Ghazal 17, Verse 4


jalvah az-baskih taqaa.zaa-e nigah kartaa hai
jauhar-e aa))inah bhii chaahe hai mizhgaa;N honaa

1) {since / to such an extent} glory/appearance makes a claim of a look/gaze
2) even/also the polish-marks on the mirror want to be eyelashes


jalvah : 'Manifestation, publicity, conspicuousness; splendour, lustre, effulgence'. (Platts p.387)

nigaah : 'Look, glance, sight, view, regard; consideration; --look, aspect (of); --watching, observation, attention; --custody, care'. (Platts p.1150)


chaahe hai is an archaic form of chaahtaa hai (GRAMMAR)


That is, when the radiance/appearance of her beauty is saying, 'Look at me', then the mirror wants to become an eye, and the polish-mark wants to become an eyelash. The simile of eyeball for mirror is a famous theme, and here by 'mirror' an iron mirror is intended, which has polish-marks. (18)

== Nazm page 18

Bekhud Mohani:

Seeing the power of the radiance/appearance of the beloved to create an ardor for sight, even the polish-line on the mirror wants to become an eyelash. That is, if I cannot myself see like the eye of the mirror, then let me become a part of the seer. (41)


This verse is an extremely fine example of theme-creation, but the pity is that loftiness of thought has killed off poetic-ness [shi((riyat]. (301)


GAZE: {10,12}
JALVAH: {7,4}
JAUHAR: {5,4}
MIRROR: {8,3}

Why is a polish-mark on a metal mirror like an eyelash? Because both are part of a set of many small fine linear things; because the polish-mark results from the cleaning that keeps the mirror bright, while the eyelash protects the eye from dust and dirt. A mirror held up to the beloved's face seems to draw near in eagerness to 'see' her; an eye would seek to approach her face for the same close view.

Compare {230,4}, in which the mirror goes even farther in its rapture at the sight of the beloved.