FWP:
SETS == PARALLELISM
DOOMSDAY: {10,11}
JALVAH: {7,4}
The commentators point out the repartee-- the verse seems to reply to a sort of teasing remark or taunt. (For more on this colloquial use of sahii , see {9,4}.) The idea would be, 'If I'm (like) the fire of Hell, then you're (like) the turmoil of Doomsday!'. (And, of course, if the lover is to be blamed for hotly and passionately desiring the beloved, she's to be blamed for provoking and inciting him with her disastrous beauty.)
There's also a fine affinity among the elements named here: the 'fire' of Hell is supplemented by the 'water' and 'earth' of the petrified phrase aab-o-gil , meaning 'constitution, composition'. And of course, the heart is a {glory/appearance}-garden, while the water and earth/'clay' are elements of such a garden. Then aab , with its double meanings of 'water' on the one hand, and the fire-evoking 'radiance' or 'luster' or 'splendor' on the other, is a perfect crowning touch.
The second line is in Ghalib's favorite inshaa))iyah mode: it asks a simple question-- and of course implies the answer. The first example of this excellent device is the first line in the whole divan: {1,1}. It's also a device beautifully suited to counterattack in an argument ('Well, whose idea was it to go to the party?').
Comparing the beloved to Doomsday is no uncommon idea. My
favorite example is the very explicit {96,3},
in which the beloved and Doomsday are actually measured against each other.
Nazm:
He has said the words kis kii sarcastically. The gist is that in your constitution is the mischief of Doomsday. That is, we've granted that our heart is filled with the fire of Hell; your saying this is true. But take a look at yourself too-- you too have become from head to foot the mischief of Judgment Day. (169)
== Nazm page 169