;haal means 'state, condition', and
also 'the present age'. With pareshaanii to have majmuu((ah
is also fine, especially because a divan of poetry is also called a 'collection'.
This is a verse of mood [kaifiyat],
but there's also a great deal of meaning. This is Mir's special style, and
wasn't bestowed on anyone else. Reflect on the points of meaning given below.
They are on top of those aspects of iihaam that have
mentioned above (that is, in the word majmuu((ah and
the word ;haal there's an iihaam
).
(1) Addressing the beloved or the reader, he has said that
if you want to look at the conditions of the time, then look at my divan.
(2) All my topsy-turviness (whether of the heart, or external)
is enclosed within this divan.
(3) Other people do look at this divan. You (the beloved)
too please just look at it.
(4) Despite all the topsy-turviness this book is worth
looking through; that is, there's also a kind of pleasure in it.
Mus'hafi has also composed with this theme, but not with
such excellence:
dekhe jo ko))ii ;Gor se diivaa;N mire
to haa;N
har bait hai zamaane kii a;hvaal kii kitaab
[if anyone would look attentively at my divan then, indeed,
every verse is a book of the conditions of the age]
Both these verses refute, in any case, the point of view
that says that our poets live in an imaginary world. Indeed, it's true that
with us the style of expressing reality is not that in western representations
of events.
I'm not sure how strictly SRF means to use the term iihaam
here. I don't really see that the term can be applied, in its technical
sense defined by Mir himself.
S. R. Faruqi:
;haal means 'state, condition', and also 'the present age'. With pareshaanii to have majmuu((ah is also fine, especially because a divan of poetry is also called a 'collection'.
This is a verse of mood [kaifiyat], but there's also a great deal of meaning. This is Mir's special style, and wasn't bestowed on anyone else. Reflect on the points of meaning given below. They are on top of those aspects of iihaam that have mentioned above (that is, in the word majmuu((ah and the word ;haal there's an iihaam ).
(1) Addressing the beloved or the reader, he has said that if you want to look at the conditions of the time, then look at my divan.
(2) All my topsy-turviness (whether of the heart, or external) is enclosed within this divan.
(3) Other people do look at this divan. You (the beloved) too please just look at it.
(4) Despite all the topsy-turviness this book is worth looking through; that is, there's also a kind of pleasure in it.
Mus'hafi has also composed with this theme, but not with such excellence:
dekhe jo ko))ii ;Gor se diivaa;N mire to haa;N
har bait hai zamaane kii a;hvaal kii kitaab
[if anyone would look attentively at my divan then, indeed,
every verse is a book of the conditions of the age]
Both these verses refute, in any case, the point of view that says that our poets live in an imaginary world. Indeed, it's true that with us the style of expressing reality is not that in western representations of events.