.sabr aur yih adaa kih dil aave asiir-e chaak
dard aur yih kamii;N kih rah-e naalah vaa karuu;N
1) endurance-- and such a style/air that the heart would become bound/imprisoned by ripping/tearing!
2) pain-- and such an ambush that I would open the road of lament!
.sabr : 'Patience, self-restraint, endurance, patient suffering, resignation'. (Platts p.743)
aave is an archaic form of aa))e (GRAMMAR); here 'come' is used in the sense of 'become' (see Platts p.84)
asiir : 'Bound, tied, made captive; —s.m. Prisoner, captive'. (Platts p.55)
chaak : 'Fissure, cleft, rent, slit, a narrow opening (intentionally left in clothes); —adj. Rent, slit, torn, lacerated'. (Platts p.418)
naalah : 'Complaint, plaint, lamentation, moan, groan; weeping'. (Platts p.1117)
SETS == A,B; I AND; PARALLELISM
For background see S. R. Faruqi's choices.
The idiomatic turn of phrase 'X-- and Y!' is the foundation of both lines here; for greater recognizability, this structure is described on the SETS page as 'I and'. The idea is to point to the extreme incommensurability of X and Y, as though they can hardly even be mentioned in the same breath, much less compared in words. (A similar idiomatic structure is kahaa;N yih , kahaa;N vuh ! )
The first line juxtaposes 'endurance/patience' to the expression asiir-e chaak , which means something like 'bound' by 'ripping'. Since binding closes off or imprisons, while ripping opens or looses, the effect is piquant and even paradoxical.
Then the second line juxtaposes 'pain' to a kind of 'ambush' that induces the speaker to 'open the road of lament'. Although the paradoxical quality is not obvious here, the strong structural parallelism between the lines invites us to look for it. An ambush often involves some kind of trap or dead end: the prey are unwittingly lured into a situation from which they can't escape, as the hunters capture or kill them at pleasure. Yet this ambush is such that the speaker thinks to 'open a road'-- just the sort of escape strategy that, in an ambush, won't usually work. Moreover, it's the 'road of lament', and lament is usually a loud clamor (see the definition above), while an ambush is silent by definition.
The paradoxical quality of the juxtapositions within both lines is heightened by the 'A,B' structure. Here are some ways that the 'incommensurability trope' could be read:
=amazingly, I display X, despite the presence of Y
=I could never display X in the presence of Y
=how can X and Y exist in the same world?
=X and Y are, in some sense, perfectly suited to each other
Moreover, the 'X' qualities, 'endurance' and 'pain', aren't actually ascribed to the speaker, or in fact to anybody at all. So the verse can be interpreted as abstractly as the reader chooses.
Gyan Chand:
How can I have endurance! Endurance has seen the situation that I would imprison the heart in ripping-- that is, that the heart would become ripped apart. This will be at the very time when Endurance would have turned its face away. Pain remains in a state of worry, lest I begin to lament. It's as if it's not Endurance, but Pain. (259)