Ghazal 184, Verse 2

{184,2}

tuu vuh bad-;xuu kih ta;haiyur ko tamaashaa jaane
;Gam vuh afsaanah kih aashuftah-bayaanii maa;Nge

1) you're the kind of bad-tempered one who would consider amazement [to be] a spectacle
2) grief is the kind of story that would demand distracted-narrative-ness

Notes:

ta;hayyur : 'Astonishment; amazement; wonder'. (Platts p.313)

 

aashuftah : 'Distracted, disturbed, distressed; disordered; uneasy, uneasy, wretched, miserable'. (Platts p.57)

Nazm:

In amazement, it's necessary for there to be silence. The meaning is that if I remain amazed and silent, then you consider it a spectacle; and if I put aside astonishment and silence and bring to my tongue the grief of the heart, then you are disaffected with the 'distracted-narrative-ness'. (206)

Bekhud Dihlavi:

He says, in amazement, silence is required and necessary; and you're such a bad-tempered one that you consider my amazement and my silence to be a spectacle. And grief is the kind of story that for it 'distracted-narrative-ness' and disorderedness of speech are appropriate. If I put aside amazement and silence and bring to my tongue the grief of the heart, then you are displeased and disaffected. (266-67)

Bekhud Mohani:

My life has fallen into great jeopardy. You're such a bad-tempered one that if I remain lost in excessive grief, then you consider it a spectacle, and my amazement has no effect on you. And if I don't narrate the story of grief, then you become angry at my 'distracted-narrative-ness'. And in the state of grief, narrative necessarily becomes tangled. The gist is that neither by remaining silent, nor by telling the state of the heart, can I have any effect. (347)

FWP:

SETS == CATCH-22
TAMASHA: {8,1}

This is a real 'catch-22' verse: there's no way out for the poor lover. The commentators have explained his predicament well.