S. R. Faruqi:

This verse too [like {1719,1}] is an extremely superb example of erotic poetry. The address to the Lord, the mixture of desire/lust and innocence, are very fine; and the sensual image is such that in truth the mouth fills with water. (With regard to the mouth's wetness, reread {1719,1}.)

To call the lips naa-makiidah (not having been sucked) is of course full of erotic pleasure; it also suggests that the beloved is still young, and as yet no one has been vouchsafed a kiss from her. Then, in water filling the mouth there's the pleasure of a zila.

In the second line, the insha'iyah style has created two meanings: (1) how pleasurable they will be!; and (2) the Lord knows what their pleasure might be like-- that is, what kind of sweetness would their sweetness be?

On the theme of the sweetness of the lips, Abru has composed a superb verse:

terii shiirii;N dahan hai amrit phal
shiirah-e jaa;N usii kaa sharbat hai

[your sweet mouth is the nectar-of-immortality fruit
the juice/wine of life is its beverage]

Here both shiirah and sharbat are uncommon words, not only because both are made from fruit, but also because shiirah means sharbat as well , and from the sharbat of the mouth, the wetness of the mouth is also evoked.

For a detailed discussion of erotic themes in Mir's verses, see the introduction to SSA, volume 1.

FWP:

SETS == KYA; MUSHAIRAH
MOTIFS == EROTIC SUGGESTION
NAMES == LORD
TERMS

The 'kya effect' is of course directly present, since kis is the oblique of kyaa . Thus we have three basic possibilities:

=An affirmative exclamation: 'What relish they will have!' (That is, the lover anticipates-- or at least imagines-- the pleasure of sucking them.)

=A negative exclamation: 'As if they will/would have any relish!' (That is, lips that are not sucked are wasted, they fail to give their proper pleasure; only sucked lips offer real relish.)

=A question: 'What relish will they (presumably) have?' (That is, the lover does not know, so he is wondering about the nature, or the very existence, of such pleasures.)

Really the delight of the verse, as SRF notes, is the contrast, and also the strong relationship, between the speaker in the first line with his mouth watering, and the beloved's unsucked lips in the second line.

It's also an excellent example of a 'mushairah verse'. The first line deliberately makes it impossible to figure out what is causing the speaker's mouth to water; only after the traditional mushairah-performance delay do we get to hear the second line, and even then the 'punch-word' is withheld till the last possible moment. Such simple means, and such complex and luscious effects!