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be-;xvud us kii zulf-o-ru;x ke kaahe ko aap me;N phir aa))e
ham kahte hai;N tasallii-e dil ko saa;Njh savere phirte hai;N
1) those made self-less by her curls and face-- why/how did they again come to themselves?!
2) we say, for the comfort of the heart, evening, morning, they wander/return
kaahe ko : ''For what?' 'why?' 'wherefore?'. (Platts p.808)
phirnaa : 'To turn, go round, revolve, whirl; to circulate; to turn back, to return; to walk, walk about, walk to and fro; to wander, rove, ramble, stroll; to travel; to turn over, to roll; to turn away, to turn ... ; to change; to turn aside, to deviate, wander; to turn, bend, become distorted or crooked, to warp'. (Platts p.286)
FWP:
SETS == A,B; GENERATORS; MIDPOINTS; SUBJECT?; SYMMETRY
MOTIFS == BEKHUDI
NAMES
TERMS == AFFINITYThe dark curls are (as black as) night, the radiant face is (as bright as) the dawn-- or else, this being the ghazal world, the night 'is' her dark curls and the dawn 'is' her bright face. The 'symmetry' (if A is B, then B is A) is unusually subtle and elegant, because the equation itself is made not in the verse, but only in our minds.
This is a wildly dynamic 'A,B' verse, full of rearrangeable 'midpoint' phrases. Look at some of the possible relationships between the lines:
First line (in which it's not clear whether, or how, or why, those lovers ever did recover):
=How/why did those self-less lovers afterwards come to themselves? (Astonishingly, they did.)
=As if those self-less lovers afterwards came to themselves! (Why would they? They didn't, of course.)
Second line (in which it's not clear who is speaking, whose are the hearts, or who might 'wander' or 'return' or 'change'):
=We observers say, for the comfort of our hearts, 'Evenings, mornings, change with time'.
=We observers say, 'For the comfort of their hearts, in the evening and the morning they wander'.
=We lovers say, 'For the comfort of our hearts, in the evening and the morning we wander'.
=We lovers say, for the comfort of our hearts, evening and morning, 'She is coming back'.
And so on. Pick one from each line and match them up; if you're inclined, try out a few more permutations too. The various meanings of phirnaa offer further possibilities. Compare to the second line the almost equally multivalent first line of the next verse, {1177,5}.