FWP:
SETS == DOUBLE ACTIVATION; INEXPRESSIBILITY
MUSIC: {10,3}
WARNINGS: {15,15}
The first line is of course full of wordplay. And it's both very clear in its general sense ('I'm full of complaint') and very unrevealing about what is being set up for the second line. After all, sāz can mean 'maker, making, instrument, tune'-- and how can we possibly know which way the second line is going to require us to jump? Joined to it is āhang , which itself is multivalent (see the definitions above). Then the line ends in the inexpressibility trope ('don't ask!'), and that doesn't get us any further at all. So we wait with real anticipation for the denouement.
Even in the second line, in classic mushairah performance style, the punch-word is withheld until the last possible moment. But then-- what a treat! How gorgeously this verse makes use of every part of the complex meaning of chheṛnā ! The two little lines burst open with a rush, like petals of a sudden huge sunflower. What we end up with is two distinct domains of meaning, joined at the center by chheṛnā :
=The emotional: Don't 'tease' me, don't torment me, don't ask me about anything in front of others-- save it for when we're alone, because I am full of complaints about your behavior. (And it's behavior that probably includes 'teasing' and tormenting me.)
=The musical: don't tune or 'play' me 'among people', in front of an audience, like a normal musical instrument-- I'm a special musical instrument, entirely full of the melodies of complaint (about you).
After we hear the second line, we realize that each of these senses of chheṛnā picks up on and emphasizes a different phrase that the other sense can't so enjoyably exploit. The emotional reading turns 'don't ask anything' [kuchh nah pūchh] into a preparation for a private conversation-- and perhaps also an example of the kind of pestering or 'teasing' that is one of the grounds for complaint-- instead of leaving it merely as the standard 'inexpressiblity trope'. And the musical reading turns 'among people' [logoñ meñ] into a strong suggestion of an audience before whom one might 'play' an instrument, rather than just the commonplace 'in public'.
The closest cousin to this verse is {177,2}.
Nazm:
That is, I'm an organ that is filled with the raga of complaint; if you touch me, then I will give vent to that raga. (193)
== Nazm page 193