suraa;G-aaluudah-e ((ar.z-e do-((aalam shor-e
ma;hshar huu;N
par-afshaa;N hai ;Gubaar-aa;Nsuu-e .sa;hraa-e ((adam
meraa
1) I am a Doomsday-{turmoil/bitterness}, {trace/mark}-{polluted/stained}
by the earth/land of the two worlds
2) my {dust/mist}-tears of the desert of Nonexistence are wing-fluttering
aaluudah : 'Defiled, polluted, sullied, soiled, stained, spoiled; smeared, immersed, covered; loaded (with), overwhelmed'. (Platts p.78)
shor : 'Cry, noise, outcry, exclamation, din, clamour, uproar, tumult, disturbance... ; --salt, brackish... ; very bitter; --unlucky'. (Platts p.736)
ma;hshar : 'A place of assembly or congregation ;--(for yaum ul-ma;hshar ), the day of the place of congregation, the day of judgment'. (Platts p.1008)
;Gubaar : 'Dust; clouds of dust; a dust-storm; vapour, fog, mist, mistiness; impurity, foulness'. (Platts p.769)
SETS
DESERT: {3,1}
DOOMSDAY: {10,11}
EXISTENCE/NONEXISTENCE: {5,3}
GRANDIOSITY: {5,3}
Raza p. 224. S. R. Faruqi's choices. Ghalib originally composed a ghazal of seven verses, of which he chose to include only the first two in his published divan. This is the fourth verse of the original seven-verse ghazal.
Gyan Chand seems to take suraa;G-aaluudah to mean that the trace has been obscured or lost, so that I don't know where I'm going. I'm not sure how he actually puts the whole verse together. I'm not sure of my own reading either, but it's the best I can come up with.
On my reading, the whole verse describes the appalling combination of liminality and inclusiveness claimed by the speaker. Although he lives in the present world, he embodies in his own person the dire turmoil/bitterness of Doomsday, which will signal the end of the world as we know it; and although he lives in the human world, he is marked by stains and dirt from the lands of both of the two worlds. (For more on such 'two worlds' constructions, see {18,2}.)
Thus his state is full of almost incomprehensible paradoxes: instead of being wet, his tears are dry, being made of 'dust' (or perhaps 'vapor' or 'mist'); instead of being derived from water, these tears are derived from a desert; instead of being part of the present world, these tears are derived from the desert of 'Nonexistence'.
Moreover, instead of behaving like dust or mist or other inanimate clouds of particles, these tears show the speaker's agitation by being 'wing-fluttering' like birds. This isn't impossible: in {113,6} Ghalib makes the polish-lines on a metal mirror flutter their wings, and in {176,6} the wing-flutterer is a wave of blood.
In short, the speaker's nature has the impossibly amalgamated qualities appropriate to somebody who would call himself the 'turmoil of Doomsday'. He claims everything; he's like a distant, crazed cousin of Walt Whitman. Such cosmic grandiosity is nothing new for him: just take a look at {62,8}.
Gyan Chand:
My nature has kicked up a Doomsday-turmoil in both worlds. I am manifesting that clamor everywhere. Since it is very boundless, I am going onward and onward in search of a place to manifest it. I can't find a trace of anything that would encompass it. Now my dust has emerged in another direction, even beyond Nonbeing. And there too I've kicked up a Doomsday-turmoil. Since the footstep-trace has become lost, I wander sometimes this way, sometimes that way, manifesting my Doomsday-equippedness of temperament. (85)