For background see S. R. Faruqi's choices . For more on Ghalib's unpublished verses, see the discussion in 4,8x . In the first line, the two constructions are metrically required. But what's the relationship between the two resulting phrases? Gyan Chand proposes to take as a noun compound, 'mirror-outcome', meaning 'having an outcome as clearly visible as the image in a mirror'; for more on such noun compound forms, see 129,6x . But it's also possible to read them as two separate phrases describing the speaker. He is 'the amazement of a mirror' perhaps because his behavior is so extraordinary that the mirror itself is stupefied when it beholds/reflects him, or perhaps because his behavior itself displays the stupefied 'amazement' characteristic of a mirror (on see 51,9x ). And he is the 'outcome of madness' because the madness of his passion has now reached an advanced stage, like a fatal disease. In any case, the speaker is 'like a candle' in the self-consuming nature of his fiery passion. The inflamed wound of the liver is doing something deadly to him. But the imagery feels conventional and thrown-together; it doesn't integrate itself into the kind of brilliant, strange synthesis characteristic of Ghalib at his best. If S. R. Faruqi hadn't chosen this one, I certainly wouldn't have chosen it myself. There are some sound effects: can hardly fail to grab the reader's attention. Note for grammar fans: The grammar of is clear: the liver-wound' causes flame to rise up'. But then normally instead of 'to me' [] we'd expect something like 'inside me' [ or or the like]. Whereas if we were to see 'causes me to rise up' [] we'd expect a single subject-- either the liver-wound or the flame, but not both. Compare the normal usage of , 'causes me to rise up', in 217,5 . Perhaps in the present verse the tyranny of the rhyming elements has simply proved more oppressive. graphics/candleflame.jpg