===
1658,
4
===

 

{1658,4}

daa))ir saa))ir hai yih jahaa;N me;N jahaa;N tahaa;N muta.sarrif hai
((ishq kahii;N hai dil me;N pinhaa;N aur kahii;N paidaa hai ((ishq

1) this is circling/moving, going/contingent, in the world; wherever the possesing/possessor is,
2) somewhere passion is hidden in the heart; and somewhere [else] it is manifest, passion

 

Notes:

daa))ir : 'Going round, encircling; in process, agitated (as a law-suit); capable of being agitated; cognizable'. (Platts p.505)

 

saa))ir : 'Going, walking, wandering; current; contingent'. (Platts p.631)

 

muta.sarrif : 'Possessing, occupying; having the sway (of); ... —profuse, extravagant; —dexterous; ... —possessor, occupant; enjoyer; master; a taker'. (Platts p.993)

 

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

S. R. Faruqi:

[SRF discusses both this ghazal and the following, formally identical one, {1659}, together in {1658,1}.]

In this verse can be seen a commentary on the previous verse,

{1658,3}.

Passion's 'being hidden in the heart' can also mean that even if the effects of passion would not be manifest, nevertheless it is in everyone's heart. This same theme he has also expressed again in

{1659,2}.

FWP:

SETS == MIDPOINTS; REPETITION
MOTIFS
NAMES
TERMS

When the long, loopy, swingy effects of Mir's 'Hindi meter' are combined with so much repetition and echoing, the sound effects become almost entrancing in themselves. In the first line we have daa))ir saa))ir , then the virtuosically confusing placement of jahaa;N me;N jahaa;N tahaa;N , which tries to beguile us into initially misreading the second jahaa;N as another 'world' rather than the relative pronoun. Finally, in the second line we have two occurrences each of ((ishq (which both begins and ends the line) and kahii;N , which links the two possible states (of being either hidden or manifest).

The 'midpoint' phrase jahaa;N tahaa;N muta.sarrif hai can be read either backward, with the first part of the first line, or forward, with the second line. But in this verse it hardly seems to make much difference.

Note for meter fans: The sequence ja-haa;N ta-haa;N is scanned - = - = instead of the normal = - - = . This syncopation is unusual, but not all that rare either.