S. R. Faruqi:

The opening-verse is by way of introduction. This theme is common in Mir-- or rather, in poetry of the eighteenth century. For more detail, see

{420,7}.

But here the structure of both lines is very trim. The sīnah-e yaksar figār is very interesting, and in the second line the everyday and idiomatic qiyāmat bahār kī is extremely superb. Then, the word taḳhtah is very effective, because for the breast they use the simile of a box, which is made from boards. Then, the breast itself is firm and almost level, like a board. On the other hand, a garden path is also called a taḳhtah-e gul . The 'tajnis' and wordplay [murāʿāt] among sair , sīnah , sar are also fine.

Sauda too has superbly composed,

abhī jo ṣaḥn-e chaman meñ jā kar kivāṛ chhātī ke khol dīje
jigar ke dāġhoñ ko ʿāshiqoñ ke lage hī dene ḥisāb-e gulshan

[if right now, having gone into the courtyard of the garden, the door of the breast would be opened
to the wounds of the livers of lovers, one would begin to give the reckoning/category of a garden]

FWP:

SETS == BHI
MOTIFS == DOOMSDAY; SPRINGTIME
NAMES
TERMS == TAJNIS; WORDPLAY

The bhī works exceptionally well here. If we take bhī to mean 'even', then we learn that not only is the external garden flourishing as we would expect, but 'even' the much-wounded breast has responded to the present season by creating its own flourishing 'flower-bed' of bloody, probably circular (as explained in {420,7}), wounds. If we take bhī to mean 'also', then we learn-- perhaps from some kind of garden-inspector-- that not only is the external garden flourishing, but the internal flower-bed too, which is just another sort of garden, is also nowadays in fine fettle.

Note for grammar fans: There are three occurrences of kī in this verse. The first is a perfect of sair karnā ; the second modifies sair ; the third is a perfect of bahār karnā , 'to create a state of springtime/flourishing'. I wonder if Mir did it on purpose? Maybe not, since two of them are required by the refrain; but who knows?