ABOUT and related forms: This is an archaism; nowadays it would be or more commonly ; also occasionally (which has its own archaic Ghalibian form; on this see 59,1 ). Nowadays is very little used. For another example of the pattern see the following verse, 191,3 . A reversed example with appears in 201,2 ; 201,4 offers . On the idiomatic grammar of expressions, see 191,8 . Like the previous verse, 191,1 , this one has a second line that is full of sound and script effects and idiomatic (and almost untranslatable) wordplay. In that one we had (twice) and ; here we have , , and . Above all the and not only look the same in normal, non-diacriticized Urdu script, but come enjoyably close to rhyming; and since one is followed by and the other by , they have an even more twin-like air. The commentators generally feel that the 'attraction of the heart' is being addressed because it's expected to achieve the effect envisioned in the second line. The derivation of from , with its sense of 'attraction' or 'drawing', readily points in that direction. But it's also clear that the verb is intransitive, so that no instructions are being issued to the 'attraction'. Thus it's also possible that the lover is just communing with himself, desperately longing, in the wild tangle of his own emotions, for the beloved too to feel something of that same desperate longing (though he knows she doesn't and probably won't). In that sense the 'passion of the heart' is a congenial friend, and thus is addressed as a sympathizer, a companion in misery. Consider the next verse, 191,3 , in which the lover is definitely longing for something from a position of helplessness ('oh if only... !'). Like the previous verse, this one really rests on the cleverly twisted, idiomatic wordplay in the second line. For another verse about the operation of , see 205,2 . graphics/hypnosis.jpg