S. R. Faruqi:

A superb verse has been composed. The crowd of lovers are eager for the vision/sight-- but like Hazrat Musa, they don't know what their condition will be when they do see it. It might be the scene of Doomsday-- a crowd of creatures, restless to see the Divine glory; but no one reflects that when the Divine glory shows itself, the field of Doomsday can also be overturned. Or again, they can be worldly lovers and a worldly beloved, but how the beloved's glory would overthrow them-- of this they are all unaware. They are all so immersed in the desire for a sight/vision that they've let the outcome take care of itself.

It's also a fine aspect that when the beloved comes before them, it will be a scene like Doomsday-- destruction will spread in every direction. Or again, turmoil will arise, everyone will struggle to come near to the beloved, and tumult and disturbance of the peace will come about.

The affinity of bar-paa and u;The is excellent. Because the original meaning of bar-paa honaa is 'to rise and stand'. The iham of aayaa kyaa ho is also fine, because upon seeing aayaa one thinks of the meaning of aanaa .

It's possible that the basis of Mir's verse might be this [Persian] verse of Vaqifi Mashhadi's:

'Don't go out of the house, for in the ardor of the hope of union
Multitudes, desiring to see you, would fall unconscious.'

In Vaqifi's verse, sarcasm and self-possession are present together, and this is a a remarkable achievement. But Mir's verse is 'tumult-arousing', and it has the uncertainty about the outcome, and the ambiguity of the scene. Mir's verse seems outwardly simple-- and Vaqifi's verse is limited, while Mir's verse is by comparison unlimited.

FWP:

SETS == DOUBLE ACTIVATION; MIDPOINTS; SE
MOTIFS == DOOMSDAY
NAMES
TERMS

There are two ways to read that elegantly flexible 'midpoint' is se . One is with regard to the first line: the lovers, 'because of this' (that is, because of their ardent longing for sight) are 'heedless'; thus they incur the risks named in the second line (1a). The other is with regard to the second line: because of their ardent longing for sight the lovers are 'heedless of this'-- that is, of the risks named in the second line (1b). Then of course the conveniently multivalent ;Gaafil could also be read as either an adverb ('heedlessly') or a powerfully ominous-sounding vocative ('oh heedless ones!').

SRF observes that aayaa can trick one into thinking of aanaa . It has the additional pleasure of 'double activation' of its two genuinely relevant meanings: as in (2a) it can mean 'whether' (which is very appropriate in a context that names two alternatives); or as in (2b) it can act as a kind of exclamation of dismay, a warning call to the heedless or inattentive (see the definition above).

As SRF points out, the alarm in the second line is tremendous, even cosmic-- but also wonderfully ambiguous. Would the 'Doomsday' result from huge riots and stampedes as 'everybody' struggles for a sight of the beloved? Or would it result from the impact of the sight itself, which would devastate them all instantly (as in all the verses about the beloved as the sun, and the lover as a drop of dew)? The lover's unstoppable passion and the beloved's deadly beauty are equally capable of cosmic destruction. The back-and-forth flow of fierce energy between them ('the irresistible force meets the immovable object') is the engine that powers the ghazal world.