dair-o-;haram aa))iinah-e takraar-e tamannaa
vaa-maa;Ndagii-e shauq taraashe hai panaahe;N
1) idol-temple and Ka'bah
are a mirror of the insistence/repetition/dispute of longing
2) the fatigue/lagging/exposure of ardor carves out shelters/refuges
takraar : 'Repeating often; repetition; tautology; the chorus or burthen of a song; question, dispute; objection, controversy'. (Platts p.331)
vaa-maa;Ndagii : 'The remaining or lagging behind (esp. from fatigue); --openness; exposure'. (Platts p.1177)
taraashe hai is an archaic form of taraashtaa hai (GRAMMAR)
taraashnaa : 'To cut, hew, pare, clip, prune; to cut out, carve, shape, form, fashion'. (Platts p.315)
panaah : 'Protection, defence, shelter, shade, asylum, refuge'. (Platts p.270)
[This verse is used in his discussion of {99,7}.]
SETS == STRESS-SHIFTING
RELIGIONS: {60,2}
Raza p. 152; Raza p. 153. S. R. Faruqi's choices. Ghalib originally composed a ghazal of eight verses, from which he chose one for publication in his divan. In the original eight-verse ghazal, this verse was the sixth one.
The multivalent meanings of takraar have been elegantly deployed-- does it refer merely to 'insistence', or to theological disputes as well? The pairing of 'idol-house and Ka'bah' could mean that the two are to be either taken together as a unit (mirroring 'insistence'); or opposed to each other (mirroring 'dispute' or 'controversy'). And do they 'mirror' the takraar in the sense of imitating it, or in the sense of showing or revealing it? The several i.zaafat constructions also multiply the possible relationships among all these senses.
And vaamaa;Ndagii works equally well-- is it the 'lagging', the 'fatigue', the 'openness', or the 'exposure' of ardor that actually digs out those various religious 'shelters'? Each reading works intriguingly with the possibilities in the first line.
By shifting the emphasis placed on different words, and different senses of each word, in each of the two lines, the verse can be readily, and radically, and most fascinatingly, transformed.
Compare another unpublished verse about the perils of fatigue: {12,6x}. And most particularly, about the role of religions compare {102,2}.
Gyan Chand:
The heart is in search of the True Beloved. It goes to a temple, seeking it. It discovers that this is not the desired destination. Then it goes to a mosque, and there too this same situation confronts it. Idol-temple and Ka'bah are signs of the insistence of longing. The ardor of passion sets out in search of the beloved; walking and walking, it grows tired, and seeks some place of shelter. After one place of shelter, another place of shelter. These places of shelter are temple and mosque. The point is that temple and mosque are not the goal, they are camps along the road, from which the intensity of ardor can be guessed. (273)