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libaasii : 'Veiled; apparent; formal; —fictitious, pretended, false, forged, counterfeit, sham'. (Platts p.949)
FWP:
SETS == WORDPLAY
MOTIFS == CLOTHING; LIVER; MADNESS
NAMES
TERMS == IHAMHere's another example of the flexibility and complexity of the idea of 'iham'. An iham, according to Mir's strict definition, should be a verbal device in which the poet uses a word that has two meanings, one common and one rare; he first makes the reader think he's using the common one, then shows that he's using the rare one instead (thus 'misdirecting' the reader). But in this verse, it seems to me that both meanings are fully intended. It's more a case of what I'd call 'metaphor-revitalization': first he uses the word in the usual metaphorical way ('feigned'), then in the second line he shows you that he also (not 'instead') intends the more specific, literal meaning as well. For the second line provides evidence both that the madness is not feigned, and that the madness is not (merely) clothing-related (the literal meaning of libaasii ). The reader hasn't been misdirected exactly, but rather has been shown a doubly relevant pleasure to be derived from the same word. For further discussion of iham, see {178,1}.
It's a terrific example of wordplay, in any case. The single word libaasii forms such a delightful pivot that it easily energizes the whole verse.