کعبہ بھی ہم گئے
Ka'aba Bhi Ham Ga.e
We Went Even to the Ka'aba
امیر مینائی
کعبہ بھی ہم گئے نہ گیا پر بتوں کا عشق
Ka'aba bhī ham ga.e na gayā par butoñ kā ishq
We went even to the Ka'aba, but the love for the idols did not depart;
اس درد کی خُدا کے بھی گھر میں دوا نہیں
Is dard kī ḳhudā ke bhī ghar meñ davā nahīñ
For this affliction, no cure exists, not even in the house of God.
📖Metaphorical & Poetic Meaning
This couplet (sher) is a classic example of the tension between sacred love (for God) and worldly love (for the beloved) in Urdu poetry.
Line 1:
The poet states they performed the ultimate act of piety—going on a pilgrimage to the Ka'aba, the holiest site in Islam. The purpose of such a journey is often to purify the soul and renounce worldly attachments. However, the poet laments that even this sacred act could not cure them of their "love for the idols" (butoñ kā ishq).
The "Idol" (بت / But):
In this context, "idol" is a metaphor. It does not (usually) mean a literal statue. It refers to the beloved, who is worshipped with a devotion that rivals religious faith.
Line 2:
This line confirms the first. The "pain" or "affliction" (dard) is the ishq (passionate love) itself. The poet declares this affliction so profound that a remedy (davā) for it cannot be found even in "God's own house" (the Ka'aba).
In essence, the poet is using hyperbole to express the absolute, all-consuming, and incurable nature of his love for the beloved. This love has taken such deep root in his heart that even the holiest sanctuary on earth offers no relief.