naa-ummiidii ne bah taqriib-e ma.zaamiin-e
;xumaar
kuuchah-e mauj ko ;xamyaazah-e saa;hil baa;Ndhaa
1) Hopelessness, in preparation for themes
of intoxication
2) versified/'bound' the street/lane of the wave as 'the stretch/yawn of
the shore'
;xumaar : 'Intoxication; the effects of intoxication, pain and headache, &c. occasioned by drinking'. (Platts p.493)
;xamyaazah : 'Stretching; yawning, gaping'. (Platts p.494)
For background see S. R. Faruqi's choices.
For an excellent verse for comparison, and further discussion of the imagery, see {12,2}.
The 'street' or 'lane' of the wave would seem to be the long trough between the tops of two waves. It is poetically versified, or 'bound', as the ;xamyaazah , or 'stretch, yawn' of the shore. Such a stretch or yawn is idiomatically identified with (a lessening of) intoxication, and a thirst or desire for more wine.
Thus the physical correlation is amusing and enjoyable: even the ocean waves themselves are imagined as dry and thirsty, the way a shore might be, and as bending and twisting (the way the shore does as well) as a form of the 'stretch' or 'yawn' that suggests a readiness for more wine.
And who is doing the versification? 'Hopelessness', of course. It's preparing not for intoxication, but for poetic 'themes' of intoxication; its excesses are thus literary rather than rakish. Gyan Chand thinks that the 'hopelessness' refers to the chances of getting any wine, but this seems trivial. Even when the lover has some trouble with the Cupbearer, or somehow doesn't get all the wine he wants, he never seems to be in a state of 'hopelessness' about it. The lover reserves his hopelessness for worry over larger matters: the favors of the beloved, or life in general.
This verse is not about the lover's vain, hopeless longing for wine, but specifically about how 'Hopelessness'-- or perhaps a hopeless poet-- composes poetry: it sees its themes writ large, and what other people would call hyperbole seems perfectly natura. Thus if the poet decides to write about 'intoxication', there's no end to the extravagance of his imagery: the ocean waves themselves are effortlessly converted into a shoreline. The physical world itself is at the poet's service, and he has nothing to lose by letting his imagination run wild along the 'lane of the wave'.
Gyan Chand:
The kuuchah-e mauj is the space between waves; that is to say, the wave itself. We are hopeless of obtaining wine. Thus we want to keep on presenting the themes of intoxication. Our thirstiness has declared the shore too to be thirsty, although it always remains wet-skirted, In 'proof' of the thirst of the shore we have declared the waves to be its yawning which appears in the situation of wine not being obtained. (76)