Ghazal 139, Verse 11


gosh mahjuur-e payaam-o-chashm ma;hruum-e jamaal
ek dil tis par yih naa-ummiidvaarii haa))e haa))e

1) the ear is separated from a message; and the eye, deprived of beauty
2) a single heart, concerning which-- this non-hopefulness-- alas!



Atish and Nasikh, etc., among the poets of Lucknow, and in Delhi Zauq and Momin, etc. are to some extent earlier than the author's time. tis par is not in the poetry of any of them. And neither has this phrase been used in Lucknow speech for a long time. For this word to emerge from the author's pen is a cause of astonishment-- and this word bears witness that the late Mirza Naushah [Ghalib]'s language was to some extent separate from the language of Delhi. (150)

== Nazm page 149; Nazm page 150

Bekhud Dihlavi:

He says, the ears are absorbed in separation from the beloved's message, and the eyes have become deprived of the beloved's beauty. My heart alone [ek] is calling down the disasters of these two troubles of hopelessness. (206)

Bekhud Mohani:

A single heart, and so many deprivations.... [Contrary to Nazm's claim], tis par occurs in the poetry of Nasikh, may God's mercy be upon him. And the Delhi people say it to this day. [Examples from Nasikh, Mir Dard, and Insha.] (273)



For extensive commentary on this whole very unusual ghazal, see {139,1}.

For a far more complexly Ghalibian treatment of the eye versus the ear, see {169,2}.

Also, why naa-ummiidvaarii instead of naa-ummiidii ? Normally we wouldn't suspect Ghalib of making do with any casually convenient word just for the sake of the refrain; but then, this isn't a normal ghazal.