===
0859,
5
===
 

{859,5}

kyaa lu:tf-e tan chhupaa hai mire tang-posh kaa
uglaa pa;Re hai jaame se us kaa badan tamaam

1) what pleasure of the body is hidden, of my tightly-clothed one?!
2) it comes out from the robe, her whole body

 

Notes:

ugalnaa : 'To spit out; to bring up from the stomach or craw (as birds for their young, or as cattle in chewing the cud); to throw up, vomit, reject, disgorge; to restore or refund (property surreptitiously obtained...): — ugal - pa;Rnaa , v.n. To be spit out, &c.; to fall out of its sheath (a sword, &c.). (Platts p.71)

*Platts Dictionary Online*

S. R. Faruqi:

uglaa pa;Rnaa = to come out

About the tightness of clothing, Mir has composed a number of superb verses. In some of them is the aspect of envy/jealousy, or of the beloved's delicacy. For example,

{1815,2},

{1663,7}.

In the present verse there's only pleasure-taking and praise.

In the second line, uglaa pa;Re is of course a devastatingly narrative and uncommon utterance.

In the first line, because of the insha'iyah structure several layers of meaning have been created. (1) What a fine thing! As if the pleasure of my tightly-clothed beloved is hidden?! (2) Bravo! What an effort she's made to hide the pleasure of her body-- it's made her even more naked! (3) The tightness of the robe makes the fullness, roundness, and lines of the body even more manifest and unconcealed. (4) In mire tang-posh is the implication that it's possible that another beloved's body might be hidden within tight clothing, but the situation of my beloved is completely different.

In order to show the tightness of the clothes and the shamelessness of the body, Sayyid Muhammad Khan Rind needed a yawn, and split-apart garments:

a;Ng;Raa))iyaa;N jo lii;N mire us tang-posh ne
cholii nikal nikal ga))ii shaanah masak gayaa

[when that tightly-clothed one of mine yawned
her blouse came open, her shoulder burst out]

The theme is a light one, and in the first line either mire or us is redundant. But the trimness of the second line has redeemed the verse.

Look at how Mir, without bursting the garments, suggests their becoming torn; from the sixth divan [{1869,6}]:

jii pha;T gayaa hai rashk se chaspaa;N libaas ke
kyaa tang jaamah lip;Taa hai us ke badan ke saath

[the inner-self has burst with envy of the adhesive clothing
how the tight robe has clung on to her body!]

Mus'hafi too cannot get very far. But he has brought out one aspect:

tang-poshii me;N mazaa us ne jo paayaa to vahii;N
cholii a;Ng;Raa))iyaa;N le le ke sabhii maskaa dii]

[when she took pleasure in tight-clothedness, then right there
the blouse, yawning and yawning, burst it all open]

A verse of Qa'im's remains the most pallid of them all, because in it there's verbosity, and no aspect of freshness:

un ;xvush-chhabo;N kii haa))e re yih tang-poshiyaa;N
;zarrah nah kasmasaa))e kih cholii masak ga))ii

[in those well-shaped ones-- alas, such tightnesses of clothing!
she wouldn't move even a tiny bit-- when her blouse would burst open]

Indeed, ;xvush-chhabo;N is certainly very fine; because of it alone, the verse has acquired some value.

FWP:

SETS
MOTIFS == [BELOVED IS NOT GOD]; CLOTHING/NAKEDNESS; EROTIC SUGGESTION
NAMES
TERMS == THEME

I have nothing special to add.