S. R. Faruqi:

This verse too is a cautionary example for those people who think that the personality that has been expressed in Mir's poetry is maximally passive and defeated. The phrase kisuu naa-tavaa;N is extraordinarily eloquent [balii;G], because this can be about 'Mir' himself, or about some other lover. That is, if among the beloved's lovers even one would quarrel with her, then all the beloved's stylishness will be mingled with the dust. In naa-tavaa;N there's also the point that even if the lover is in a lowly condition, he has the power to achieve something or other.

He hasn't made it clear what is meant by the style of some weak one becoming 'something else'; thus in the verse a number of possibilities are illumined. For example, to stop/challenge the beloved on the roadside, to rip open the veil of the beloved's faithlessness, to give the beloved's cruelty a harsh reply, to go and die on her doorstep, to become angry with the beloved and stay at home, etc.

The most probable thing is that he would intend to stop/challenge the beloved right in the bazaar, as in the first divan [{211,4}]:

mat nikal ghar se ham bhii raa.zii hai;N
dekh le;Nge kabhuu sar-e baazaar

[don't emerge from your house-- we too are ready/willing
you/we will see, sometime, right in the bazaar!]

Indeed, in this verse the double meaning of dekh le;Nge kabhuu also has its own pleasure.

FWP:

SETS
MOTIFS
NAMES
TERMS

Compare Ghalib's less specific but even darker muttering, which comes with an enjoyable commentary by the poet himself:

G{160,1}.

Note for meter fans: Here's an example of metrical flexibility, with the same word scanned :tara;h , short-long, in the first line, and :tar;h , long-short, in the second line.

Note for grammar fans: Although in the second line ho ga))ii is a perfect form, it's here being colloquially used for the future subjunctive. We can be sure in this case, because of the future tense in the first line.