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ʿishq kiyā so bāteñ banāʾīñ yaʿnī shiʿr shiʿār huʾā
baiteñ jo ve mashhūr huʾīñ to shahroñ shahroñ rusvā the
1) we felt/'did' passion, so we {talked grandiosely / 'created utterances'}-- that is, poetry became a method/practice
2) when those verses became famous, then in every one of the cities we were disgraced
bāt banānā : 'To talk much; to make up a story; to invent excuses, to concoct, fabricate; to talk grandly, to boast'. (Platts p.117)
shiʿār : 'Mark, signal, sign, countersign, password, parole; habit, custom, practice; method, manner'. (Platts p.728)
bait : 'Abode, house, temple, edifice; couplet, distich, verse (in poetry)'. (Platts p.2050
FWP:
SETS == POETRY
MOTIFS == SOUND EFFECTS
NAMES
TERMS == DEVICE; VERSEWhat truly magnificent sound effects this verse has! There are bāteñ that generate baiteñ of course. But even more enjoyably, there's the whole sequence of 'sha' words that echo their fountainhead, shiʿr (which is, surely not coincidentally, the first of them): shiʿr , shiʿār , mashhūr , shahroñ shahroñ .
It's worth keeping in mind that to a true lover, such universal 'disgrace' could also be a paradoxical badge of honor, as in {1536,1}:
ʿishq to bin rusvāʾī-e ʿālam bāʾiṡ hai rusvāʾī kā
mail-e dilī us ḳhvud-sar se hai jo pāyah hai ḳhvudāʾī kā[passion, without disgrace in the world, is a cause of disgrace
he has dirt in his heart, that arrogant one who is a pillar of divinity]Note for translation fans: It may seem tempting to translate ʿishq karnā as 'to make love', but don't even think about it. In (modern) English, 'making love' is a sexual act between two people; in Urdu, 'doing passion' means something like 'becoming a lover', and doesn't necessarily require any participation from the other person. But while we're on the subject of odd resemblances, consider the contrasting case of so : it really does, at times, uncannily resemble the English 'so' in usage as well as sound.