ba;xshe hai jalvah-e gul ;zauq-e tamaashaa
;Gaalib
chashm ko chaahiye har rang me;N vaa ho jaanaa
1) the glory/appearance of the rose bestows a relish
for spectacle, Ghalib
2) the eye {should / ought to}, in every color/style/mood/aspect, become
open
ba;xshe hai is a variant form of ba;xshtaa hai .
rang : 'Colour, colouring matter, pigment, paint, dye; colour, tint, hue, complexion; beauty, bloom; expression, countenance, appearance, aspect; fashion, style; character, nature; mood, mode, manner, method; kind, sort; state, condition'. (Platts p.601)
Nazm:
That is, seeing flowers of many colors blooming in the garden, there is born a relish to have the eye remain open in every color/mood, and see every kind of sight.... The second line explicates the 'relish for spectacle'. (44)
Bekhud Mohani:
Oh Ghalib, the springtime/flourishing of flowers gives pleasure. The duty of humans is that in whatever state they might be, they should behold the scenery of the world. (110)
Faruqi:
In former times it was a common custom to end a ghazal with a verse-set, and in order to indicate where the verse-set begins, they put the pen-name in its first verse. By Ghalib's time this custom had not remained very prevalent, but neither had it entirely vanished. Thus these two verses are of this type. Those editors of the diivaan-e ;Gaalib who didn't know about this custom have assumed the verse with the pen-name to be the closing-verse and have put it at the end. (59)
[Further comments on this verse as part of the verse-set: {48,10}.]
FWP:
GAZE: {10,12}
JALVAH: {7,4}
TAMASHA: {8,1}
This marks the beginning of a two-verse verse-set that includes {189,9-10}. Some editors, including Hamid, don't mark the verse-set, and reverse the order of the two verses so that the formal closing-verse is at the very end. As always, I follow Arshi.
This stark verse feels very modern, doesn't it? The rose's glory/appearance lures us on, so that we crave to see and enjoy the loveliness of the world, we have a relish for its 'spectacle'. But there's no good cheer here, no emphasis on the beauties of nature or the flowers that bloom in the spring. The second line is suddenly bleak: the eye should, no matter what, be open. We humans should look fate in the eye. Although it shouldn't be forgotten that sometimes that eye is a mystical one: on the double sense that tamaashaa , 'spectacle', has for Ghalib, see {8,1}.
Of course there's also the wordplay of har rang me;N , in every 'color/ style/ mood/ aspect'; 'color' is exactly the chief glory of the rose, and the source of its allure. But the rose's color is all too probably a dazzling veneer that coats a darker reality. It gives us a relish for looking at the world. And looking at the world seems to be a kind of grim duty, a requirement of fully human integrity: the eye 'ought to' be open, no matter what kind of reality it is destined to behold. (And sometimes, as in {117,1}, wide open eyes will have good effects.)
In any case, the other verse of the verse-set, {48,10}, with its imagery of the mirror and the spring greenery, gives a more fruitful and hopeful twist to the idea of looking,