Note: Correct display of the Urdu script depends on the fonts installed on your device and browser. If it appears incorrect, the website may need to load a suitable Urdu web font.

Intro

This is an exploration of the powerful and deeply moving Qawwali, “Mehfil Mein Baar Baar,” rendered with profound feeling by the esteemed Ustad Bakhshi Salamat Qawwal. Bakhshi Salamat was a highly respected figure in the world of Qawwali, celebrated for his strong, traditional vocal style and his ability to convey the deep emotional and spiritual weight of the poetry he sang.

Qawwali itself is a vibrant form of Sufi devotional music, originating in the Indian subcontinent. Its primary purpose is to serve as a spiritual practice, using music and poetry to facilitate a connection with the Divine, evoke love for God and the Prophet Muhammad (PBUH), and guide the listener towards contemplation and remembrance (dhikr). Bakhshi Salamat was a master of this tradition, carrying forward its rich heritage.

The title, “Mehfil Mein Baar Baar,” translates to “In the gathering, again and again…” and the core refrain completes the thought: “…usi par nazar gayi” (…my gaze fell upon That One). This immediately introduces the central theme: the unwavering focus and singular devotion of the lover (seeker) towards the Divine Beloved (God), even amidst the myriad distractions of the world (the “Mehfil” or gathering). It is a profound expression of Tawhid, the Islamic principle of the absolute Oneness of God.

Like much Sufi poetry, the lyrics operate on multiple levels. They often employ the rich metaphors of human romantic love (Ishq-e-Majazi) to convey the deeper, more complex realities of Divine Love (Ishq-e-Haqiqi). The ‘Beloved’ can represent God, the Prophet, or sometimes the spiritual guide (Murshid), while the ‘lover’ represents the human soul yearning for union.

Throughout this Qawwali, Bakhshi Salamat Qawwal powerfully conveys a tapestry of emotions and spiritual states:

• The life-giving power of Divine remembrance.
• The struggle to maintain focus against worldly allure.
• The overwhelming, almost dangerous, beauty of Divine manifestation.
• The ability of the seeker’s insight to perceive the Divine despite veils.
• The futility of resisting the irresistible pull of Divine Love.
• The recognition of God as the sole source of all beauty and light.
• The transformative, heart-piercing power of the Divine Gaze (Grace).
• The lover’s state of annihilation (fana) in longing and the profound faith in Divine compassion and response.
• The contrast between human limitation and the effortless perfection of the Divine.

The following sections provide a detailed breakdown of this Qawwali. First, a timed table offers the Urdu script (with a note on potential display issues), Roman transliteration, English translation, and a brief explanation of meaning for each significant section. Following the table, you will find a more extensive exegesis delving deeper into the spiritual and poetic significance of the lyrics.

0: Summary

Timestamp	Urdu Script (Nastaliq)	Transliteration	English Translation	Deeper Meaning / Context
0:00 – 2:00	(تعارفی اشعار و الاپ)	(Introductory Verses & Alaap)		Setting the stage with vocalizations and initial verses about longing and spiritual awakening.
0:00	آہ… اوہ… آہ…	Aaah… Ooo… Aaah…	(Vocalization)	Setting the devotional mood, focus inward.
0:46	جب تیری بات کان پڑتی ہے	Jab teri baat kaan padti hai	When talk/mention of You falls upon my ears	Remembrance as revitalization: Hearing about the Beloved brings spiritual life/awareness.
0:58	تن میں بے جان جان پڑتی ہے	Tan mein be-jaan jaan padti hai	Life enters this lifeless body	Emphasis on the transformative power of Divine remembrance on the dormant soul/body.
1:45	فاصلہ اس کے در تک ہے اتنا	Faasla uske dar tak hai itna	The distance to Their door is such	Introducing the theme of the journey/separation towards the Divine.
1:55	زندگی درمیاں پڑتی ہے	Zindagi darmiyaan padti hai	That life itself lies in between	Worldly existence is the very path, or the barrier, separating the seeker from the Divine goal.
2:00 onwards	(گِرہ – مرکزی مصرعہ)	(Girah – Core Refrain)		The central theme introduced and repeated throughout.
2:00	محفل میں بار بار محفل میں بار بار اسی پر نظر گئی	Mehfil mein baar baar Mehfil mein baar baar usi par nazar gayi	In the gathering, again and again In the gathering, again and again, my gaze fell upon That One	The Core Theme: Despite worldly multiplicity (‘Mehfil’), the seeker’s focus (‘nazar’) inevitably returns to the One Reality (God). Embodies Tawhid (Oneness).
3:15	(شعر ۱: خلفشار پر فتح)	(Sher 1: Triumph Over Distraction)		Explaining the Girah – focus persists despite distractions.
3:15	یوں تو اس بزم میں تھے ہزار حسیں پھر پھر کے جب گئی تو اسی پر نظر گئی	Yun toh us bazm mein the hazaar haseen Phir phir ke jab gayi toh usi par nazar gayi	Although in that assembly there were a thousand beauties Wherever my gaze wandered and returned, it fell upon That One	Explicitly contrasts the countless worldly beauties/distractions with the singular, magnetic pull of the True Beloved.
3:55	(شعر ۲: تجلی کا رعب اور خطرہ)	(Sher 2: Awe & Danger of Manifestation)		Explaining the intensity of the Beloved’s manifestation.
3:55	توبہ توبہ میری توبہ ہم تو اس بت کو خدا جان خدا مان گئے	Toba toba meri toba Hum toh is butt ko Khuda jaan Khuda maan gaye!	Repentance, repentance, my repentance! We came to know this idol as God, accepted it as God!	The ‘idol’ (manifestation of Divine beauty) is so overwhelming it risks being mistaken for the Essence. Shows intensity of beauty & acknowledges the danger of *shirk*.
4:31	(شعر ۳: حجاب میں پہچان)	(Sher 3: Recognizing the Veiled Divine)		The seeker’s ability to perceive the Divine despite veils.
4:31	وہ سرِ بام چڑھے زلف کا پردہ ڈالے ہم قیامت کے نظر باز تھے پہچان گئے	Woh sar-e-baam chadhe zulf ka parda daale Hum Qayamat ke nazar-baaz the pehchaan gaye!	They climbed onto the rooftop, dropping the curtain of their hair We were connoisseurs of (catastrophic/resplendent) beauty, we recognized them!	The Divine reveals itself yet remains veiled (by attributes/’zulf’). The true seeker (‘nazar-baaz’) possesses the insight to recognize the Reality beyond the veil.
5:38	(شعر ۴: ناقابلِ مزاحمت کشش)	(Sher 4: Irresistible Pull)		The struggle and futility of resisting Divine attraction.
5:38	ہم نے بچائی لاکھ ہم نے بچائی لاکھ مگر پھر ادھر گئی	Humne bachayi laakh Humne bachayi laakh magar phir udhar gayi	We tried to save/restrain it a million times We tried to save it a million times, but still, it went towards Them	The human struggle (*jihad al-nafs*) to control focus is futile against the powerful, irresistible attraction of Divine Love. The heart inherently orients towards the Source.
6:24 / 7:40	(شعر ۵: تمام حُسن کا منبع)	(Sher 5: Source of All Beauty)		Identifying the Divine as the origin of all beauty and light.
6:24	ان کے جمالِ رخ سے ہی سب کا جمال تھا وہ چل دیئے تو رونقِ شمس و قمر گئی	Unke jamaal-e-rukh se hi sab ka jamaal tha Woh chal diye toh raunaq-e-shams-o-qamar gayi	All beauty stemmed solely from the beauty of Their face When They departed, the radiance/splendor of the sun and moon departed too	God (*Al-Jameel*) is the absolute source of all beauty (*jamaal*). Without the Divine presence/manifestation, creation loses its light, value, and splendor.
8:40 / 9:36	(شعر ۶: نگاہِ کرم کا اثر)	(Sher 6: The Penetrating Gaze)		The transformative power of the Divine gaze.
8:40	ان کی نگاہ میں کوئی جادو ضرور تھا جس پر پڑی اسی کے جگر میں اتر گئی	Unki nigaah mein koi jaadu zaroor tha Jis par padi usi ke jigar mein utar gayi	There was surely some magic in Their gaze Whomever it fell upon, it pierced right through their soul/heart (jigar)	The Divine Gaze (or that of the Murshid) possesses transformative power, penetrating the seeker’s innermost being (‘jigar’), causing spiritual awakening/change.
10:34 / 11:14	(شعر ۷: عاشق کی حالت اور الٰہی رحم)	(Sher 7: Lover’s Plight & Divine Compassion)		The lover’s desperate state and faith in Divine response.
10:34	ان کو خبر کرو کہ ہے بسمل قریبِ مرگ وہ آئیں گے ضرور جو ان تک خبر گئی	Unko khabar karo ke hai Bismil qareeb-e-marg Woh aayenge zaroor jo un tak khabar gayi	Inform Them that Bismil (the wounded/sacrificed lover) is near death They will surely come, if the news reaches Them	‘Bismil’ represents the lover annihilated (*fana*) by longing. It’s a plea rooted in profound faith that the Beloved’s compassion (*Rahmah*) ensures a response to sincere need.
11:56	(کبھی کبھی تنہائیِ منزل سے جب گھبراتا ہوں ان کی آواز یہ آتی ہے کہ میں آتا ہوں!)	(Kabhi kabhi tanhai-e-manzil se jab ghabraata hoon Unki awaaz yeh aati hai ke ‘Main aata hoon!’)	(Sometimes when I get frightened by the loneliness of the journey… Their voice comes saying ‘I am coming!’)	(Aside): A personal testimony affirming the experience of Divine assurance and presence during moments of despair on the path.
12:37 / 13:18	(شعر ۸: انسانی نقص بمقابلہ الٰہی کمال)	(Sher 8: Human vs. Divine Perfection)		Contrasting human limitation with effortless Divine beauty/perfection.
12:37	ہستی کا اے اسیر سنورنا محال ہے وہ تیری زلف تھی جو بکھر کر سنور گئی	Hasti ka ae aseer sanwarna muhaal hai Woh teri zulf thi jo bikhar kar sanwar gayi	O prisoner of existence, becoming adorned/perfect is impossible It was Your tress that became perfectly adorned even as it scattered/became dishevelled	Contrasts the immense difficulty (‘muhaal’) for humans (‘aseer’ – prisoner) to achieve spiritual perfection (‘sanwarna’) with the effortless, inherent, paradoxical perfection/beauty of the Divine (symbolized by the ‘zulf’).
14:25 onwards	(اختتامی تکرار)	(Concluding Repetitions)		Fading out while reinforcing key themes.
14:25	(تکرار: وہ تیری زلف تھی… محفل میں بار بار…)	*(Repetition: Woh teri zulf thi… Mehfil mein baar baar…)*	*(Repetition)*	Reinforcing the final couplet’s meaning and fading out on the central theme of singular focus on the Divine.

1. Transliteration

(0:00 – 0:46) Alaap & Introductory Verses
Aaah… Ooo… Aaah…
Jab teri baat kaan padti hai (x2)
Tannay be-jaan jaan padti hai (x2)
O… Aaah…
Jab teri baat kaan padti hai
Tannay be-jaan mein jaan padti hai

Faasla uske dar tak hai itna (x2)
Zindagi darmiyaan padti hai (x2)

(0:46 – 1:45) Variations on the theme above
(Singer improvises on the lines, repeating phrases like “Jab teri baat”, “kaan padti hai”, “Tan mein be-jaan jaan padti hai” with varying melodies and intensity)

(1:45 – 2:00) Transition & Setup for Main Couplet
(Focus shifts, tempo might slightly change)

(2:00 – 2:26) The Main Couplet (Girah)
Mehfil mein baar baar (x2)
Mehfil mein baar baar usi par nazar gayi (x2)
Usi par nazar gayi
Mehfil mein baar baar usi par nazar gayi (x2)

(2:26 – 2:47) Improvisation & Repetition of Girah
(Singer repeats “Mehfil mein baar baar usi par nazar gayi” with variations, often emphasizing “usi par” – upon that one)

(2:47 – 2:59) First Explanatory Couplet linked to Girah
Mehfil mein baar baar usi par nazar gayi
(Repeated with variations)

(3:00 – 3:14) Chorus/Group repetition of Girah
Mehfil mein baar baar usi par nazar gayi (x2)

(3:15 – 3:29) Second Explanatory Couplet (Sher)
Yun toh, yun toh us bazm mein the hazaar haseen
Yun toh us bazm mein the hazaar haseen
Phir phir ke jab gayi toh usi par nazar gayi

(3:29 – 3:55) Girah & Chorus Repetition
Mehfil mein baar baar usi par nazar gayi (repeated by lead and chorus)

(3:55 – 4:18) Third Explanatory Couplet (Sher)
Toba toba meri toba!
Toba toba toba toba meri toba mere Allah!
Hum toh is butt ko…
Hum toh is butt ko Khuda jaan Khuda maan gaye!
Hum toh is butt ko Khuda jaan Khuda maan gaye!

(4:18 – 4:31) Improvisation on “Hum toh is butt ko…”
(Lead singer explores the emotional weight of this line)

(4:31 – 4:42) Fourth Explanatory Couplet (Sher)
Woh sar-e-baam chadhe zulf ka parda daale
Hum Qayamat ke nazar-baaz the pehchaan gaye!

(4:42 – 5:17) Girah & Chorus Repetition
Mehfil mein baar baar usi par nazar gayi (repeated by lead and chorus with intensity)

(5:17 – 5:24) Variations on Girah
(Lead singer improvises)

(5:25 – 5:38) Main Couplet (Girah) repeated with feeling
Mehfil mein baar baar usi par nazar gayi (x2)

(5:38 – 5:56) Fifth Explanatory Couplet (Sher)
Humne bachayi laakh (x2)
Humne bachayi laakh magar phir udhar gayi (or similar phrase meaning ‘it went that way anyway’)
(Leads back into Girah) Mehfil mein baar baar…
Humne bachayi laakh magar phir udhar gayi

(5:56 – 6:23) Chorus/Group repetition of “Humne bachayi laakh…” & Girah
Humne bachayi laakh magar phir udhar gayi
Mehfil mein baar baar usi par nazar gayi

(6:24 – 6:37) Sixth Explanatory Couplet (Sher) – Part 1
Unke jamaal-e-rukh se hi sab ka jamaal tha (x2)
Haan ji unke jamaal-e-rukh se hi sab ka jamaal tha (x2)

(6:37 – 7:28) Improvisation/Elaboration on “Unke Jamaal-e-Rukh…”
(Lead singer repeats and improvises intensely on this line, emphasizing the source of all beauty)

(7:28 – 7:48) Sixth Explanatory Couplet (Sher) – Part 2
Unke jamaal-e-rukh se hi sab ka jamaal tha
Woh chal diye toh raunaq-e-shams-o-qamar gayi

(7:48 – 8:03) Chorus/Group repetition of “Woh chal diye…”
Woh chal diye toh raunaq-e-shams-o-qamar gayi

(8:03 – 8:18) Improvisation leading back

(8:18 – 8:40) Chorus/Group repetition of “Woh chal diye…”
Woh chal diye toh raunaq-e-shams-o-qamar gayi

(8:40 – 8:56) Seventh Explanatory Couplet (Sher) – Part 1
Unki nigaah mein koi jaadu zaroor tha (x2)
Koi… Unki nigaah mein koi jaadu zaroor tha

(8:56 – 9:36) Improvisation/Elaboration on “Unki Nigaah Mein…”
(Lead singer repeats and improvises, emphasizing the magic of the gaze)

(9:36 – 9:42) Seventh Explanatory Couplet (Sher) – Part 2
Unki nigaah mein koi jaadu zaroor tha
Jis par padi usi ke jigar mein utar gayi

(9:42 – 10:10) Chorus/Group repetition of “Jis par padi…”
Jis par padi usi ke jigar mein utar gayi

(10:10 – 10:28) Improvisation/Elaboration on “Jis par padi…”

(10:28 – 10:34) Chorus/Group repetition of “Jis par padi…”
Jis par padi usi ke jigar mein utar gayi

(10:34 – 10:45) Eighth Explanatory Couplet (Sher) – Part 1
Unko khabar karo ke hai Bismil qareeb-e-marg (x2)
Haan ji unko khabar karo ke hai Bismil qareeb-e-marg

(10:45 – 11:14) Improvisation/Elaboration on “Unko Khabar Karo…”
(Lead singer repeats and improvises, emphasizing the lover’s desperate state)

(11:14 – 11:23) Eighth Explanatory Couplet (Sher) – Part 2
Unko khabar karo ke hai Bismil qareeb-e-marg
Woh aayenge zaroor jo un tak khabar gayi

(11:23 – 11:42) Chorus/Group repetition of “Woh aayenge zaroor…”
Woh aayenge zaroor jo un tak khabar gayi

(11:42 – 11:56) Improvisation/Elaboration on “Woh aayenge zaroor…”

(11:56 – 12:07) Reflection/Aside
Kabhi kabhi tanhai-e-manzil se jab ghabraata hoon
Unki awaaz yeh aati hai ke ‘Main aata hoon!’
(Sometimes when I get frightened by the loneliness of the destination/journey, Their voice comes saying ‘I am coming!’)

(12:07 – 12:28) Chorus/Group repetition of “Woh aayenge zaroor…”
Woh aayenge zaroor jo un tak khabar gayi

(12:28 – 12:37) Improvisation leading into next couplet

(12:37 – 12:47) Ninth Explanatory Couplet (Sher) – Part 1
Hasti ka ae aseer sanwarna muhaal hai (x2)
Hasti ka ae aseer sanwarna muhaal hai

(12:47 – 13:18) Improvisation/Elaboration on “Hasti ka ae aseer…”
(Lead singer repeats and improvises, emphasizing the difficulty of self-perfection)

(13:18 – 13:24) Ninth Explanatory Couplet (Sher) – Part 2
Hasti ka ae aseer sanwarna muhaal hai
Woh teri zulf thi jo bikhar kar sanwar gayi

(13:24 – 13:42) Chorus/Group repetition of “Woh teri zulf thi…”
Woh teri zulf thi jo bikhar kar sanwar gayi

(13:42 – 14:12) Improvisation/Elaboration on “Woh teri zulf thi…”
(Lead singer repeats and improvises, contrasting human struggle with divine effortlessness)

(14:12 – 14:25) Final repetitions of “Woh teri zulf thi…”
Woh teri zulf thi jo bikhar kar sanwar gayi

(14:25 – 14:35) Repeat of Ninth Couplet linking back to Girah context
Hasti ka ae aseer sanwarna muhaal hai
Woh teri zulf thi jo bikhar kar sanwar gayi

(14:35 – 14:59) Improvisation/Elaboration on “Woh teri zulf thi…”

(14:59 – 15:14) Final Repetitions & Fade
Woh teri zulf thi jo bikhar kar sanwar gayi
Mehfil mein baar baar usi par nazar gayi
(Fades out)

---

2. Translation

(Alaap & Introductory Verses)
Aaah… Ooo… Aaah…
When talk/mention of You falls upon my ears (x2)
Life enters this lifeless body (x2)
O… Aaah…
When talk/mention of You falls upon my ears
Life enters this lifeless body

The distance to Their door is such (x2)
That life itself lies in between (x2)

(Variations on the theme above)
(Improvisations on the meaning: hearing about the Beloved brings life)

(Transition & Setup for Main Couplet)

(The Main Couplet – Girah)
In the gathering, again and again (x2)
In the gathering, again and again, my gaze fell upon That One (x2)
Upon That One, my gaze fell
In the gathering, again and again, my gaze fell upon That One (x2)

(Improvisation & Repetition of Girah)
(Emphasis on the singular focus)

(First Explanatory Couplet linked to Girah)
In the gathering, again and again, my gaze fell upon That One

(Chorus/Group repetition of Girah)
In the gathering, again and again, my gaze fell upon That One (x2)

(Second Explanatory Couplet – Sher)
Although, although in that assembly there were a thousand beauties
Although in that assembly there were a thousand beauties
Wherever my gaze wandered and returned, it fell upon That One

(Girah & Chorus Repetition)
In the gathering, again and again, my gaze fell upon That One

(Third Explanatory Couplet – Sher)
Repentance, repentance, my repentance!
Repentance, repentance, O my Lord!
We took this idol…
We came to know this idol as God, accepted it as God!
We came to know this idol as God, accepted it as God!

(Improvisation on “We took this idol…”)
(Exploring the gravity of mistaking the form for the essence)

(Fourth Explanatory Couplet – Sher)
They climbed onto the rooftop, dropping the curtain of their hair
We were connoisseurs of (catastrophic/resplendent) beauty, we recognized them instantly!

(Girah & Chorus Repetition)
In the gathering, again and again, my gaze fell upon That One

(Variations on Girah)

(Main Couplet – Girah repeated with feeling)
In the gathering, again and again, my gaze fell upon That One (x2)

(Fifth Explanatory Couplet – Sher)
We tried to save/restrain it (our gaze/heart) a million times (x2)
We tried to save it a million times, but still, it went towards Them
(Leads back into Girah) In the gathering, again and again…
We tried to save it a million times, but still, it went towards Them

(Chorus/Group repetition of “We tried to save it…”) & Girah
We tried to save it a million times, but still, it went towards Them
In the gathering, again and again, my gaze fell upon That One

(Sixth Explanatory Couplet – Sher) – Part 1
All beauty stemmed solely from the beauty of Their face (x2)
Yes, all beauty stemmed solely from the beauty of Their face (x2)

(Improvisation/Elaboration on “From the beauty of Their face…”)
(Emphasis on the Divine as the source of all beauty)

(Sixth Explanatory Couplet – Sher) – Part 2
All beauty stemmed solely from the beauty of Their face
When They departed, the radiance/splendor of the sun and moon departed too

(Chorus/Group repetition of “When They departed…”)
When They departed, the radiance/splendor of the sun and moon departed too

(Improvisation leading back)

(Chorus/Group repetition of “When They departed…”)
When They departed, the radiance/splendor of the sun and moon departed too

(Seventh Explanatory Couplet – Sher) – Part 1
There was surely some magic in Their gaze (x2)
Some… There was surely some magic in Their gaze

(Improvisation/Elaboration on “In Their gaze…”)
(Emphasis on the captivating and transformative power of the Divine Gaze)

(Seventh Explanatory Couplet – Sher) – Part 2
There was surely some magic in Their gaze
Whomever it fell upon, it pierced right through their soul/heart (jigar)

(Chorus/Group repetition of “Whomever it fell upon…”)
Whomever it fell upon, it pierced right through their soul/heart

(Improvisation/Elaboration on “Whomever it fell upon…”)

(Chorus/Group repetition of “Whomever it fell upon…”)
Whomever it fell upon, it pierced right through their soul/heart

(Eighth Explanatory Couplet – Sher) – Part 1
Inform Them that Bismil (the wounded/sacrificed lover) is near death (x2)
Yes, inform Them that Bismil is near death

(Improvisation/Elaboration on “Inform Them…”)
(Emphasis on the lover’s state of annihilation and longing)

(Eighth Explanatory Couplet – Sher) – Part 2
Inform Them that Bismil is near death
They will surely come, if the news reaches Them

(Chorus/Group repetition of “They will surely come…”)
They will surely come, if the news reaches Them

(Improvisation/Elaboration on “They will surely come…”)

(Reflection/Aside)
Sometimes when I get frightened by the loneliness of the destination/journey,
Their voice comes saying ‘I am coming!’

(Chorus/Group repetition of “They will surely come…”)
They will surely come, if the news reaches Them

(Improvisation leading into next couplet)

(Ninth Explanatory Couplet – Sher) – Part 1
O prisoner of existence, becoming adorned/perfect is impossible (x2)
O prisoner of existence, becoming adorned/perfect is impossible

(Improvisation/Elaboration on “O prisoner of existence…”)
(Emphasis on human limitation vs. divine perfection)

(Ninth Explanatory Couplet – Sher) – Part 2
O prisoner of existence, becoming adorned/perfect is impossible
It was Your tress that became perfectly adorned even as it scattered/became dishevelled

(Chorus/Group repetition of “It was Your tress…”)
It was Your tress that became perfectly adorned even as it scattered/became dishevelled

(Improvisation/Elaboration on “It was Your tress…”)
(Contrasting human effort with effortless divine beauty)

(Final repetitions of “It was Your tress…”)
It was Your tress that became perfectly adorned even as it scattered/became dishevelled

(Repeat of Ninth Couplet linking back to Girah context)
O prisoner of existence, becoming adorned/perfect is impossible
It was Your tress that became perfectly adorned even as it scattered/became dishevelled

(Improvisation/Elaboration on “It was Your tress…”)

(Final Repetitions & Fade)
It was Your tress that became perfectly adorned even as it scattered/became dishevelled
In the gathering, again and again, my gaze fell upon That One
(Fades out)

---

3. Explanation of Deeper Spiritual Meaning (Sufi Context)

This Qawwali is a profound expression of Tawhid (Oneness of God) and the path of Ishq-e-Haqiqi (True Love, i.e., Love for God). The “Mehfil” (gathering) represents the world, full of distractions and transient beauties. The “Nazar” (gaze) symbolizes the seeker’s attention, focus, and devotion.

• Central Theme (Girah): “Mehfil mein baar baar usi par nazar gayi” – Despite the multiplicity and allure of the world (“hazaar haseen” – thousand beauties), the true lover’s focus inevitably returns to the One Reality, the Divine Beloved. This signifies the magnetic pull of God and the seeker’s inability to be permanently distracted once they have had a taste of Divine Beauty. It speaks to the singular focus required on the spiritual path.
• Introductory Verses: Hearing mention of the Beloved (“teri baat”) revitalizes the seeker’s soul, bringing life to the spiritually “lifeless.” The distance to the Beloved’s door being “life itself” implies that the entire journey of life is the path to the Divine, or perhaps that our very existence separates us until union is achieved.
• “Butt ko Khuda maan gaye” (Took the idol for God): This is a complex line. It can represent the overwhelming experience of witnessing Divine Beauty manifested in a form (like a Murshid/Spiritual Guide, or even in creation) to the point of near-idolatry. The “Toba” (repentance) acknowledges the danger of getting stuck on the form rather than the Essence, yet it also conveys the sheer power and beauty of the manifestation that caused such an error. It highlights the intensity of the Beloved’s pull.
• “Sar-e-baam… pehchaan gaye” (Rooftop… recognized): The Beloved reveals Themselves, yet remains partially veiled (by the “zulf” – tress, symbolizing divine mysteries or attributes). The seeker, being a “Qayamat ke nazar-baaz” (connoisseur of overwhelming beauty/finality), has the spiritual insight to recognize the Divine despite the veil. ‘Qayamat’ itself signifies something overwhelming, world-shattering, like Divine manifestation or beauty.
• “Humne bachayi laakh…” (Tried to save it a million times): This expresses the human struggle (jihad al-nafs – struggle against the self). The seeker tries to control their wandering attention, to focus on piety or worldly duties, but the heart’s longing and the gaze’s devotion are irresistibly drawn back to the Beloved.
• “Unke jamaal-e-rukh…” (From the beauty of Their face): This emphasizes God as the source of ALL beauty. All worldly beauty is merely a reflection. When the Divine presence (or its manifestation) withdraws, the world loses its light and splendor (“raunaq-e-shams-o-qamar gayi” – radiance of sun and moon departed).
• “Unki nigaah mein jaadu…” (Magic in Their gaze): Refers to the transformative power of Divine Grace or the Glance of the Murshid. This gaze penetrates the seeker’s innermost being (“jigar”), initiating spiritual awakening, healing, or even annihilation of the ego.
• “Unko khabar karo… Bismil…” (Inform Them… Bismil): “Bismil” literally means sacrificed or wounded, representing the lover in a state of near annihilation (fana) due to intense longing and separation. There’s a desperate hope and faith: if the Beloved knows the lover’s state, Their compassion will compel Them to come (“Woh aayenge zaroor”). This reflects the Sufi belief in God’s responsiveness to the sincere call of the heart. The aside “Main aata hoon” (I am coming) reinforces this promise of Divine presence.
• “Hasti ka ae aseer…” (O prisoner of existence): Contrasts human limitation with Divine perfection. The seeker (“aseer” – prisoner of existence) finds self-perfection (“sanwarna” – becoming adorned) impossible through their own efforts. However, the Beloved’s attribute (the “zulf” – tress) achieves perfect beauty effortlessly, even in a state of being scattered (“bikhar kar sanwar gayi”). This highlights Divine grace and the idea that true beauty/perfection belongs to God alone, and is attained not by human striving but by closeness to or reflection of the Divine. The dishevelled tress being beautiful paradoxically suggests beauty beyond conventional human standards, inherent in the Divine nature.

In essence, the Qawwali portrays the journey of Divine Love: the initial spark, the constant struggle against distraction, the overwhelming beauty of the Beloved, the transformative power of Grace, the pain of separation, the hope in Divine compassion, and the ultimate realization of human limitation before the effortless perfection of the One. The repetition builds ecstatic fervor (wajd), aiming to draw both performers and listeners into this state of focused longing and remembrance.

---