phir bhar rahaa huu;N ;xaamah-e mizhgaa;N
bah ;xuun-e dil
saaz-e chaman-:taraazii-e daamaa;N kiye hu))e
1) again I am filling the pen of the eyelashes with
the blood of the heart
2) having {prepared for/ arranged} the 'garden-adornment' of the garment-hem
saaz karnaa : 'To prepare, get ready (necessaries, &c. for); to put in order, to arrange'. (Platts p.625)
He says, I have again dipped the pen of the eyelashes in the blood of the heart, so that on the border of the garment I would make rose-embroideries [gul-kaariyaa;N]. (321-22)
Again I am dipping the pen of my eyelashes in the blood of the heart, so that with tears of blood I would make the garment-hem into a blooming garden. (497)
On the structure of this ghazal as a kind of loosely 'continuous' one, see {233,1}.
I strongly suspect that 'garden-adornment' [chaman-:taraazii] was an established name for some special kind of embroidery, presumably one with a floral motif. The commentators feel that the speaker is preparing to perform this kind of adornment on his garment-hem, using his bloody tears as they drip from the 'pens' of his eyelashes.
The physical image behind this idea is that the grieving lover might be seated in a hunched-over position with his head very much lowered, so that his bloody tears would drip directly down and land on his garment-hem. (Hems and borders of garments were often decorated with special bands of embroidery.) Or perhaps he would be in the do-zaanuu position; for discussion of this, see {32,2}.
Another possible reading, based on the wide range of saaz karnaa , is that the speaker has already completed the 'arrangement' of this garment-hem decoration, and is now 'again' refilling his eyelash-pen with his heart's blood, preparing for some new act of creative bloody-tears rose-floral embroidery.
Nazm:
That is, in order to make an adorned garment-hem, I am dipping the eyelash-pen in the blood of the heart. (264)