be-taabii : 'Faintness; agitation, restlessness, uneasiness, impatience; lack of splendour or lustre'. (Platts p.204)
ham-rang : 'Of the same colour, complexion, nature, or disposition'. (Steingass p.1510)
tasallii : 'Being diverted (from) the remembrance (of)'; consolation, comfort, solace; assurance; contentment, satisfaction'. (Platts p.324)
;Gaafil : 'Unmindful, forgetful, neglectful, negligent, heedless, inadvertent, inattentive, remiss, thoughtless, careless; indolent; imprudent; senseless, unconscious; — negligently, thoughtlessly, inadvertently, unconsciously, &c.'. (Platts p.768)
kash : 'Drawing, pulling, carrying, bearing, who draws, a drawer, drainer'. (Steingass p. 1031)
To be restless in the memory of the friend/beloved to some extent resembles comfort, because the memory of the friend/beloved is mixed into it. Majnun's restlessness draws and brings [khe;Nch le aanaa] Laila's camel-litter. Whether it would really bring the camel-litter or not, in the imagination it certainly brings Laila; from this some peace is attained.
For more on Ghalib's unpublished verses, see the discussion in {4,8x}. See also the overview index.
On the nature of a ma;hmil , see {147,7x}.
The idea of emotion as having a power of 'attraction' is reflected in the modern word for emotion, ja;zbah , which is derived from ja;zb , 'drawing, attraction; allurement; absorption'; ja;zb is used for magnetism as well (Platts p.378). Thus the power of Majnun's agitation or restlessness to 'pull, draw' ( kash , from the Persian kashiidan ) the camel-litter of Laila may be more than metaphorical. Perhaps Laila's camel-litter in fact moves only through the drawing-power of Majnun's passion.
For as Gyan Chand notes, the 'drawing power' might somehow be real (the way a magnet 'draws' or 'attracts' iron filings), or it might be purely in the imagination (since the restless lover's memories so vividly evoke the beloved's presence). Either way, the result is not comfort, but only 'has a resemblance to' comfort (see the definition of ham-rang above). Such a description could in fact have ominous overtones (the way a drugged stupor 'has a resemblance to' sleep).
There's also the ambiguity of ;Gaafil (see the definition above). Does it (adjectivally) describe the 'unconscious', 'imprudent' heat of Majnun's passion? Does it (adverbially) describe Majnun's reckless, rash behavior? Perhaps the act of 'drawing' Laila's camel-litter is a form of dubious magic or conjuring, with possibly deadly results? As so often, what's really going on here is left up to us to decide.
Note for script fans: It's really almost outrageous that Ghalib forces us to spell and pronounce lail;aa as lailii , for the sake of the rhyme. But then, kyaa kare;N ? Why should we be more royalist than the king?
Zamin:
That is, the cause of the passing of Laila's camel-litter toward the desert of Najd is Majnun's emotion [ja;zbah] of passion. When this has been decided, then it's not at all inappropriate to say that Majnun's writhing and restlessness are equal to a thousand serenities and comforts.
In this verse Mirza has expressed the condition of emotion and drawing-power with a beauty/excellence that was his alone. This verse is undoubtedly among those where the words follow the meaning, the meaning does not follow the words.
== Zamin, pp. 454-455