;hashr ko zer-o-zabar hogaa jahaa;N sach hai vale
hai qiyaamat shai;x-jii is kaar-gah kii bar-hamii

1) on Resurrection Day, the world will be topsy-turvy, it's true-- but
2) it's a Doomsday, Shaikh-ji, the confusion/convulsion of this workshop



;hashr : 'Gathering, meeting, congregation, concourse; the resurrection; —commotion, tumult, noise (such as that of the resurrection); wailing, lamentation'. (Platts p.478)


bar-hamii : 'Confusion, convulsion, trouble, anarchy; vexation, displeasure, anger, wrath.

S. R. Faruqi:

In this verse there are several meanings; and on top of this, there's the pleasure of the theme. The first meaning is that it's true, when Resurrection Day comes, then the world will be rendered topsy-turvy; but this world that is like a workshop full of hustle and bustle, busy-ness, and absorbedness-- its overthrowing is a very harsh thing (that is, a great cause for regret). Calling the world a 'workshop' is also enjoyable because the world is called the 'realm of action'; mankind has come here for action, not to sit idle/useless. The overturning of the world-- that is, the throwing away of mankind and his area of movement-- is an occasion for regret.

The second meaning is that it's true that when Resurrection Day comes, then this world will be turned topsy-turvy. But at this time, before our eyes this workshop has already been so confused/convulsed-- in it there's so much disorder and turmoil-- that a complete Doomsday scene has arisen. Therefore (1) There's no need for Doomsday-- this age, this world, is itself a Doomsday. (2) Why does Doomsday not come more quickly? Resurrection Day is still very far off; here, 'Resurrection Day' has already broken out. Now Doomsday ought to come.

Here Iqbal comes to mind [in verses drawn from the concluding part of lenin ;xudaa ke ;hu.zuur me;N]:

vuh kaun-saa aadam hai kih tuu jis kaa hai ma((buud
vuh aadam-e ;xaakii kih jo hai zer-e sam;aavaat
yih ((ilm yih ;hikmat yih tadabbar yih ;hukuumat
piite hai;N lahuu dete hai;N ta((liim-e masaavaat
mai-;xaane kii bunyaad me;N aayaa hai tazalzul
bai;The hai;N isii fikr me;N piiraan-e ;xaraabaat
tuu qaadir-o-((aadil hai magar tere jahaa;N me;N
hai;N tal;x bahut bandah-e mazduur ke auqaat
kab ;Duubegaa sarmaayah-parastii kaa safiinah
dunyaa hai tirii munta:zir-e roz-e makaafaat

[Which Adam is it by whom you are worshiped--
that Adam of dust who is beneath the sky?
Such knowledge, such skill, such ingenuity, such dominion--
they drink blood, they give lessons in equality!
An earthquake has struck the foundation of the wine-house,
the elders of the wine-house sit considering this.
You are powerful and just, but in your world
the days of the laboring servants are very bitter.
When will the ship of capitalism sink?
your world is waiting for the day of requital]

I don't mean that the speaker of Mir's verse and the speaker of Iqbal's nazm are in complete agreement. What I mean is that according to one interpretation, Mir's speaker too seems to be saying that the affairs of the world have now already become very confused/convulsed, and now Doomsday ought to come.

Momin has taken advantage of this same theme, and has well said,

ay ;hashr jald kar tah-o-baalaa jahaan ko
yuu;N kuchh nah ho umiid to hai inqilaab me;N

[oh Resurrection Day, quickly overturn the world!
if hope would not be like this, then it is in revolution]

Along with the abundance of meaning, in the present verse it's also worth noting that all its meanings are opposed to each other. Then, the word 'Doomsday' bears an uncommon power. The beauty of calling the world a 'workshop' has already been mentioned.

The address to the 'Shaikh-ji' too is extremely interesting-- that in this way he did not make the arrangements of the Lord Most High a direct object of criticism, and addressed himself on the matter to the Shaikh. Then, in saying 'Shaikh-ji' there's also a kind of contempt, as though he would be speaking sarcastically about the Shaikh's intelligence and mental prowess. It's a peerless verse.

[See also {456,8}; {468,2}; {471,7}.]



Mir very often invokes or directly addresses the Shaikh, and almost always in entirely negative terms. (In fact the Shaikh and the Nightingale divide the honors of being Mir's favorite ghazal characters to bring into verses.) So it's very plausible that Mir would use the Shaikh as an addressee in a verse like this, and it certainly does suggest, at a minimum, that the Shaikh shares the blame for the chaotic state of this 'workshop'. For more examples of the world as a 'workshop', see {11,10}.