bahaa to ;xuun ho aa;Nkho;N kii raah bah niklaa
rahaa jo siinah-e sozaa;N me;N daa;G-daar rahaa

1) when it flowed, then having become blood, it flowed out by way of the eyes
2) when it remained within the burning breast, it remained burnt/scarred/stained



daa;G-daar : 'Burnt; branded, cauterized; scarred; marked, spotted; streaked, striped; stained; blemished, spoiled'. (Platts p.501)


tar.sii(( : 'Making the words of a clause of rhyming prose, or of verse, conformable in their measures, and agreeing, in their latter parts, with the corresponding words of the corresponding clause'. (Platts p.318)

S. R. Faruqi:

In the third verse [among those included in SSA], there's the mention of the heart's bursting and flowing away, and of the wound/scar of its bursting still remaining. This is, so to speak, the third scene in the story. The rhymed prose [tar.sii((] of bahaa and rahaa is here very fine. For flowing, the path of the eyes; and for remaining, the emphasis on the breast, are also very suitable.



This verse is the fifth one from a verse-set that consists of six verses, from {64,6} through {64,11}. The ones not selected for SSA appear on the ghazal index page, {64}.

This too, like {64,7}, is a kind of extreme 'verse-set' verse, because it has no subject and thus can't really stand alone and make sense on its own. While {64,7} provides a kind of amplified double subject ('that heart'), the present verse in effect provides an amplified double verb for it. (But remember, in the original verse-set two verses intervene between them, so there can't be any direct connection.)