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1352,
1
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huʾā jo dil ḳhūñ ḳharābī
āʾī har ek aʿẓā meñ hai futūr ab
ḥavās gum haiñ dimāġh kam hai rahā-sahā bhī gayā
shuʿūr ab
1) when the heart became blood,
ruination came; in every single organ is weakness/languour
now
2) the senses are lost, the mind is lost; even/also the remnant of awareness/understanding is little, now
ḳhūn-ḳharābah : 'Bloodshed, bloody work, deeds of death; mutual slaughter'. (Platts p.497)
futūr : 'Languor, weakness, infirmity; defect, imperfection, unsoundness; irregularity'. (Platts p.776)
rahā-sahā : 'Remained, left, escaped; —s.m. Leavings, savings'. (Platts p.609)
FWP:
In ḳhūñ ḳharābī , on first hearing, how can we fail to (almost) hear the mortal bloodiness of ḳhūñ - ḳharābah (see the definition above)? Of course the final syllable alerts us, and the grammar of the line veers off in an entirely different direction. But not until we've had time to make the association. And if a latecomer and outsider like me couldn't help but notice the effect, how could Mir have failed to notice it (if indeed he didn't put it there deliberately, as I suspect that he did)? And if he noticed it and left it built into the structure of the verse, surely he meant for us, however momentarily and peripherally, to notice it too. Would the first line not be just a bit the poorer without it?