tuu gale miltaa nahii;N ham se to kaisii ;xurramii
((iid aa))ii yaa;N hamaare bar me;N jaamah maatamii

1) when you don't embrace us, then what kind of gladness?
2) Eid has come; here, on our breast is a robe of mourning



;xurramii : 'Cheerfulness, pleasure, delight, joy, gladness, mirth'. (Platts p.489)


bar : 'Breast, bosom, chest; — ... breadth (of cloth)'. (Platts p.142)


bar : 'Choosing, selecting; choice, election, wish, request, boon, favour, blessing, good; anything chosen as a present; gift, reward, recompense'. (Platts p.142)

S. R. Faruqi:

The opening-verse is one of padding [bhartii]; it has been chosen to complete the number of three verses [that create a ghazal effect, in SSA]. He has composed its theme with more 'mood' in the first divan itself, like this [{290,3}]:

hu))ii ((iid sab ne badle :tarab-o-;xvushii ke jaame
nah hu))aa kih ham bhii badle;N yih libaas-e sog-vaaraa;N

[Eid came, everyone changed into robes of joy and happiness
it didn't occur that even/also we would change this mourning-attire]

In the present verse, the zila between bar meaning 'breadth of cloth' and jaamah is fine. Between gale and jaamah too is the relationship of a zila.



Of course, for Eid people get festive new clothes, and they embrace each other. Since the beloved does not embrace the lover, he wears mourning clothes, with ample wordplay based on bar (see the definitions above).