S. R. Faruqi:

Here too, after the 'informative' style of the first line, he has very finely used the contrast of the insha'iyah style of the second line. Between 'wrecked' and 'moon' the wordplay is that a flood-stricken place is called 'wrecked' and the moon, by means of the ocean, brings floods. The wordplay of 'night' and 'moon' is obvious. In the verse this implication too is very fine, that to whichever one's house the beloved goes, he'll certainly be a 'home-wrecked' one. That is, either he'll in fact be 'home-wrecked', or if he's not, then now he'll become so.

Since the beloved isn't going to Mir's house, it's possible that in saying such a thing there may also be a case of sour grapes. Or perhaps there may be a curse: to whichever one's house you will go, may the Lord cause his house to become desolate.

FWP:

SETS
MOTIFS == HOME
NAMES
TERMS == INSHA'IYAH

In the first line, the beloved seems to be packing up for a visit or a vacation somewhere. People usually vacation in places that are attractive, and that are well-equipped to accommodate them and their favorite pursuits. So since the beloved especially enjoys chaos and ruin and desolation (the way we know she loves to see the writhing of her wounded lovers), it seems that she's packing up for a kind of holiday visit to some charmingly devastated place where she can be sure to find lots of such ruin. And as SRF notes, if her destination isn't 'wrecked' already, after her visit it definitely will be.

Moreover, since the beloved is a 'moon', the potential range of her 'visit' is the whole night-time world. And she is guaranteed not to stay very long in any one place-- she will wreak her devastation, and then move on. Perhaps it's only the poor naive speaker who imagines that she will single out the home of some wretched lover for special attention.

Note for grammar fans: Here's a case in which the perfect, chalaa , is made to act as a subjunctive, substituting for chale .