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tīñ is a short form of taʾīñ.
taʾīñ : 'To, up to (- ke taʾīñ ko )'. (Platts p.353)
chaupaṛ : 'A game played with oblong dice (like chausar); the cloth or board on which the game is played (having two transverse bars in the form of a cross)'. (Platts p.448)
nard : 'A counter, a man or piece (in the game of chausar , or in chess, &c.)'. (Platts p.1131)
FWP:
SETS
MOTIFS == HOME
NAMES
TERMS == ZILAThis one can hardly fail to recall Zauq's verse:
kam hoñge is bisāt̤ pah ham jaise bad-qimār
jo chāl ham chale so nihāyat burī chale[on this game-board there won't be many bad players like us
whatever move we made, we moved extremely badly]Zauq's verse feels rueful, or maybe ruefully amused at his own bad fortune and/or unskilful play; and it's energized by all the chalnā wordplay in the second line.
But Mir's verse is melancholy-- that sigh, that āh , sets a sorrowful mood at the beginning. Then in the second line we have first the cleverness, the cuteness, of the deployment of the technical game terms of chaupar (also called chausar , also in English called 'pachisi'). Apparently a kachchii nard is a game-piece that's in a weak or vulnerable position and cannot manage to attain the 'home' goal.
Only at the very end does the flourishing of terminology mesh with the sigh in the first line-- 'our home is far'. It's impossible not to break out of the game-mode, and read 'home' as a real (or at least metaphorically real) home. Being far from home is a much sadder state than simply losing a game of pachisi; this is a culture in which to be ġharīb is to be at once alien, friendless, and wretched.
Note for grammar fans: That taʾīñ , here compressed into tīñ , is archaic. It can be the intimate second person singular, but as SRF explains, here it seems more appropriately to have its more common sense of something like 'with regard to'; in fact it's most often seen as part of a phrase, us ke taʾīñ or apne taʾīñ . Since it here appears without its normal ke, it looks a bit more opaque than it usually does.