mirza mohammed raf’ii sauda (1713-1781) wrote faarsi and urdu, romantic and sufiyaana Ghazal in classical style.  Contemporary (somewhat senior) of mir taqi mir.  sauda, along with mir taqi mir was a strong proponent of communal harmony.  They made much fun of orthodoxy.  Khwaja mir dard said a Ghazal in this zamin which sauda recognizes in the maqta.  This is linked to ‘andaleeb-e gulshan-e na-aafriida huN’ – Ghalib peshrau-hamasr on the Theme Index page and to Ghalib naqsh-e qadam for completeness in one place.
1
ne¹ bulbul²-e chaman na¹ gul-e naudamiidaa³ huN
maiN mausam⁴-e bahaar⁵ meN shaaKh⁶-e buriidaa⁷ huN

1.when ne and na are used together they mean ‘neither nor’ 2.nightingale 3.freshly blossomed 4.season 5.spring 6.branch 7.broken, cut

The bulbul and the gul are symbolically lovers.  Thus, I am neither the nightingale of the garden nor a freshly bloomed flower i.e., neither am I loved nor do I have a beloved. I am but a “broken branch” in the season of spring i.e., while the world around him is vibrant and full of life, he feels disconnected, damaged, and out of place.
2
giryaaN¹ ba-shakl²-e shiisha³ o KhaandaaN⁴ ba-tarz⁵-e jaam⁶
is maikade⁷ ke biich abas⁸ aafriidaa⁹ huN

1.weeping 2.in the shape of, like 3.bottle/glass (of wine) 4.smiling 5.in the way of, like 6.cup (of wine) 7.tavern 8.ineffective, useless 9.born, created

The sound of wine pouring out of the shiisha/bottle qulqul-e miina may be like laughter, with this laughter being associated with the jaam/cup that receives the wine and is happy.  The sound of the last portion of wine pouring out of the bottle may be like the last gasp and symbol of sorrow.  Thus, the poet is both giriyaaN and KhandaaN like the shiisha and the jaam – both joyful and sorrowful in the midst of the maikada which is symbolic of the world.  How it follows from this that his creation in the midst of this world is abas-useless-purposeless, I do not know.  Thanks for Prof CM Naim for his help in this interpretation.
3
tuu aap se zabaaN-zad-e-aalam¹ hai varnaa² maiN
yak³ harf⁴-e arzuu⁵-e lab⁶ naa-rasiidaa⁷ huN

1.on the tongue of the world, famous 2.otherwise, on the other hand 3.one 4.word 5.desire 6.lips 7.not reaching, unheard

The poet addresses someone (perhaps a beloved or a higher power), saying that while they are zabaaN-zad-e-aalam – renowned and celebrated (or infamous) in the world, he is merely an ‘unspoken/unheard/ignored word of desire’. This suggests that his hopes and longings remain unheard, ignored and unfulfilled. He feels insignificant and incomplete, like a word that never reaches the lips.  Alternatively, if ‘infamous’ is used for zabaaN-zad-e aalam it can mean that the beloved is infamous on her account.  The poet/lover has never brought is aarzu up to his lips.
4
koii jo puuchtaa hai ho tuu kis par hai daad-Khwaah¹
juuN² gul³ hazaar jaa⁴ se garebaaN⁵ dariidaa⁶ huN

1.seeking justice/compensation, plaintiff 2.like, similar to 3.rose 4.places 5.collar, shirt front 6.torn

A wilting rose has its petals curled out; perhaps a thousand petals; thus, appearing torn in a thousand places.  When someone asks the poet what has happened to him that he seeks justice; he responds that he is like a rose with a thousand tears/cuts.  This symbolizes a thousand wrongs that have been done to him.
5
t’eGh¹-e nigaah²-e chashm³ kaa tere nahiiN hariif⁴
zaalim⁵ maiN qatra⁶-e mizsha⁷-e KhuuN chakiidaa⁸ huN

1.sword 2.glance, gaze 3.eye 4.equal to, able to withstand 5.cruel one, beloved 6.drop 7.eyelashes 8.dropped, shed

The poet/lover is not equal to, cannot stand up to the sword like gaze of the beloved.  O cruel one I am merely a “drop of blood” shed from the eyelashes. This suggests that the beloved’s piercing gaze has wounded him deeply, and he is left bleeding and helpless. The imagery highlights the intensity of his emotional pain and submission to the beloved’s power.
6
kis se karuuN maiN daavaa¹-e dil jaa ke aye Khudaa
dildaada²-e ze-kaf³, ruKh⁴-e dilbar⁵ na-diidaa⁶ huN

1.claim 2.one who has given his heart away 3.by (my own) hand 4.face 5.beloved 6.one who has not seen/not been able to see

Where can I go, who can I go to, to claim my heart, O god.  I gave away my heart with my own hands and am now unable to see the face of the beloved i.e., having taken my heart she shuns me.
7
kartaa hai jaa ke gul kii tasallii¹ chaman meN tuu
Khuun-e jigar² meN maiN bhii to daaman-kashiidaa³ huN

1.consolation 2.liver/heart 3.strained/filtered through the hem of the garment

The poet/lover cries tears of blood.  His crying is profuse and blood drips down to the hem of his garment and filters through it i.e., it is soaked in his heart’s blood.  The gul rose in the garden, with its red colour on its petals could similarly be thought of as blood-soaked.  The beloved goes to the garden to console the rose with its blood-soaked hem/petal.  I too have a blood soaked hem, the poet/lover cries out.
8
Ghaafil¹ hai kyuN teraa merii fursat² se gosh³-e dil
aye be-Khabar⁴ maiN naala⁵-e halq⁶-e buriidaa⁷ huN

1.indifferent, unobservant 2.time, leisure, opportunity, turn 3.ear 4.unaware 5.lament 6.throat 7.cut

The beloved is indifferent to the laments of the poet/lover.  Whu is the ear of your heart ‘gosh-e dil’ indifferent to the opportunity that I have now, indifferent to my turn.  He reminds her … O unaware one, I am the lament of a wounded throat.  Perhaps his throat was slit at the hands of the beloved and the gurgling sound of flowing blood is his lament.
9
maiN kyaa kahuN keh kaun huN saudaa¹ ba-qaul²-e dard³
jo kuchh keh huN so huN Gharaz⁴ aafat-rasiidaa⁵ huN

1.pen name 2.in the words of 3.Khwaaja mir dard 4.in summary, may be 5.victim of calamities

The second misra is a direct quote of the matla of Khwaaja mir dard’s Ghazal posted on this site.  The original Ghazal of dard was followed by several in the same zamiin, including three by Ghalib.  saudaa concludes by saying that he cannot define who he is, except in the words of dard – whatever I am, I am one who has been ‘afflicted by calamities’.