ki haan main bus ek aam banda yarro,
na akal shakl na kuj hai kol mere...

likhari di padvi hai badi door yarro,
sirf gal ch tangeya e fatteya dhol mere...

mitha likhna te guruya peera da hai,
zehr nalo ta kaude ne bol mere...

kuj changa kehnde kuj manda kehnde,
is zindgi ch lakha ne role mere...

kuj change jo kamiya di pand kholan,
kuj gallan muh te karde ne gol mere...

oh v change jo achaiya da hungara bharde,
dende hausnla himat dil khol jehre...

jo dil ch c, hun akhar ban nikle,
ruldeya akhra kon pauga sache mol tere...

oh rabb mol pau jehne khud aap likhaya,
ohi parda sunda nit betha kol mere...

jis takri ch bethaya e mandeep nu,
malak mere manjur menu hai tol tere...

uche passe mat smat soch rakhi rabba,
niva mann mandeep te kaude bol mere

Sohni was the daughter of a potter named Tula, who lived in Punjab near the banks of the Chenab River. As soon as the Surahis (water pitchers) and mugs came off the wheels, she would draw floral designs on them and transform them into masterpieces of art.

Izzat Biag, the rich trader form Balakh Bukhara, came to Hindustan on business but when he saw the beautiful Sohni he was completely enchanted. Instead of keeping mohars (gold coins) in his pockets, he roamed around with his pockets full of love. Just to get a glimpse of Sohni he would end up buying the water pitchers and mugs everyday.

Sohni lost her heart to Izzat Baig. Instead of making floral designs on earthenware she started building castles of love in her dreams. Izzat Baig sent off his companions to Balakh Bukhara. He took the job of a servant in the house of Tula, the potter. He would even take their buffaloes for grazing. Soon he was known as Mahiwal (potter).

When the people started spreading rumors about the love of Sohni and Mahiwal, without her consent her parents arranged her marriage with another potter.

Suddenly, one day his barat (marriage party) arrived at the threshold of her house. Sohni was helpless and in a poignant state. Her parents bundled her off in the doli (palanquin), but they could not pack off her love in any doli (box).

Izzat Baig renounced the world and started living like a fakir (hermit) in a small hut across the river. The earth of Sohni’s land was like a dargah (shrine) for him. He had forgotten his own land, his own people and his world. Taking refuge in the darkness of the night when the world was fast asleep Sohni would come by the riverside and Izzat Baig would swim across the river to meet her. He would regularly roast a fish and bring it for her. It is said that once due to high tide he could not catch a fish, so he cut a piece of his thigh and roasted it. Seeing the bandage on his thigh, Sohni opened it, saw the wound and cried.

From the next day Sohni started swimming across the river with the help of an earthen pitcher as Izzat Baig was so badly wounded, he could not swim across the river. Soon spread the rumors of their romantic rendezvous. One-day Sohni’s sister-in-law followed her and saw the hiding place where Sohni used to keep her earthen pitcher among the bushes. The next day her sister-in-law removed the hard baked pitcher and replaced it with an unbaked one. At night when Sohni tried to cross the river with the help of the pitcher, it dissolved in the water and Sohni was drowned. From the other side of the river Mahiwal saw Sohni drowning and jumped into the river.

This was Sohni’s courage, which every woman of Punjab has recognized, applauded in songs: "Sohni was drowned, but her soul still swims in water..."

Nankana Sahib

jinna mazza Punjabi vich romantic gall baat da, flirt karn da ay, kisay hor zubaan ch nai ho sakda. aam galbaat vich vi je chaho taaN ainney dohray(double) matlabh niqlday ne ke bandy nu apni 'flirting skills' te yakeen nai aunda...je uproN kehan da lehza ashiqana hovay te sonay te sohaaga...

jadoN Punjabi munde di Punjabi kuRi naal ukh laRhdi ay....te bass samjhou ukh ee laRhdi, hor kujh nai..vicharay gall karn nu tars jaanday ne.....kai kai din, maheenay...te kai vaar saal baad jad mauka milda ay gall karn da, taaN bass ikk ee sawaal bhai saahib puchhday ne "hor kiddaN?" te bass "hor kiddaN?" naal ee sare saal diaN kathiyaN keetiyaN gallaN kuRi naal kar jaanday n

veru nice brother :superhappy:

Mirza–Sahiba is a treasure of Punjabi literature. It is a romantic tragedy. Sahiba was a love-lorn soul. Shayer Pillo raves about her beauty and says," As Sahiba stepped out with a lungi tied around her waist, the nine angels died on seeing her beauty.
Mirza and Sahiba were childhood playmates and both were born in Jat family [1], as mentioned in many books and folk tales in punjab,and they fell in love with each other. But when this beauty is about to be wedded forcibly to Tahar Khan by her parents, without any hesitation she sends a taunting message to Mirza, whom she loves, to his village Danabad, through a Brahmin called Kammu.
"You must come and decorate Sahiban’s hand with the marriage henna.....
Mirza Khan was the son of Wanjhal Khan, the leader of the Kharal tribe in Danabad, a town in the Jaranwala area of Faisalabad, Pakistan. Sahiba was the daughter of Mahni, the chief of Khewa, a town in Sial Territory in the Jhang district Punjab. Mirza was sent to his relatives' house in Khewa to study, where he met Sahiba and they fell in love. Her family opposed the relationship, and instead arranged a marriage with a member of the Chadhar family.
This is the time you have to protect your self respect and love, keep your promises, and sacrifice your life for truth. Mirza arrived on his horse, Bakki, the night before the wedding and secretly carried her away, planning to elope. Sahiba's brothers got to know about this and decided to follow them. On the way, as Mirza lies under the shade of a tree to rest for a few moments, Sahiba's brothers and chanders caught up with them.
Sahiba was a virtuous and a beautiful soul who did not desire any bloodshed to mar the one she loved. She did not want her hands drenched in blood instead of henna. She knew Mirza was a great archer and he will not miss his target, and if he strikes, her brothers would surely die. Before waking up Mirza, Sahiban breaks his arrows so he can't use them. She presumes on seeing her, her brothers would feel sorry and forgive Mirza and take him in their arms. But the brothers and chanders attack Mirza and kill him. Sahiban takes a sword and slaughters herself and thus bids farewell to this world.
Out of all the legendary stories, Mirza Sahiba's story is the only story where the guy's name comes first and then the girl's. All others start with girl's name for example: Heer Ranjha, Sassi Punnun, Sohni Mahiwal, Laila Majnu. Actually the other folk love stories where the guy's name comes first as (Yousaf khan Sherbano)(Mosa khan Gul maky)(Umar Marvi).
Innumerable folk songs of Punjab narrate the love tale of Sassi and Punnu. The women sing these songs with great emotion and feeling, as though they are paying homage to Sassi with lighted on her tomb. It is not the tragedy of the lovers. It is the co ly believed that the soil of the Punjab has been blessed. God has blessed these lovers. Though their love ended in death, death was a blessing in disguise, for this blessing is immortalized.
Waris shah who sings the tale of Heer elevates mortal love to the same pedestal as spiritual love for God saying," When you start the subject of love, first offer your invocation to God". This has always been the custom in Punjab, where mortal love has been immortalized and enshrined as spirit of love.
Just as every society has dual moral values, so does the Punjabi community. Everything is viewed from two angles, one is a close up of morality and the other is a distant perspective. The social, moral convictions on one hand give poison to Heer and on the other make offerings with spiritual convictions at her tomb, where vows are made and blessings sought for redemption from all sufferings and unfulfilled desires.
But the Sassis, Heers, Sohnis and others born on this soil have revolted against these dual moral standards. The folk songs of Punjab still glorify this rebelliousness. Furthermore the introduction of this story in a song format was best illustrated by the late legendary Alam Lohar. His presentation is the best and has sung this story eloquently. Nevertheless:
"When the sheet tear, It can be mended with a patch: How can you darn the torn sky? If the husband dies, another one can be found, But how can one live if the lover dies?"
And perhaps it is the courage of the rebellious Punjabi woman, which has also given her a stupendous sense of perspective. Whenever she asks her lover for a gift she says,
"Get a shirt made for me of the sky And have it trimmed with the earth"

ssa gill bahi tu ta bann gia mood tenu mubarik aa ... hun meri bakri da kisa ho gia tamam...hahhahahhahah

GILL BUHAT BUHAT WADHAYI AA TENU VEERE =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D> =D>

 :happy: :happy: :happy: :happy: :happy: :happy:...........................hahahhahahah very nice

Tusi Enj Kro.

Mobile off kro,

Battry kad lo

Sim v kad lo

Mobile Nu Road te rakh k uton

IT mar do

jadon tusi msg e nai krna te is

Kanjar da ki faida.
 :superhappy:

 :happy:buhat vedia ji ..hhahahhahaha