First: place — the community has gone, leaving the water-bank and vegetation behind.
Second: perception — the caravan becomes visible through litters, animal similes and wavering shapes in the mirage.
Third: memory and distance — Nawār is named, the rupture of ties is acknowledged, and several possible locations are imagined.
Read together, these stages show outward movement producing inward restlessness. The sequence makes the passage more than a catalogue of places and visual details.