The nature of this verse as the third in a kind of four-verse verse-set is discussed in 234,8 . Here's another verse ideally suited to support my argument made in 234,8 . I'd give this one away too, if anyone wants it. Since it makes no sense as an independent verse, it certainly seems to require the frame of some kind of verse-set around it. Instinctively, both Bekhuds convert the verb from the awkward intransitive [] into the much more coherent passive []. The intransitive provides the same opening for the second line as in 234,9 . Why is Ghalib so eager to present 'enjoyment' in {234,9}, and the 'lofty sphere' in the present verse, as somehow simply 'coming into being' or 'appearing', with no hint of a maker lurking in the background? I would have guessed that it's because it's so silly and insulting to God to say that he did all this just for a minor North Indian aristocrat-- but then, in the first line of {234,9} the poet does say exactly this. So why, after that one time, does he work around it with the awkwardly organic intransitive forms? I don't know, and the verse is so puerile that I don't care. There's a similar structure in the next verse, 234,12 , too. graphics/princes1920s.jpg