Ghazal 15, Verse 7


farsh se taa ((arsh vaa;N :tuufaa;N thaa mauj-e rang kaa
yaa;N zamii;N se aasmaa;N tak so;xtan kaa baab thaa

1) from earth to heavens, there, was a typhoon/storm of a wave of bloomingness/'color'
2) here, from ground to sky was a section/matter of burning


farsh : 'A carpet, a mattress, a bed; a mat; a floor-cloth; a pavement; — the floor, ground; a wide or spacious plain or place; the earth'. (Platts p.779)


:tuufaan : 'A violent storm of wind and rain, a tempest, typhoon; a flood, deluge, inundation; the universal deluge; a flood or torrent'. (Platts p.754)


rang : 'Colour, colouring matter, pigment, paint, dye; colour, tint, hue, complexion; beauty, bloom; expression, countenance, appearance, aspect; fashion, style'. (Platts p.601)


baab : 'Door, gate; chapter, section, division (of a book), head, heading; subject, affair, business, topic, matter'. (Platts p.117).


That is, there vivid, colorful, luxurious enjoyments were taking place; and here, we were burning. With 'a matter of burning' the past, present, and future tenses are all intended. The subtlety is that the poet has concealed the extension of time that would be found in the conjugation of so;xtan . The second aspect that also emerges is that here, earth and heaven were capable of starting fires. (16)

[See also his comment in the discussion of {194,4}.]

== Nazm page 16

Bekhud Dihlavi:

In this verse he has changed the order. In the first line he has shown the situation of the beloved. He says, from the earth to the sky, there, a storm of waves of happiness had arisen (he has used for 'abundance' the word :tuufaan ). Here, from ground to sky was filled with fire to burn us; that is, longing, regret, envy of the Rival, a turmoil of love, restlessness of the heart-- all these disasters were giving us trouble. The beauty with which, from opening-verse to closing-verse [of this 'verse-set'], he has presented the situations of himself and the beloved-- the pleasure of this, people of taste can enjoy. (33)



SKY verses: {3,12x}; {15,7}; {15,15}; {15,16x}; {27,8}; {43,3}; {43,8}; {46,2}; {47,4x}; {50,1}; {51,6x}; {51,10x}; {64,3}; {66,5}; {68,5}; {74,1}; {105,2}; {111,3}; {110,7}; {126,8}; {131,3}; {132,6}; {132,8x}; {136,1}; {138,1}; {143,4}; {148,8}; {160,5}; {177,4}; {177,7}; {180,2}; {181,3}; {204,10}; {217,4}; {217,11x}; {234,1}; {234,5}; {234,11}; {234,12} // {287x,6}; {309x,5}; {351x,1}; {376x,4}; {405x,6}; {420x,7}

This verse marks the end of a sort of quasi-'verse-set' that begins with {15,2}. To leave the beloved 'there' in a typhoon of waves of rang with all its cheerful, 'colorful' possibilities (see the definition above); and to leave the lover 'here' in a realm of unchanging, undifferentiated fire is not a bad end to this sequence of 'here-there' verses. The beloved's storm of radiant waves extends from this earth to the celestial heavens; the lover has for his 'burning' merely a plain 'section' between ground and sky.

On the complexities of baab see {7,1}.