Ghazal 335x, Verse 3

Asi:

On the far side of our onrush of tears, an enchantment of the intoxication of the heart has been created. That is, the onrush of tears is a single outward/apparent thing. Having passed beyond it, there is a world-- there, the intoxication of our heart is apparent; it is, so to speak, an enchantment. It is entirely such a simile, as if across the sea there is some wine-house. In just this way with us, on the far side of our onrush of tears there is an enchantment of the intoxication of the heart.

== Asi, p. 179

Zamin:

If 'intoxication' is the intoxication of passion, and passion is the cause of weeping, then so to speakthe enchantment of the intoxication of the heart is hidden in the onrush of weeping. And this enchantment is a singulat wine-house of passion, which is located on the far side of a sea of tears.

== Zamin, p. 259

Gyan Chand:

We have an onslaught of tears. Beyond that is an enchantment of the heart's intoxication and felicity/success. If tears [aa;Nsuu] would not remain, then intoxication would be vouchsafed. In this way we have a singular wine-house, but beyond the sea. The sea cannot easily be crossed. Tears [aa;Nsuu] too are a sea. To skip over them and reach intoxication is impossible. There is wordplay between aa;Nsuu and sirishk .

== Gyan Chand, p. 289

FWP:

SETS == EK; WORDPLAY
SOUND EFFECTS: {26,7}
WINE-HOUSE: {33,6}

For more on Ghalib's unpublished verses, see the discussion in {4,8x}. See also the overview index.

This verse offers, with a flourish, a huge, obvious bit of special sound-play and wordplay (and, as Faruqi would rightly observe, meaning-play as well): the interaction between the Persian aa;N-suu ('in that direction') and the Indic aa;Nsuu ('tears'). The verse is, after all, about tears and beyond-ness, and how elegantly that one word encapsulates both! It's hard to believe that two of the three commentators haven't so much as mentioned it, but there we are. (Gyan Chand's last sentence may refer to it, although aa;Nsuu is written as one word; but let's give him the benefit of the doubt.)

An 'enchantment of intoxication' is also an intriguing idea. The :tilism is fundamental to the Urdu dastan world, and especially to the Dastan-e Amir Hamzah, of which Ghalib was a notable fan. A :tilism is an enchanted world created by a powerful magician; in it, nothing is what it seems, and no ordinary rules apply. Once you have entered it, you cannot find the door to get out again. You wander haplessly within it, having all sorts of bizarre experiences (the way to get out is beyond your control).

Then the i.zaafat opens up further complexities-- is the enchantment one that itself 'is' intoxication, or one that is 'created by' intoxication, or one that somehow 'belongs to' it? Similarly, since it's an 'intoxication of the heart', that second i.zaafat too can be variously interpreted. All we can be sure of is that the intoxication is associated with a special ('single', or 'particular', or 'unique', or 'excellent') wine-house maintained by the speaker-- a wine-house located on the far side of a sea of tears.