हैं ये शिगूफ़े उनके तीर-ए-नज़र के

'Hai Ye Shigufe Unke Tire Nazar Ke' is a documented song from Muslim Ka Lal (1941), the Hindi social feature directed by A. M. Khan for Mohan Pictures with music by Madhav Lal. The ghazal-style title plays on the classic conceit of the beloved's glance as piercing arrows (tir-e-nazar), in keeping with the Urdu lyric idiom of the film's writers Hasrat Lakhanvi and Mustafa N. Usmani. The singer is not recorded in the consulted databases and is left unattributed pending verification.

The title maps the entire lyric's world: 'Hai Ye Shigufe Unke Tire Nazar Ke' — 'These are the buds of the arrows of their glance.' Two classical Urdu images are combined here. 'Tir-e-nazar' (the arrow of the glance) is a foundational conceit in Urdu ghazal: the beloved's glance is a weapon, a dart that strikes the lover without warning. 'Shigufa' (bud, new flowering shoot) is a second image, creating a paradox: the wounds inflicted by the beloved's arrows are not wounds but blossoms — love as simultaneous wounding and flowering. This paradox of beautiful harm — the beloved's destructiveness expressed through images of spring growth — runs from the ghazals of Mir Taqi Mir and Ghalib through the film lyrics of the 1930s–40s. Whether this specific song was written by Hasrat Lakhanvi or Mustafa N. Usmani is not established; either would have had full command of this classical register. The lyric text has not been located in a verified source.

Muslim Ka Lal (1941) was directed by A. M. Khan for Mohan Pictures, a production company active in the Bombay sound era. The title — 'Muslim Ka Lal' (Son of a Muslim) — signals the Muslim social genre, a specific category of pre-Independence Hindi film that explored questions of community identity, familial honour, and religious observance within a realistic contemporary setting. The genre was popular in the 1930s–40s alongside the similar Hindu social and helped establish the conventions of the 'reformist social' film in Hindi cinema. Music was composed by Madhav Lal with lyrics shared between Hasrat Lakhanvi and Mustafa N. Usmani — both poets trained in the Lucknow Urdu tradition. No per-song singer is documented in the film databases consulted (myswar, muvyz); the song is preserved here as a catalogued title with its film-level credits.