S. R. Faruqi:

In the second line the first use is about the beloved; the second is an allusion to the heart. The relationship between the beloved and the heart is primordial and eternal. It's the beloved's special trait that she would be a hunter. Someone who has no relish for the hunt is not a beloved. And the special trait of the heart is that it would have received a wound. Both are compelled by their respective traits (that is, their natures).

FWP:

SETS == SUBJECT?
MOTIFS == REPETITION; SOUND EFFECTS
NAMES
TERMS

This verse, like the others selected from this ghazal, has conspicuous multi-syllabic internal rhyme between the two halves of the first line. In the second line, the display of virtuosity goes even further: both the formal 'rhyme' and the refrain are perfectly duplicated at the end of the first half of the line.

It's easy to agree with SRF that the first use applies to the beloved, the hunter par excellence. But isn't the second one a bit more open-ended? (If we chose, we could also read one or the other as ise .) After all, kisii ko kisii chiiz se sarokaar honaa is as (pointedly) vague as 'for someone to have a concern with' is in English. The candidates in the first line who might have such a concern are the heart, the defeatedness, the pain, and the afflictedness; every one of them has a considerable and even longtime 'concern' with wounds-- even a very intimate relationship. For we know that none of them are newcomers, all of them have been around for some time (ever since the hunt began, in fact). Any of them could be semi-personified and addressed by the lover at his pleasure.

Among all these possibilities the 'heart' and the 'defeatness' are no doubt the most obvious candidates from the first line, and the 'beloved' from the second line. Surely part of the pleasure of the verse is in our mind's oscillation among the possibilities. The rest-- and the larger part-- is in the excellent, swingy sound effects.