===
1681,
3
===

 

{1681,3}

yih ;husn-e ;xulq tum me;N ((ishq se paidaa hu))aa varnah
gha;Rii ke ruu;The ko do do pahar tak kab manaate tum

1) this excellence of disposition in you has been engendered by passion-- otherwise
2) when would you have cajoled for many watches of the day, someone who who was vexed for half an hour?

 

Notes:

;husn-e ;xulq : 'Excellence of disposition; a good disposition'. (Platts p.477)

 

gha;Rii : 'The space of twenty-four minutes; —an hour; —time, hour; a small (indefinite) period of time, a moment'. (Platts p.933)

 

pahar : 'A division of time consisting of eight gha;Rii -s or three hours, an eighth part of a day, a watch'. (Platts p.285)

S. R. Faruqi:

Here, more than the novelty of the theme, what draws our attention is the phrase ;husn-e ;xulq , and the 'proof' of it. That is, to cajole for many watches of the day someone who was vexed for half an hour, is the beloved's 'excellence of disposition' and humility. If he had been an ordinary poet, then for the beloved's affection he would have said to give a kiss, to embrace, etc. But Mir has put it on an entirely homey and everyday level.

Between lover and beloved there's now so much intimacy that if the lover becomes vexed for a little while, then the beloved keeps cajoling him for many watches of the day. More than the traditional behavior of lover and beloved, this is an account of a scene in the life of a couple of newlyweds. It's surprising that some people consider the whole experience of passion in Mir's poetry to be something like an illicit affair, bound by the chains of social constraints and guilt. The reality is that Mir hasn't left out any aspect of passion.

Nasikh has reversed this theme and versified it well. But in his verse there's no 'affair-evocation', so there's not the idea that's in Mir's present verse:

kahaa;N thaa ay buto ham ko dimaa;G-e naaz-bardaarii
;xudaa kartaa hai sharmindah hamaarii be-niyaazii ko

[since when, oh idols, were we minded to put up with coquetry?
the Lord causes our independence to be ashamed]

But the address to the idol, and then to say that the Lord makes us ashamed, is very excellent. In addition to the pleasure of the theme, in Nasikh's verse there's also the sarcastic pleasure of the construction.

[See also {1681,5}.]

FWP:

SETS
MOTIFS
NAMES
TERMS == 'AFFAIR-EVOCATION'

SRF assumes that the cajoler is the beloved and the 'cajolee' is the lover. But since we have no information about the speaker or the context, it could just as easily be the other way around. Some friend of the lover's could be speaking thoughtfully to him; or, most plausibly and enjoyably, he could be speaking thoughtfully to himself and reflecting on how passion had changed his formerly impatient behavior.

For after all, in the ghazal world it's almost always the lover who importunes and cajoles, and it's primarily the lover whose behavior is radically changed by passion.

Compare

{1681,5},

which makes a similar point about how loving relationships change people's behavior. And another such point is made again in the verse that follows it, {1681,6}:

phiraa karte the jab ma;Gruur apne ;husn par aage
kisuu se dil lagaa jo puuchhte ho aate jaate ho tum

[when you were arrogant about your beauty, you always used to wander around, formerly
since you have attached your heart to someone, you ask [for permission], while coming and going]