har kuuche me;N kha;Re rah rah kar iidhar uudhar dekho ho
haa))e ;xayaal yih kyaa hai tum ko jaane bhii do ab aa))o tum

1) in every street, you keep standing there, looking this way and that way
2) alas-- what's this idea that you have? -- just let it go, now, come!



S. R. Faruqi:

A theme similar to this, Mus'hafi has versified so well that compared to his verse, Mir's appears pallid:

tire kuuche is bahaane mujhe din se raat karnaa
kabhii is se baat karnaa kabhii us se baat karnaa

[in your street I have to turn day to night [in staying], with this excuse:
sometimes I have to talk with this one, sometimes I have to talk with that one]

But when we consider carefully, then Mir's verse too has some things in it that make it more admirable than Mus'hafi's.

(1) Mus'hafi's speaker is in the beloved's street; that is, he knows the beloved's address. Mir's addressee is someone whose beloved is gone from him.

(2) In Mir's verse, the lover is perhaps waiting for the beloved; for this reason, he wanders in a singular state of madness here and there through every street and lane-- isn't his beloved somehow coming this way?

(3) The state of madness has not as yet become entirely intoxicating, because the speaker even now considers that if he explains to the lover, then the lover will be persuaded.

(4) In Mir's verse, there's no mention of a lover and lover-ship, only implication upon implication.

(5) In Mir's second line, the insha'iyah style is fine. The first utterance is interrogative; the other two utterances are imperative, or rather imploring.

(6) In jaane bhii do and aa))o tum there's the pleasure of a zila.

In the light of the second point, one aspect of the 'mood' of waiting that's been expressed in the verse has been well versified [in Persian] by Shams al-Din Faqir:

'From the edge of this desert, a dust-cloud has arisen--
Oh waiting ones! {Is this not / This is not} the dust of the beloved's street?!'

In Shams al-Din Faqir's verse, there's the mention of the dust of the road, and an atmosphere of extraordinary restlessness and solitude. In Mir's verse, there's the hustle and bustle of the city, and a solitary madman who, lost in his own thoughts, goes sometimes on this street, sometimes in that lane, and stares at every passerby: might it not be the beloved? In Mir's verse, the 'mood' and the absorption are greater.



Here's another 'neighbors' verse, offering the sympathetic, solicitous perspective of a normal person trying to coax the mad lover to stop behaving with dangerous craziness and come home to bed. Perhaps he really can't understand the lover's mad behavior, but more plausibly he's just posing a rhetorical question ('What are you thinking!?'). The 'now' is a 'midpoint' adverb that can be read with either the phrase before it or the one after it.

Of course, we all know what general kind of idea the lover has-- and it concerns 'going' and 'coming', both his and the absent beloved's, so that the wordplay reinforces the effect. The jaane bhii do means 'just let it go'-- or, of course, 'just let her go'.