Verse 1after 1847aalachchhaa hai


G5

In this meter the first long syllable may be replaced by a short; and the next-to-last long syllable may be replaced by two shorts.


1
although the beauty of the moon at the season/time of its fullness/perfection is good
2
than it, my moon with sun-beauty is better

'Completion, conclusion; perfection; excellence; something wonderful, a wonder'.

References
Arshi, Imtiyaz Ali Ghazal# 217
Raza, Kalidas Gupta 402-03
Hamid Ali Khan Open Image

Long ago, when I used to knock myself out trying to translate Ghalib, this was one ghazal I worked on obsessively, though I never published it. Anyway, I note my version here for pleasure and nostalgia: The moon at its fullest is good. My moon bright as sunlight is better. She won't even give me a kiss, She keeps her eye on my heart, She feels the goods she can get for free are better. If it breaks I can get another from the bazaar. Compared to the Cup of Jamshid my cup of clay is better. A gift freely given doubles the pleasure. The beggar who does not ask is better. When I see her my face lights up. She thinks the invalid is better. Let's see what favor it brings to lovers! A pundit has said that this year will be better. His axemanship won Farhad a chance to talk with Shirin. In any case, for everyone to have a skill is better. A drop that makes it all the way to the river becomes the river. A task is worth undertaking when its outcome is better. [verse omitted] Oh, we know the truth about Heaven! Still, to keep the heart happy, Ghalib, such a notion is better. In this ghazal Ghalib takes advantage of the fact that the Urdu comparative of good [] is '[more] good than/from X' []. Therefore he's able to make the refrain shift at will from the one to the other. English, with 'good' and 'better', hasn't got a prayer of keeping up. So in my translation I cheated, as you'll notice, in order to keep 'better' at the end of all the verses. (Or rather, to put it more elegantly, I chose to preserve the regularity of the refrain even at some sacrifice of the literal meaning.) I also omitted the next-to-last verse, since it wasn't worth the hassle of explaining it in footnotes. It's very liberating to have this present commentarial space to work in, and not to be bogged down any longer in (vain) attempts like the above. What a ravishing, flowing , light-hearted, irresistible ghazal this is! It makes me happy every time I read it, it's so swingy. The rhythm and swing are a kind of unifying tone for it, along with its relatively long and influential refrain. Its verses mostly aren't profound and deeply metaphysical, but who cares? Ghalib can create all kinds of effects when he wants to. And without this playful, witty ghazal, his divan would truly be the poorer. graphics/fullmoon.jpg