Now there is no need for the bottle (Sheesha), nor for the cup (Paimana)!
5:08 – 5:14	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
5:15 – 5:20	سامنے سے ساقیا اب شیشہ و ساغر اٹھا	Saamne se Saaqiya ab sheesha-o-saaghar uthaa	O Saqi, remove the bottle and cup from my sight now
5:21 – 5:25	یہ تو جلوہ ہے تیری نرگسِ مخمور کا!	Yeh toh jalwa hai teri nargis-e-makhmoor ka!	This (intoxication) is the manifestation/splendor (Jalwa) of Your intoxicating narcissus-like eyes!
5:26 – 5:39	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
5:40 – 5:46	جن کو نسبت ہو تیری آنکھوں سے	Jin ko nisbat ho teri aankhon se	Those who have a connection (Nisbat) with Your eyes
5:47 – 5:56	وہ بھلا میکدے کو کیا جانیں؟	Woh bhala maikade ko kya jaanein?	How indeed would they know anything of the tavern (Maikada)?
5:57 – 6:02	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
6:03 – 6:10	میں ہوں مستِ نگاہوں کا شرابی، یارو!	Main hun mast-e-nigaahon ka sharaabi, yaaron!	I am intoxicated by the Gaze, O friends (Yaaron)!
6:11 – 6:29	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
6:30 – 6:35	لائقِ جام ہو تم، لائقِ جام ہو تم	Laaiq-e-jaam ho tum, laaiq-e-jaam ho tum	You are worthy of the cup (Jaam), You are worthy of the cup
6:36 – 6:41	میں تو پینے کے آداب نہیں جانتا!	Main toh peene ke aadaab nahin jaanta!	I don’t even know the etiquette (Aadaab) of drinking!
6:42 – 6:59	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
7:00 – 7:07	اپنے ساقی کے سوا، غیر سے مانگوں تو حرام!	Apne Saqi ke siwa, ghair se maangoon toh haraam!	To ask from anyone other than my own Saqi is forbidden (Haraam)!
7:08 – 7:29	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
7:30 – 7:40	جو میرے میکدے ڈھونڈیں، میں وہ میخوار نہیں!	Jo mere maikade dhoondein, main woh maikhwaar nahin!	Those who search for my tavern (Maikada), I am not that kind of drinker (Maikhwaar)!
7:41 – 7:59	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
8:00 – 8:07	جن کو سرکار کے نقوش سے نسبت ہو گئی	Jin ko Sarkaar ke naqoosh se nisbat ho gayi	Those who attained a connection (Nisbat) with the footprints/path (Naqoosh) of the Master (Sarkaar)
8:08 – 8:19	وہ تماشائی ہیں، گلشن کی طلبگار نہیں!	Woh tamaashayi hain, gulshan ki talabgaar nahin!	They become spectators (Tamaashayi), they are not seekers of the (worldly) garden (Gulshan)!
8:19 – 8:25	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
8:19 – 8:25	آپ سے بڑھ کے کسی اور کی چاہت ہو مجھے؟؟	Aap se badhke kisi aur ki chaahat ho mujhe??	That I should desire anyone else more than You??
8:26 – 8:39	نہیں، ایسا نہیں، ہرگز نہیں، درکار نہیں!	Nahin, aisa nahin, hargiz nahin, darkaar nahin!	No, it’s not like that, absolutely not, it is not required/needed!
8:39 – 8:40	(Refrain Repeats)	(Refrain Repeats)	(Refrain Repeats)
8:40 – 8:50	جبیں یہ سرِ عام غیر کے در پر جھکے؟ نہ بَ مولا اللہ!	Jabeen yeh sar-e-aam ghair ke dar par jhuke? Na ba-Maula Allah!	This forehead (Jabeen) should bow publicly at the door of another (Ghair)? By God, the Master, No!
8:51 – 8:53	یہ سر اب غیر کے در پر جھکے، درکار نہیں!	Yeh sar ab ghair ke dar par jhuke, darkaar nahin!	That this head should now bow at another’s door, is not required/needed!
8:54 – 9:04	کہ جس سر کی رسائی تیرے سنگِ آستاں تک ہو جائے	Ke jis sar ki rasaa’i tere sang-e-aastaan tak ho jaaye	Because the head which gains access (Rasaa’i) to Your threshold’s stone (Sang-e-Aastaan)…
9:04 – End	(Refrain Repeats & Conclusion)	(Refrain Repeats & Conclusion)	(Refrain Repeats & Conclusion)

I. Transcription (Urdu Script)

(0:00-0:50 – Instrumental & Alaap)

(0:50) سوچا تھا تجھ سے دور نکل جائیں گے کہیں
(0:56) سوچا تھا تجھ سے دور نکل جائیں گے کہیں
(1:04) دیکھا تو ہر مقام تیری رہگزر میں ہے

(1:17) دنیا تیرے وجود کو کرتی رہی تلاش
(1:24) ہم نے تیرے خیال کو یکجا بنا لیا

(1:50) Main Refrain Starts:
ہوش و مستی سے مجھے کوئی سروکار نہیں (Repeated)
تشنہء دید ہوں، ساغر مجھے درکار نہیں (Repeated)

(2:12) مجھے خاک میں ملا کر میری خاک بھی اڑا دے
(2:20) تیرے نام پر مٹا ہوں، مجھے کیا غمِ نشاں ہے؟

(Refrain Repeats)

(3:14) اے جانِ جہاں، تو ہی تو ہے مقصودِ کائنات
(3:24) میرا نشاں رہے نہ رہے، تو مگر رہے!

(Refrain Repeats)

(3:43) ساقی شراب لا کے پلا بھی۔۔۔ پر وہ رنگ کہاں؟
(3:51) ساقی شراب سے تو میں بے خود نہیں ہوا
(3:56) لیکن، تیری نگاہ عجب کام کر گئی!

(Refrain Repeats)

(4:20) کام کرتی ہے نظر، نام ہے پیمانے کا

(Refrain Repeats)

(4:50) آنکھوں آنکھوں میں پلا دی میرے ساقی نے مجھے
(4:58) اب نہ شیشے کی ضرورت ہے، نہ پیمانے کی!

(Refrain Repeats)

(5:15) سامنے سے ساقیا اب شیشہ و ساغر اٹھا
(5:21) یہ تو جلوہ ہے تیری نرگسِ مخمور کا!

(Refrain Repeats)

(5:40) جن کو نسبت ہو تیری آنکھوں سے
(5:47) وہ بھلا میکدے کو کیا جانیں؟

(Refrain Repeats)

(6:03) میں ہوں مستِ نگاہوں کا شرابی، یارو!

(Refrain Repeats)

(6:30) لائقِ جام ہو تم، لائقِ جام ہو تم
(6:36) میں تو پینے کے آداب نہیں جانتا!

(Refrain Repeats)

(7:00) اپنے ساقی کے سوا، غیر سے مانگوں تو حرام!

(Refrain Repeats)

(7:30) جو میرے میکدے ڈھونڈیں، میں وہ میخوار نہیں!

(Refrain Repeats)

(8:00) جن کو سرکار کے نقوش سے نسبت ہو گئی
(8:08) وہ تماشائی ہیں، گلشن کی طلبگار نہیں!

(Refrain Repeats)

(8:19) آپ سے بڑھ کے کسی اور کی چاہت ہو مجھے؟؟
(8:26) نہیں، ایسا نہیں، ہرگز نہیں، درکار نہیں!

(Refrain Repeats)

(8:40) جبیں یہ سرِ عام غیر کے در پر جھکے؟ نہ بَ مولا اللہ!
(8:51) یہ سر اب غیر کے در پر جھکے، درکار نہیں!
(8:54) کہ جس سر کی رسائی تیرے سنگِ آستاں تک ہو جائے

(Refrain Repeats – Final)

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II. Transliteration (Roman Script)

(0:00-0:50 – Instrumental & Alaap)

(0:50) Socha tha tujhse duur nikal jaayenge kahin
(0:56) Socha tha tujhse duur nikal jaayenge kahin
(1:04) Dekha toh har maqaam teri raahguzar mein hai

(1:17) Duniya tere wujood ko karti rahi talaash
(1:24) Humne tere khayaal ko yakjaa bana liya

(1:50) Main Refrain Starts:
Hosh-o-masti se mujhe koi sarokaar nahin (Repeated)
Tishna-e-deed hun, saaghar mujhe darkaar nahin (Repeated)

(2:12) Mujhe khaak mein mila kar meri khaak bhi udaa de
(2:20) Tere naam par mitaa hun, mujhe kya gham-e-nishaan hai?

(Refrain Repeats)

(3:14) Aye Jaan-e-Jahaan, tu hi toh hai maqsood-e-kaayenaat
(3:24) Mera nishaan rahe na rahe, Tu magar rahe!

(Refrain Repeats)

(3:43) Saaqi sharaab laa ke pila bhi… par woh rang kahaan?
(3:51) Saaqi sharaab se toh main be-khud nahin hua
(3:56) Lekin, teri nigaah ajab kaam kar gayi!

(Refrain Repeats)

(4:20) Kaam karti hai nazar, naam hai paimaaney ka

(Refrain Repeats)

(4:50) Aankhon aankhon mein pila di mere Saqi ne mujhe
(4:58) Ab na sheeshe ki zaroorat hai, na paimaaney ki!

(Refrain Repeats)

(5:15) Saamne se Saaqiya ab sheesha-o-saaghar uthaa
(5:21) Yeh toh jalwa hai teri nargis-e-makhmoor ka!

(Refrain Repeats)

(5:40) Jin ko nisbat ho teri aankhon se
(5:47) Woh bhala maikade ko kya jaanein?

(Refrain Repeats)

(6:03) Main hun mast-e-nigaahon ka sharaabi, yaaron!

(Refrain Repeats)

(6:30) Laaiq-e-jaam ho tum, laaiq-e-jaam ho tum
(6:36) Main toh peene ke aadaab nahin jaanta!

(Refrain Repeats)

(7:00) Apne Saqi ke siwa, ghair se maangoon toh haraam!

(Refrain Repeats)

(7:30) Jo mere maikade dhoondein, main woh maikhwaar nahin!

(Refrain Repeats)

(8:00) Jin ko Sarkaar ke naqoosh se nisbat ho gayi
(8:08) Woh tamaashayi hain, gulshan ki talabgaar nahin!

(Refrain Repeats)

(8:19) Aap se badhke kisi aur ki chaahat ho mujhe??
(8:26) Nahin, aisa nahin, hargiz nahin, darkaar nahin!

(Refrain Repeats)

(8:40) Jabeen yeh sar-e-aam ghair ke dar par jhuke? Na ba-Maula Allah!
(8:51) Yeh sar ab ghair ke dar par jhuke, darkaar nahin!
(8:54) Ke jis sar ki rasaa’i tere sang-e-aastaan tak ho jaaye

(Refrain Repeats – Final)

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III. English Translation

(0:00-0:50 – Instrumental & Alaap)

(0:50) I thought I would go somewhere far away from You
(0:56) I thought I would go somewhere far away from You
(1:04) [But when] I looked, every station is on Your pathway.

(1:17) The world kept searching for Your existence
(1:24) [While] We made Your thought/remembrance our sole focus (lit. made it one place).

(1:50) Main Refrain Starts:
With worldly consciousness or intoxication, I have no concern (Repeated)
I am thirsty for the Vision (Deed), the wine cup (Saaghar) I do not require (Repeated)

(2:12) Mix me into the dust, then blow away even my dust
(2:20) I am annihilated in Your name, what sorrow can I have for [losing] my trace/identity?

(Refrain Repeats)

(3:14) O Life of the World (Jaan-e-Jahaan)! You indeed are the purpose/goal of the universe (Maqsood-e-Kaayenaat)
(3:24) Whether my trace/sign remains or not, You, however, must remain!

(Refrain Repeats)

(3:43) O Saqi (Wine-bearer), bring wine and serve it too… but where is that colour/effect?
(3:51) O Saqi, from [mere] wine, I did not become ecstatic (lost to myself)
(3:56) But, Your Gaze (Nigaah) performed a wondrous task!

(Refrain Repeats)

(4:20) It is the Gaze (Nazar) that does the work, the wine cup (Paimana) merely has the name/reputation

(Refrain Repeats)

(4:50) My Saqi made me drink directly from eye to eye
(4:58) Now there is no need for the bottle (Sheesha), nor for the cup (Paimana)!

(Refrain Repeats)

(5:15) O Saqi, remove the bottle and cup from my sight now
(5:21) This (intoxication) is the manifestation/splendor (Jalwa) of Your intoxicating narcissus-like eyes (Nargis-e-Makhmoor)!

(Refrain Repeats)

(5:40) Those who have a connection (Nisbat) with Your eyes
(5:47) How indeed would they know anything of the tavern (Maikada)?

(Refrain Repeats)

(6:03) I am intoxicated by the Gaze, O friends (Yaaron)!

(Refrain Repeats)

(6:30) You are worthy of the cup (Jaam), You are worthy of the cup
(6:36) I don’t even know the etiquette (Aadaab) of drinking!

(Refrain Repeats)

(7:00) To ask from anyone other than my own Saqi is forbidden (Haraam)!

(Refrain Repeats)

(7:30) Those who search for my tavern (Maikada), I am not that kind of drinker (Maikhwaar)!

(Refrain Repeats)

(8:00) Those who attained a connection (Nisbat) with the footprints/path (Naqoosh) of the Master (Sarkaar)
(8:08) They become spectators (Tamaashayi), they are not seekers of the (worldly) garden (Gulshan)!

(Refrain Repeats)

(8:19) That I should desire anyone else more than You??
(8:26) No, it’s not like that, absolutely not, it is not required/needed!

(Refrain Repeats)

(8:40) This forehead (Jabeen) should bow publicly at the door of another (Ghair)? By God, the Master, No!
(8:51) That this head should now bow at another’s door, is not required/needed!
(8:54) Because the head which gains access (Rasaa’i) to Your threshold’s stone (Sang-e-Aastaan)…

(Refrain Repeats – Final)

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IV. Detailed Exegesis

This Qawwali is an exposition of advanced Sufi mystical concepts, charting the path of the lover (Aashiq) towards the Divine Beloved (Ma’shuq). It uses rich, traditional metaphors common in Sufi poetry, particularly from the Persian tradition.

Overall Theme: The central theme is the supremacy of direct spiritual experience and Divine Grace (often mediated through the Gaze of the Beloved or the Murshid) over external rituals, worldly consciousness, or even lower forms of intoxication. It emphasizes the annihilation of the self (Fana) and exclusive devotion (Tawhid) as prerequisites for experiencing Divine Reality.

Key Concepts and Metaphors Explained:

1. Hosh-o-Masti (Consciousness & Intoxication) & Tishna-e-Deed (Thirst for Vision):
   • The refrain immediately sets the stage by rejecting the mundane dichotomy of being soberly conscious (Hosh) or intoxicated (Masti) in the worldly sense. The mystic operates on a different plane.
   • Their state is defined by Tishnagi (intense thirst) for Deed (the Vision of the Beloved). This isn’t mere physical sight but a spiritual unveiling, a direct perception of Divine Reality.
   • The Saaghar (wine cup) symbolizes worldly means, pleasures, or even preliminary spiritual practices that rely on external aids. For the one thirsty for the ultimate Vision, these intermediaries become redundant. The Vision itself is the ultimate intoxicant.
2. Fana (Annihilation) & Baqa (Subsistence in God):
   • The opening verses (“Socha tha… Dekha toh…”) establish the omnipresence of the Beloved. The mystic realizes there’s no escaping the Divine Reality; every “station” or stage of existence (maqaam) is within the Beloved’s path (raahguzar).
   • The lines “Mujhe khaak mein mila kar…” are a powerful plea for Fana. The mystic desires not just reduction to dust (humility, mortality), but for even that dust to be scattered – complete obliteration of the individual ego and identity.
   • “Tere naam par mitaa hun…” signifies that this annihilation is in the name of and for the sake of the Beloved. Having achieved this state, the loss of personal identity (gham-e-nishaan) is meaningless.
   • “Mera nishaan rahe na rahe, Tu magar rahe!” elevates this further. The mystic’s own existence is secondary; the primary reality and desire is the eternal subsistence (Baqa) of the Beloved (Tu – You, referring to the Divine). This reflects the transition from Fana to Baqa, where the mystic lives on, but only through God.
3. The Saqi, Sharaab, and the Nigaah (Gaze):
   • Saqi (Cup-bearer): Represents the Divine source of grace, the Prophet Muhammad (PBUH), or the spiritual guide (Murshid/Sheikh) who dispenses spiritual “wine.”
   • Sharaab (Wine), Paimana (Cup), Sheesha (Bottle), Maikada (Tavern): These symbolize the means by which spiritual intoxication can be achieved, but they are secondary and potentially superficial compared to the direct experience. They can represent knowledge, rituals, or lower ecstatic states.
   • The verses contrasting wine with the Nigaah (Gaze) are crucial. Ordinary wine couldn’t induce true Be-khudi (ecstasy, being lost to self), but the Beloved’s Gaze (teri nigaah) achieved it miraculously (ajab kaam kar gayi).
   • “Kaam karti hai nazar, naam hai paimaaney ka”: The Gaze holds the real power; the cup is just a symbol, often getting undue credit. This prioritizes direct Divine Grace/Attention over methodical practices.
   • “Aankhon aankhon mein pila di…”: This signifies the most intimate and direct transmission of spiritual knowledge and intoxication – directly from the Beloved’s “eyes” (source of grace/vision) to the mystic’s heart, bypassing all intermediaries (sheesha, paimana).
   • Nargis-e-Makhmoor (Intoxicating Narcissus-like Eyes): A classic poetic trope comparing the Beloved’s captivating and intoxicating eyes to the narcissus flower. The Jalwa (splendor/manifestation) of these eyes is the source of the mystic’s state.
   • “Jin ko nisbat ho teri aankhon se… Woh bhala maikade ko kya jaanein?”: Those who have established a direct connection (Nisbat) to the source (the Gaze) find the ordinary tavern (representing worldly means or lower spiritual states) utterly irrelevant.
4. Humility and Adab (Etiquette):
   • “Laaiq-e-jaam ho tum… Main toh peene ke aadaab nahin jaanta!”: Extreme humility. The mystic feels unworthy even of the symbolic cup (jaam), acknowledging their lack of knowledge of the proper spiritual conduct (aadaab). It implies that receiving grace is purely the Beloved’s favour, not the mystic’s entitlement.
5. Tawhid (Oneness) and Exclusive Devotion:
   • “Apne Saqi ke siwa, ghair se maangoon toh haraam!”: Absolute monotheistic devotion (Tawhid). Seeking spiritual sustenance (asking) from anyone other than the true source (Apne Saqi – My Own Saqi) is strictly forbidden (Haraam). Ghair means ‘other’.
   • “Aap se badhke kisi aur ki chaahat ho mujhe?? Nahin…”: Vehement rejection of any love or desire superseding the love for the Divine (Aap – You, respectful term for the Beloved).
   • “Jabeen yeh sar-e-aam ghair ke dar par jhuke? Na ba-Maula Allah!”: A powerful declaration of loyalty. The forehead (Jabeen), symbolizing submission, will not bow publicly (sar-e-aam) at the door (dar) of any ‘other’ (ghair). The oath “Na ba-Maula Allah” (By the Master, God, No!) emphasizes the sacredness of this commitment.
   • “Ke jis sar ki rasaa’i tere sang-e-aastaan tak ho jaaye…”: The head that reaches the Beloved’s threshold stone (sang-e-aastaan – the very entrance to the Divine presence) cannot bow elsewhere. Attaining proximity to the Divine necessitates abandoning all other allegiances.
6. The Murshid/Sarkaar (Spiritual Master) and the Path:
   • “Jin ko Sarkaar ke naqoosh se nisbat ho gayi…”: Sarkaar (Master/Leader) often refers to the Prophet Muhammad (PBUH) or the mystic’s own Sheikh. Naqoosh (footprints/imprints) signifies following their path and example (Sunnah or the specific Tariqah).
   • “Woh tamaashayi hain, gulshan ki talabgaar nahin!”: This complex line suggests that those truly connected to the Master’s path become witnesses (tamaashayi) of the higher Divine Reality. They are no longer mere seekers (talabgaar) of transient worldly beauty (the gulshan or garden). Their focus shifts from the creation to the Creator’s manifestation. They watch the Divine play unfold rather than seeking temporary worldly joys.

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