Ghazal 51, Verse 2

{51,2}

jigar ko mire ((ishq-e ;xuu;N-naabah-mashrab
likhe hai ;xudaavand-e ni((mat salaamat

1) to the liver my pure-blood-drinking passion
2) writes, 'Master of favors/delicacies, wellbeing [to you]!'

Notes:

likhe hai is an archaic form of likhtaa hai ; GRAMMAR.

 

ni((mat : 'Comfort, convenience, ease; affluence, wealth; --graciousness, beneficence; --a benefit, favour, boon, blessing; --delight, joy; --a delicacy, dainty'. (Platts p.1143)

 

salaama t: 'Safety, salvation; tranquillity, peace, rest, repose; immunity; liberty; soundness; recovery; health'. (Platts p.668)

Nazm:

That is, passion has been nourished by drinking the blood of my liver; thus it writes to it with this title of honor. (47)

== Nazm page 47

Bekhud Dihlavi:

He says, the food of passion is blood. Passion has been nourished by drinking the blood of my liver. Thus passion, the drinker of pure blood, addresses it as 'beneficent master'. (91)

Bekhud Mohani:

The gist of the meaning is that today in this age, except for me no one has the enthusiasm, or the heart [lit., 'liver'], to feel passion. Passion lives thanks to me. (115)

FWP:

SETS == MUSHAIRAH
JIGAR: {2,1}
WRITING: {7,3}

For discussion of such 'liver' verses, see {30,2}. As we know, in ghazal physiology the liver is the source of fresh blood, and is the only means by which passion can be sustained over time-- since the heart with its bloody wounds, and the eyes with their bloody tears, are constantly shedding blood. Thus passion is described as 'pure-blood-drinking', and passion is naturally grateful and flattering in its address to the liver. The liver is thus a master of 'favor, blessing'-- and also, with enjoyable aptness, of exquisite foods ('delicacy, dainty').

The irony is in the passion's addressing the liver as salaamat , when its own constant demands are exactly what will eventually wear the liver away and prevent it from remaining either 'safe' or 'healthy'.

This is also what I would call a 'mushairah verse'; see {14,9} for more on this concept. You can't tell from the first line where the second is going; the 'punch' is withheld until the last possible moment; and once the first burst of enjoyment has been experienced, there are no hidden depths that would require-- or reward-- further contemplation of the verse. All these qualities make for quick, effective impact during oral performance.