In Sufi poetry, a commonly used word for 'I' or ego is the Arabic word nafs(نَفْس). In Bhakti poetry, ahaṃkāra (अहंकार) denotes the same concept. In the couplets studied below, it will become clear that overcoming nafs (نَفْس) or ahaṃkāra (अहंकार) through 'acceptance (of the Will of God or the Will of the Universe)' is the key practice advocated in Sufi & Bhakti poetry.

In English translations, many words and phrases denote acceptance: 'submission', 'dissolution of I', 'loss of ego', 'egolessness', 'merging with the Universe', 'alignment', and so on. Among these, I like 'acceptance' the most. It is succinct and positive, which is superior to a double negative like 'loss of ego'.

Instead of directly using the words nafs(نَفْس) or ahaṃkāra (अहंकार), the sublime poetry of Sufi and Bhakti saints describes 'submission' or 'dissolution of I' using beautiful, creative metaphors! For example, 'khidmat mein fana' in Urdu means 'selflessness in service' or 'to lose oneself in service'. Even 'annihilation', 'ceasing to exist' and 'death' represent submission of the ego. A popular imagery is that of the moth ('parvana' in Urdu) merging with the flame ('shama' in Urdu). The moth represents the ego / 'I'; the flame represents the Universe. Thus the death of a moth by merging into the flame is a metaphor for submission of 'I' towards acceptance of the Will of the Universe.

• Sajda Kar Ke (by prostrating myself), Qadam-E-Yaar Pe (at the feet of my beloved), Qurbaan Hona (and sacrificing myself). The phrase 'sacrificing myself' is a metaphor for annihilation of the ego.
  
• Yuhi Likha Tha Meri Kismat Mein (it was thus written in my destiny), Mussalman Hona (to be a Mussalman, an Arabic word whose literal meaning is 'one who submits to the Will of God'). A subtle n beautiful aspect of this line is that even the submission is not done by me; it's a blessing / gift.
  

Every couplet of Sajda Kar Ke Qadam-E-Yaar is beautiful!

I couldn't find much information about Hazrat Syed Wamiq Mian online. A YouTube video shows a shrine / mazār dedicated to him.

• Sajan (O Beloved), Hum Tum (I and You), Ek Hain (are One).
  
• Aur (and), Kahan Sunan Ko (for speaking and listening), Do (two).
  In other words, 'we are two for the sake of communication via language (speaking and listening)'. Explanation: in order to communicate via language, we have to break our overall experience into pieces, label each piece and convey the relationships between these pieces using linguistic constructs.
  
• Mann Se Mann Ko Toliye ('weigh our heart with the Universe's heart' or 'weight the wish of our heart with the wish of the Universe's heart').
• So Do Man Kabhau Na Ho (these two hearts are never two). In other words, the (wishes of) these two hearts are aligned ('one' / exactly the same).

The first two lines of the couplet refer to Oneness / non-duality, which is somewhat difficult to conceptualize. We will discuss non-duality in another part of this essay: Who Am I?

The last two lines refer to alignment / merger of what 'I' (the ego) wishes with what the Universe wishes, which basically means acceptance of the Will of God.

• Kabir (the poet) Yeh Ghar Prem Ka (this is the abode of love), Khala Ka Ghar Nahin (not the house of your aunt).
  
• Sees Utaare Hath Kar (only by severing your head and folding your hands), So Pasey Ghar Mahin (can you enter this abode).
  

Sees Utaare (severing your head) is a metaphor for losing one's ego.

• Hukum Rajai (Will of God), Chalna (to walk), Nanak Likheya Naal (Nanak thus says). In other words, 'walking according to the Will of God is the key' where walking denotes 'living our life'.

The above line is taken from the Japji Sahib, a composition considered to be a comprehensive essence of the Sri Guru Granth Sahib, the holy book of the Sikhs.

• Hukme Andar Sab Ko (Everything happens as per the Will of God), Bahar Hukum Na Koi (Nothing is outside the Will of God).
  
• Nanak Hukme Je Bujhe (Nanak says that the one to understand this concept), Te Haume Kahe Na Koi (has no ego).

• Tera Bhana (Your Will), Meetha Lage (tastes sweet (as nectar)).
• Hari Naam Padarath (constant remembrance of God), Nanak Mange (is what Nanak wishes for).

A literal translation of the entire couplet is: 'All that Nanak seeks is constant remembrance that Your Will is as sweet as nectar'.

• Kaho Nanak (Nanak says that) Jin Hukum Pachhaata (the one who understands / recognizes this concept: Will of God).
  
• Prabh Sahib Ka Tin Bhed Jaata (is the one who understands the mystery of God).

• Maran Ton Agge (before physical death), Mar Gaye (if we die), Bahoo (says Bahu, the poet). The phrase 'Mar Gaye' represents annihilation of the ego.
• Taan Matalab Noon Paaiaa Hoo (only then do we grasp the essence, the true meaning of faith (surrendering to God)).

• Allah Parhion Hafiz Hoion (You have read the name of God over and over; You have stored the Holy Qur'an in your memory); Na Giaa Hijabon Pardaa Hoo (But this has still not unveiled the hidden mystery).
• Parhh Parhh Aalim Faazil Hoion, Taalib Hoion Zar Daa Hoo (Instead, your learning and scholarship have sharpened your greed for worldly things).
• Lakh Hazar Kitabaan Parhiaan (None of the countless books you've read), Zaalim Nafs Na Mardaa Hoo (has destroyed your brutal ego).
• Baajh Faqeraan Kise Na Mareya (Indeed, none but the saints have killed this inner thief), Eho Chor Andar Daa Hoo (for it ravages the very house in which it lives).

• Khusrow (Khusrow, the poet, says that), Dariya (river), Prem Ka (of love), Jo Ulti Wa Ki Dhar (flows in the opposite direction).
• Jo Ubhra (the person who emerges (metaphor for ego)), So Dooba (that person sinks), Jo Dooba (the person who immerses / sinks (metaphor for loss of ego)), So Paar (that person reaches the other end).

This couplet has beautiful, poetic wordplay. The phrase 'Jo Ubhra So Dooba' means that the person with ego sinks. The phrase 'Jo Dooba So Paar' means that the person who has no ego is the one who successfully traverses the river (of love).

• Bulleh Shah (Bulleh Shah, the poet, says that), Gal Taeeyon Mukdee (the matter is settled only when).
  
• Jadon 'Main' Nu (when the 'I' / ego), Dilon Gawaeeye (is lost from the heart).
  

• Parh Parh Ilm (by reading copiously, by getting educated), Te Faazil Hoya (you have become knowledgeable).
  
• Te Kaday (but never), Apnay Aap Nu (yourself), Parhya Naai (studied). In other words, 'but you never studied yourself'.
  
• Bhaj Bhaj (repeatedly, you scamper), Wadna Ay (enter), Mandir (temple), Maseeti (mosque). In other words, 'time and again, you scamper towards and enter places of worship'.
  
• Te Kaday (but never), Mann Apnay (your own heart), Wich Warya Ee Naai (did not enter). In other words, 'you never entered (delved into / studied) your own heart'.
  
• Larnaay (you fight), Roz (every day), Shaitaan De Naal (with evil / the Satan). In other words, 'you fight every day to vanquish evil in the world outside'.
  
• Te Kade (but never), Nafs (ego / 'I'), Apnay (your), Naal (with), Laryaee Naai (did not fight). In other words, 'but you never fought your ego to vanquish it'.
  

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