Ghazal 68, Verse 4

{68,4}

har ek ;zarrah-e ((aashiq hai aaftaab-parast
ga))ii nah ;xaak hu))e par havaa-e jalvah-e naaz

1) every single sand-grain of the lover is a sun-worshipper
2) even on [his] having become dust, the desire/wind of the glory/appearance of coquetry did not go

Notes:

havaa : 'Air, wind, gentle gale;... --affection, favour, love, mind, desire, passionate fondness'. (Platts p.1239)

Nazm:

There is an iihaam in the word havaa -- that is, the dust-grain is in the air (havaa); the past tense [of honaa] is hu))e. (67)

== Nazm page 67

Bekhud Dihlavi:

He says, every single grain of the lover's dust is a sun-worshipper. Even after his turning to dust, the longing for the glory of coquetry was not erased. The meaning is that just as grains of dust begin to sparkle when confronted by the sun, so the grains of dust of the lover seek light from the sun of the beauty of the beloved. (116-17)

Bekhud Mohani:

The grains fly in the wind. But the poet expresses the captivating cause of this: that the lover's form has mingled with the dust, mixed with the dust. But even now so much glory-worship remains that every grain has become a sun-worshipper.

Janab Shaukat says that in the second line there's a need for 'even' [bhii], [such that it should read] ga))ii nah ;xaak bhii ho kar havaa-e jalvah-e naaz [even upon becoming dust, the longing for the glory of coquetry did not go]. In this line, bhii could not enter without murdering eloquence [fa.saa;hat]; for this reason Mirza kept in view flowingness, and composed it in this way. From bhii one necessity is fulfilled, but it also engenders 'entanglement' [ta((qiid]. (151)

FWP:

SETS
JALVAH: {7,4}
SCRIPT EFFECTS: {33,7}
SUN: {10,5}
ZARRAH: {15,12}

Ghalib loves to think about grains of sand and the way they glitter in the sun; for more on this see {16,4}. He imagines the lover's body as decomposed into dust, each grain of which glitters adoringly in the sunlight, capturing and returning the glowing rays of the radiant, coquettish presence (of the sun and/or the beloved).

Nazm describes havaa as an iihaam , and it could be said to have even three dimensions. The first, which he points out, is its identity in spelling with the masculine singular perfect form of honaa ; this is made especially prominent by its placement almost directly after hu))e , the masculine plural perfect form of honaa . But then, in view of the i.zaafat, it's clear that the word is the feminine noun havaa instead-- which itself has two meanings, a primary, very satisfactory one of 'desire'; and a secondary one, on the fringes of the mind, as 'air, wind'. The radiance/appearance of coquetry thus also acts like a kind of 'wind' that keeps the dust of the dead lovers floating restlessly through the air, and glinting in the sun. It's easy to see how this meaning plays with, and heightens, the primary meaning of 'desire'. For an example of the dead lover's dust becoming pure ardor that flies upward and is blown in the wind, see {61,7}.