ek dam se qais ke jangal bharaa rahtaa thaa kyaa
ab ga))e par us ke vaisii raunaq-e haamuu;N kahaa;N

1) through a single/particular/unique/excellent breath of Qais, how the jungle/wilderness used to remain full/replete!
2) now, upon his going, where/how [is] such liveliness/radiance of the desert/plain?



haamuu;N : 'Level ground; a plain; —a desert'. (Platts p.1216)


raunaq : 'Lustre, water (of a sword, &c.); brightness, splendour, beauty, elegance, grace, ornament; freshness, prime; colour, complexion; flourishing state or condition'. (Platts p.608)

S. R. Faruqi:

On this theme, Rajah Ram Nara'in Mauzun has a universally famous verse:

;Gazaalaa;N tum to vaaqif ho kaho majnuu;N ke marne kii
divaanaa mar gayaa aa;xir to viiraane pah kyaa gu;zrii

[gazelles, you are acquainted with it-- tell about the death of Majnun
when the madman died, finally, then what happened to the wilderness?]

In the verse, both the mood and the theme have reached a lofty level. If Mir's and Ghalib's verses are not kept in mind, then one would wonder what the poet had left unsaid for anyone else to compose. Ghalib:


It was Ghalib alone who, in the presence of Ram Nara'in Mauzun's and Mir's verses, would be able to compose such a verse.

In Mir's own verse, there are a number of causes of eloquence [balaa;Gat].

(1) He hasn't made it clear that Majnun has died. In ab ga))e par us ke there are both possibilities: that Majnun has gone away somewhere, or has died.

(2) The jungle itself is an extremely thick, dense, filled-up place. Trees, bushes, animals, birds. But Majnun's sighs and laments (or perhaps his silence and heart-piercing quiet) conveyed such a mood that it seemed that the jungle was full.

(3) Or perhaps the thing was that Majnun didn't halt anywhere for even a moment. If now he's here, then the next moment he's there. Thus for this reason the jungle seemed full.

(4) We might say that Majnun had filled up the whole jungle.

(5) And then, raunaq means 'hustle and bustle', and also 'adornment'.

(6) In vaisii there's the implication that the raunaq exists even now-- but it's not the same thing.



Really, in this case Ghalib's verse reigns supreme. There's just no two ways about it. Ghalib's verse doesn't just pose the situation-- it makes it haunting and unforgettable. Mir's verse feels verbose and awkward by comparison.