First, the zameen (combination of rhyme and refrain) of this couplet was a little tricky because of bolo appearing as the refrain in each couplet. I could have made it into a ghair muraddaf ghazal (refrain-less ghazal) by choosing kholo, tolo, etc. as the rhyme words, but that seemed less challenging to me.
Secondly, the meter that I ended up using for that instant couplet (and it was not by design at all), was one I had never written on before, so that presented something new to be tried.
And finally, since the instant couplet seemed quite incomplete in isolation, it presented an opportunity to write a qit’aa for the first time in a ghazal. As many would know, the couplets in a ghazal are usually complete as standalone entities and do not depend on other couplets of the ghazal to make sense. Sometimes poets include a verse-set or a qit’aa in the ghazal in a way that those verses have to be read together to make total sense.
It took me a while to write it, but I finally did. So here is that ghazal, translated and interpreted by Archana Gupta, who has done a brilliant job of bringing out the nuances of the verses in her interpretations.
रिहाई हो हासिल कि तस्ख़ीर बोलो
Should it leave one free or entrance him, say?
पढ़ोगे क्या माज़ी की तहरीर बोलो
My circumstances are known to one and all in totality
What else do you want to know about the antiquity?
Another slightly different way to look at it is that the poet is claiming that everyone knows about his present circumstances and that is all that is important and his past should concern no one.
In either case, this is a sign of a persona who wants to tell the world nothing or truly believes he has nothing more to tell - I suspect former.
हुई किस वजह से ये ताख़ीर बोलो
Tell me, what caused this inordinate delay?
नहीं कौन है पा ब-ज़ंजीर बोलो
Who in this world is footloose and totally free?
कि फिर तज़किरा-ए-मशाहीर बोलो
Effective and inspiring life of an unknown
Or simply the memoirs of famous and well-known
है कितनी परस्तिश में तासीर बोलो
What all gets invoked in lieu of devotion and dedication!
कहाँ गुम है अद्ल-ए-जहाँगीर बोलो
Where has Jehangir's justice gone, oh where?
मगर कैसे पाए ये नख़चीर बोलो
चले किस तरफ अदना सा तीर बोलो
Against the means I have no lament
But how shall they achieve the intent?
Here and there, this way and that, its all the same
Then where should the poor little arrow aim?
ये गन्जीना है किसकी जागीर बोलो
[जवाहर= diamonds, गुहर = pearls, लाल = rubies, गन्जीना = treasure]
Diamonds, pearls and gems of verse and song
To whom does this treasure truly belong?
A slightly different way of looking at this is also - Whose interpretation or intent is of import when considering what a piece of poetry really means? Is it important to know what the creator intended, what were his circumstances or state of mind at that point and what relevance the piece has to his/her life, if any? Or is the reader's independent interpretation and understanding of more significance? Knowing this poet, he firmly insists on attaching more import to reader's independent assimilation and believes that pieces of prose and poetry belong to those who have the faculty to read, understand and enjoy them and an interest to do so.