===
0043,
3
===

 

{43,3}

sab ga))e hosh-o-.sabr-o-taab-o-tavaa;N
lekin ay daa;G dil se tuu nah gayaa

1) they all went-- intelligence and fortitude and endurance and strength
2) but, oh Wound/Scar-- from the heart, you didn't go

 

Notes:

daa;G : 'A mark burnt in, a brand, cautery; mark, spot, speck; stain; stigma; blemish; iron-mould; freckle; pock; scar, cicatrix; wound, sore; grief, sorrow; misfortune, calamity; loss, injury, damage'. (Platts p.501)

S. R. Faruqi:

In the verse the point is that fortitude, endurance, strength-- these things are the kind that go, and the quality of a wound/scar is that it doesn't go. But he's supposed them to be dwelling in the sarai of the heart, or he's supposed them to be attacking the heart. And he's complained that, or he's been astonished that, or he's said with love, 'when all the dwellers went away, then, oh Wound/Scar, why didn't you go?'.

He's composed this very theme, in almost the very same words, in the first divan itself [{142,2}]:

sab ga))e hosh-o-.sabr-o-taab-o-tavaa;N
dil se ik daa;G hii judaa nah hu))aa

[they all went, intelligence and fortitude and endurance and strength
from the heart only/emphatically a single/particular/excellent/unique wound/scar did not become separated]

The verse noted above [{142,2}] pleased Mir to such an extent that he has entered it in exactly the same form into a ghazal in the second divan; but that ghazal has no refrain; that is, in it nah hu))aa is not the refrain, but rather its rhymes are diyaa , balaa , etc. [[This description seems to place it in {758}, but no such verse appears there. SRF himself can't now (Feb. 2018) figure out exactly which verse he meant.]]

Hali's verse that has been noted in {43,1} seems to have been influenced by the present verse.

In Mir's verse can be heard a subtle echo of Razi ul-Din Nishapuri's [Persian] quatrain; but Razi ul-Din Nishapuri's quatrain doesn't have the informality and 'mood' that Mir's does:

'Oh you, the light of your face committed highway robbery on the dawn and looted it.
Until the time of the coming of dawn, I remained seated in the gathering of grief.
My fortitude, my wisdom, all my friends went away.
Only I remained, and the tears in my eyes, and the sigh for the dawn.'

In Razi Nishapuri's verse the point is certainly interesting that the beloved committed highway robbery on the dawn and destroyed it, so that the dawn didn't come at all; the speaker remained seated, waiting for the dawn.

Now before them both let's put Faiz, and look at from where the tradition of Urdu ghazal has come, and to where:

tirii kaj-adaa))ii se haar ke shab-e inti:zaar chalii ga))ii
mirii .zab:t-e ;haal se ruu;Th kar mire ;Gam-gusaar chale ga))e

[having been defeated by your crookedness of style, the night of waiting went away
having become annoyed by my restraint of my condition, my sympathizers went away]

FWP:

SETS == EXCLAMATIONS
MOTIFS == PERSONIFICATIONS
NAMES
TERMS

The question of tone is everything. SRF notes some of the possibilities. Is the speaker praising the wound/scar for being loyal, when all his other 'friends' had deserted him? Or is he expressing surprise, that anything is still left? Or is he ruefully noting that he has the worst of all worlds-- all his assets go, while his great liability remains?

And exactly what kind of entity is the speaker addressing? The word daa;G can refer either to a wound (one that could be expected to heal, or 'go'), or to a residual 'scar' (one that could be expected never to 'go'). The possibilities are further enhanced by a cluster of metaphorical extensions (see the definition above).

SRF leaves his comments about Faiz's verse unspoken (in this case), but he no doubt means for us to notice that Faiz doesn't even try to provide much 'connection' between the lines, or any tight interlocking of imagery, or any wordplay. (His verse does however have its own 'flowingness'.) If we take Faiz to stand at the end of anything resembling the classical ghazal tradition, then we can see that a lot has been lost. Of course, Faiz's work also stands as part of the beginning of modern Urdu poetry, and SRF has been a conspicuous champion of poetic modernity and innovation as well.