S. R. Faruqi:

In this 'ground' Jur'at too has composed a good ghazal. But since his mind is, in comparison to Mir's, very small, he contented himself with very obvious themes. Thus his opening-verse is:

kaisaa payaam aa ke yih tuu ne .sabaa diyaa
mi;sl-e chiraa;G-e .sub;h jo dil ko bujha diyaa

[what sort of a message is this, Breeze, that you brought and gave me,
that, like a lamp at dawn, extinguished the heart?]

The wordplay of diyaa and chiraa;G , and the affinity of .sabaa and chiraa;G-e .sub;h , are present in Jur'at's verse, but Mir has notably taken additional advantage of all this wordplay. The speaker kept lamenting all night, but nothing happened. The Lord knows what kind of cruelty the sighs of the dawn committed, that not even the burning of the heart remained. It seems that we were a lamp, and to burn all night was the extent of our capability.

But in diyaa saa bujhaa there's also the implication that life was finished off. The burning of the heart was finished off because the enthusiasm of passion no longer remained, perhaps because life itself no longer remained. In the light of this second meaning, staying awake lamenting all night means lamenting for one's whole life, and 'the sigh of dawn' can also mean the sorrow of the final time.

By giving for 'the sigh of dawn' the simile of the breeze, there's a double meaningfulness in calling himself a 'lamp', because a lamp is extinguished at dawn; while in Jur'at's verse, there's only a single affinity. In diyaa saa bujhaa diyaa , the repetition of diyaa gives pleasure.

FWP:

SETS == REPETITION
MOTIFS == 'DEAD LOVER SPEAKS'
NAMES
TERMS == AFFINITY; WORDPLAY

Since this is an opening-verse and the refrain is diyaa , there have to be two occurrences of diyaa in the verse. But in fact there are three. SRF points out the enjoyableness of diyaa saa bujhaa diyaa . The ear hears the repetition of identical sounds, which are made nicely rhythmic by the meter. And simultaneously the mind hears or 'reads' the two diyaa occurrences in the second line so differently that their repetitive sound effects hardly even register.

Mir surely started out by playing with the double possibilities of diyaa . But then the verse goes far beyond the mere aural cleverness of that idea, and creates a depth and subtlety that SRF well explicates. The explicit equation of 'the sigh of the dawn' in the first line and 'that breeze' (or 'this breeze'; it hardly matters which one we read) in the second line, suggests a similar parallelism between 'tumult of the heart' in the first line and 'us' in the second line. Thus it seems that the speaker's whole essence is the 'tumult of the heart'; it can't be ended until his life is over, and the moment it's ended his life is over too.