in balaa))o;N se kab rihaa))ii hai
((ishq hai faqr hai judaa))ii hai

1) from these disasters, when is there release?!
2) there is passion, there is faqir-ship, there is separation



faqr : 'Poverty, want, need; the practice or vocation of a faqiir or derwish; a life of poverty with resignation and content; asceticism, ascetic mortification'. (Platts p.783)

S. R. Faruqi:

The opening-verse is somewhat below Mir's standard, but it's also not devoid of pleasure. In it there are at least two meanings. One meaning is that passion, faqir-ship, and separation are three separate disasters. That is, passion is one disaster; faqir-ship and renunciation of the world are another disaster; to be separated from the beloved is yet another disaster; and from those three there's no refuge.

These three might not come all at the same time, they might not come one right after the next; but at some turn in life, sometimes it will be necessary to confront passion (which is a difficulty in any case, whether the passion be successful or unsuccessful), sometimes it will be necessary to give up the world or give up one's homeland and adopt faqir-ship, sometimes one will be forced to be separated from the beloved (even if she is kind).

The second meaning is that a man is forced in any case to become a captive of passion, and then as a result of passion he is obliged to give up his homeland and adopt faqir-ship, and then as a result of that faqir-ship is obliged to be separated from the sight of the beloved as well. Apparently it seems that passion -- separation -- faqir-ship would occur in this sequence. But after a little thought then it appears that Mir's own sequence is the better one. The state of passion causes one to adopt faqir-ship (whether the passion be successful or unsuccessful, in it the mind certainly becomes deranged). Then, because of faqir-ship there is separation.

We can also decide that 'separation' is a metaphor for death-- that is, first passion, then faqir-ship, then death. In any case, Askari Sahib has rightly said that the problem of Mir is why passion is at the same time a blessing and a trouble [ra;hmat aur za;hmat].



This is an 'A,B' verse, with the 'kya effect' in the first line, so that it can be either a question ('when?') or a negative rhetorical exclamation ('when?! --never!').

Then the second line offers a very simple 'list' ('A is, B is, C is') that, as SRF shows, can be analyzed in at least two different ways. Still, these devices are used at only half-strength, compared to how active and effective they are in Mir's more complex verses.