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phūṭnā : 'To be broken, to be broken into; to be broken down; to be dispersed, be separated, be detached; to separate; to be unpaired; to break, crack, split, burst; to break out or forth; to sprout, shoot, bud, germinate; to burst out or forth, to gush out, to escape'. (Platts p.292)
shor-sharābā : 'Noise, bustle, clamour, tumult, disturbance'. (Platts p.736)
FWP:
SETS == EK; IDIOMS
MOTIFS == SOUND EFFECTS; WINE
NAMES
TERMS == AFFINITY; RHYMEAs SRF points out, the verse has at its heart the various forms of wordplay based on the excellent idiom shor sharābā .
The word yāñ , however, adds an extra possibility: the whole scene could be taking place inside the intoxicated drinker, within in his whirling head. And the ik makes a point of leaving open the question of exactly what kind of turmoil it was.
As for the technical question of the spelling of the rhyme-words, here they all are in order: qarābah , sharābā ; ʿarābah ; do-ḳhvābah ; muḥābā ; qulābah ; do-ābah ; āftābah ; ḳharābah ; tābah . It seems that only two of them truly do end in ā , while the other eight end in ah ; so quantitatively speaking, SRF certainly has a point. SSA gives their original spellings, while the kulliyat standardizes all of them to ā . In any case, we can be sure that Mir felt comfortable mixing them together freely. More such cases: {84}; {711}.
Note for grammar fans: The perfect plus karnā makes a form without much of a special name that I call the 'always' construction. Thus phūṭā karnā would mean 'to always break/burst', and phūṭā kiye huʾe would be a perfect participle in the adverbial masculine plural form ('in a state of always having broken/burst'). Then luñḍhtā huʾā phirnā would, by contrast, contain a straightforward masculine singular adjectival present participle: 'to wander around in a state of rolling'.