شاعر: فیض احمد فیض ہم دیکھیں گے

ہم دیکھیں گے لازم ہے کہ ہم بھی دیکھیں گے وہ دن کہ جس کا وعدہ ہے جو لوحِ ازل میں لکھا ہے جب ظلم و ستم کے کوہِ گراں روئی کی طرح اڑ جائیں گے ہم محکوموں کے پاؤں تلے جب دھرتی دھڑ دھڑ دھڑکے گی اور اہلِ حکم کے سر اوپر جب بجلی کڑک کڑک کڑکے گی جب ارضِ خدا کے کعبے سے سب بت اٹھوائے جائیں گے ہم اہلِ صفا مردودِ حرم مسند پہ بٹھائے جائیں گے سب تاج اچھالے جائیں گے سب تخت گرائے جائیں گے بس نام رہے گا اللہ کا جو غائب بھی ہے حاضر بھی جو منظر بھی ہے ناظر بھی اٹھے گا انا الحق کا نعرہ جو میں بھی ہوں اور تم بھی ہو اور راج کرے گی خلقِ خدا جو میں بھی ہوں اور تم بھی ہو ہم دیکھیں گے لازم ہے کہ ہم بھی دیکھیں گے

  Faiz Ahmed Faiz: Faiz Ahmed Faiz (1911–1984) is widely considered one of the greatest and most influential Urdu poets of the 20th century. A key figure in the Progressive Writers' Movement, his poetry uniquely bridges the gap between traditional romantic Urdu verse and radical political activism. Faiz was a journalist, intellectual, trade union leader, and Nobel Peace Prize nominee and was called The Lawyer-Poet of the People. He was famous for using classical poetic metaphors such as love, longing, and spiritual devotion as allegories for socio-political revolution and human freedom. Because of his leftist leanings and vocal criticism of authoritarian regimes, he spent several years in prison and lived much of his later life in forced or self-imposed exile. History: Faiz penned the poem in 1979 during one of the darkest political periods in South Asian history: In 1977, General Muhammad Zia-ul-Haq imposed Martial Law in Pakistan. His regime enforced strict political censorship, dismantled democratic institutions, and pushed a conservative socio-political agenda. Dissent was brutally crushed, activists were imprisoned, and progressive literature was heavily banned. To legitimize his dictatorship, Zia used religious rhetoric. In a stroke of literary genius, Faiz took those exact same religious, Quranic, and Sufi symbols and turned them against the regime

1. The Day of Judgment (Qayamat) became a metaphor for the Day of Revolution.
2. Destroying Idols (But) referenced clearing out false, oppressive rulers.
3. Ana-l-Haq ("I am the Truth”) a famous Sufi declaration by Mansur Al-Hallaj was used to emphasize that divine power resides within every ordinary person (Khalq-e-Khuda), making democracy and total equality sacred imperatives.

Literary historians note that the 1979 Iranian Revolution also directly influenced Faiz. Witnessing a mass uprising overthrow an autocratic monarch (the Shah) reinforced Faiz’s belief that no matter how powerful a tyrant seems, the collective power of the public will eventually toss their crowns aside. Poets state of Mind: Faiz wrote "Hum Dekhenge" while living in exile in the United Kingdom. He was deeply anguished by the state of his homeland the execution of elected leaders, the silencing of free speech, and the exile/imprisonment of his closest peers. Despite being physically separated from his home and surrounded by political despair, Faiz’s mindset was not one of defeat; it was one of unshakeable certainty. The refrain "Hum Dekhenge, Lazim hai ke hum bhi dekhenge" ("We shall see, it is certain that we, too, shall see") reflects a defiant refusal to accept tyranny as permanent. He wrote it as a promise of hope not just for his generation, but as a timeless anthem for anyone living under oppression. Iqbal Bano: In 1986 (two years after Faiz’s death), the iconic vocalist Iqbal Bano performed the banned poem live at the Alhamra Arts Council in Lahore in front of over 50,000 people. As a direct protest against Zia’s decree banning women from wearing sarees, Iqbal Bano walked onto the stage dressed in a black saree. When she sang "Sab taaj uchhale jayenge, sab takht giraye jayenge", the crowd erupted into stadium-shaking chants of "Inqilab Zindabad" ("Long Live the Revolution"). A smuggled cassette recording of that performance survived state confiscation and immortalized the song across the world.