phirte hai;N chunaa;Nchih liye ;xuddaam silaate
darvesho;N ke pairaahan-e .sad-chaak-e qa.sab ko

1) accordingly, the servants go around causing to be stitched up
2) the torn-in-a-hundred-places cotton robes of the darveshes



;xaadim (of which ;xuddaam is the plural): 'A servant; a servant in charge of a mosque or shrine; one who has charge of a religious bequest or endowment'. (Platts p.483)


qa.sab : 'A sort of fine linen cloth (made in Egypt)'. (Platts p.791)

S. R. Faruqi:

qa.sab : light cotton cloth

[This is the second verse of a two-verse (quasi-)verse-set. For a full discussion of both verses, see {930,1}.]

The servants of the darveshes are going around causing the robes of darvesh-ship to be stitched up. This statement is effective and useful in a number of ways:

(1) Through it, the intensity of the state of rapture is evident: that they all tore their garments.

(2) It is of course a proof that a state of rapture overtook everybody in the gathering.

(3) The darvesh-ship of the darveshes is proved: that they had no other robes, so that the old robes had to be stitched up and used again.

(4) The word ;xuddaam too reinforces the effect of the khanaqah-style life and the darveshes' way of living, and bestows additional realism on the utterance.

(5) The servants have been going around causing the robes that are torn in a hundred places to be stitched up. From this we also learn that the robes have become so torn to rags that to stitch them up again is not easy.

(6) qa.sab is a muslin-like kind of light and delicate cloth that was very popular among darveshes. Thus this word is not merely for the sake of the rhyme, but with regard to meaning is fully effective.



The first verse in the pair, {930,1}, could have stood alone; but this second verse in the pair presents itself explicitly, through the word 'accordingly', as a follow-up to something earlier.

All the abstractness of {930,1} is now suddenly replaced by a scene of much more action and detail. Now we learn that the gathering was a religious one, consisting of Sufistic 'darveshes' in their religious robes. We see the servants (of a shrine) now busily engaged in arranging for the repair of their masters' robes. We never 'saw' the darveshes rending their robes in their transports of rapture over Mir's ghazal, but of course the implication that they did so is impossible to avoid.

Is it desirable (as a proof of mystical absorbedness) or undesirable (as a waste of cloth and of servants' energy) that the darveshes have torn their robes in a hundred places? SRF seems to suggest in his discussion of {930,1} that the speaker implies a sense of sarcasm and triumph on Mir's behalf: how excellent the verses were, and 'how they brought low [gat banaanaa] the dignified darveshes!'. The idiom gat banaanaa is very strong: 'To reduce to a miserable plight, to beat' (Platts p.896). All these possible judgments and reactions are, as usual, left for us to decide for ourselves.