Ghazal 329x, Verse 4


hai tamaashaa-gaah-e soz-e taazah har yak ((a.zv-e tan
juu;N chiraa;Gaan-e divaalii .saf bah .saf jaltaa huu;N mai;N

1) it is a spectacle-place of fresh burning, every single limb of the body
2) like a lamp-display of Divali, rank upon rank, I burn


soz : 'Burning; heat, inflammation; ardour, passion; affection; heart-burning, vexation'. (Platts p.698)


((a.zv : 'A limb, member, joint, organ (of the body)'. (Platts p.762)


.saf : 'A rank, row, line, file, series, order'. (Platts p.745)


Every limb of my body has become a spectacle-place for a single fresh burning, and every single limb is burning rank after rank, like the lamp-display of Divali. For this reason, there has come to be a single aspect of a spectacle-place.

== Asi, pp. 177-178


In chiraa;Gaan-e divaalii , he has used a Persian i.zaafat on a Hindi word. The argument for the permissibility of this is that Divali is a proper name that cannot be translated.

== Zamin, p. 259

Gyan Chand:

In every limb of my body, fire has started. Just now one limb has burned; after it, in a new fire, another limb. In this way the body is giving a single spectacle. The way in Divali rows of lamps are lit-- first one row, then another row. Just this is the condition of my body.

== Gyan Chand, p. 288


TAMASHA: {8,1}

For more on Ghalib's unpublished verses, see the discussion in {4,8x}. See also the overview index.

On the nature of a chiraa;Gaa;N , see {5,5}.

The only real charm of this verse is the invocation of Divali . That surely earns it some 'fresh word' credit, at least in the Ghalibian context (it appears nowhere in the divan).

Compare {5,5}, in which the 'lamp-display' of the lover's self-consuming fire becomes not only a spectacle but almost a tourist attraction, with an 'operator'.