Ghazal 187, Verse 4x


ba((d az vidaa((-e yaar bah ;xuu;N dar tapiidah hai;N
naqsh-e qadam hai;N ham kaf-e paa-e nigaar ke

1) after the leave-taking of the friend/beloved, we are agitated/palpitating in/through blood
2) we are the footprints of the sole of the foot of the image/beauty/beloved


tapiidah : 'Agitated, distressed (esp. with heat), heated; palpitating, fluttering'. (Platts p.751)


naqsh : 'Painting; colouring; drawing; designing, &c.; —delineation; —embroidery; —a painting, a picture; portrait; drawing; a print; a carving, an engraving; ... —an impression; a stamp; a mark'. (Platts 1145)


qadam : 'The foot; sole of the foot; a foot's length; a footstep, step, pace'. (Platts p.789)


kaf : 'Froth, foam ... ; the palm of the hand; the sole of the foot'. (Steingass p.1036)


nigaar : 'A picture, painting, portrait, effigy; an idol; —a beautiful woman, beauty; mistress, sweetheart'. (Platts p.1150)

Gyan Chand:

After the friend/beloved's going, I am rolling in blood, and am writhing as though I am the footprint of the beloved's red footsteps, because that too rolls, and because of the redness of the foot it writhes in blood. (354)


HENNA: {18,4}

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

Why is the lover (like) the beloved's footprints? Because after her departure the lover writhes in pain; while her gait is gracefully swaying, so that her footsteps might seem to have a side-to-side movement. And most especially because the lover writhes in his heart's blood; while the soles of her feet are reddened with henna, which is more or less blood-colored. For more about henna, see {18,4}.

And also because metaphorically she tramples the lover, crushing him and his heart, reducing him to a bloody writhing footprint. The lover as roadkill-- isn't it kind of a grotesque vision?

There's an enjoyable wordplay between naqsh and nigaar .