S. R. Faruqi:

The opening-verse is by way of introduction. But in the second line the wordplay of ān lage and jā jā is fine.

In the whole ghazal, the pleasure of the doubled rhyme [dohare qāfiyah] too is excellent.

FWP:

SETS
MOTIFS
NAMES
TERMS == RHYME

Really, the 'doubled rhyme' is neat! I hardly know how to show it in my first-line index, it's so unusual and clever.

Right on the shelves beside me I have baḥr ul-faṣāḥat (in two editions) and other handbooks of poetics, and I could try to discover a technical Arabic name for the practice. But alas, I can't even muster the curiosity to investigate the question. I've been inventing my own analytical devices and my own terms-- at first because I found that I had to, and now because I find that they usually help to get the job done. The technical vocabulary and interests of the poetic handbooks are rarely very helpful for the kind of work that I've set myself to do. (This also means that I'm leaving a very large terrain open for you future dissertation-writers!)

SRF too is a largely uncanonical commentator-- one of his favorite qualities in Mir, after all, is the unabashedly English-derived ḍrāmāʾī . But he of course has a much solider grounding in traditional theory (even though in practice he doesn't make that much use of it), and of course he is incomparably more widely read. And I notice that in this case he doesn't have anything special and technical to say about the 'doubled rhyme' either.

Note for translation fans: I couldn't resist using 'what-all' (since I'm a bit of an Arkansan anyway) to convey the otherwise uncapturable plural-ness of the kyā kyā usages.