The commentators point to what might be called the intimacy of the verse. Someone speaks to the beloved in the intimate form [], and casually mentions a shared memory. Who is the someone? A new lover? An old friend? There's no way of telling, but certainly someone who shares the kind of closeness to the beloved that the lover could only dream of. The way the speaker uses the 'that' [] does indeed, as Nazm says, make for a sense of assured recognition; the speaker is referring to a well-remembered event, not imparting information about something previously unknown: ('I just was reminded of that day when...'). The memory of the disturbed/mad 'Ghalib' breaking his head in despair came to the speaker when he saw the beloved's wall-- a beautiful example of implication . We immediately understand that Ghalib tormented (or even killed?) himself by beating his head on a wall-- that very wall? or merely a similar one?-- to escape the intolerable suffering of passion. The memory is so vivid that merely the sight of the beloved's wall can trigger it. Perhaps the wall outside her house was the nearest Ghalib ever got to the beloved? Nazm emphasizes the extra familiarity given by using the name 'Ghalib'. But of course, this is a closing-verse and needed to include the poet's pen-name , so there's an element of convenience as well. And perhaps the strong suggestion of death given by also seemed suitable to a closing-verse. Arshi is right to suggest for comparison 72,7 , which really is very similar. graphics/wall.jpg