Ghazal 147, Verse 5x

{147,5x}

hai .sariir-e ;xaamah rezish'haa-e istiqbaal-e naaz
naamah ;xvud pai;Gaam ko baal-o-par-e parvaaz hai

1) the scratching of the pen is outpourings of the welcoming of coquetry
2) the letter itself is, to the message, the wing and feather of flight

Notes:

rezish : 'Pouring out, scattering; flowing in small quantities, running'. (Platts p.611)

 

istiqbaal : 'Encountering, meeting; the ceremony of meeting and receiving a visitor; reception, welcome'. (Platts p.50)

 

naaz : 'Blandishment, coquetry, playfulness, amorous playfulness, feigned disdain; dalliance, toying; fondling, coaxing, soothing or endearing expression; —pride, conceit, consequential airs, whims; —softness, delicacy; elegance, gracefulness'. (Platts p.1114)

Gyan Chand:

He is writing some message in a letter to the beloved. The sound of the pen is, so to speak, the sound of an outpouring for the welcoming of coquetry. Since the writing of a letter is itself synonymous with the welcoming of the beloved, the letter itself acquires wing and feathers in order to take it swiftly. The leaf of paper has a similitude with extended wings. The welcoming of coquetry will occur at the time when the possessor of coquetry will be before him, therefore he sends the letter as quickly as possible to the Presence of coquetry. (361-62)

FWP:

SETS
SOUND EFFECTS: {26,7}
WRITING: {7,3}

For background see S. R. Faruqi's choices.

The 'welcoming of coquetry' could certainly refer, as Gyan Chand assumes, to the lover's eagerness to welcome the coming of the coquettish beloved. But thanks to the subtlety and flexibility of the i.zaafat , it could equally well refer to the welcome extended by coquetry-- that is, to the flirtatiousness of a lover preparing a teasing or playful reception for the beloved. Such a welcome could either consist of, or be illustrated by, the tendency of the lover's letter to equip itself with wings and feathers. For as a bird, endowed with the grace and beauty of flight, would the letter not be inclined to groom its feathers and preen itself?

But then why does the letter become a bird, why does it become the wings and feathers of the message? As Gyan Chand points out, a leaf of paper has physical and aerodynamic properties like a wing; it can float airily and playfully in the breeze. A 'message' is inert, perhaps even unwritten, perhaps even unspoken-- but once it has acquired the wings and feathers of a letter, it can be on its way, graceful, capable, and independent (thus perhaps coquettish). And the lover's vivid imagination sees the letter-bird as traveling fast and free, so that he won't even need to employ a bothersome and unreliable Messenger.

And such lovely sound effects! We have two sets of wings and feathers: istiqbaal and baal , and then par and parvaaz . The rhyming of ;xaamah and naamah (picked up also by pai;Gaam ), and of naaz and pardaaz .

Compare the preeminent 'scratching of the pen' verse, {169,13}.