Ghazal 4, Verse 12x

{4,12x}

fikr-e naalah me;N goyaa ;halqah huu;N z sar taa paa
((u.zv ((u.zv juu;N zanjiir yak-dil-e .sadaa paayaa

1) in the thought/anxiety of lamentation, I am, {so to speak / 'speaking'}, a circle/link from head to foot
2) every limb, like a chain/fetter, I found [to be] unanimous/'single-hearted' of voice/sound

Notes:

z is short for az , to accommodate the meter.

 

((u.zv : 'A limb, member, joint, organ (of the body)'. (Platts p.762)

 

yak-dil : 'Of one heart or mind, unanimous; single-hearted, true, loyal, sincere'. (Platts p.1251)

 

.sadaa : 'Echo; sound, noise; voice, tone, cry, call'. (Platts p.743)

Asi:

In the thought/anxiety of lamentation I have become, so to speak, a circle from head to foot. And like a chain/fetter, every one of my limbs is single-hearted and single-tongued to give voice.

== Asi, p. 54

Zamin:

He says that in order to draw forth laments, all my limbs have become single-hearted and single-tongued like the links of chains/fetters, and in this thought/anxiety my head has met my feet so that I have become a circle. The rule is that in a state of thought/anxiety, the head is placed on the knees.

== Zamin, p. 33

Gyan Chand:

To be yak-dil is to be agreed. All the links of a chain come together and make noise. All the limbs of my body too become 'single-hearted' and make a voice/sound [aavaaz]. As if [goyaa] I am, in the thought/anxiety of lamentation, from my head to my feet a link of a chain.

== Gyan Chand, p. 69

FWP:

SETS == MULTIVALENT WORDS ( goyaa ); WORDPLAY
BONDAGE: {1,5}

WORDPLAY verses: {1,5}; {4,12x}; {5,7x}; {6,2}; {7,2}; {9,2}; {9,8x}; {10,8}; {13,1}*; {15,5}**, excellent; {16,4}; {16,5}; {20,3}; {23,1}*; {26,4}; {27,4}; {28,4x}; {29,10x}; {34,3}; {38,4}*, entirely evoked; {41,6}; {41,10x}*; {46,3}*, laag ; {51,6x}; {53,3}; {53,13x}*; {56,1}; {58,5}; {61,5}; {63,4x}; {64,1}; {64,8x}; {68,7x}; {69,2}*, Nazm scorns it; {73,3x}; {75,2}; {76,3x}, most primitive possible; {81,7x}; {81,10x}; {88,1}; {90,2}; {90,3}*; {91,10}; {92,1}; {95,1}; {96,3}; {97,1}; {97,3}; {98,6}; {98,11}**; {99,3}; {99,10}; {101,8}; {102,2}; {102,3}; {105,1}; {108,1}**; {108,2}; {108,4}; {108,5}; {108,9x}; {108,11x}; {109,1}**; {109,7x}**; {111,3}*; {111,8}; {111,9}; {111,10}; {111,11}; {112,6}; {112,8}*; {113,1}; {113,7}; {113,8}; {113,9}; {114,2}; {114,3}; {114,5}; {117,1}; {117,3}; {117,5x}; {118,3}; {119,2}; {119,10}; {120,3}*, with 'double activation' list; {121,6}; {121,8}; {123,1}; {125,1}; {126,4}; {126,7}; {132,7}; {136,5}; {137,1}; {138,4}*, meaning too; {138,5}; {139,2}; {141,5}; {143,2}; {143,6}**; {145,6x}; {145,11x}; {146,4x}; {147,2}; {147,3}; {149,5}; {152,1}; {152,2}; {153,1}; {153,7}; {153,9}; {154,1}; {155,2}; {155,4x}; {156,2x}; {157,2}; {157,5}; {157,7}*; {158,4}; {161,1}; {161,9}; {163,8}; {164,6}; {164,10}; {165,2}; {166,2}; {166,7x}**; {167,6}; {169,14x}; {170,4}; {171,1}; {172,1}; {176,5}; {180,7}; {183,5}; {183,6}; {183,7}; {183,8}; {184,4x}; {186,5}; {188,4x}, very explicit; {189,1}; {190,6}**; {190,10}; {190,11x}; {192,5}, maximal; {193,5}; {194,2}; {195,1}; {196,6}; {197,3x}*; {200,1}*; {202,1}; {204,4}; {206,3}; {212,4}; {214,1}; {214,8}; {217,2}; {219,4}; {222,1}; {222,2x}; {226,4}}; {226,5}; {227,2}; {229,6}; {230,3}; {234,4}; {234,5}; {234,13} // {241x,2}*; {307x,6}*; {312x,4}; {322x,3}, implicit; {332x,8}*; {335x,3}; {361x,7}*; {389x,6}**; {436x,4}*

For background see S. R. Faruqi's choices. This verse is NOT one of his choices; I thought it was interesting and have added it myself. For more on Ghalib's unpublished verses, see the discussion in {4,8x}.

This is consummately a verse of wordplay. There are body parts: 'head to foot', 'limb', 'limb', 'heart'; the final paayaa also contains another 'foot' [paa]. There's also the expressive interplay of 'thought', 'lamentation' (which involves both thought and speaking), 'speaking', and 'voice'. On the subtleties of goyaa , see {5,1}. On the possibilities of yak expressions, see {11,1}.

The speaker is 'bent out of shape' (sorry, sorry) by melancholy; he is contorted, 'from head to foot' into a 'circle' or 'link'. In addition, each limb is like a link (of a chain or fetter). Thus his limbs clank and clash together, making a sound of lamentation. They are all unanimous in making the sound, and/or they all make exactly the same sound. Is it a 'voice', as if they were expressing a human lament, or is it just a 'sound', like a groan? The verse leaves it up to us to decide.