naaz : 'Blandishment, coquetry, playfulness, amorous playfulness, feigned disdain ... ; — pride, conceit, consequential airs'. (Platts p.1114)
va;hshat : 'A desert, solitude, dreary place; — loneliness, solitariness, dreariness; — sadness, grief, care; — wildness, fierceness, ferocity, savageness; barbarity, barbarism; — timidity, fear, fright, dread, terror, horror; — distraction, madness'. (Platts p.1183)
be-jaa : 'Out of place, ill-placed, misplaced, ill-timed; unbecoming, improper, amiss, unlawful, unjustifiable; unreasonable, absurd; foreign to the purpose, irrelevant; inaccurate, wrong, objectionable'. (Platts p.204)
khe;Nchnaa : 'To draw, drag, pull; to attract, to draw in, suck in, absorb ... to draw out, to stretch; ... to draw tight, to tighten; ... — to draw away or aside (from), to hold aloof ... to withdraw, withhold; ... to delineate, to sketch; to paint; — to drag out, to endure, suffer, bear'. (Platts p.887)
The Anqa is a frightening [mahiib] imaginary bird; the intention is, from disasters. baal khe;Nchnaa = to fly. About the wing of a Pari it's famous that anyone who comes under its shadow becomes mad. Here by 'flight' is meant not his own flight, but rather the flight of a Pari. Don't, through wildness, incite a Pari to fly. She is apparently full of coquetry, but in reality she is, like the Anqa, a mortal disaster. The flight of that wing is a nest of disasters. That is, for a Pari to fly is, for you, equal to entering into a nest of disasters.
To give for flight the simile of a nest is not suitable. Ought there to be an i.zaafat after parvaaz ? In that case the meaning will be, 'Don't incite a Pari to fly, because the flight of a Pari is in fact a flight to her nest; and when her nest will not survive, then she will roam around casting her madness-creating shadow over everyone's head'.
For more on Ghalib's unpublished verses, see the discussion in {4,8x}. See also the overview index.
We learn in the first line that someone (unspecified) feels 'pride, conceit' at flying to, or over, or past, the nest of the Anqa. Gyan Chand maintains that the Anqa is a 'frightening, dreadful' bird, but in Ghalib's ghazals the Anqa inhabits the world of 'nonbeing' [((adam], and is more likely to be a hapless victim of the speaker's grandiose powers (as in {5,3}) than a cause of fear.
Then the second line warns against 'inappropriate wildness'. The word 'wildness' itself is highly multivalent (see the definition above). But the real delight is be-jaa , which has a range of meanings (see the definition above) but literally means 'without place'-- so that it resonates enjoyably with the idea of the unfindable, even nonexistent Anqa. Perhaps the 'pride, conceit' at flying to the Anqa's nest is undesirable because the nest itself is in the realm of nonexistence?
Moreover, what does it mean to 'draw the wing of a Pari'? Zamin thinks it means to seize hold of a Pari's wing, to stop her from flying. Gyan Chand thinks it means 'to fly' (like a Pari?). Either way, it is something the addressee shouldn't do 'with an inappropriate wildness'. Should he instead do it with an 'appropriate' wildness, or should he not do it at all? Is flying over the Anqa's nest to be equated with 'drawing' the wing of a Pari, or is the speaker giving some other kind of advice? Since this is an 'A,B' verse, it's really impossible to tell. There's too much imagery (Anqa's nest, Pari's wing) in the verse, and it's too poorly integrated.
Still, the invocation of those two powerful figures, the Anqa and the Pari, gives the verse a certain lingering allure. The speaker seems to be warning the addressee that the arrogance of grandiose claims can invite some deadly danger.
Note for meter fans: This verse makes use of a 'contrived rhyme'; the effect in this case is to make the verse formally identical to ghazal {441x}. Compare the mirror-image case of {441x,5}, which uses a 'contrived rhyme' that makes the verse formally identical to ghazal {440x}. In some cases the commentators have simply reassigned the verses. In view of the vicissitudes of the manuscripts on which the unpublished ghazals depend, this sort of thing is not worth spending a lot of time on.
Zamin:
He says that the very home of the Anqa of coquetry is flight. That is, the beloved's very practice of coquetry is that she would keep running off far from the lover, the way a Pari keeps running off far from humans. So what's the benefit from seizing the wing of this Pari? This will be an inappropriate wildness.
== Zamin, p. 435