saa((id-e siimii;N dono;N us ke haath me;N laa kar chho;R diye
bhuule us ke qaul-o-qasam par haa))e ;xayaal-e ;xaam kiyaa

1) having brought both her silvery wrists/forearms into our hands, we released them
2) we were misled by her vows and promises-- alas, we formed a 'half-baked' opinion



S. R. Faruqi:

In the first line such a beautiful picture has been created that it beggars description. The picture is both visual (delicate wrists/forearms as white as silver) and active (having brought them into his hands, he released them). Then, the rhyme-word too is unexpected and meaningful. The meaning of ;xayaal-e ;xaam is that the beloved's vows and promises were of two kinds: one, 'let me go now, I'll meet you some other time'; and the other, she swore that in her heart was love for him. All these things are comprised in ;xayaal-e ;xaam .

By contrast, Sauda uses thae same rhyme-word in an overt manner, so that the pleasure is less:

mihr-o-vafaa-o-sharm-o-muruvvat sabhii kuchh us me;N samjhe the
kyaa kyaa dil dete vaqt us ko ham ne ;xayaal-e ;xaam kiyaa

[kindness and faithfulness, shame and compassion-- we considered everything to be in her
how extensively, at the time of giving the heart, we formed a 'half-baked' opinion]

Between 'silver' and 'half-baked' there's a wordplay, because raw [kachchii] silver is called siim-e ;xaam .

Nasikh has used one aspect of this theme. The insha'iyah style has made the verse effective:

chho;R dete dast-e jaanaa;N kyuu;N nah apne haath se
zindagii bhar haa))e malne the kaf-e ;hasrat hame;N

[why wouldn't we have released the beloved's hand from our hand?
for our whole life, alas, we had to 'wring the hand of longing']



SRF finds the imagery in the first line-- the speaker takes her delicate silvery 'wrists' in his 'hands'-- to be extraordinarily beautiful. Then he also points out the wordplay between 'silvery' wrists and a 'half-baked' opinion, based on siim-e ;xaam . All this makes sense, but it still doesn't give the verse much energy, in my view.