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dīje is an archaic form of diyā jāʾe ; see below for discussion
rag : 'An artery, a vein; tendon, nerve, sinew, fibre; (met.) a confirmed vice; obstinacy, waywardness'. (Platts p.598)
rag-e gardan : ''Vein of the neck'; (fig.) pride'. (Platts p.598)
FWP:
SETS
MOTIFS == CANDLE, GATHERINGS
NAMES
TERMSNote for grammar and linguistics fans, about dīje and kīje : In SRF's commentary he treats dīje as a short form for dījiye , the polite imperative ('please give'). Nowadays that view, along with that usage, is widespread among Urdu speakers. But it appears that, historically speaking, dīje in fact evolved as a form of the passive subjunctive, so that it corresponded to the modern standard passive subjunctive diyā jāʾe ('it might/would/should be given'). Then presumably its resemblance to a contracted form of dījiye gave rise to the modern usage. A parallel case is that of kīje , which nowadays is treated as a short form of kījiye but historically speaking was a form of kiyā jāʾe . For more on this issue, see *the discussion on the Ghalib grammar page*.
Most occurrences in Ghalib's divan are of kīje , with only a few uses of dīje . Even in Ghalib, there's not a single usage of dīje or kīje that can't be quite well read as a passive subjunctive. And since Mir was much earlier than Ghalib, the odds of this older usage being reflected in his poetry are much greater. So I've translated the present verse with a passive subjunctive, and will do so in similar cases throughout my commentary.
That being said, however, most of the time the difference is very small. For the polite imperative can in any case be used in a kind of abstract, impersonal way. And the subjunctive, including the passive subjunctive), can be used as a very polite way to propose action, so that it resembles a polite imperative. Thus in practice, within a two-line ghazal verse it's almost impossible to tell the difference between the older and the modern uses.
So one might well ask, why go on and on about this? Well, we grammar fans always like to know what's going on, grammatically speaking. And we always keep our analytical tools sharpened, because in the worlds of Mir and Ghalib we so often need them.