S. R. Faruqi:

He has expressed this theme in a slightly different manner like this, in the fourth divan:

{1526,4}.

The style of the verse from the fourth divan is romantic; the tone of the present verse is dry and matter-of-fact. A verse by 'Adil Mansuri comes to mind:

kahne ko ek shahr me;N apnaa makaan thaa
nafrat kaa reg-zaar magar darmiyaan thaa

[so to speak, I had a house in a single/particular city
but a sand-desert of hatred was in between]

In Mir's verse, in remaining paas hii paas , there also seems to be an allusion to the state of marriage. The idioms paas aanaa and paas jaanaa are also used in the sense of 'to sleep with'. Thus falaa;N .saa;hibah falaa;N ke paas hai;N , or paas rahtii hai;N , have the idiomatic sense that they have a relationship.

To wring out so much from ordinary words is Mir's accomplishment.

FWP:

SETS
MOTIFS == EROTIC SUGGESTION
NAMES
TERMS

On the source of these verses see {236x,1}.

In the ghazal world, it's a rare verse that presumes to deprecate any kind of access to the beloved-- much less a kind that involves 'remaining' in a state of particular, intense nearness. Most of the time the lover yearns for any sign of even the most distant attention from the beloved. Here, he seems to disdain mere physical proximity, since what he really craves is a meeting of hearts. Well, why shouldn't the lover sometimes be finicky and demanding too, rather than just needy and desperate as he so often is?