===
0950,
1
===

 

{950,1}

kii sair ham ne siinah-e yak-sar figaar kii
is ta;xte ne bhii ab kii qiyaamat bahaar kii

1) we took a stroll through the wholly wounded breast
2) even/also this flower-bed, this time, created/'did' a Doomsday[-like] springtime/flourishing

 

Notes:

ta;xtah : 'A plank, board; platform; ... a bier; a bed (of flowers, &c.), garden-plot'. (Platts p.313)

 

qiyaamat : 'adj. & adv. Wonderful; excessive, very great; heavy, grievous, oppressive; —wonderfully; excessively, extremely, very'. (Platts p.796)

S. R. Faruqi:

The opening-verse is by way of introduction. This theme is common in Mir-- or rather, in poetry of the eighteenth century. For more detail, see

{420,7}.

But here the structure of both lines is very trim. The siinah-e yaksar figaar is very interesting, and in the second line the everyday and idiomatic qiyaamat bahaar kii is extremely superb. Then, the word ta;xtah is very effective, because for the breast they use the simile of a box, which is made from boards. Then, the breast itself is firm and almost level, like a board. On the other hand, a garden path is also called a ta;xtah-e gul . The 'tajnis' and wordplay [muraa((aat] among sair , siinah , sar are also fine.

Sauda too has superbly composed,

abhii jo .sa;hn-e chaman me;N jaa kar kivaa;R chhaatii ke khol diije
jigar ke daa;Go;N ko ((aashiqo;N ke lage hii dene ;hisaab-e gulshan

[if right now, having gone into the courtyard of the garden, the door of the breast would be opened
to the wounds of the livers of lovers, one would begin to give the reckoning/category of a garden]

FWP:

SETS == BHI
MOTIFS == DOOMSDAY; SPRINGTIME
NAMES
TERMS == TAJNIS; WORDPLAY

The bhii works exceptionally well here. If we take bhii to mean 'even', then we learn that not only is the external garden flourishing as we would expect, but 'even' the much-wounded breast has responded to the present season by creating its own flourishing 'flower-bed' of bloody, probably circular (as explained in {420,7}), wounds. If we take bhii to mean 'also', then we learn-- perhaps from some kind of garden-inspector-- that not only is the external garden flourishing, but the internal flower-bed too, which is just another sort of garden, is also nowadays in fine fettle.

Note for grammar fans: There are four occurrences of kii in this verse. The first is a perfect of sair karnaa ; the second modifies sair ; the third modifies a colloquially omitted baar ; the fourth is a perfect of bahaar karnaa , 'to create a state of springtime/flourishing'. I wonder if Mir did it on purpose? Maybe not, since two of them are required by the refrain; but who knows?