Ghazal 175, Verse 5


ek hangaame pah mauquuf hai ghar kii raunaq
nau;hah-e ;Gam hii sahii na;Gmah-e shaadii nah sahii

1) upon a single/particular/unique/excellent tumult is dependent, the radiance/vitality of the house
2) the lamentation of grief, at least-- if not the melody of joy, then so be it


hangaamah : 'A convention, an assembly, a meeting; a crowd; --noise, tumult, commotion, confusion, uproar'. (Platts p.1238)


mauquuf : 'Fixed; bound; supported; established; determined— belonging, or restricted (to), dependent (upon, - par )'. (Platts p.1092)


raunaq : 'Brightness, splendour, beauty, elegance, grace, ornament; freshness, prime; colour, composition; flourishing state or condition'. (Platts p.608)


The world's joy and grief are both contemptible; one ought to treat them as diversions. In the view of the mystic knower, both joy and grief have the same form. (196)

== Nazm page 196

Bekhud Dihlavi

He says, both the world's joy and grief are baseless. Besides this, in the eye of the mystic knower, neither has joy any existence, nor has grief any substance. Indeed, for the radiance/vitality of the house, there is a need for the adornment of gatherings. Whether it be a joyous party or an assembly of mourning, in both cases people gather together. (254)

Bekhud Mohani:

For the radiance/flourishing of the house, the melody of joy is not necessary; the lament of grief is enough. No matter what, a tumult is necessary, nothing more, so that the heart would not sink.... By 'house' is meant 'heart'. (345)


MUSIC: {10,3}

For discussion of nah sahii , see {175,1}. This verse continues the idiomatic trend of the ghazal by adding the related form hii sahii ; on this, see {9,4}.

It's hard to get a sense of the mood of this verse. It could be cheerful ('We make the best of things, we get together and have good times at funerals too'). It could also be ironic or sarcastic ('Oh sure, we're fine-- you can see how busy and bustling the house is, and that's all that's needed to keep up our reputation among the neighbors'). It could be mystical or philosophical ('After all, life in this world is so brief and transient, gatherings of joy and grief come crowding in on each other's heels'). It could be stoical and bleak ('We have to carry on and think of the children, we can at least distract ourselves from grief with all the hustle and bustle'). It could be bitter ('People don't give a damn what becomes of their neighbors, as long as they get their entertainment out of it').

It's that ek that focuses the complexity. Is it a 'single' as opposed to two (joy-gatherings and grief-gatherings are depicted as similar)? Or is it 'one' as opposed to none (something has to be going on to keep up the vitality and 'flourishingness' of the house)? Or is it a 'particular', or 'unique', or 'excellent', kind of coming and going that's the key? There's certainly a traditional value placed on the 'liveliness' or 'hustle and bustle' of the house [ghar kii raunaq]. This verse asks, what price such 'hustle and bustle'? Is the busy coming and going of mourning just as good as that of joy? And if so, why exactly, and in whose eyes? Or is the clamor of grief a terrible parody of the vitality of joy? Needless to say, the verse leaves us to assign the crucial feeling-tone for ourselves.