chitvan ke andaaz se :zaalim tark-e muruvvat paidaa hai
ahl-e na:zar se chhuptii nahii;N hai aa;Nkh kisuu kii chhupaa))ii hu))ii

1) from the manner/style of the glance/appearance, oh cruel one, the renunciation of generosity/politeness is manifested
2) from the people of insight is not concealed-- somebody's concealed eye



chitvan : 'Sight, look, glance; appearance, aspect'. (Platts p.424)


muruvvat : 'Manhood, manliness, virility, fortitude; —human nature; humanity; —generosity; benevolence; kindness; —urbanity, affability, politeness'. (Platts p.1026)


paidaa : 'Born, created, generated, produced; invented, discovered, manifested, manifest, exhibited'. (Platts p.298)

S. R. Faruqi:

Al-e Ahmad Surur has written that one day in the presence of Fani someone praised this verse of his:

aa;Nsuu the so ;xushk hu))e jii hai kih um;Daa aataa hai
dil pah gha;Taa sii chhaa))ii hai khultii hai nah barastii hai

[the tears were such that they dried; the inner-self is such that it floods
over the heart something cloud-like has spread-- it neither opens/lifts, nor rains]

Fani replied, 'The way Yaganah has versified the rhyme of barastii -- I couldn't equal it'. Then he recited this verse of Yaganah's:

chitvano;N se miltaa hai kuchh suraa;G baa:tin kaa
chaal se to kaafir par saadagii barastii hai

[from the glances/appearances comes some trace of the interior
from her gait, simplicity rains down on the infidel]

The truth is that with regard to 'mood', Fani's verse is much better. In Yaganah's verse there's temperament/wit, but also a bit of formality. Then, in Yaganah's first line the image is taken directly from Mir. The fundamental thing is that both Fani's and Yaganah's verses, despite their beauty, are one-dimensional with regard to meaning, while in Mir's verse there's the 'affair' aspect, and also complexity of theme; in it wordplay creates an additional pleasure.

In Mir's verse the theme is that the beloved used sometimes to cast a glance on the lover, and this always made him happy. In the glance there was no attachment; rather, there was only generosity/chivalry. Now the beloved has renounced even that generosity, but she doesn't want to clearly/openly announce this renunciation of generosity. Now when she is in the lover's presence, the beloved averts her eyes, or turns her eyes aside in some subtle style. But from her actions the state of her heart becomes manifest, because in her averting of her eyes there's no air of attachment or deep relationship. As Momin says,

shab tum jo bazm-e ;Gair me;N aa;Nkhe;N churaa ga))e
kho))e ga))e ham aise kih a;Gyaar paa ga))e

[last night when you, in the Other's gathering, averted your eyes
we became lost in such a way that the Others found out/us]

In Mir's verse, aa;Nkh churaanaa means 'to turn the face aside, to avoid', or 'to overlook a previous meeting' ( [from the dictionary of idioms] ma;xzan ul-mu;haavaraat ). Here we can also take it in its dictionary meaning. In this way chhupaa))ii hu))ii aa;Nkh kaa nah chhupnaa has the force of a 'reversed' metaphor. The affinity among ahl-e na:zar , aa;Nkh , chhupaanaa , paidaa is obvious. To call the lover an ahl-e na:zar is, with regard to both wordplay and affinity, extremely fine.

The tone too of Mir's verse is uncommon. In it there's no doubt a light complaint, but there's no bitterness or anger. It's as if it's the beloved's right to show generosity or not show it. Instead of anger or bitterness, there's a kind of pride in his own acuteness and sharpness of vision-- that she may use a thousand artifices, but he realizes what the real state of affairs is. A Persian verse:

'No matter in what color/kind of robe you dress/hide yourself
I know/recognize your style of movement.'



I have nothing special to add.