S. R. Faruqi:

The young Ghalib adopted this theme too [in an unpublished verse]:

G{440x,7}.

Now please look at a verse of Mir's, from the fourth divan [{1479,5}]:

ṭeṛhī chāl se us kī ḳhāʾif chupke khaṛe kyā phirte ho
sīdhī sīdhī do chār us ko jurʾat kar ke sunā baiṭho

[from her crooked behavior, why do you stand there silent and turn away?
straightforwardly confront her, having shown courage, and firmly tell her a thing or two!]

The difference in temperament between the two poets becomes entirely evident. In Mir's verse, as usual, there's boldness and informality. In Ghalib's verse there's mischievousness and youthfulness. In Ghalib's verse there's the idea of bringing the beloved onto the right road. In the present verse of Mir's there's the resolve to obtain justice, and in {1479,5} there's only the idea of answering back, there's no expectation or hope of fulfilling a purpose.

Through ho so ho , a subtlety of meaning has been created: that if there's any expectation, then it's chiefly of some disaster-- that the beloved might become displeased and cut off his head, or break off relations with him.

In the first line there's the implication that up till now he hasn't presented his case to the beloved, he's only kept lamenting in the streets and bazaars. Or he has taken his case to others-- for example, the ruler of the city, or a court. No face-to-face conversation with the beloved has taken place.

In the second line, aṛ kar too is fine. The local idiom, instead of the Arabic and Persian ḥarīfānah , has increased the informality. And it also has two meanings: (1) in order to obtain justice, we will insist/oppose; and (2) before that tyrant we will be stubborn/obstructive-- that is, we will not budge. See

{785,6}.

FWP:

SETS
MOTIFS
NAMES
TERMS

In the first line, yūñ works excellently in its whole range of senses (see the definition above), for each of them is contrasted with the speaker's resolve about his future behavior. Instead of wandering around lamenting 'casually' and haplessly, he will do something focused; instead of wandering 'vainly', he will do something effective; instead of wandering 'like this', he will do something quite different.

And aṛnā is indeed a terrific verb for what the lover has in mind (see the definition above), for its nitty-gritty emphasis on doggedness and stubbornness carries over into the idea of actually blocking or obstructing someone. Imagine the spectacle of the humble lover treating the lofty beloved with such confrontational implacability! He knows he'd be taking his life in his hands, but he's ready for the risk-- 'what will be, will be'.

Of course, part of the delightfulness of the verse is that this may never happen. The lover may say these words to himself, and make this firm resolve to act, every day; but then every day the beloved's ravishing beauty and deadly hauteur may undo him afresh.

Note for grammar fans: It's not lījiye (which wouldn't scan in any case), but līje , an archaic form of liyā jāʾe , the passive subjunctive.