ab .sub;h-o-shaam shaayad girye pah rang aave
rahtaa hai kuchh jhamaktaa ;xuu;N-naab chashm-e tar me;N

1) now, morning and evening, perhaps color/style would come over/upon weeping
2) some glistening pure blood remains in the wet/moist eye



S. R. Faruqi:

In this verse the 'mood' of desire/longing [ishtiyaaq] is in a world of its own. In


the style of desire/longing was different-- the speaker saw himself to be in harmony with changes in the external world (the coming of spring, the youth of the madman); and in one way or another, on some level he wished to participate in those changes.

In the present verse, the desire/longing is that tears, which have not yet become colorful, somehow would become colorful (so that the increase in the intensity of passion could be known, or so that the garment-hem and the sleeve would be able to become colorful). Now, when the eyes are wet (in this is the implication that the eyes were already wet with tears), a certain amount of pure blood is glistening-- so that there's hope that morning and evening (quickly) the tears will come to their true color.

In the first line the colloquialness of .sub;h-o-shaam , and in the second line the colloquialness of kuchh jhamaktaa , are very fine. In the verse the theme is nothing. But the 'implication' and the 'mood' haven't permitted this deficiency to be felt.



No doubt there are some colloquial pleasures that I can't feel. But I don't feel much of a 'mood' either, and no particular 'implication' seems very notable. To my mind the verse has no charms that can atone for its 'deficiency'-- which is, as SRF recognizes, that 'the theme is nothing'.