yaa;N sar-e pur-shor be-;xvaabii se
thaa diivaar-juu
vaa;N vuh farq-e naaz ma;hv-e
baalish-e kam;xvaab thaa
1) here, the {tumult/bitterness}-filled head, out
of sleeplessness, was in search of a wall
2) there, that summit of coquetry was absorbed
in a velvet pillow
shor : 'Din, clamour, uproar, tumult, disturbance... very bitter; --unlucky'. (Platts p.736)
farq : 'Separation, intervening space, interval; distance; division, partition; interruption; disperson; distinction, difference; ...the head; top, summit'. (Platts p.779)
That is, because sleep didn't come, my head was searching for a wall, and I wanted to beat my head against it. (16)
SETS == HERE/THERE; WORDPLAY
This verse is another part of a sort of quasi-'verse-set' that begins with {15,2}.
The wordplay with farq is cleverly left implicit: the word here refers to the beloved (or more literally perhaps to her head) as the 'summit' of coquetry, but its far more common meaning is the 'separation' that drives the lover toward suicide; this is a fine example of iihaam .
In addition, the lover's be-;xvaabii or sleeplessness is juxtaposed to the beloved's pillow of kam;xvaab, velvet. As a fringe benefit (like the fringe on a velvet pillow, of course), the literal meaning of kam;xvaab is 'of little sleep,' which resonates with the 'sleeplessness' of the lover.
It's the lover's head that's in search of a wall; he longs to smash his head against a wall and thus attain at least unconsciousness, if not death. And the literal 'summit of coquetry,' the beloved's own head, lies unconscious, deeply asleep, having sunk itself luxuriously into its velvet pillow.
A verse of almost pure wordplay-- the kind that the whole past century of Urdu criticism has loved to hate. I don't think this one is as good as {15,2} and {15,3} (no mutual causality), but it has its own kind of quick mental pleasure to offer.
Bekhud Dihlavi:
Mirza Sahib prefers smashing his head against a wall and dying, compared to waking up in his condition of separation [farqat]. (32)
Josh:
For 'the sleep of peace' [;xvaab-e raa;hat] he searched out a good rhyme as well, ;xvaab. For the expression of comparison, in every verse to juxtapose the equipment for grief and repose is also worthy of praise. Then, there's the pleasure that in this comparison the similes too are very appropriate. (69)