===
1658,
2
===
 

{1658,2}

((ishq se na:zm-e kul hai ya((nii ((ishq ko))ii naa:zim hai ;xuub
har shai yaa;N paidaa jo hu))ii hai mauzuu;N kar laayaa hai ((ishq

1) through passion is the whole arrangement/poem-- that is, passion is some fine arranger/poet!
2) every substance/thing/affair that has been generated here-- it has versified/harmonized and brought it, passion

 

Notes:

na:zm : 'Order, arrangement, regulation, &c. ... —stringing (pearls, or beads); —composing (verses); —a string (of pearls, &c.); —poetry, verse'. (Platts p.1143)

 

naa:zim : 'A composer, arranger, adjuster; organizer; regulator; administrator; governor; ruler; the chief officer of a province; —a composer of verses, a poet'. (Platts p.1115)

 

shai : 'A thing, object; a matter, an affair; an article, &c.'. (Platts p.738)

 

mauzuun : 'Weighed; balanced, well-adjusted; symmetrical; well-measured (verse), consisting of an exact number of feet; rythmical ;—equable, equal; —modulated (sound), harmonious; —good, sweet, excellent, agreeable'. (Platts p.1090)

 

mauzuun karnaa : 'To adjust or correct the measure (of verses)'. (Platts p.1090)

*Platts Dictionary Online*

S. R. Faruqi:

[SRF discusses both this ghazal and the following, formally identical one, {1659}, together in {1658,1}.]

In the present verse he has taken advantage of the word na:zm and created the theme of naa:zim , which is founded on an ambiguity. Then through an affinity with that very thing, he's brought in mauzuu;N .

FWP:

SETS == POETRY
MOTIFS
NAMES
TERMS == AMBIGUITY

The ambiguity to which SRF refers seems to be the question of whether na:zm refers to an 'arrangement' in general, or specifically to a poem. Later in the line, naa:zim maintains the same two possibilities.

In the second line, the ambiguity remains. The first half of the line, with its reference to 'every substance', suggests an arrangement of material objects, with 'here' as our world. Then in the second half of the line, the wonderful mauzuu;N strongly evokes the process of poetic composition, with 'here' suggesting the poetic universe.

The ambiguity is never fully resolved, because shai can refer to non-physical things as well, and mauzuu;N can refer to more general kinds of harmony (see the definitions above). We're left with the sense of passion as a generator and organizer of both the material world and the literary universe.