S. R. Faruqi:

See

{46,4}.

In the first line kyaa ma;zkuur hai is, in terms of appropriateness and amazingness, a peer of the al-qi.s.sah of

{23,1}.

FWP:

SETS == EXCLAMATION; INEXPRESSIBILITY
MOTIFS
NAMES
TERMS

The 'inexpressibility trope' is doubly appropriate here. First, a city so utterly devastated-- either 'a hundred times' or 'to a hundred degrees'-- is in a state beyond description. And second, such an empty city will have no one in it to even attempt such description.

In the previous verse,

{52,3},

the first line spoke of 'the heart', and the second of 'that mirror'; it was left up to us to equate the two. In the present verse, the first line speaks of 'the heart', and the second of 'this city'; once again we're invited to equate the two. But the 'proof' or 'justification' of the 'broken' mirror that was problematical in the previous verse is not a difficulty in the present one. If the heart is a city, and the city has been utterly looted and left in a devastated condition, that's not hard at all to fathom; such things did, and do, happen to cities, and the causal mechanisms are clear. The deadly-beautiful beloved, and the ruinous passion she arouses, can easily be imagined to have stormed through the heart, 'looted' and destroyed it, and left it in a (Sufistic?) condition beyond all words.