Verse 21816aar-ena;Gmah hai


G1

1
companion, don't say, 'Don't disrupt/overthrow the pleasure-party of the friend'
2 a
there even/also my lament has the esteem/credit of [being] a melody
2 b
there even/also my lament has respect/consideration for melody

'Confused, jumbled together, turned upside down or topsy-turvy, entangled, spoiled; offended, angry, vexed, enraged, sullen'.
'Confidence, trust, reliance, faith, belief; respect, esteem, repute; credit, authority, credibility; weight, importance; regard, respect, view, consideration, reference'.

References
Arshi, Imtiyaz Ali Ghazal# 166
Raza, Kalidas Gupta 264-65
Nuskhah-e-Hamidiyah 253
Asi, Abdul Bari 260-261
Gyan Chand 378-380
Hamid Ali Khan Open Image

Arshi proposes in 153,5 the perfect verse for comparison; the same double possibilities open in the present verse. Perhaps the lover's lament will be transformed by the general melodic clamor and hustle and bustle of the gathering into just one more part of the good cheer, and really nobody will notice it much. Or perhaps the beloved will actively enjoy hearing his lament and contemplating his suffering-- it will be literally 'music to her ears'. But there's a third possibility, thanks to the clever use of and the versatility of the construction. Perhaps not only the lover but even his lament has respect and regard for the beloved's enjoyment of melody. Perhaps the lament will voluntarily cease its clamor when a melody is being heard, or will transform itself into a melody. This reading too lends itself to a sarcastic tone-- perhaps everybody over there is so music-mad, even the lover's lament is led to join them. So much for his suffering, and so much for her ability to even hear it (much less care about it)! graphics/melody.jpg