jii ;Dhuu;N;Dtaa hai phir vuhii fur.sat kih
raat din
bai;The rahe;N ta.savvur-e jaanaa;N kiye hu))e
1) the inner-self again seeks that same leisure, that
night and day
2) we would remain seated, having made a mental-image of beautiful ones
ta.savvur : 'Imaging or picturing (a thing) to the mind; imagination, fancy; reflection, contemplation, meditation; forming an idea; idea, conception, perception, apprehension'. (Platts p.326)
He says, again the inner-self wants, as in time past, to have such leisure that night and day we would sit silent, having imagined the beloved. (323)
Formerly there was a time when we not only abandoned the work of the whold world, but rather completely forgot it, and for all eight watches, all twenty-four hours, we used to sit contemplating an imagining of the beloved. Now again there's a longing for that same night-and-day leisure. (501)
On the structure of this ghazal as a kind of loosely 'continuous' one, see {233,1}.
This verse points up a conspicuous feature of this ghazal: how autonomously active all the lover's different faculties are shown to be. In some verses the agent is 'I', the lover himself; but mostly it's not. The active party is 'breath' in {233,4}; 'passion' in {233,5}; 'heart and eye' in {233,7}; 'heart' in {233,8}; 'ardor' in {233,9}; 'thought' in {233,10}; 'desire' in {233,12}; 'longing' in {233,13}; 'sight' in {233,14}. And now once more, in the present verse, we see how much of the lover's nostalgic passion for renewal is an entirely internal affair, generated not by any 'real' beloved but by deliberate, private actions of his own faculties.
For it almost seems that to sit night and day lost in visions and fantasies would in itself be sufficient. If the lover has a ta.savvur of 'beautiful ones' (in the plural), might not that be enough? Does he really need one particular, actual beloved?
Nazm:
That is, that night and day we would remain engaged in the imagining of curls and face. (256)