===
0354,
4
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{354,4}

usii daryaa-e ;xuubii kaa hai yih shauq
kih mauje;N sab kinaare;N ho ga))ii hai;N

1) only/emphatically that ocean of excellence/beauty has such ardor
2) that all the waves have become embraces

 

Notes:

shauq : 'Desire, yearning, deep longing, ... inclination, affection, love; fancy (for), pleasure (in); taste; ardour, zeal, eagerness, avidity; alacrity, gaiety, cheerfulness; curiosity'. (Platts p.736)

 

kinaar : 'Side, margin, edge; —adv. Aside; — kinaar , s.f. Embracing, hugging; embrace, bosom'. (Platts p.850)

*Platts Dictionary Online*

S. R. Faruqi:

kinaar = embrace

Although this verse is not of the same rank as the previous two verses, it still has the superb iham of kinaar (meaning 'edge' and meaning 'embrace'). And it's also eloquent [badii((] that the waves of the ocean themselves have ardor for some other ocean. It's also interesting to call the beloved an 'ocean of excellence/beauty'.

Mir has composed several verses on this theme. For example, see:

{826,7}.

Then, in the sixth divan he's composed it with a new flavor [{1829,2}]:

aa;Goshe;N jaise mauje;N al;aahii kushaadah hai;N
daryaa-e ;husn us kaa kahii;N ham-kinaar kar

[waves, like embraces, oh God, are open!
somehow come to the shore/embrace of her ocean of beauty!]

On coming into the embrace of waves, consider also Mus'hafi's verse in the preface to volume 1 [of SSA] (p. 147), where there's a discussion of Mir's erotic poetry:

kaun aayaa thaa nahaane lu:tf-e badan ne kis ke
lahro;N se saaraa daryaa aa;Gosh kar diyaa hai

[who had come to bathe? the pleasure of whose body
has made the whole ocean, with waves, an embrace?]

FWP:

SETS
MOTIFS
NAMES
TERMS == IHAM; METAPHOR

The metaphor in the first line is clearly of the beloved as an 'ocean of excellence/beauty'. The grammar of the first line makes it clear that she herself is the one who feels the 'ardor'. But the second line seems as if it would apply to a real ocean: all its 'waves' have turned into 'embraces'. Does an ocean made of ;xuubii have 'waves' in the first place? Does the beloved too, if she is such an ocean, have 'waves' in the first place-- which then turn (back?) into embraces? The working-out of the metaphor feels rather awkward and forced.