Ghazal 163, Verse 2

{163,2}

huu;N kashmakash-e naz(( me;N haa;N ja;zb-e mu;habbat
kuchh kah nah sakuu;N par vuh mire puuchhne ko aa))e

1) I'm in the {struggle / tug-of-war} of the death agony-- indeed, drawing-power of love--
2) I might not be able to say anything-- but may she come to ask after me!

Notes:

kashmakash : 'Repeated pulling; pulling backwards and forwards, or to and fro; ... struggle, contention, wrangle, squabble; attraction, allurement'. (Platts p.835)

 

ja;zb : 'Drawing, attraction; allurement; absorption'. (Platts p.378)

Nazm:

This rhyme-word too Zafar has composed well:

aa))e bhii to aate hii lage pherne chitvan
kyaa aa))e vuh gardan pah chhurii pherne ko aa))e

[even if she came, the moment she came she began to draw her face away
she didn't 'come'-- she came to draw a knife over my throat] (163,2)

== Nazm page 175

Bekhud Dihlavi:

At this time I am absorbed in the struggle of the death agony, but indeed, oh attraction of love-- gradually you too please show me an attractive power [kashish]! It's obvious that I have no strength left to talk, but let her come to ask about me. So what if I can't answer-- so be it. (234-35)

Bekhud Mohani:

Even now, when I am in the death agony, I feel the wound that she has never even asked about me-- may this wound not remain! In addition, even in the death agony, the beloved is remembered.

[Zafar's verse] is very clear, and the flowingness of a river would be ashamed before it. But there's no doubt of the staleness of the theme. Some Ustad says:

nigaah pher ke ((u;zr-e vi.saal karte hai;N
vuh ham ko ul;Tii chhurii se ;halaal karte hai;N

[turning aside her gaze, she excuses herself from union
she slaughters us with a reversed knife-blade] (314-15)

FWP:

SETS == A,B; EXCLAMATION

Here is a verse of wordplay (and meaning-play too of course) between different kinds of 'pulling', 'tension', 'drawing'. The struggles of the death agony are a tug-of-war, as the sufferer is pulled back and forth on the borderline between death and life. Even in this desperate and hopeless condition, the lover is 'pulled' by the longing for the beloved. And in his longing he hopes that the drawing power of love can somehow 'pull' her toward him, so that she'll (perhaps only politely?) come to inquire about his condition.

Moreover, the relation between the two lines has been carefully rendered complex by the clever phrase haa;N ja;zb-e mu;habbat , 'indeed, attraction of love'. Is the phrase a vocative, an address to a quasi-personified entity called 'Drawing-power of Love'? Or is it a shorthand for something like, 'just look at the drawing-power of love!' or 'what drawing-power love has!'? The ambiguities open up several possible relationships between the lines:

=Lines 1 and 2 both straightforwardly describe the same situation: I'm dying, and I desperately long for her to come to me

=Line 1 describes me as dying of passion itself, as the 'drawing-power of love' wracks me with a death-agony. Line 2 illustrates the full, paradoxical agony of my situation: desire for her is killing me, and even as I die of it I still vainly crave for more of it.

=Line 1 describes me as a classic medical (or psychological) case of the 'drawing-power of love'; line 2 illustrates the diagnosis by showing the symptoms: even as I'm dying, so that her coming will be useless, I still long for her to come to me.

=Line 1 is a pathetic exclamation addressed to 'Drawing-power of Love', inviting this entity to notice, or sympathize with, or feel proud of ashamed of, the dying lover's sufferings, as described in Line 2.

=Line 1 is a specific appeal to 'Drawing-power of Love' to help out a dying lover; line 2 is a request for this entity to 'draw' the beloved to the lover's bedside.

Then there's the secondary ambiguity of 'I might not be able to say anything' [kuchh kah nah sakuu;N], which can have two senses:

=Because I'm in my death-agony I can't speak, and thus can't express my longing for her to come, but the longing is still there.

=If she comes, I may not be able to speak to her, but I still long for her to come.

Really the cleverest word is the colloquial and exclamatory little haa;N , which opens so many grammatical and imaginative possibilities.