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raḥm kiyā kar lut̤f kiyā kar pūchh liyā kar āḳhir hai
mīr apnā ġham-ḳhvār apnā phir zār apnā bīmār apnā
1) always show mercy, always show kindness/affection, always ask [about him]-- after all
2) Mir is your/his own , [he's] your/his own sympathizer; then, the lamention is your/his own, the sick person is your/his own
FWP:
SETS == REPETITION; SUBJECT?
MOTIFS == SOUND EFFECTS
NAMES
TERMSHere the two possibilities of apnā are exploited to the fullest. Since 'Mir' is the obvious grammatical subject of the second line, the four occurrences of apnā in the second line should straightforwardly mean 'his' (Mir's). But since the first line sets up an address to the beloved and contains enjambment, it's also quite possible to take any or all of the four of them as short for terā apnā , 'your own'-- with complex permutations that include those traced out by SRF.
SRF describes the phir as offering emphasis, but it also can suggest temporal and/or causal sequence. Thus the suggestion would be that if the beloved is cruel to her own Mir, who is her own sympathizer, then the resulting lamentation will also be her own fault, and the resulting sick person (whom her cruelty has struck down) will also be her own to bother about.
The amount of rhythmic repetition in the verse is also surprising and effective. The 'Hindi meter' of the verse is particularly flexible. The three symmetrical kiyā kar phrases create one pattern in the first line, while the repetitions of apnā in the second line create a whole different feel, which is enhanced by the internal rhyme of ḳhvār , zār , bīmār . The whole verse becomes hypnotic, like a chant.