===
1050,
2
===

 

{1050,2}

daanistah apne jii par kyuu;N tuu jafaa kare hai
itnaa bhii mere pyaare ko))ii ku;Rhaa kare hai

1) knowingly/deliberately, why do you torment your inner-self?
2) does anyone, my dear, always do even/also this much afflicting/troubling?!

 

Notes:

ku;Rhaanaa : 'To vex, irritate, displease, anger; to trouble, grieve, afflict; to tease, worry, molest'. (Platts p.832)

S. R. Faruqi:

The opening-verse is by way of introduction. He has presented this theme very much better in

{1337,5}.

FWP:

SETS
MOTIFS
NAMES
TERMS == INSHA'IYAH; OPENING-VERSE

This unusually long nineteen-verse ghazal begins with a flourish: it has no fewer than three opening-verses. Since SRF had a choice of them all, and selected this one as an introduction even though he disliked it, he presumably he disliked the others even more. Just for interest, here are the other two even less desirable choices. Here's the first opening-verse, {1050,1}:

kyaa puuchhte ho ((aashq raato;N ko kyaa kare hai
gaahe bakaa kare hai gaahe du((aa kare hai

[why do you even ask what the lover does at night?
sometimes he always babbles, sometimes he prays]

And here's the third opening-verse, {1050,3}:

fitnah sipihr kyaa kyaa bar-paa kiyaa kare hai
so ;xvaab me;N kabhuu tuu mujh se milaa kare hai

[whatever kinds of mischief the sky/sphere always sets afoot
in a dream, sometimes, you always meet with me]

The moral is perhaps that Mir is not always 'Mirian', and that probably he doesn't feel obliged to be. Can we really know whether he himself would have agreed with SRF's choices for SSA?

Note for grammar fans: What for want of a better name I call the 'always construction' (masculine singular perfect verb + conjugated form of karnaa ) is obviously invited in this ghazal by the refrain. Of course, kare hai is an archaic form of kartaa / kartii hai .