rove jahaa;N jahaa;N ham juu;N abr miir us bin
ab aab hai saraasar jaave na:zar jahaa;N tak

1) we wept everywhere/wherever, like a [rain-]cloud, Mir, without her
2) now there is water end-to-end/'head-to-head', as far as the gaze might/would go



jahaa;N jahaa;N : 'Wherever, wheresoever'. (Platts p.401).

S. R. Faruqi:

jahaa;N jahaa;N = everywhere, extremely much

An excellent example of 'iham of sound' [iihaam-e .saut] is in this verse, because in the first line jahaa;N jahaa;N seems apparently to be a repetition of an Urdu relative pronoun, but in reality it's Persian and means 'in every place'. Ghalib has, in Persian, used it like this: [an example in which jahaa;N jahaa;N clearly means 'everywhere'].

In Mir's verse the 'tajnis' among abr , ab , aab is fine. Another aspect of the meaning is also excellent: that when tears would fill the eyes, then everything appears to be drowned in water. A further point is that by using the ambiguous structure jaave na:zar jahaa;N tak he has also suggested that in the eyes of all humankind there's nothing but water, with the sole exception of himself.

It's possible that Mir might have used jahaa;N jahaa;N like yak jahaa;N , with the meaning of 'extremely much'. Testimony for this meaning is given by the [Persian dictionary] farhang-e aanand raaj .



Thanks to the definition of jahaa;N jahaa;N provided by SRF (and not available in Platts or Steingass), we can take it as an example of iham. For the jahaa;N jahaa;N looks perfectly plausible as a distributive use of the relative pronoun ('wherever, in all the places where'); it makes us expect in the second line something like 'in all those places bloody flowers sprang up', or something of that ilk. But then the second line confronts us simply with water water everywhere (literally, with enjoyable wordplay, 'from head to head'), so we are perplexed to explain the jahaa;N jahaa;N . Only by going back and mentally reinterpreting the first line (if we know the rare Persianized meaning of jahaa;N jahaa;N ) can we fully understand the verse, and savor the three-fold jahaa;N wordplay.

Moral: even using a good dictionary might not be enough for effective reading of Mir's ghazal verses; but not using a good dictionary will almost guarantee an inability to really fathom the verse. We are lucky that SRF's commentary offers us, among many other benefits, the fruits of his extensive dictionary work.