:zaahir-o-baa:tin avval-o-aa;xir paa))ii;N baalaa ((ishq hai sab
nuur-o-:zulmat ma((nii-o-.suurat sab kuchh aaphii hu))aa hai ((ishq

1) outside and inside; first and last; below, above-- all is passion
2) light and darkness, meaning and form-- it has only/emphatically itself become everything, passion



S. R. Faruqi:

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

This verse, along with


is a commentary on


In this verse the Vedantic style is clearly to be seen-- that light, darkness, everything is the ray of one single existence.

In the first line ((ishq hai sab can have two interpretations:

1) All this (that has been mentioned in the beginning of the line) is passion.

2) All these places have become brimful of passion and passion alone. For example, people say 'so much rain fell that houses and shops all became water [sab paanii ho gayaa]'.



SSA reads :zaahir baa:tin rather than the kulliyat's :zaahir-o-baa:tin . I have omitted a brief passage in which SRF discusses the effect of the omission of the connective v from :zaahir baa:tin .

Note for meter fans: Mir has taken aap hii and written it as the single word aaphii . He's scanned that word as aa-phii , long-short. In other words, phii has been treated as a flexible syllable, like bhii -- even though here the p-h sequence is not an aspirated consonant like the bh. Another way to think of it is that the h has dropped out of the scansion. This is uncomfortable-sounding to us meter fans, but also a well-established and permissible variation.