mizhgaan-e tar ko yaar ke chahre pah khol miir
is aab-;xastah sabze ko ;Tuk aaftaab de

1) {open / having opened} your wet eyelashes on the beloved's face, Mir
2) to this water-worn greenery, give a bit of sun



;xastah : 'Wounded, hurt; broken; infirm; sick, sorrowful; —fragile'. (Platts p.490)

S. R. Faruqi:

If we place beside this verse the following verse of Jur'at's, then the 'dramaticness' of Mir's theme, and the intensity of his image, will become clearer:

na;xl-e mizhgaa;N ko tirii ashk kii pahu;Nchii be-;Dhab
gal ke ik roz karegaa yih shajar paanii me;N

[to the date-palm of your eyelashes, the flood of tears arrived violently
this tree will one day dissolve in the water]

In Jur'at's verse too, the image is complete in all respects, but in Mir's verse the eyelashes' being heavy with tears, and bending down over the eyes so as to cover them, is superb, because wood and things of that kind become heavy when wet. Then, the characteristic of grass is that if it remains wet for even a little while, it begins to dissolve in the water.

To call the beloved's face a 'sun', and the eyelashes aab-;xastah sabzah , is of course very fine. But a point more subtle than this is that when the gaze will fall on the beloved, then the tears will spontaneously stop. In this way the sun-like effect of the beloved's face will be heightened-- that the eyelashes will easily and quickly dry out.

Now let's think further about the first line. It can be read as meaning that the beloved is present, and the speaker is saying 'open your eyes and look at the beloved'. But it can also be read as advice or counsel being given to 'Mir' (the lover): 'Now your eyelashes have become water-worn greenery. If this state of affairs continues, then your eyelashes will melt away and fall into your eyes. So however you can do it, search out the beloved and open your eyes on her face, so that your eyes can be saved.'

The insha'iyah style of both lines, and in the second line the glimpse of everyday life in ;Tuk aaftaab de , together with the Persianness, are extremely enjoyable. In the verse the 'mood' too is fine.

All the above points are correct, but in calling the beloved's face a 'sun' Mir has also created an uncommon, sarcastic paradox. Looking at the sun causes the eyes to water. Mir has used this theme as well:


In the present verse, the lover is being encouraged to open his eyes so that his wet eyelashes would be able to dry out. But from looking at the sun the eyes will become wetter, and the water-worn eyelashes will become even more worn/damaged. Thus it's the fate of the eyes to remain wet, and in the destiny of the eyelashes is written the moistness of tears.



I have nothing special to add.