FWP:
IDOL verses: {8,1}; {14,2}; {22,3}; {24,7}; {39,5x}; {57,4}; {59,5}; {62,5}; {67,3}; {70,1}; {81,2}; {91,10}; {99,7}; {109,5x}; {120,8}; {121,7}; {125,4}, .sanam ; {129,4x}; {133,1}; {136,6}; {154,3}*, a.snaam ; {163,1}; {174,6}; {184,1}; {186,4}; {190,4}; {200,1}; {204,6}; {208,6}; {222,1}; {231,6}, Ka'bah expulsion; {233,8}, pindaar kaa .sanam-kadah // {239x,2}; {245x,5}; {251x,6}; {274x,7}; {300x,5}; {303x,6}; {305x,7}; {321x,8}; {326x,6}; {360x,9}; {376x,3}; {393x,1}; {409x,5}; {413x,3}*, vs. ;xudaa ; {414x,5}; {421x,3}
TAMASHA verses: {1,7x}; {5,7x}; {8,1}; {10,4}; {10,7}; {12,4x}; {22,9}; {24,2}; {26,2}; {48,9}; {49,9}; {51,4}**, SRF analyzes; {53,3}; {56,7x}; {66,8}; {68,3}; {68,6x}; {91,14x}; {96,2}, sair ; {96,4}; {96,6}; {113,2}; {117,1}; {117,6x}; {123,9}; {145,15x}; {149,7x}; {181,1}; {184,2}; {190,2}; {206,1}; {206,5x}; {208,1}; {213,2}; {214,7}; {217,3}; {222,3x}; {223,6x}; {224,1}; {227,1}; {229,1} // {244x,1}; {314x,5}; {329x,4}; {332x,8}; {424x,6}; {428x,7}
ABOUT tamaashaa : This word is one of Ghalib's
real favorites. As Faruqi points out in {51,4},
it has both a this-worldly meaning (the spectacle of the world's beauty, variety,
change, inexhaustibility) and a mystical meaning ('a scene of mystical
knowledge that is visible only to the eye of the heart, and that can be seen
only by closing or rejecting the eye of the senses'). In Persian, it's also a normal way of saying 'to see'; because of Ghalib's very Persianized vocabulary (as also in the non-colloquial usage pasand aanaa ), it's hard to know in some cases how much weight should be put on the word.
Compare the prayer-beads in {10,2}, which gives another slant on them; they are cleverly evoked in {60,8} as well.
Here's an excellent example of an 'A,B' verse. The two lines are, grammatically and semantically, entirely independent. Do they both refer to the same situation? Do they refer to two different situations-- and if so, are these being likened to each other, or contrasted? And if one line is taken as primary, and the other as a mere commentary on it, which one is primary? Are the prayer-beads that the beloved holds in her hand metaphorically equated with lovers' hearts (as her mind wanders during her prayers), or are the lovers' hearts that she holds in her hand metaphorically equated with prayer-beads (as they are lined up and reminiscently fingered)? Of course, there's no way to tell, and we're left to make our own choices.
Here the first, worldly sense of tamaashaa is dominant, but the second can't be ruled out either, since after all it's 'prayer-beads' that the demanding, intransigent 'idol' is counting.
Note for grammar fans: As Bekhud Dihlavi observes, mar;Guub aanaa is a direct translation from Persian; it doesn't sound idiomatic in Urdu. Compare the use of maana(( aanaa in {10,3}.
Note for meter fans: Does the first line represent a case
of 'contrived rhyme'?
Not exactly, but still, since mushkil-pasand is treated
as a single adjective, there's an unusual relationship that blurs the normal
barrier between rhyme
and refrain.
Nazm:
Her taking a hundred lovers' hearts in one hand at one time pleases her. Then, the poet has also made of those hundred hearts a set of prayer-beads, and he says it's as if she finds the counting of the prayer beads very pleasing. (8)
== Nazm page 8 ; Nazm page 9