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 ;xiyaal-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-muravvat sabhii kuchh us me;N samjhe the
kyaa kyaa dil dete vaqt us ko ham ne ;xiyaal-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 inshaa))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']

FWP:

SETS == WORDPLAY

The wordplay between 'silvery' wrists and a 'half-baked' opinion, with the wordplay on siim-e ;xaam that SRF describes, I see as the chief charm of the verse.

SRF is very sure exactly what two components went into the beloved's false 'vows and promises'. Why should there be only two? Why not indefinitely many, as she groped for appropriate things to say that would get her hands released? And why should we think we can, or need to, specify what they were? Since the verse in fact gives us no information at all about them, I prefer to think of them as deliberately left to our imagination.