S. R. Faruqi:

This verse isn't very good; it has been included in order to fulfill the condition [for SSA] of three verses. But the theme too is not devoid of pleasure. In the first line, jahāñ means 'when', and phir dekhiye is connected to the second line. That is, when the heart was lost then it went; then let's see who dies, etc.

The construction of the second line is not very fine. To omit the kaun before jiye hai doesn't seem good. The prose of the line will be like this: kaun martā hai , kaun jiye hai , kaun nā-paidā ho miyāñ . Prof. Nisar Ahmad Faruqi says that in the second line, instead of nā-paidā , there ought to be tā paidā , and that the line will be read like this: kaun martā hai ? jiye hai kaun ? tā paidā ho myāñ -- that is, until the heart would be born or manifest for a second time. This reading is interesting, but there's no proof/evidence for it.

Janab Shah Husain Nahri wants a tum to be assumed before nā-paidā ho myāñ , but in this the difficulty is that in that case tum ought to be indicated/reflected somewhere, but here there's no such possibility.

FWP:

SETS == REPETITION
MOTIFS
NAMES
TERMS

SRF gives the text of the verse in SSA with not martā hai but jītā hai at the beginning of the second line, and that's how he discusses it too. It's clear that this is an error. I have corrected it to the kulliyat reading, and adjusted his discussion accordingly, since there's nothing in the discussion that is really affected by the change.

I can't make very much of this verse at all. If SRF needed a third verse to complete his quota for this ghazal, I would have preferred {907,2}:

mat ḥināʾī pāʾoñ se chal kar kahīñ jāyā karo
dillī hai āḳhir nah hangāmah kahīñ bar-pā ho myāñ

[don't, walking on henna-ed feet, ever go anywhere
it's Delhi after all-- may a tumult not somehow be afoot, sir!]

The wordplay of 'feet' and bar-pā honā is there, of course, but the chief charm is the vision of a turbulent, disorderly Delhi-- which in Mir's spelling is dillī , and thus somehow the city of the heart.