Verse 5after 1847arkahe ba;Gair
G3
1
I won't leave off the worship of that impious/infidel idol
2
although the people would not leave off without calling me 'infidel'
'Infidel, impious; ungrateful; --one denying God, an infidel, an impious wretch'.
'To honour, respect, venerate, to do homage (to), to reverence; to adore, worship; to idolatrize'.
| References | |
|---|---|
| Arshi, Imtiyaz Ali | Ghazal# 64 |
| Raza, Kalidas Gupta | 398-99 |
| Hamid Ali Khan | Open Image |
The word in both lines is worth noting, for the repetition has increased the beauty of the poetry. This too is a verbal device among the 'word-based [] verbal devices' although the experts have not mentioned it. (55)
== Nazm page 55
The use of in both lines with such casualness is the high point of beauty of expression. (102)
In this verse Mirza has very beautifully expressed the extent of his love. On the surface, it doesn't even enter one's mind that the point is to express the extent of love. That is, love has now reached the limit of worship. (130)
What a state of affinity there is between 'infidel idol' and 'worship'! Firmness in love, and persistence in the path of passion, is an example for everybody. The meaning is clear, and requires no further commentary. (138)
This verse is distinguished by a double repetition: forms of appear in both lines, and so does . Obviously, as Josh notes, the affinity among 'infidel', 'idol', and 'worship' (the specifically Hindu-sounding ) is a delight. The lover who 'worships an infidel idol' may well be thought to be an 'infidel' himself, since he is showing himself 'ungrateful' (the literal meaning of ) to God by renouncing the Islamic requirement of reserving worship for God alone.
The appreciation of is based on its being used in two somewhat different senses: in the first line, for leaving off or stopping a form of behavior (i.e., worship); and in the second line, as part of an idiomatic expression, '[adverbial perfect participle] '-- which is comparable to expressions like 'not to be content without doing' something, 'not to rest until one has done' something. I've translated as 'leave off' to avoid suggesting the common English sense of 'leave' as 'to depart [from a place]'. On the structure of itself, see 59,1 .
The commentators don't say anything critical about the repetition of , apparently because they interpret that too as used in two different senses: the beloved is a in the sense of an 'ungrateful wretch', while the lover is called a because people think he has renounced Islam. (For a case of repetition that comes in for criticism, see 17,9 .)
In this verse, there's no argument, because all the commentators appreciate the two senses in which has been used, so that they all agree on considering such repetition a virtue rather than a defect. Compare the treatment of 17,9 , in which Hasrat's criticism of the repetition of in both lines is countered by C. M. Naim and Naiyar Masud on the same grounds: namely, that has been used in two different senses. This is an example of the difference between reprehensible ' padding ' and creative variation on a theme.
graphics/durga.jpg