“Jonimdin o‘zga yori vafodor topmadim...”
In the matla‘ the lover seeks a faithful beloved and a confiding heart but cannot find them; the two lines are built with sentence parts in the same order, which literary scholars call rhythmic-syntactic parallelism, and this gives the poem a gentle rhythm. In the second couplet the soul is called “dilafgor” (heart-sore) and the heart “giriftor” (captive), saying that no one is equal in suffering. A heart enchanted by the beloved’s “usruk,” i.e. intoxicated, eyes becomes mad, so the phrase “I did not find him sober” shimmers in two meanings, relating to the hero and to the heart. In the fourth couplet separation has become a habit, but a forced one, and the lover does not consider himself worthy of the beloved. In the fifth couplet the word “bor” plays on the meanings “once more,” “existing,” “result” and “permission”; in the maqta‘ the hero, having searched the whole world without finding a beloved, advises himself to get used to solitude. The textbook stresses that a social tone can also be felt in the ghazal.
Reading aloud: read the ghazal in pairs by turns and feel the parallelism of the matla‘ through rhythm; then write the four meanings of the word “bor.”