S. R. Faruqi:

[This is the fifth and last of five 'continuous' verses that make up a kind of unofficial verse-set; for extensive discussion see the first verse, {307,1}.]

In the fifth verse, the theme of the third verse [{307,3}] has been expressed in a different style: that a human is in truth a mirror of the Lord. This is a theme of Hazrat Ibn Arabi, that a human is the mirror in which the Lord sees himself, and the Lord is the mirror in which a human sees himself.

On this theme, and on the themes that have been expressed in the other verses, listen to Maulana-e Rum [in the Masnavi, daftar 6 ]:

Do not consider him to be the seeker for a treasury, he himself is a treasury (that is, don't consider him to be a seeker of union with the Truth, he himself is a treasure of Divine knowledge). With regard to true reality, how can a friend (the desirer) be other than a friend (the desired one)? At every moment he himself makes himself a slave. Because prostrations before the mirror are not done for the sake of the image in the mirror, but rather because of the face that is reflected in the mirror. (Since in the sought-for is a reflection of the seeker, as the great Shaikh has said, to do prostration before the sought-for is, so to speak, for the speaker to do prostrations to himself.) If in the mirror he had seen even the smallest glimpse of the True Source, then thereafter except for the thought of it (that is, of the Divine Reality), nothing at all would have remained. (And the seeker would have stubbornly made the claim, 'I am God'.) (translation and commentary according to Qazi Sajjad Husain)

That is, the seeker often considers himself the reflection of the sought-for, or considers the sought-for to be the reflection of the seeker. These themes are not such that people would meditate on them without the guidance of some accomplished mystical knower. To adopt them is a major undertaking. This is an affair in the power only of people like Mir and Maulana-e Rum. See:

{1076,7}.

Sauda's ghazal in the 'ground' of the present ghazal has already been mentioned [in {307,2}]. Qa'im too has a ghazal, of which this is the opening-verse:

gar fa;xr hai mujh se hai vagar ((aar hai mujh se
har jins kii yaa;N garmii-e baazaar hai mujh se

[if there's pride, it's through me; and if there's disgrace, it's through me
the 'hot market' in every item here is through me]

Qa'im's ghazal is not equal to Mir's, but it's better than Sauda's ghazal. And in any case it's of a rank such that it would be placed beside Mir's.

[See also {321,2}; {502,3}.]

FWP:

SETS == GRANDIOSITY
MOTIFS
NAMES
TERMS == MUSALSAL; VERSE-SET

This is the fifth and last of five 'continuous' verses that form an unofficial verse-set; for discussion see {307,1}.

The second line isn't exactly clear. The 'sign, riddle, mystery' (see the definition above) no doubt refers to the one described in the first line. (As usual, it could also be read not as 'this' [is] but as 'that' [us]; as usual, it wouldn't make much difference.)

But how should we read ma((duud (see the definition above)? Perhaps the ramz is 'limited' in the sense that it doesn't exhaust the mysteries of Divine presence. In this case the 'but' would mean that the present manifestation doesn't include everything; perhaps it leaves the speaker slightly discontented.

Or perhaps it is 'numbered' in the sense that the apparently many entities in or through which the speaker manifests himself so as to enjoy 'strolling around' among them, are countable, and thus finite. In this case the 'but' would mean-- what? Open to inspection? Arranged in countable groupings? Already counted? Undesirably finite? Whatever the nature of the 'but', the rhetorical sense of the line would suggest that it introduces something secondary or less desirable. We can choose for ourselves; in fact, since the verse gives us no guidance, we can't choose not to choose for ourselves.