I celebrate myself; / And what I assume you shall assume; / For every atom belonging to me, as good belongs to you;- Walt Whitman (1819-92) Poetry, being the interpreter of finer feelings, thoughts and emotions of human beings cannot be divorced from its aesthetic aspects. No matter how firmly it is associated with the political, social realities of its age, if it is divorced from the beauty of expression and style and innate lyricism, it is just a versification of journalistic truth. A poet is primarily concerned with the expression of the realities of his existence in a charming style. That is what makes his personal experience universal and in words of Robert Frost provides a "momentary stay against confusion" to those who might have undergone the similar experiences which are described by the poet artistically. The artistic expression of the collective sufferings springs from the bitter tragedy of self and its existence. The poet analyses his own sufferings in the context of the sufferings of society and world at large and tries to find out the common point of sharing some way out of the prevalent chaos. A pure poet is purely concerned with the sharing of his personal experience in an artistic and aesthetic way. He is more concerned with the ideal realities than the mundane; the difference between the practical realities and the ideal realities is what constitutes the raw material for the poet's imagination. Sometimes it results into some kind of escapism as in case of Keats where the poet wishes.... "to fade away into the forest dim" and forget "the weariness, the fever, and the fret" of life and sometimes it urges the poet to find out the basic principles of life governing the scheme of things and harmonise with them to find out a way forward as it is in the case of John Milton and Iqbal and then the poetry becomes the tool to attain something greater and wider in scope. Though Iqbal made his poetry a vehicle to awake the Muslims of the subcontinent from their deep slumber and expanded the limits of Urdu ghazal and nazm but Iqbal, too, was deeply aware of the aesthetic and artistic aspects of poetry. Therefore, we find a unique grandeur and sublimity in his style and expression. The manner, style and theme may vary but every poet basically celebrates himself. The bouts of optimism and pessimism keep on pestering the poet in his search for the underlying principles beyond the superficial moments of joy and sorrow. However, no matter what's the aim and theme of the poetry is the moment it separates itself from the aesthetics and beauty it is no more an art. Ahmed Faraz was such a pure poet who took to the art of poetry seriously. Poetry was as natural to him as the leaves to trees. The spontaneity and inner lyricism of his Urdu ghazals reflect him as a poet who is deeply aware of the miraculous transforming power of poetry which lies in the artistic beauty. He was an ardent lover of beauty and keen observer of the finer feelings that it arouses in human heart and mind. From Dard Ashob to his Kulliyat Shar-e-Sukhan Arasta Hay, we find him celebrating the human beauty and lamenting the short-lived nature of beauty and happiness. He led a rich and fulfilling life and celebrated its moments of joys and regrets. Whether he is writing love poetry or protesting the tyranny, he never lost hold of the beauty which worked as inspiration to him and endowed his poetry with profuse lyricism. Love as an experience has been the subject of poetry since its beginning. Incase of Urdu poetry it is the most overwhelming feature from Wali to Ghalib and from Ghalib to Faiz, though the difference lies in treatment of the subject. The expression of love as merely sensuous experience though is pleasing but the achievement of great poets is to transform their personal love experience into collective experience and to find some underlying facts and sources of inspiration from the simple experiences of love. The tradition of Urdu ghazal as perfected by Ghalib employs love as a vehicle to describe collective suffering and misery, to make it a governing principle of life and symbol to carry it forward to lament on the collective human sufferings and eternal truth belonging to even religion. The mystic poetry is all about love though it depicts some very keen socio-political facts of its times and records it protests against the tyranny and injustice but in is all under the governing principle of all embracing love. Faiz used the emotion of love to artistically describe the conditions of his country and nation under tyranny and personified the country as beloved in his poetry and thus carried it further to describe the conditions of exile synonymous with the Hijr (Separation). Faraz carried this tradition further and associated the passion of love with the collective feelings of youth and then harmonising it to depict the bitterness, weariness, tyranny, exploitation, injustice and double standards. As a true artist and pure poet he always raised his voice to safeguard the basic human rights and to promote the finer feelings of human existence. He was a strong champion of democracy and an ardent promoter of individual right to see the life through one's own experiences. He celebrated himself and his life and recorded the events of his time in all its essence in a style which is marked with unforgettable charm and aesthetic value. Faraz was well-aware of the fact that if the blood is shed on the street the poet's pen must also be soaked in the blood and intellectuals and artists must take a stand to oppose it. They must endure suffering and face the music but the truth must be upheld and no religion permits for obscurantism and extremism. Therefore, we find him more bitter and sour at the dusk of his life when he was deeply unsatisfied with the circumstances around. But whatever theme he dealt with in his ghazals and nazms were under the inspiration of the main governing principle of the universe - The Love. As S T Coleridge says in his famous poem The Rime of the Ancient Mariner: He prayeth best, who loveth best / All things both great and small; For the dear God who loveth us, / He made and loveth all.