rishwat essay in urdu

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وقت کی پابندی پر مضمون Waqt Ki Pabandi Par Mazmoon Urdu

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Sood aur Rishwat (Complete Lecture) by Adv. Faiz Syed

Sood kya hai, Sood ki hakikat, sood ke nuqsanat, sood ki tabah kariyan, sood ki hurmat, sood ka gunah, sood kya hai in islam, what is rishwat, rishwat in quran, ayat on rishwat, speech on rishwat in urdu, rishwat hadees, rishwat kya hai

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Rishwat lenay or denay wala By Orya Maqbool Jan

Source: Dunya News

Must Read Urdu column Rishwat lenay or denay wala By Orya Maqbool Jan

Ray gaal aur American thapper By Ansar Abbasi

Mustakbil by Haroon ur Rasheed

sir apny mere dil kli bath kahe

Sir Baat aap ki bilkul 100% theek hai bus aik baat ki vizahat kerni chaho,n ga Hadees Ka Tarjuma Hai "Rishwat Dene Wala Or Rishwat Lene Wala Jahannum main jaai,n gye Arabic main Rashi Rishwat dene wale ko kehte hain or murtashi lene wale ko. ye kitna lateef nukta hai aap samjh sakte hain yani rishwat dene wala pehle hai or lene wala baad main ye ulat bhi ho sakte thy per aysa q nahin hoa iss per ghor kerne ki zaroorat hai Thanks with best regards

I appreciate ur thinking and the way u questioned. first thing to know is that both have the same fate and that can’t be changed no matter, Rashi comes first. Secondly, the ominous job of corruption was commenced by those who stood influential in society as they would buy official’s services for their own gains. They did the job first that is why i guess the "Rashi” precedes "Murtshi’. But nowadays the system has changed totally; its all corruption based. The article mourns beaurucracy i would like to let you know that seats in beaurucracy are being "bought” and "sold” nowadays. How could one expect from the one who pays for a seat, to be honest and fair. CSS was the only exam wherein one could expect transparency but now people of lover and middle class have no way to come in here.

Nice column

We are a nation nurtured on Dramas.we are a nation who are well informed about ourselves .We are the ones who have excelled in diagnosis and the best prescriptions for treatment.We are perhaps the only nation with the army of self conceited Army of Anchors keeping the nation glued to TV channels.Result Inertia.Whereas the real solution is the simplest. no tolerance in any form . Total elimination and ideal way of population control as well.

as salam o alaikum sir,we can pray only for this nation because the roots of corruption are deeper than our thought.we are all traped in this game.but in my opinion this issue can be solved in a week.we need only sacrifice,honesty & hard working.which excuses that he can,t led life in these limilted resources.he need only simplicity.may allah make me honest hardworker & well wisher for the people & as well as for the nation.

apni kharbioun ko pas e pushat daal kar , har shakhs keh rha ha zamana kharab ha.

mashallah apka kalam per k dil buhet khush hota hy k ap mery nabi ki bat kerty ho allah hum sub ko Allah or rasool ka Ghulam banye ameen

Very true words by Orya Maqbool Jan. we are still behind the beginning line.

Sub log Hades ko b janthay han or samajthay han, laken away ka awa he begda howa ha.

Ya koi nahe bath nahe rahe ki Rishwat , Achay loog kam or booray badthay jathy han jas maloom hotha ha ki society ma booraee badthe ja rehe ha —————————————————– ya cancer ab teak nahe hog belki ya sub ko lapeat k jayga …….

Ab is molook ma Journalists ko mooqa dena chaye Q ki on ki nazar ma na politicians sahe na Dictators …. Ak idea ya ki Pakistan ko 10 Sal Patay pa China ko deya jay pher deckna ki kaysa teak kartha ha

Afosos sir ky pata nai hamra zameer kab jagay ga. hamra to ye hal hai ky muslman to ab hum naam ky bhi nai rahy. zindge ky boht say pahllu asay han jo ky naa-jaiz han magr hum nay un ko bhi apni tarf say modify kr ky apni zaat ko aik jhoti tasali dny ki khatir unhain sahi qarar dy dia hai.hamri nakammi ki ma samjta hu k ye aik boht bri waja hai ya bad-qismti

behtareen ak ka sara kam he qalytahreef ha sir

very nice kalam

True picture of our society!!!

sir ham us waqt tak kamyab nahi ho saktay jab tak ham khud ko theeek nhi ker laytay or jis maqsad k lia ya mulk hasil kia tha us maqsad ko pora nahi kertay,jasay ham paskistan ma reh rhay ha wasay to india ma b muslim ha or wo khush b ha hma ko kya mila pakistan bna ker,seedhi c bat ha ham ko apnay mazhab islam ko folow kerna ho ga or islami law nafiz kerna ho ga tab hi ham pakistan banay gay,

Just yesterday, my friend told me a story of his about lease department in Karachi. The office didn’t perform its duties and while he disagreed to pay the bribe, his file got lost. It took more than 6 months to locate the file. It is important to mention that my friend was then very close to the one of the most powerful political person in sitting government but without bribe they initially agreed to complete the documents but dislocated the file. He is in Canada with me now and telling me the story saying that after 6 months he was wishing if he would have given the bribe. Such a trauma they caused. With due respect Oriya Sahab, state has to play its role, don’t blame people, they never want bribery, at least not all of them….

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Saved words

Showing results for "rishvat"

gift for corrupting a judge, a bribe

rishvat-dahii

Rishvat denaa.

bribe, buy over, grease or oil the palm

rishvat-KHorii

taking of bribes

rishvat lenaa

Rishvat-khvaar.

one who takes bribes, a corrupt person

rishvat-sitaa.n

Rishvat maa.ngnaa, rishvat-khvaarii, rishvat khaanaa.

rishwat lenā , to swallow or take a bribe, to be bribed

rishvat-sitaanii

to get bribe

rishvat chalnaa

Rishvat pesh karnaa, rishvat-khor jahannamii hai, rishvat-khor, rishvat kaa baazaar garm hona.

bribery to thrive

rishvat sitaanii kaa baazaar garm honaa

Rishvat-dihinda, qaazii-ba-rishvat-raazii, meaning of see meaning rishvat in english , hindi & urdu, रिश्वत • رِشْوَت.

Origin : Arabic

English meaning of rishvat

Noun, Feminine

Example - Har mahine tankhvah ke ilawa taqriban bees hazar rupaye rishvat mein mil jate hain

Pictorial Reference

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Sher Examples

ḳhush-numā lafzoñ kī rishvat de ke raazī kījiye

ruuh kī tauhīn par āmāda rahtā hai badan

KHush-numa lafzon ki rishwat de ke raazi kijiye

ruh ki tauhin par aamada rahta hai badan

sabr kī rishvat maañg rahī haiñ

sājan kī paTvārī āñkheñ

sabr ki rishwat mang rahi hain

sajan ki paTwari aankhen

mire kis kaam kā hai baḳht-e-ḳhufta

ise rishvat meñ dūñgā pāsbāñ ko

mere kis kaam ka hai baKHt-e-KHufta

ise rishwat mein dunga pasban ko

रिश्वत के हिंदी अर्थ

संज्ञा, स्त्रीलिंग

उदाहरण - हर महीने तनख़्वाह के इलावा तक़रीबन बीस हज़ार रुपए रिश्वत में मिल जाते हैं

رِشْوَت کے اردو معانی

مثال - ہر مہینے تنخواہ کے علاوہ تقریباً بیس ہزار روپئے رشوت میں مل جاتے ہیں

Synonyms of rishvat

Compound words of rishvat, tags for rishvat.

English meaning of rishvat , rishvat meaning in english, rishvat translation and definition in English. rishvat का मतलब (मीनिंग) अंग्रेजी (इंग्लिश) में जाने | Khair meaning in hindi

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aaj ik aur baras biit gayā us ke baġhair

jis ke hote hue hote the zamāne mere

Josh Malihabadi

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log ham se roz kahte haiñ ye aadat chhoḌiye

ye tijārat hai ḳhilāf-e-ādmiyat chhoḌiye

is se bad-tar lat nahīñ hai koī ye lat chhoḌiye

roz aḳhbāroñ meñ chhaptā hai ki rishvat chhoḌiye

bhuul kar bhī jo koī letā hai rishvat chor hai

aaj qaumī pāgaloñ meñ raat din ye shor hai

kis ko samjhā.eñ use khodeñ to phir pā.eñge kyā

ham agar rishvat nahīñ leñge to phir khā.eñge kyā

qaid bhī kar deñ to ham ko raah par lā.eñge kyā

ye junūn-e-ishq ke andāz chhuT jā.eñge kyā

mulk bhar ko qaid kar de kis ke bas kī baat hai

ḳhair se sab haiñ koī do-chār das kī baat hai

ye havas ye chor bāzārī ye mahñgā.ī ye bhaav

raa.ī kī qīmat ho jab parbat to kyuuñ na aa.e taav

apnī tanḳhvāhoñ ke naale meñ hai paanī ādh-pāv

aur lākhoñ Tan kī bhārī apne jīvan kī hai naav

jab talak rishvat na leñ ham daal gal saktī nahīñ

naav tanḳhvāhoñ ke paanī meñ to chal saktī nahīñ

rishvatoñ kī zindagī hai chor-bāzārī ke saath

chal rahī hai be-zarī ahkām-e-zardārī ke saath

phurtiyāñ chūhoñ kī haiñ billī kī tarrārī ke saath

aap rokeñ ḳhvāh kitnī hī sitamgārī ke saath

ham nahīñ hilne ke sun liije kisī bhauñchāl se

kaam ye chaltā rahegā aap ke iqbāl se

ye hai mil vaalā vo baniyā hai ye sāhūkār hai

ye hai dūkāñ-dār vo hai ved ye attār hai

vo agar Thag hai to ye Daaku hai vo baT-mār hai

aaj har gardan meñ kaalī jiit kā ik haar hai

haif mulk-o-qaum kī ḳhidmat-guzārī ke liye

rah ga.e haiñ ik hamīñ īmān-dārī ke liye

bhuuk ke qānūn meñ īmān-dārī jurm hai

aur be-īmāniyoñ par sharmsārī jurm hai

dākuoñ ke daur meñ parhez-gārī jurm hai

jab hukūmat ḳhaam ho to puḳhta-kārī jurm hai

log aTkāte haiñ kyuuñ roḌe hamāre kaam meñ

jis ko dekho ḳhair se nañgā hai vo hammām meñ

toñd vāloñ kī to ho ā.īna-dārī vaah vā

aur ham bhūkoñ ke sar par chāñd-mārī vaah vā

un kī ḳhātir sub.h hote hī nahārī vaah vā

aur ham chāTā kareñ īmān-dārī vaah vā

seTh jī to ḳhuub motor meñ havā khāte phireñ

aur ham sab jūtiyāñ galiyoñ meñ chaTḳhāte phireñ

ḳhuub haq ke āstāñ par aur jhuke apnī jabīñ

jā.iye rahne bhī diije nāseh-e-gardūñ-nashīñ

tauba tauba ham bhaḌī meñ aa ke aur dekheñ zamīñ

aañkh ke andhe nahīñ haiñ gāñTh ke puure nahīñ

ham phaTak sakte nahīñ parhez-gārī ke qarīb

aql-mand aate nahīñ īmān-dārī ke qarīb

is girānī meñ bhalā kyā ġhuncha-e-īmāñ khile

jau ke daane saḳht haiñ tāñbe ke sikke pil-pile

jaa.eñ kapḌe ke liye to daam sun kar dil hile

jab garebāñ tā-ba-dāman aa.e to kapḌā mile

jaan bhī de de to saste daam mil saktā nahīñ

ādmiyat kā kafan hai dostoñ kapḌā nahīñ

sirf ik patlūn silvānā qayāmat ho gayā

vo silā.ī lī miyāñ darzī ne nañgā kar diyā

aap ko ma.alūm bhī hai chal rahī hai kyā havā

sirf ik tie kī qīmat ghoñT detī hai galā

halkī Topī sar pe rakhte haiñ to chakrātā hai sar

aur juute kī taraf baḌhiye to jhuk jaatā hai sar

thī buzurgoñ kī jo banyā.in vo baniyā le gayā

ghar meñ jo gāḌhī kamā.ī thī vo gāḌhā le gayā

jism kī ek ek boTī gosht vaalā le gayā

tan meñ baaqī thī jo charbī ghī kā pyāla le gayā

aa.ī tab rishvat kī chiḌiyā pañkh apne khol kar

varna mar jaate miyāñ kutte kī bolī bol kar

pattharoñ ko toḌte haiñ aadmī ke ustuḳhāñ

sañg-bārī ho to ban jaatī hai himmat sā.ebāñ

peT meñ letī hai lekin bhuuk jab añgḌā.iyāñ

aur to aur apne bachche ko chabā jaatī hai maañ

kyā batā.eñ bāziyāñ haiñ kis qadar haare hue

rishvateñ phir kyuuñ na leñ ham bhuuk ke maare hue

aap haiñ fazl-e-ḳhudā-e-pāk se kursī-nashīñ

intizām-e-saltanat hai aap ke zer-e-nagīñ

āsmāñ hai aap kā ḳhādim to lauñDī hai zamīñ

aap ḳhud rishvat ke zimmedār haiñ fidvī nahīñ

baḳhshte haiñ aap dariyā kashtiyāñ khete haiñ ham

aap dete haiñ mavāqe rishvateñ lete haiñ ham

Thiik to karte nahīñ buniyād-e-nā-hamvār ko

de rahe haiñ gāliyāñ girtī huī dīvār ko

sach batā.ūñ zeb ye detā nahīñ sarkār ko

pāliye bīmāriyoñ ko māriye bīmār ko

illa-e-rishvat ko is duniyā se ruḳhsat kījiye

varna rishvat kī dhaḌalle se ijāzat dījiye

bad bahut bad-shakl haiñ lekin badī hai nāznīñ

jaḌ ko bose de rahe haiñ peḌ se chīñ-bar-jabīñ

aap go paanī ulachte haiñ ba-tarz-e-dil-nashīñ

naav kā sūrāḳh lekin band farmāte nahīñ

koḌhiyoñ par āstīñ kab se chaḌhā.e haiñ huzūr

koḌh ko lekin kaleje se lagā.e haiñ huzūr

dast-kārī ke ufuq par abr ban kar chhā.iye

jahl ke ThanDe lahū ko ilm se garmā.iye

kār-ḳhāne kījiye qaa.em mashīneñ lā.iye

un zamīnoñ ko jo mahv-e-ḳhvāb haiñ chauñkāiye

ḳhvāh kuchh bhī ho munḌhe ye bail chaḌh saktī nahīñ

mulk meñ jab tak ki paidā-vār baḌh saktī nahīñ

dil meñ jitnā aa.e lūTeñ qaum ko shāh-o-vazīr

khīñch le ḳhanjar koī joḌe koī chille meñ tiir

be-dhaḌak pī kar ġharīboñ kā lahū akḌeñ amiir

devtā ban kar raheñ to ye ġhulāmān-e-haqīr

dostoñ kī gāliyāñ har aan sahne dījiye

ḳhāna-zādoñ ko yūñhī shaitān rahne dījiye

daam ik chhoTe se kuuze ke haiñ sau jām-e-bilūr

mol lene jaa.eñ ik qatra to deñ nahr-o-qusūr

ik diyā jo bechtā hai māñgtā hai sham-e-tūr

ik zarā se sañg-reze kī hai qīmat koh-e-nūr

jab ye aalam hai to ham rishvat se kyā tauba kareñ

tauba rishvat kaisī ham chanda na leñ to kyā kareñ

zulf us co-operative silsile kī hai darāz

chheḌte haiñ ham kabhī to vo kabhī rishvat kā saaz

gaah ham bante haiñ qumrī gaah vo bante haiñ baaz

aap ko ma.alūm kyā aapas kā ye rāz-o-niyāz

naav ham apnī khivāte bhī haiñ aur khete bhī haiñ

rishvatoñ ke lene vaale rishvateñ dete bhī haiñ

bādshāhī taḳht par hai aaj har shai jalva-gar

phir rahe haiñ Thokareñ khāte zar-o-la.al-o-guhar

ḳhaas chīzeñ qīmateñ un kī to haiñ aflāk par

āb-ḳhora muñh phulātā hai aTThannī dekh kar

chauda aane ser kī āvāz sun kar āj-kal

laal ho jaatā hai ġhusse se TamāTar āj-kal

nastaran meñ naaz baaqī hai na gul meñ rañg-o-bū

ab to hai sehn-e-chaman meñ ḳhār-o-ḳhas kī aabrū

ḳhurdanī chīzoñ ke chehroñ se Tapaktā hai lahū

rūpa.e kā rañg faq hai ashrafī hai zard-rū

haal ke sikke ko maazī kā jo sikka dekh le

sau ruupe ke note ke muñh par do annī thuuk de

vaqt se pahle hī aa.ī hai qayāmat dekhiye

muñh ko Dhāñpe ro rahī hai ādmiyat dekhiye

duur jā kar kis liye tasvīr-e-ibrat dekhiye

apne qibla 'josh' sāhab hī kī hālat dekhiye

itnī gambhīrī pe bhī mar-mar ke jiite haiñ janāb

sau jatan karte haiñ to ik ghūñT piite haiñ janāb

log hum se roz kahte hain ye aadat chhoDiye

ye tijarat hai KHilaf-e-admiyat chhoDiye

is se bad-tar lat nahin hai koi ye lat chhoDiye

roz aKHbaron mein chhapta hai ki rishwat chhoDiye

bhul kar bhi jo koi leta hai rishwat chor hai

aaj qaumi pagalon mein raat din ye shor hai

kis ko samjhaen use khoden to phir paenge kya

hum agar rishwat nahin lenge to phir khaenge kya

qaid bhi kar den to hum ko rah par laenge kya

ye junun-e-ishq ke andaz chhuT jaenge kya

mulk bhar ko qaid kar de kis ke bas ki baat hai

KHair se sab hain koi do-chaar das ki baat hai

ye hawas ye chor bazari ye mahngai ye bhaw

rai ki qimat ho jab parbat to kyun na aae taw

apni tanKHwahon ke nale mein hai pani aadh-paw

aur lakhon Tan ki bhaari apne jiwan ki hai naw

jab talak rishwat na len hum dal gal sakti nahin

naw tanKHwahon ke pani mein to chal sakti nahin

rishwaton ki zindagi hai chor-bazari ke sath

chal rahi hai be-zari ahkaam-e-zardari ke sath

phurtiyan chuhon ki hain billi ki tarrari ke sath

aap roken KHwah kitni hi sitamgari ke sath

hum nahin hilne ke sun lije kisi bhaunchaal se

kaam ye chalta rahega aap ke iqbaal se

ye hai mil wala wo baniya hai ye sahukar hai

ye hai dukan-dar wo hai wed ye attar hai

wo agar Thag hai to ye Daku hai wo baT-mar hai

aaj har gardan mein kali jit ka ek haar hai

haif mulk-o-qaum ki KHidmat-guzari ke liye

rah gae hain ek hamin iman-dari ke liye

bhuk ke qanun mein iman-dari jurm hai

aur be-imaniyon par sharmsari jurm hai

dakuon ke daur mein parhez-gari jurm hai

jab hukumat KHam ho to puKHta-kari jurm hai

log aTkate hain kyun roDe hamare kaam mein

jis ko dekho KHair se nanga hai wo hammam mein

tond walon ki to ho aaina-dari wah wa

aur hum bhukon ke sar par chand-mari wah wa

un ki KHatir subh hote hi nahaari wah wa

aur hum chaTa karen iman-dari wah wa

seTh ji to KHub motor mein hawa khate phiren

aur hum sab jutiyan galiyon mein chaTKHate phiren

KHub haq ke aastan par aur jhuke apni jabin

jaiye rahne bhi dije naseh-e-gardun-nashin

tauba tauba hum bhaDi mein aa ke aur dekhen zamin

aankh ke andhe nahin hain ganTh ke pure nahin

hum phaTak sakte nahin parhez-gari ke qarib

aql-mand aate nahin iman-dari ke qarib

is girani mein bhala kya ghuncha-e-iman khile

jau ke dane saKHt hain tanbe ke sikke pil-pile

jaen kapDe ke liye to dam sun kar dil hile

jab gareban ta-ba-daman aae to kapDa mile

jaan bhi de de to saste dam mil sakta nahin

aadmiyat ka kafan hai doston kapDa nahin

sirf ek patlun silwana qayamat ho gaya

wo silai li miyan darzi ne nanga kar diya

aap ko malum bhi hai chal rahi hai kya hawa

sirf ek tie ki qimat ghonT deti hai gala

halki Topi sar pe rakhte hain to chakraata hai sar

aur jute ki taraf baDhiye to jhuk jata hai sar

thi buzurgon ki jo banyain wo baniya le gaya

ghar mein jo gaDhi kamai thi wo gaDha le gaya

jism ki ek ek boTi gosht wala le gaya

tan mein baqi thi jo charbi ghi ka pyala le gaya

aai tab rishwat ki chiDiya pankh apne khol kar

warna mar jate miyan kutte ki boli bol kar

pattharon ko toDte hain aadmi ke ustuKHan

sang-bari ho to ban jati hai himmat saeban

peT mein leti hai lekin bhuk jab angDaiyan

aur to aur apne bachche ko chaba jati hai man

kya bataen baziyan hain kis qadar haare hue

rishwaten phir kyun na len hum bhuk ke mare hue

aap hain fazl-e-KHuda-e-pak se kursi-nashin

intizam-e-saltanat hai aap ke zer-e-nagin

aasman hai aap ka KHadim to launDi hai zamin

aap KHud rishwat ke zimmedar hain fidwi nahin

baKHshte hain aap dariya kashtiyan khete hain hum

aap dete hain mawaqe rishwaten lete hain hum

Thik to karte nahin buniyaad-e-na-hamwar ko

de rahe hain galiyan girti hui diwar ko

sach bataun zeb ye deta nahin sarkar ko

paliye bimariyon ko mariye bimar ko

illa-e-rishwat ko is duniya se ruKHsat kijiye

warna rishwat ki dhaDalle se ijazat dijiye

bad bahut bad-shakl hain lekin badi hai naznin

jaD ko bose de rahe hain peD se chin-bar-jabin

aap go pani ulachte hain ba-tarz-e-dil-nashin

naw ka suraKH lekin band farmate nahin

koDhiyon par aastin kab se chaDhae hain huzur

koDh ko lekin kaleje se lagae hain huzur

dast-kari ke ufuq par abr ban kar chhaiye

jahl ke ThanDe lahu ko ilm se garmaiye

kar-KHane kijiye qaem mashinen laiye

un zaminon ko jo mahw-e-KHwab hain chaunkaiye

KHwah kuchh bhi ho munDhe ye bail chaDh sakti nahin

mulk mein jab tak ki paida-war baDh sakti nahin

dil mein jitna aae luTen qaum ko shah-o-wazir

khinch le KHanjar koi joDe koi chille mein tir

be-dhaDak pi kar gharibon ka lahu akDen amir

dewta ban kar rahen to ye ghulaman-e-haqir

doston ki galiyan har aan sahne dijiye

KHana-zadon ko yunhi shaitan rahne dijiye

dam ek chhoTe se kuze ke hain sau jam-e-bilur

mol lene jaen ek qatra to den nahr-o-qusur

ek diya jo bechta hai mangta hai sham-e-tur

ek zara se sang-reze ki hai qimat koh-e-nur

jab ye aalam hai to hum rishwat se kya tauba karen

tauba rishwat kaisi hum chanda na len to kya karen

zulf us co-operatiwe silsile ki hai daraaz

chheDte hain hum kabhi to wo kabhi rishwat ka saz

gah hum bante hain qumri gah wo bante hain baz

aap ko malum kya aapas ka ye raaz-o-niyaz

naw hum apni khiwate bhi hain aur khete bhi hain

rishwaton ke lene wale rishwaten dete bhi hain

baadshahi taKHt par hai aaj har shai jalwa-gar

phir rahe hain Thokaren khate zar-o-lal-o-guhar

KHas chizen qimaten un ki to hain aflak par

aab-KHora munh phulata hai aTThanni dekh kar

chauda aane ser ki aawaz sun kar aaj-kal

lal ho jata hai ghusse se TamaTar aaj-kal

nastaran mein naz baqi hai na gul mein rang-o-bu

ab to hai sehn-e-chaman mein KHar-o-KHas ki aabru

KHurdani chizon ke chehron se Tapakta hai lahu

rupae ka rang faq hai ashrafi hai zard-ru

haal ke sikke ko mazi ka jo sikka dekh le

sau rupe ke note ke munh par do anni thuk de

waqt se pahle hi aai hai qayamat dekhiye

munh ko Dhanpe ro rahi hai aadmiyat dekhiye

dur ja kar kis liye taswir-e-ibrat dekhiye

apne qibla 'josh' sahab hi ki haalat dekhiye

itni gambhiri pe bhi mar-mar ke jite hain janab

sau jatan karte hain to ek ghunT pite hain janab

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Urdu Poetry, Urdu Shayari, Sad Poetry, Sad Shayari

Kab Se Muqadma Chal Raha Hai Meri Mohabbat Ka

Kab se muqadma chal raha hai meri mohabbat ka,, sochta hun kuch rishwat de ke tujhe apna kardun, rishwat ka dour hai sahab, kuch le de ke.

Rishwat Ka Dour Hai Sahab,

Kuch le de ke hamare ho jao na.

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Essay On Police In Urdu

Back to: Urdu Essays List 3

پاسبان پر ایک مضمون

پاسبان دراصل فارسی زبان کا لفظ ہے جس کے معنی “چوکیدار ‘ نگہبان ‘ حفاظت کرنے والے” کے ہیں۔ مرکزی منظم پولیس کا پہلا ادارہ ۱۶۶۷ میں کنگ لوئس کی حکومت نے یورپ کے سب سے بڑے شہر پیرس میں تشکیل دیا۔ اس ادارے نے عوام کو تحفظ ‘ امن و سکون اور جان کی امان بخشنے میں خوب کردار نبھایا۔ یہ ہر پولیس اسٹیشن والوں کی ذمہ داری ہوتی ہے کہ وہ اپنے علاقے کی حدود میں نظم و ضبط برقرار رکھے۔

پولیس کے عہدے

پولیس والوں کے بھی عام سرکاری و نجی ملازمین کی طرح بہت سے درجے ہوتے ہیں۔ سب سے نچلا درجہ کانسٹیبل کا ہوتا ہے پھر ہیڈ کانسٹیبل۔ درجہ بہ درجہ اسسٹ انسپکٹر ‘ سب انسپکٹر اور پھر پولیس انسپکٹر کا درجہ ہوتا ہے.۔ بتدریج اس سے اعلیٰ عہدے ایس پی اور آئی جی کے ہوتے ہیں اور یہ تمام لوگ اپنے اپنے فرائض بخوبی سر انجام دیتے ہیں۔

لفظ “پولیس” کی تاریخ

لفظ “پولیس” اٹھارویں صدی میں فرانسیسی زبان سے انگریزی زبان میں شامل کیا گیا تھا۔ انیسوی صدی سے پہلے سرکاری دستاویزات میں لکھے لفظ “پولیس” کا پہلا استعمال ۱۷۱۴ء میں اسکائی لینڈ کے کمشنر آف پولیس کی تقریر میں ہوا تھا۔

مسلم ممالک میں پولیس کا کردار

کچھ اسلامی ممالک میں مذہبی پولیس بھی موجود ہے جس کا مقصد اسلامی شریعت کے اصولوں کو عملی جامہ پہنانا ہے۔ یہ پولیس ایسے لوگوں کو گرفتار کرتی ہے جو ہم جنس پرستی میں ملوث ہوتے ہیں۔ یہ غذائی قوانین نافذ کرتے ہیں اور  سور کے گوشت کی خرید و فروخت اور شراب نوشی کی روک تھام کو یقینی بناتے ہیں۔ اسی طرح یہ اسلام کی شریعت کے تقاضوں کو پورا کرنے اور عام عوام سے پورا کروانے کی کوشش میں لگے رہتے ہیں۔

منظم ماحول کے لیے قوتیں

غیر اختیاری صورتحال میں قانون کی بالادستی کے لیے ان سرکاری افسران کے پاس ہینڈ گن بطورِ دفاع موجود ہوتی ہے۔ غیر معمولی معاملات و صورتحال کے زیرِ اثر انھیں غیر مہلک اسلحے سے بھی لیس کیا جاتا ہے اور اس اسلحہ کو استعمال کرنے کی اجازت بھی دی جاتی ہے۔ خاص طور پر فساد پر قابو پانے کے لیے انھیں لاٹھی ‘ آنسو گیس ‘ ربڑ کی گولیاں ‘ فسادات کی ڈھالیں اور الیکٹرک شاک جیسے ہتھیار بھی استعمال  کرنے کی اجازت ہوتی ہے۔

پولیس کی اہمیت

کسی بھی معاشرے میں امن و سکون کو برقرار رکھنے اور لوگوں کے جان و مال اور عزت و آبرو کی حفاظت کو یقینی بنانے کے لیے ضروری ہے کہ تمام شر پسند انسانوں کو معاشرے سے الگ کیا جائے لیکن ایسا ممکن تب ہوسکتا ہے جب کوئی ادارہ خاص طور پر اس مسئلے پر کام کرے۔

پولیس کا ادارہ ہمارے معاشرے سے تمام برائیوں کا خاتمہ کرنے کے لیے دن رات اپنی جان کی پروا کیے بغیر کام کرتا ہے۔ اگر پولیس نہ ہو تو ہم یوں آزادی سے کہیں بھی نہ جاسکیں۔ ہمیں ہر وقت اپنی جان ‘ مال و عزت کے خطرے میں ہونے کا خوف ستائے رکھے اور ہم اپنے ساتھ ہوئی کسی بھی ناانصافی کے لیے کسی سے انصاف بھی طلب نہ کرسکیں۔ اس لیے ایک پُرسکون معاشرے میں پولیس کا ہونا نہایت ضروری ہے۔

Urdu Collection

Sunday 14 august 2016, rishwat aik lanat.

Exceptionally great

رشوت : Rishwat Meaning in English

Rishwat synonyms, rishwat in detail.

1 of 4) رشوت : Bribe Payoff : (noun) payment made to a person in a position of trust to corrupt his judgment.

2 of 4) رشوت : Kickback : (noun) a commercial bribe paid by a seller to a purchasing agent in order to induce the agent to enter into the transaction.

3 of 4) رشوت : Bribery Graft : (noun) the practice of offering something (usually money) in order to gain an illicit advantage.

4 of 4) رشوت تاوان زر تلافی : Amends Reparation : (noun) something done or paid in expiation of a wrong.

Useful Words

کارندہ : Agent : a representative who acts on behalf of other persons or organizations.

رشوت دینا : Bribe : make illegal payments to in exchange for favors or influence. "This judge can be bought".

اشتہار : Commercial : a commercially sponsored ad on radio or television.

دغاباز : Corrupt : not straight; dishonest or immoral or evasive. "Corrupt military commander".

داخل ہونا : Come In : to come or go into. "The boat entered an area of shallow marshes".

ہوائی امریکی ریاست : Aloha State : a state in the United States in the central Pacific on the Hawaiian Islands.

قائل کرنا : Cause : cause to do; cause to act in a specified manner. "The induced me for fake collision to obtain money fraudulently from insurance companies".

رائے : Judgement : an opinion formed by judging something. "What you don`t get in this world will get on the day of judgment but condition is obey Allah".

بنایا ہوا : Made : produced by a manufacturing process. "Bought some made goods at the local store; rope and nails".

حکم : Order : (often plural) a command given by a superior (e.g., a military or law enforcement officer) that must be obeyed. "The British ships dropped anchor and waited for orders from London".

مفید : Gainful : yielding a fair profit.

ادائیگی : Payment : a sum of money paid or a claim discharged.

شخص : Individual : a human being. "Every individual was gone through corona test before passing the immigration".

رکھنا : Lay : put into a certain place or abstract location. "Where do I put it ?".

خریداری : Buying : the act of buying. "Buying and selling fill their days".

بیچنے والا : Marketer : someone who promotes or exchanges goods or services for money.

معاملہ : Dealing : the act of transacting within or between groups (as carrying on commercial activities). "I am not in dealing terms with her".

بھروسہ کرنا : Bank : have confidence or faith in. "Farhan trusted Kiran blindly that she would marry him by hook or by crook but she married to someone else".

Next of Rishwat

Tawaan : تاوان : money demanded for the return of a captured person

Previous of Rishwat

Wusooli : وُصُولی : the act of receiving

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Arooj Aftab Knows You Love Her Sad Music. But She’s Ready for More.

The genre-crossing songwriter’s introspective “Vulture Prince” was a pandemic hit. Now she is returning with “Night Reign,” an LP that reveals her many dimensions.

By Sam Sodomsky

In a remote studio in North Brooklyn, the actress Tessa Thompson stood behind a camera and instructed a young model how to project a precise but elusive expression of longing: “Almost like you can’t help it,” she suggested from beneath a black beret. Thompson was making her debut behind the camera, directing a music video by the Pakistani composer and vocalist Arooj Aftab .

“This is a dream come true,” Thompson said between takes on an afternoon in March. “A dream I didn’t know I had.”

The clip was for Aftab’s latest song, the dusky “Raat Ki Rani,” from her fourth solo album, “Night Reign,” due May 31. Drawing inspiration from Ingmar Bergman’s 1966 thriller, “Persona,” the treatment weaves an imagistic love story between two women into a trippy meta-narrative that takes place on the set of a perfume commercial. Accordingly, the room was filled with fragrant bouquets as Aftab, 39, observed quietly from the sidelines.

If you didn’t know she was the star of the show — not to mention, the beautiful, Auto-Tuned voice pouring from the speakers all day — you might have assumed she was one of the crew members assessing the scenery, keeping the mood light, checking if anyone needed bottled water. As the team reset for a complex shot accompanied by a relentlessly looped fragment from her track, Aftab whispered offhandedly to a cameraperson, “Thank God the song is good!”

“Raat Ki Rani” is Aftab’s first official music video and a rare instance of the musician outsourcing her distinctive vision. Many listeners first encountered her hypnotic and immersive style via her 2021 breakthrough, “Vulture Prince” : a minimalist blend of jazz, folk and ghazals, a form of Urdu poetry that incorporates themes of longing and loss.

The album became a rare pandemic-era success for an independent artist, partly because its quiet, introspective music aligned with the times. It was forged in grief as a tribute to Aftab’s younger brother, who died in 2018, and the emotional intensity often came through her stunning vocals.

With more than six million plays on Spotify, the slow-building, eight-minute ballad “Mohabbat” has become something like a signature song. Its fans include Barack Obama, Elvis Costello and the Grammys, where it picked up best global music performance, making Aftab the first Pakistani artist to win the award. (She was also nominated for best new artist but lost to Olivia Rodrigo.)

“‘Vulture Prince’ bridged a gap in the industry,” Aftab said. “There were renditions of old poems and traditional songs, heritage material from Pakistan and South Asia.” She referred to “Mohabbat,” an oft-covered ghazal written by Hafeez Hoshiarpuri, as a “national treasure” among South Asian artists and is proud to exist in this lineage. But she has consciously avoided instruments or textures that Western audiences might associate with the term “world music” — a philosophy she boils down to “bitching about tablas.”

“Night Reign,” Aftab’s first solo release for a major label, Verve, offers a more comprehensive self-portrait, with vivid songs veering as close to pop music as she has ever come while still making room for explorations like “Na Gul,” the first time the writing of the 18th-century Urdu writer Mah Laqa Bai Chanda has been set to music.

“‘Vulture Prince’ was a sad record because I was sad,” Aftab said with a lucidity and self-awareness that seems to come second nature to her. “But in the years that passed, I’ve had this joy inside of me. It would be unfair if it didn’t translate in my music.”

The success of “Vulture Prince” put Aftab on a different track. “I was finally financially free,” she said. “I don’t have a desk job. I don’t have a supervisor. I can be in a different city every night playing.” As soon as pandemic restrictions eased, she got on the road — “like 200 shows in a year” — and observed the way her sound evolved to fit each space. “We learned that it goes in a big room, it goes in a small room,” she said. “It goes in a festival where there’s a rock band onstage next to you.”

GROWING UP IN Lahore, Pakistan, Aftab attended a school with what she called “all-girls convent vibes,” where she played sports and acquired a spirit of collaboration, competition and “solidarity with women.” Much of her free time was filled with music. She learned from her parents’ tradition of curating mixtapes to soundtrack parties — that sprawling, genre-agnostic approach remains crucial to Aftab’s art — and made friends with acoustic guitars and record collections.

Soon, she was fronting a band, performing local gigs and boasting a songbook of heartbroken originals and popular-demand covers. (Her first brush with fame was a performance of Leonard Cohen’s “Hallelujah” that went semi-viral on the pre-YouTube internet.)

At Berklee College of Music in Boston, where she studied production and audio engineering, Aftab was electrified by the local jazz scene and the community of musicians. Many of her fellow students moved to New York with her upon graduation, and several appeared on her debut, “Bird Under Water” from 2014, a record she looks back on as an early stab at her multidisciplinary aesthetic.

Touring “Vulture Prince” and its follow-up, “Love in Exile,” a collaboration with the jazz musicians Shahzad Ismaily and Vijay Iyer from 2023, shaped the nocturnal reflections of “Night Reign.” During a trip back to her hometown, the smell of the raat ki rani flower (its name translates from Urdu as “Queen of the Night”) flooded her with memories of childhood. She connected these images to the nightlife in Brooklyn, which she has called home since 2009.

“I am really an extrovert,” she said. “But there’s also the silence of the night, the calmness.” She reflected for a minute. “Also, you know, everyone just looks better when it’s all shadowy and unclear. I don’t want to be seeing people in the daytime.”

A lot of Aftab’s thoughts evolve this way: She will summon the wisdom of her music and quickly swat it away with a self-effacing joke or conversational aside. Despite her rising profile, she remains an unassuming presence. Casually chatting about the album at a hip Brooklyn social club, she drank a cup of tea. She was wearing a North Face vest and a pair of sunglasses, standing out from the loudly dressed attendees of a nearby fashion show. “I don’t know that it’s in my persona to become a persona,” she said.

On “Night Reign,” she seized the opportunity to express different sides of her personality. There’s “Raat Ki Rani,” which features an uncharacteristic use of Auto-Tune that emerged from a whimsical studio experiment. (“I was like, ‘This is not a T-Pain record. We need to dial it back.’”) And “Whiskey,” an English-language love song she started writing in college, with a depiction of drunken intimacy that represents her most direct, unguarded moment as a writer. “I think I’m ready to give in to your beauty and let you fall in love with me,” she sings over a starry folk arrangement.

To match the range of the songwriting, Aftab enlisted her familiar collaborators, including the harpist Maeve Gilchrist, the bassist Petros Klampanis, the guitarist Gyan Riley, the veteran percussionist Jamey Haddad and her “Love in Exile” bandmates Ismaily and Iyer. She also extended her circle to Costello (who plays Wurlitzer on “Last Night Reprise”), the guitar virtuoso Kaki King, the Philadelphia spoken-word artist Moor Mother and Joshua Karpeh, the R&B songwriter and multi-instrumentalist who records as Cautious Clay.

Describing their collaboration on “Last Night Reprise,” a jazzy interpretation of a poem by the 13th-century Persian writer Rumi, Karpeh recalled Aftab taking the vantage of a film director, using visual cues to encourage different takes. “There’s a trust in how we approach our music,” he said of their shared approach. “It felt very free and raw.”

Aftab said Karpeh embodies her ideal player: someone who gravitates to the unique. “I search for people like that because that’s 80 percent of the thing,” she said. “There’s nothing I can write down and ask you to play if you don’t have that innate feeling.”

In Tessa Thompson, who Aftab pinged with a friendly DM on Instagram, Aftab found both a natural collaborator and a role model for navigating the business on her own terms. (She had previously met some musical members of Thompson’s family: her half sister, Zsela, and her father, Marc Anthony Thompson, a.k.a. Chocolate Genius.)

“I haven’t been around that type of person who has been in the industry a long time and still manages their mental health and knows how to be chill and natural and not overwhelmed by stuff,” Aftab said of Thompson. “Maybe I’m just a baby!”

ON A WARM April day, Aftab was ready to premiere the final cut of the “Raat Ki Rani” video. In her Brooklyn brownstone apartment, a cozy spot with a lush backyard garden, she made tea and explained the history of a rare instrument she found on eBay — the Sonica, a synthesizer in the shape of a guitar. Discussing her excitement about the video, she zoomed out to place its imagistic depiction of queer romance in a larger context. “It feels natural to me in this moment in culture for the center of desire to not be a man,” she said firmly. “We are in a time that is fluid.”

When the conversation turned to a recent Instagram post in which she announced the imminent retirement of “Mohabbat” from her set lists, Aftab laughed. “I was just [expletive] around,” she said. “Obviously nobody’s going to let me not play that anymore.” Her tone quickly turned more serious. “I’ve never had a hit, so I don’t know what to do. I guess Norah Jones still has to play ‘Come Away With Me.’” Eventually, Aftab confirmed that she still connects with the song every time she sings it, but her impulse to move forward is no joke.

“Let me be more personal,” she said, leaning forward. “Let me be me and not a representative of culture.” She paused. “People still call me, like, ‘the Sufi fusion singer,’ or whatever. And it’s just, like, I actually don’t really know anything about Sufism.”

“I see a lot of artists saying this,” she added. “We want to run away from being labeled — but we can’t. So we have to do it in our music.”

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