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sarāpā : 'From head to foot, throughout, totally; ... —s.m. The whole from head to foot; the whole body; —a complete description in verse (of graces or charms, &c.)'. (Platts p.648)
FWP:
SETS == EXCLAMATION; FILL-IN
MOTIFS
NAMES
TERMS == METER; THEMEThis verse is a sort of limit case of the insha'iyah power of exclamatory speech. Like 'oh God!' in English, yā allâh can be used to show and emphasize almost any strong emotion. It need not have any direct relationship to God-- but of course, it can have one if the speaker so intends. In both cases it can be a form of the 'inexpressibility trope', by conveying the idea that the speaker's descriptive powers have broken down and no information can be conveyed; the place where information would be is now occupied by pure, intense emotion.
Ghalib makes a similar point about how we can conflate visions of the earthly and the overwhelmingly divine, in
G{96,1}.
Note for meter fans: I have slightly simplified and compressed SRF's metrical comments. The basic issue is that allâh can be scanned either = = - (as it officially should be) or = = . The reason SRF says that Mir's usage in the second line shows that he considers the two idioms (one without, and one with, the hī ) to be separate is that in the metrical space available MIr could have fitted in allâh hī allâh if he had so wished, knowing that we would then simply have read the first allâh as = = , thus leaving room for hī (here a short syllable), and then we would have read the second allâh fully, as = = - .