Ghazal 39, Verse 1

Nazm:

In short, before her the candle kept growing restless, as if there were a thorn in its clothing. (37-38)

== Nazm page 37

Vajid:

Urdu text: Vajid 1902 {39}

Hasrat:

The meaning is that in the beloved's modest seclusion, where no one was admitted, even the candle had come to be in an extraordinary state of infatuation. (39)

Bekhud Dihlavi:

'To have a thorn in one's robe' is a Persian idiom. Mirza Sahib has put it into an Urdu verse. A lantern-frame is usually made out of iron wires over which they put a light fabric. The meaning of the verse is that last night, in the privacy of the gathering of shame and modesty, the beloved was illuminating the assembly. Before her the candle was melting with shame, and the candle-wick had become the thorn in the candle's robe. (74)

Bekhud Mohani:

The lantern wanted to somehow remove the candle from its embrace, and place the beloved in its heart. (91)

Shadan:

'Seclusion' and 'gathering' are two different things. There's no telling why he described 'seclusion' as 'illumining the gathering'. Perhaps he considered beauty and its requisites to be the members of the gathering. (180)

Faruqi:

The light of the candle shines out from the lantern, and makes the lantern reddish. From the heat of the candle, the lantern becomes hot and dry. Redness and heat and dryness are signs of restlessness. The lantern in which redness and heat are violently glowing, is in this state because of the candle-wick. Thus, it's been proved that the candle-wick is prickling like a thorn in the robe of the lantern. And since the lantern is the robe of the candle, we have learned that the candle 'has a thorn in its robe' (that is, is restless) ....

If we reflect, then the word naamuus is not so useless, either. In the Selected Among Dictionaries [munta;xab ul-lu;Gaat] one of its meanings is given as 'possessor of a secret'. In the beloved's seclusion only those people come who in one or another sense are her confidants. Another aspect is that women who live in seclusion are also called naamuus , and this meaning is not so unsuitable either. (1989: 54-55) [2006: 70-72]

FWP:

SETS == KIH
GATHERINGS: {6,3}
VEIL: {6,1}

CANDLE verses: {15,6}; {34,9x}; {39,1}; {40,6x}; {41,2}; {53,1}; {57,3}; {73,2}; {75}; {78,7}; {81,1}; {81,9x}; {87,5}; {102,3}; {111,6}; {137,2}; {166,3}; {169,1}; {169,12}; {175,4}; {184,3}; {188,3x}; {190,7}; {194,3}; {214,12}; {217,8x}

Faruqi does much to elucidate this verse; among other contributions, he grounds its imagery securely in actual physical qualities, which is always a great help.

Shadan's plaintive remarks highlight another aspect of the enjoyableness of the verse: the contrast between the 'gathering' and the 'seclusion'. Wherever the beloved appears, everything around her is compelled to adoration, even the lanterns and candles, so that even when in 'seclusion' she is always surrounded by a 'gathering' of ardent admirers.

Moreover, she herself always 'illumines' this gathering, and does such a brilliant job of it that naturally the candle and lantern are ashamed at being outshone. Thus there are several excellent (literal and metaphorical) reasons for every lantern to 'have a thorn in its robe'.