Ghazal 13, Verse 3


tuu aur suu-e ;Gair na:zar'haa-e tez tez
mai;N aur dukh tirii mizhah'haa-e daraaz kaa

1) you, and in the direction of the Other-- sharp, sharp looks

2a) I, and sorrow over your long eyelashes
2b) I, and pain from your long eyelashes


tez : 'Sharp, keen, acute; penetrating, piercing (glance, &c.); hot, pungent, strong, acrid; caustic, corrosive; fiery, passionate, impetuous, violent; swift, fleet; quick, apt, intelligent, keen-witted'. (Platts p.351)


In this verse haa))e is either for a plural marker and an i.zaafat, or for an expression of regret. Both are correct. (13)

== Nazm page 13


Urdu text: Vajid 1902 {13}

Bekhud Dihlavi:

Here, long eyelashes refers to eyelashes that penetrate into the heart and fix themselves there.... The meaning is that the glances of favor and attraction that you cast on the Other, arouse envy and jealousy in me. (27)

Bekhud Mohani:

You look at him with desirous, restless, shameless glances. And here when I come, the curtains of your long long eyelashes have fallen. That is, now that your gaze has been lowered, it's not inclined to rise. (28)


GAZE: {10,12}

Is the lover sorry that sharp looks from her long lashes are wasted on a (shallow, or even stony) heart other than his own, as in (2a)? Or does he somehow feel the pain directly, because he is so attuned to her that even sharp looks directed elsewhere pierce his heart, as in (2b)? Or it could be both, of course, since they're not mutually exclusive. The careful phrasing of the second line keeps open both possibilities.

Nazm is surely wrong to propose that the haa))e could be an expression of regret. It seems very clearly to be a Persianized inanimate-object plural marker, to give the line a shape somewhat parallel to that of the second line with its mizhah'haa .

There's no finite verb in the verse, just the emphatic parallelism of the 'you, and' versus 'I, and' structure. We have to supply the logic of the relationship(s) of the two lines for ourselves. Ghalib loves to do this sort of thing; he can get brilliant effects with it. Its starkness often gives it a moody, brooding, 'poetic' quality, as in this verse.

This is the first 'I and' example we have seen; there are a number of such verses, in which the lover juxtaposes his own situation with something else-- usually, the situation of the beloved. Sometimes the result is to highlight his misery, but at other times it's more thoughtful-- the result is simply to emphasize the difference between their conditions or natures. In this style there are also verses in which the juxtaposition is of 'here' [yaa;N] with me, verses 'there' [vaa;N] with her. For more such verses, see {71,2}. An especially good verse for comparison is {71,2} itself.