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vuh nau-bāvah-e gulshan-e ḳhūbī sab se rakhe hai nirālī t̤araḥ
shāḳh-e gul sā jāʾe hai lahkā un ne naʾī yih ḍālī t̤araḥ
1) that fresh new fruit of the garden of beauty/excellence maintains, from/beyond them all, a novel/unique style
2) like a rose-branch she goes on bending/swaying; she has presented/produced this new style
lahaknā : 'To glitter, flash, glance, shine, dance (as light); to be kindled or lighted, to rise up into a flame, to blaze up; to rise (as wind); — to bend or wave (as corn or grass before the wind);'. (Platts p.973)
ḍālī : 'A branch, a small branch; a twig'. (Platts p.562)
FWP:
SETS == MUSHAIRAH
MOTIFS == WINE
NAMES
TERMS == WORDPLAYSRF's final point is really the main one. The wordplay of 'branch' [shāḳh] and ḍālī is beyond spectacular. Of course officially ḍālī is the perfect of the verb ḍālnā (agreeing with the feminine t̤araḥ ), here meaning something like 'to produce, to present, to put on'. But it's also a feminine noun meaning 'branch, small branch, twig', and the line is arranged so that ḍālī comes at the last possible moment.
Thus ḍālī is positioned at the point of (at least potentially) greatest impact; and the whole grammar of the line works to prevent us from knowing whether the word in fact means 'branch' (which strikes us very readily as a strong possibility) or 'presented', until we've gotten past it and finished the line and mentally figured it out. The verse is thus a classic 'mushairah verse'-- one in which the energy is focused in a 'punch-word' that's withheld till the last possible moment and then presented with eclat.
Then there's naʾī , which is placed so emphatically ahead of its prose position (just before t̤araḥ ) that it demands, and receives, special attention. The attention we're led to give to this feminine adjective makes us all the more likely to be misdirected into taking naʾī yih ḍālī as 'this new branch'. Then in the first line, we also have the feminine adjective nirālī which means 'radically new'.
Note for meter fans: The nature of 'Hindi meter' being what it is, it's perfectly possible to scan the rhyming elements as either ā-lī t̤a-raḥ (long short short long) or ā-lī t̤ar-ḥ (long long long followed by an uncounted 'cheat syllable'). I choose the former because in Urdu generally t̤a-raḥ is the pronunciation, and often the scansion too, of that word. But if you wanted to do it in the more Arabicized style, there'd be no reason not to; both scansions of the word are quite established.