FWP:
On the structure of this ghazal as a kind of loosely 'continuous' one, see {233,1}.
Of course the 'rose and tulip' could mean beautiful human beings, or beloveds. But they can perfectly well also mean the flowers themselves. The quasi-personified 'Thought' has equipped itself with ample provisions for its imaginative delights: it has appropriated a hundred gardens' worth of ravishing flowers. By requisitioning flowers instead of beloveds, 'Thought' has added an extra layer of complexity to what looks to be an extremely simple verse. Here are some possible implications:
=Arrogantly beautiful and cruel beloveds are not available even to the thought, so that the imaginative lover is obliged to settle for flowers.
=The flowers so resemble beloveds (and/or the beloveds so resemble flowers) that to think of one is to think of the other.
=The single beloved so outranks the flowers that she can only be imagined in terms of all the flowers in the world.
=The beauty of the garden in its verdure and spring-like flourishing is so inextricably the setting for passion, that the imagination must first prepare the scene before introducing the actors.
=The hundred gardens are for the 'gaze' to survey, as the
eye sweeps over their masses of color; but by contrast, Thought considers
the flowers individually, and makes of them what it chooses.
Nazm:
Rose and tulip are metaphors for beautiful ones, and in 'a hundred gardens of equipment' he has assumed the garden to be a measure of the gaze-- for the reason that looks of desire and ardor fall on the garden. (264)
== Nazm page 264