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0060,
1
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{60,1}

phuu;Taa kiye piyaale lu;N;Dhtaa phiraa qaraabaa
mastii se merii thaa yaa;N ik shor aur sharaabaa

1) the wineglasses were all [in a state of having] broken/burst, the jug went rolling around
2) through my intoxication, here, there was a single/particular/unique/excellent tumult/disturbance

 

Notes:

phuu;Tnaa : 'To be broken, to be broken into; to be broken down; to be dispersed, be separated, be detached; to separate; to be unpaired; to break, crack, split, burst; to break out or forth; to sprout, shoot, bud, germinate; to burst out or forth, to gush out, to escape'. (Platts p.292)

 

shor-sharaabaa : 'Noise, bustle, clamour, tumult, disturbance'. (Platts p.736)

S. R. Faruqi:

In the first line what a superb aural effect he has created, and how fine is the clash of sounds! The whole 'mood' of shor aur sharaabaa has come before us. With 'intoxication', sharaabaa too is very fine. His courage is also praiseworthy, since although sharaabaa is usually used as part of the compound shor-sharaabaa , Mir has used it as a single independent noun. Then there's the affinity of piyaalah phuu;Tne with shor , and the affinity of qaraabah lu;N;Dhne with sharaabaa .

In all the manuscripts all the 'rhyme'-words of this ghazal have been written with aa [at the end]-- that is, qaraabaa , sharaabaa , etc. But in my opinion this isn't necessary, and perhaps Mir too might not even have written it this way. It's not necessary at all that if from the rhyme the sound of aa is to be created, then its spelling should be changed from h to aa . In the opening-verse, since the second line will in any case be written with aa , there's no harm in placing this ghazal in 'refrain' aa . But it would have been better if it had been placed in refrain h , because the rhyme-word of the first line is qaraabah . If we would insist on writing h words with aa for the sake of the rhyme, then we'd be forced to write [for example] shikastah as shikastaa [and many other odd and unacceptable things]. Compare

{84,1}.

FWP:

SETS == EK; IDIOMS
MOTIFS == SOUND EFFECTS; WINE
NAMES
TERMS == AFFINITY; RHYME

As SRF points out, the verse has at its heart the various forms of wordplay based on the excellent idiom shor sharaabaa .

The word yaa;N , however, adds an extra possibility: the whole scene could be taking place inside the intoxicated drinker, within in his whirling head. And the ik makes a point of leaving open the question of exactly what kind of turmoil it was.

As for the technical question of the spelling of the rhyme-words, here they all are in order: qaraabah , sharaabaa ; ((araabah ; do-;xvaabah ; mu;haabaa ; qulaabah ; do-aabah ; aaftaabah ; ;xaraabah ; taabah . It seems that only two of them truly do end in aa , while the other eight end in ah ; so quantitatively speaking, SRF certainly has a point. SSA gives their original spellings, while the kulliyat standardizes all of them to aa . In any case, we can be sure that Mir felt comfortable mixing them together freely. More such cases: {84}; {711}.

Note for grammar fans: The perfect plus karnaa makes a form without much of a special name that I call the 'always' construction. Thus phuu;Taa karnaa would mean 'to always break/burst', and phuu;Taa kiye hu))e would be a perfect participle in the adverbial masculine plural form ('in a state of always having broken/burst'). Then lu;N;Dhtaa hu))aa phirnaa would, by contrast, contain a straightforward masculine singular adjectival present participle: 'to wander around in a state of rolling'.