vaa;N rang'haa bah pardah-e tadbiir hai;N hanuuz
yaa;N shu((lah-e chiraa;G hai barg-e ;hinaa mujhe
1) there, colors/moods are now/still in the veil/pardah of contrivance/policy
2a) here, the flame of a lamp is a leaf/provision of henna, to me
2b) here, a leaf/provision of henna is the flame of a lamp, to me
tadbiir : 'Forethought, judgment; deliberation, counsel; opinion, advice; expedient, contrivance, plan, device; provision, management, arrangement, ordering, conduct, regulation; policy, prudence; skill'. (Platts p.314)
barg : 'Leaf (syn. pattaa ); —warlike apparatus; provisions or necessaries for a journey or march; —a musical instrument; melody'. (Platts p.148)
SETS == HERE/THERE
For background see S. R. Faruqi's choices.
On henna, see {18,4}; and see the wikipedia account of henna for details.
The 'here / there' structure juxtaposes the two lines, usually for a cleverly subtle mixture of comparison and contrast. As usual, it's left for us to decide how to understand the juxtaposition of the beloved's world with the lover's.
'There', the beloved's use of henna is carefully calculated and premeditated, planned beforehand for maximum effect (but no unwarranted overkill). She will measure out her self-display to get the desired results most efficiently. And of course, the application of henna is a careful and elaborate process: the intricate design must be chosen and slowly created, then the paste must be allowed to dry over a period of hours.
'Here', it's a question not of henna, but of fire. Henna itself is made from ground-up green leaves. The initial paste form is greenish-brown. When first applied it is bright orange; then it darkens to reddish-brown; then it gradually fades away. These color changes resemble those of green twigs and branches that are dried and then used to fuel a fire, first flaming brightly, then darkening and dying down into ashy oblivion. Is this what's intended by the idea of the lamp-flame as a 'leaf' of henna? Are we to imagine that the lover in his passion burns like the flame of a lamp, and that this uncontrolled, uncontrollable flame is in radical contrast to the beloved's all-too-controlled use of similarly-colored henna?
Or are we to take barg (see the definition above) chiefly as a 'provision' or 'supply'? In that case, while the beloved makes use of bright-orange henna, the lover makes (similar? contrasted?) use of bright-orange flame. Does he use the flame of a lamp to illumine the face of the beloved? In that case, he'll be doomed to wait until the beloved has put her carefully-adorned person on view; so perhaps during the interminable wait, the lamp-flame is the nearest he'll get to seeing her henna-ed hands and feet.
Or do the marks of his flaming passion adorn him the way the beloved's henna adorns her?
Or is his passion such that the mere sight of a leaf of henna so inflames his imagination that it seems to (try to) illumine the beloved's veiled face, the way a lamp would?
And so on, with no end in sight, and no closure or satisfying 'click' feeling on offer.
Gyan Chand:
The beloved is now pondering with what coloring and rouge/powder to adorn herself. Various kinds of schemes and contrivances are under consideration-- and the leaf of henna itself is burning me to such an extent, the way one would be burned from putting a hand in the flame of a lamp. When this hidden color itself burns like this, then when the color would become manifest and actually adorn the beloved's body, how much suffering it will cause me! (337)