Ghazal 54, Verse 3

Nazm:

It's as if Satisfaction is a woman, and Arrangement is a man; the poet says to them both that they should save themselves and leave, for fear that otherwise they might drown. (50)

Bekhud Dihlavi:

He says, oh Satisfaction-- that is, the era of a life of rest and ease-- begone from me, and oh Arrangement, you too leave this house and make yourself scarce. My flood of tears-- that is, the typhoon of my weeping-- is now about to bring down my house. After today, the days of my life will pass in difficulties and troubles. Why do you both endure sufferings with me? (94-95)

Bekhud Mohani:

Today, because of the flood of tears, the door and walls are in poor shape. Oh Satisfaction (wellbeing), oh Arrangement, take your leave! That is, the turbulence of disaster, or the turbulence of illness, is about to bring life to an end. Now help is useless. (120)

FWP:

SOUND EFFECTS: {26,7}

What a great phrase it makes to say dar-pa-e diivaar-o-dar near the end of the second line. The first dar means 'on,' the second one 'door', but juxtaposed in this way they not only provide fine alliteration, but also give a sense of inevitability and closure.

This is a verse full of vigorous abstractions. 'Satisfaction' and 'Arrangement' have to be chased away, because a 'flood of tears' is actually chasing-- literally, 'is on the heels of'-- the walls and doors.

When the lover warns off Satisfaction and Arrangement, is he acting for their sakes, since he fears for their safety in the coming flood of tears? Or is he impatiently dismissing them, since he himself is sick of them and is eager to enjoy the flood? For a full range of the lover's possible reactions to the flood, see the wonderfully complex {15,10}. The doors and walls may themselves be eager to welcome the flood, which may be pursuing them in almost an erotic way; in {58,9}, their greeting to the flood takes the suitably ambivalent form of a 'dance'.