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0420,
4
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{420,4}

tire kuuche me;N yak-sar ((aashiqo;N ke ;xaar-e mizhgaa;N hai;N
jo tuu ghar se kabhuu nikle to rakhyo paa))o;N aahastah

1) in your street, end-to-end/'one-head', are the thorns of lovers' eyelashes
2) if you would sometime emerge from your house, then place your feet gently/slowly

 

Notes:

yak-sar : 'Under one head; —in one body, all together; at one stroke, all at once, suddenly; —from beginning to end; —alone'. (Platts p.1251)

 

aahistah : 'Slow, tardy, dilatory, lax, slack, sluggish, lazy; gentle soft, mild, easy'. (Platts p.110)

*Platts Dictionary Online*

S. R. Faruqi:

The idea is fine, that in the beloved's street a crowd of lovers have died and are turning to dust, but signs/symbols of their eyes-- that is, eyelashes (which are also signs/symbols of vision, because both are given the simile of arrows)-- are buried in the ground like thorns.

And in addition there's the theme that lovers have no complaint about mingling with the dust, nor do they have any regret. But they nevertheless have a sense of their own dignity, that you shouldn't trample/crush the thorns of their eyelashes with your feet. There's also the idea that more than the lovers' becoming dust, the speaker fears that the thorns of the lovers' eyelashes might prick the delicate soles of the beloved's feet.

Among yak-sar , mizhgaa;N , paa))o;N there's 'commonality' [muraa((aat ul-na:ziir]. In 'if you would sometime emerge from your house' there's also the implication that the beloved very rarely comes outside her house; otherwise, she would know that in her street a crowd of lovers keeps mingling with the dust.

In the first divan itself, he has composed the same theme in this way [{458,7}]:

apne kuuche me;N nikalyo to sa;Nbhaale daaman
yaadgaar-e mizhah-e miir hai;N yaa;N ;xaar ka))ii

[if you emerge into your street, then take care of your garment-hem
as a memorial of Mir's eyelashes, there are a number of thorns here]

In this verse, because of the lack of generality, and because in the 'memorial of eyelashes' he hasn't given any reason for the growing up of the original 'thorns', the verse is comparatively more minor. Thus it's also proved that (at least within the domain of classical ghazal) the originality/rareness of a thought isn't in itself sufficient for a verse of a high order. No matter how original/rare a thought may be, unless there's an abundance of meaning in the verse, the whole thing doesn't come together.

Thus Dagh's verse below is a proof of this:

bahut aa;Nkhe;N hai;N farsh-e raah chalnaa dekh kar :zaalim
kaf-e naazuk me;N kaa;N;Taa chubh nah jaa))e muu-e mizhgaa;N kaa

[many eyes carpet the road-- watch where you walk, cruel one
may a thorn not prick your delicate sole, from an eyelash-hair!]

FWP:

SETS == GROTESQUERIE
MOTIFS
NAMES
TERMS == RHYME; WORDPLAY

Note for meter fans: To make the rhyme-syllables correspond properly, we have to take the word as aahastah rather than aahistah .