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vuh nau-baavah-e gulshan-e ;xuubii sab se rakhe hai niraalii :tara;h
shaa;x-e gul saa jaa))e hai lachkaa un ne na))ii yih ;Daalii :tara;h
1) that new blossom of the garden of beauty/excellence maintains, from/beyond them all, a novel/unique style
2) like a rose-branch she keeps bending/swaying; she has produced this new style
lachaknaa : 'To be bent (as the bough of a tree, &c.); to bend, to yield; to spring, to start'. (Platts p.954)
;Daalii : 'A branch, a small branch; a twig'. (Platts p.562)
FWP:
SETS == MUSHAIRAH
MOTIFS == WINE
NAMES
TERMS == IHAM; WORDPLAYSRF's final point is really the main one. The wordplay of 'branch' [shaa;x] and ;Daalii is beyond spectacular. Of course officially ;Daalii is the perfect of the verb ;Daalnaa (agreeing with the feminine :tara;h ), here meaning something like 'to produce, to present, to put on'. But it's also a feminine noun meaning 'branch, small branch, twig', and the grammar of the line is arranged in such a way that if there were more space left, un ne na))ii yih ;Daalii ... could have been followed by some verb like dikhaa))ii to make, say, 'she showed this new branch', so that indeed the meaning of 'branch' could have been the one actually invoked in the verse.
Thus ;Daalii is positioned at the last possible moment in the line, which is always the point of (at least potentially) greatest impact; and the whole grammar of the line works to prevent us from knowing whether the word in fact means 'branch' (which strikes us very readily as a strong possibility) or 'produced', until we've gotten past it and finished the line and mentally figured it out. I would almost consider this structure a form of deliberate misdirection, or 'iham'. Certainly the verse is what I would call a 'mushairah verse'-- one in which the energy is focused in a 'punch-word' that's withheld till the last possible moment and then presented with eclat.
Then there's na))ii , which is positioned so emphatically ahead of its prose position (just before :tara;h ) that it demands, and receives, special attention. The attention we're led to give to this feminine adjective makes us all the more receptive to reading na))ii yih ;Daalii as 'this new branch'. (This is part of the 'iham' effect I'm arguing for.) Then in the first line, we also have the feminine adjective niraalii which means 'radically new'; and of course we also have nau-baadah , 'new-wine', with its affinity for the 'swaying, bending' of intoxication as well.
Note for meter fans: The nature of 'Hindi meter' being what it is, it's perfectly possible to scan the rhyming elements as either aa-lii :ta-ra;h (long short short long) or aa-lii :tar-;h (long long long followed by an uncounted 'cheat syllable'). I choose the former because in Urdu generally :ta-ra;h is the pronunciation, and often the scansion too, of that word. But if you wanted to do it in the more Arabicized style, there'd be no reason not to; both scansions of the word are quite established.