Verse 11816aaho


G2

1
if from envy/malice the heart is melancholy/cold, become enthusiastic/'hot' for spectacle
2
for perhaps the narrowed/vexed eye, from abundance of sight, would be open/relieved/cheerful

'Envy, malice; —emulation, ambition'.
'Frozen, frigid, benumbed; withered, faded; dispirited, dejected, low-spirited, melancholy'.
'Contracted, straitened, confined, strait, narrow, tight; wanting, scarce, scanty, stinted, barren; distressed, poor, badly off; distracted, troubled, vexed; dejected, sad, sick (at heart)'.
'To be or become open; to open; to be freed or liberated; to be relieved of sorrow, to become cheerful'.

References
Arshi, Imtiyaz Ali Ghazal# 117
Raza, Kalidas Gupta 218-19
Nuskhah-e-Hamidiyah 167-168
Asi, Abdul Bari 193-194
Gyan Chand 302-304
Hamid Ali Khan Open Image

This is a splendid verse for wordplay, and Faruqi has pulled it all together very clearly. Narrow eyes are indeed a sign of envy (or jealousy, as in 3,1 ); but, as Faruqi argues, to think that that's all they are would be to accuse Ghalib of 'mere repetition'. Instead, we need the pairing of the narrow versus the wide-open eyes to add even more enjoyment to the pairing of the cold versus the hot heart. And of course, since the eyes are the window of the heart, narrow vs. wide ones will have no end of metaphorical and mystical resonances. I would add to Faruqi's inventory one more bit of 'meaning'-play: the contrast between 'envy' and 'spectacle' in the first line. To look with envy is to to look with a cold, narrow eye-- to fixate on a few particular things, to crave to own and monopolize them. To see the world as a is a distancing project-- it requires wide-open eyes, some patience and tolerance, and a kind of detached spectatorship. But there really isn't a meaningful choice to be made. The eye should, no matter what, become open, as Ghalib has said with somehow an effect of complete straightforwardness in 48,9 . graphics/eye.jpg