S. R. Faruqi:

In this verse several kinds of ideas have been brought together. There is a famous hadith from the Prophet that says, 'My people will never come to agree on a falsehood'. Thus it's a common belief among Muslims that whatever the religious community agrees on is the truth/right. Now let's look at Mir's verse. The speaker/lover endures pain and sorrow, he bears the beloved's cruelty-- he considers that to be legitimate and just. There is nothing of the kind that he doesn't experience. Thus he considers himself in the right when he judges that the beloved is unjust and unfair. But the difficulty is that people's hearts go on being attracted toward the beloved. All the people hang on her every word. So how would/could he say that the right/truth was on his side?

A second idea is that on the field of Doomsday the speaker/lover seeks justice-- that for whatever he has endured at the hands of the beloved, he should receive recompense. But he sees that in the field of Doomsday everyone's hearts go on being attracted toward the beloved, so how would he claim that the truth was on his side? There things are in such a state that the hearts even of the arrangers of fate and destiny have gone toward her. Sultan Muhammad Qumi has well said [in Persian],

'Don't fear to slay me, for the arrangers of Doomsday
For your sake will declare a hundred justice-seekers to be guilty.'

A third idea is that the beloved has such attraction and charisma that everyone becomes captured in her net. Things come to such a pass that people become hostile to each other, because they all claim to love her. Thus Muhammad Amin Zauqi has a verse [in Persian]:

'I do not know what disaster you are, that in the world today
Love for you does not permit any two people to be friends with each other.'

In such a situation, how will the speaker/lover have the nerve to say that right/truth is on his side? Every person is claiming to be justified, and the truth is only one thing-- that everyone's hearts have been drawn toward the beloved.

The most beautiful aspect of Mir's verse is that what the speaker/lover is most concerned about is how he would prove himself to be justified. Now the question is not only of love and lover-ship, of desire/lust and virtue, but rather of the whole human character, the standard of a whole life-- who is in the right, and what things are called justified, or will be called justified. And to top it all off, in the tone, except for a slight sorrow, there's nothing at all-- no emotional turmoil, no breast-beating and 'drama'. Such simple words, and such complex ideas-- what else besides this is called a 'miracle of poetry'?

FWP:

SETS
MOTIFS == SPEAKING
NAMES
TERMS

The verse doesn't even mention the beloved, so that in the first line hearts go on being simply drawn or pulled 'in that direction'. This sounds like the action of a powerful magnet, but of course we're conditioned to expect it to be metaphorical, just as normally we expect 'attraction' in English to refer to a general emotion rather than a physical action of movement from one place toward another. That's why the second line-- and of course, in proper mushairah-verse style, the very end of the line-- is so enjoyable. It continues the literal sense of a pulling action in a certain direction, but also brings in the metaphor, so that the two flicker back and forth in one's mind. Everything is magnetically pulled 'in that direction', but alas, the 'right/truth lies in a different direction-- 'in our direction'. And also, metaphorically, the truth is 'on our side' (a parallel English case, in which the literal and metaphorical meanings are both available).

SRF notes the practical reasons that the speaker might have trouble getting anyone to take his cry for justice seriously. Basically, people are all (helplessly?) so much attracted to the beloved that they pay no attention to the lover. But there's one further possibility: that the speaker's heart too is among 'all' the hearts that are drawn in her direction-- so perhaps he cannot utter, or cannot even frame, his own complaint.

Note for grammar fans: In the second line kyuu;N-kih is really kyuu;N-kar , in the sense of kaise . It is spelled that way to make a short final syllable, to suit the meter.