Ghazal 49, Verse 12

{49,12}*

hosh u;Rte hai;N mire jalvah-e gul dekh asad
phir hu))aa vaqt kih ho baal-kushaa mauj-e sharaab

1a) my senses take flight, having seen the glory/appearance of the rose, Asad
1b) my senses take flight-- look at the glory/appearance of the rose, Asad!

2) again the time came that [it] would spread its wings, the wave of wine

Notes:

Nazm:

== Nazm page 46

Bekhud Dihlavi:

He says, oh Asad, since I saw the glory/appearance of the rose my senses have started to leave me. It seems that that time is coming, along with the spring, when the wave of wine will begin to fly in the air-- that is, here and there wine distilleries will be set up. (89-90)

Baqir:

Oh Asad, having seen the glory/appearance of the rose, my senses are leaving me. It seems that again that time has come when the wave of wine would begin to move-- that is, the flagon would circulate for wine-drinking. It's possible that dekh might be the imperative of the verb. Between 'take flight' and 'wing' is a verbal affinity. (147)

Josh:

Because of the wordplay of flying, he has described the wave of wine as 'spreading its wings'.... The first line of then the opening-verse has been repeated in the closing-verse. This repetition too is pleasurable in concluding a thought. Musicians too end their melodies by repeating the first line. (124)

FWP:

SETS
JALVAH: {7,4}
WINE: {49,1}

As Josh points out, the first line of {49,1} has been repeated as the second line of this last verse, thus providing an unusual sense of circularity and closure. In this respect too, as in the substantialness and influence of its refrain, this ghazal is unique in the whole divan. For more on this kind of repetition, see {49,1}.

'My senses take flight' is a fine way to end such a sensuous ghazal, one so full of soaring and intoxication. I faint, I swoon, I lose my senses-- because I have seen the glory/appearance, the jalvah , of the rose. (This reading takes dekh as a colloquially shortened form of dekh kar .) Or else, feeling myself losing consciousness, I urge myself to make the glory of the rose the last sight to be fixed in my eyes. (This reading takes dekh as an intimate imperative.) As Baqir observes, the structure of the line easily lends itself to both interpretations; though perhaps the former has a slight edge, since it doesn't require a change in subject from first person to second person in the course of the line.

But in any case, how to connect the two lines? If we read line one as logically prior, then I find myself swooning, overcome by the rose-glory, and I recognize that now the time has come for the wave of wine to spread its wings, for me to lose myself entirely in (mystical?) intoxication. If we read line two as logically prior, then first the time comes once again for the wave of wine to spread its wings, and its effect on me is so powerful that I find myself swooning with visions of rose-glory. In a seductive, radiant, sensuous ghazal like this, it's hard to tell the difference between cause and effect, and perhaps it doesn't matter as much as usual, anyway.

Note for grammar fans: Here's one more case in which we're one step further in the past in Urdu than we would be in English. Because of the present-tense verb [u;Rte hai;N] in the first line, in normal English the second line would be 'the time has come'. My translation sticks with the literal Urdu, as usual; but the clunkiness in English is very obvious. For more on this, see {38,1}.