Verse 81833arga))ii


G3

1
the difference/separation between tomorrow and yesterday all at once became erased
2 a
yesterday you went-- for/since/while Doomsday passed over me
2 b
yesterday did you go, or did Doomsday pass over me?

'Tomorrow; (met.) the day of resurrection.... -- , The resurrection morn.'
'Yesterday (see and ). (Steingass, p. 550)
'Difference, distinction, separation, division; variance, discord, disunion'.

References
Arshi, Imtiyaz Ali Ghazal# 205
Raza, Kalidas Gupta 382-83
Hamid Ali Khan Open Image

SETS == KIH DOOMSDAY: 10,11 The confusion is radical-- what happened yesterday when the beloved left? Was yesterday thus the metaphorical 'tomorrow' (see definition above) of Doomsday? And if so, was it literally so (could Doomsday actually have happened, and the lover have confused it with her leaving?), or simply metaphorically so (since her leaving was a Doomsday)? Or was he merely rendered so distraught by her leaving, that he can no longer tell night from day, or yesterday from tomorrow, in the most general sense? (As when someone might waks after a terrible concussion and ask, 'Where am I? What day is it? What happened?') There are, in short, so many possible combinations of literal and metaphorical readings that the whole thing becomes hopelessly convoluted. We in the audience are as confused and bewildered as the lover-- which is, no doubt, part of the point. The various senses of exemplified in (2a) can each be readily invoked, and each creates its own cleverly appropriate relationship with the first line. Then there's the ' fresh word ' effect of the rarely used ; in particular is so rare that it doesn't even appear in Platts. One could read and hear Urdu for years without encountering it. And in that position, would have fit perfectly (not to speak of many other more elegant ways to arrange the line). But by using the conspicuously exotic , Ghalib achieved the extra punch of novelty-- and also, once we hear the second line, the metaphorical resonance of with 'Doomsday' (see the definition above). There's also the 'difference' or 'variance' of nicely bumped up against the 'all at once' or 'completely' quality of . This verse reminds me of the even simpler and more eloquent 35,2 . Note for grammar fans: Ghalib often takes advantage of the multivalences of , but as best I can judge, rarely does he unquestionably use it in the modern colloquial sense of 'or' ( ); however, for one clear example, see 88,6x . In the case of this verse, it seems to me that he does use it as 'or', because the second line reads so well that way (2b). But I can't prove it, because there's also the excellent and quite sufficient reading of (2a), which is along the lines of his normal usage. graphics/timebreakdown.jpg