Ghazal 226, Verse 7x

{226,7x}

asad jam((iiyat-e dil dar-kinaar-e be-;xvudii ;xvush-tar
do-((aalam aagahii saamaan-e yak ;xvaab-e pareshaa;N hai

1) Asad, composure/'collectedness' of the heart, leaving aside self-lessness, is more pleasing
2) a 'two-worlds' awareness is the equipment/measure of a single disturbed/'scattered' dream

Notes:

jam((iiyat : 'Collectedness, composure, tranquillity, peace (of mind); wealth, affluence; recollection, reflection'. (Platts p.389)

 

dar-kinaar : 'On one side, apart; out of the way, aside; out of the question; —put it aside!'. (Platts p.509)

 

aagahii : 'Information, knowledge, intelligence, acquaintance, cognizance; vigilance'. (Platts p.70)

 

saamaan : 'Furniture, baggage, articles, things, paraphernalia; requisites, necessaries, materials, appliances; instrument, tools, apparatus; provision made for any necessary occasion, necessary preparations; pomp, circumstance; —measure, quantity, proportion; order, arrangement, disposition; mode; custom, habit; power, strength; probity; opulence; understanding, reason, intellect; —boundary, limit; landmark'. (Platts p.627)

Gyan Chand:

Asad, 'heart-collectedness' [dil-jam((ii] can be better obtained as an aspect [pahluu] of self-lessness and self-transcendence. No matter how much learning and wisdom there may be, it can give only a disturbed dream, not composure. (359)

FWP:

SETS == IDIOMS
BEKHUDI: {21,6}
DREAMS: {3,3}

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

Gyan Chand apparently thinks that dar-kinaar-e means something like 'alongside, in association with'. But in fact it's a well-established expression meaning 'leaving aside, putting aside' (see the definition above). In fact its enjoyableness in the present verse is based on the ambiguity built into that idiom. When the speaker says that X, leaving aside Y, is more pleasing, does he mean (1) that X must, regrettably, be left aside, because it's unavailable; or (2) that it's desirable to leave aside X in order to focus on pure, unadulterated Y? The comparative 'more pleasing' [;xvush-tar] emphasizes the sense that a comparison is being made, without helping us clarify the nature of the comparison (what is more pleasing than what?).

While the first line (undecidably) juxtaposes 'collectedness' of the self and 'self-lessness', the second line adds 'awareness' to the mix-- and not just any old awareness, but a potent 'two-worlds' kind (on this idiomatic expression, see {18,2}). The line then identifies this kind of awareness as the 'equipment'-- or 'measure', or 'power', or 'custom', or 'intellect', or 'limit', etc. (see the definition above)-- of a 'single disturbed dream'. In short, the multivalence of saamaan makes it impossible for us to pin down the relationship between the awareness and the dream.

Of course, the excellent wordplay of composed or 'collected' versus disturbed or 'scattered' is a classic trope of ghazal imagery; for another example, see the haunting {155,2}. But beyond that, we're left with 'heart-composure', 'self-lessness', 'a two-worlds awareness', and a 'disturbed dream'. What superb 'equipment' for a mix-and-match, compare-and-contrast festival! And we're given various tantalizing, meaningful-looking ways in which to link them together (or balance them in opposition). These ways are ultimately unresolvable, but before that point they're mentally challenging, provoking, and enjoyable.

This verse works, and the previous one, {226,6x}, doesn't. This verse fascinates and rewards, while the previous verse annoys and frustrates. This verse offers clear lines of possibility, while the previous verse offers an uncertain muddle. This verse, for sure, should have been in his published divan.