S. R. Faruqi:

This verse is from the fifth divan. The affinity of 'desert' and 'stony-wilderness' with 'yogi', and of 'yogi' with bisraam , is very fine. In the imagining of this verse is a loftiness that erases geographical and historical distances. 'Sand-place' gestures toward the sands of Najd, and 'stone-place' gestures toward the Himalaya mountains. In the sands was Majnun, and in the Himalaya mountains live the Hindustani faqirs and world-renouncing yogis. In this way past and present, geography and history, have come together. If 'night' is taken as a metaphor for the end of the journey of life, then bisraam is a metaphor for the sleep of death. That is, wherever we died, there we were buried; we didn't give a thought to any shroud and such. It's a fine verse.

Another aspect of this theme, Qa'im Chandpuri has versified. But between his two lines the connection is a bit lacking. Although the second line is indeed very proper:

dil paa ke us kii zulf me;N aaraam rah gayaa
darvesh jis jagah kii hu))ii shaam rah gayaa

[the heart, having found repose among her curls, remained
wherever evening came upon the darvesh, in that place he remained]

FWP:

RELIGIONS: {7,15}

This verse is actually {1452,5}. I suppose that SRF chose to graft it onto this much earlier but formally identical [ham-:tar;h] ghazal because he wanted it to be appreciated along with the other verses of {7}, since they are such fine company. He doesn't include any other verses from {1542} in his anthology. Since I'm following the parameters of his anthology in a general way, I will go along with him in such cases, always of course noting the actual source.

It truly is a wonderful verse. It's the kind you don't even have to say much about, it just settles with great dignity and calm into your mind. Especially the second line.