S. R. Faruqi:

To use dil lagā ho with jī jahāñ se uṭhā is very fine. And there's also the point that jī jahāñ se uṭhā is both an imperative command ('remove the inner-self from the world!') and also cultural ('enough-- now the inner-self is about to leave the world', or 'now consider the inner-self to have already left the world').

The second line has a devastating theme-- that when we address or call to death lovingly, then we call it 'passion'. Between pyār and ʿishq there's an 'iham of affinity' [īhām-e tanāsub] of course. But reflect that the idiom is 'to address someone lovingly' [kisī ko pyār se bulāna], or 'to call to someone lovingly' [kisī ko pyār se pukārnā]. Thus when you say 'passion', then you have, so to speak, addressed death lovingly.

Thus the point appears to follow that 'passion' is in reality a kind of euphemism for 'death' (that is, when it's necessary to mention some bad thing, then some good, or at least less painful, word is used, the way a 'snake' is called a 'rope').

The second point is that whoever loves death calls out 'passion, passion!'. And the third point is that when you would address someone with love, it's also probable that that person will pay attention. He's composed a fine verse.

FWP:

SETS
MOTIFS
NAMES
TERMS == IDIOM; IHAM

The ghazals with the 'passion' refrain are indeed a remarkable set. An inventory can be found in

{837,1}.

Note for grammar fans: In the first line, uṭhā could be interpreted either as an intimate imperative of the transitive uṭhānā , 'lift up! [and carry away]', as in (1a); or else as the masculine singular perfect of the intransitive uṭhnā , 'it rose up [and departed]', as in (1b). (The need to translate the perfect as the present perfect is just one more instance of the imperfect fit between Urdu and English tense usage.)