dil jahaa;N khoyaa gayaa khoyaa gayaa phir dekhiye
kaun martaa hai jiye hai kaun naa-paidaa ho myaa;N

1) when/where the heart has been lost, it has been lost; then just see
2) who dies, who lives, who would be unborn/uncreated/nonexistent, sir



naa-paidaa : 'Unborn, that has never existed, non-existent; extinct; not to be found, lost, missing; not evident, invisible; vanished'. (Platts p.1110)

S. R. Faruqi:

This verse isn't very good; it has been included in order to fulfill the condition [for SSA] of three verses. But the theme too is not devoid of pleasure. In the first line, jahaa;N means 'when', and phir dekhiye is connected to the second line. That is, when the heart was lost then it went; then let's see who dies, etc.

The construction of the second line is not very fine. To omit the kaun before jiye hai doesn't seem good. The prose of the line will be like this: kaun martaa hai , kaun jiye hai , kaun naa-paidaa ho miyaa;N . Prof. Nisar Ahmad Faruqi says that in the second line, instead of naa-paidaa , there ought to be taa paidaa , and that the line will be read like this: kaun martaa hai ? jiye hai kaun ? taa paidaa ho myaa;N -- that is, until the heart would be born or manifest for a second time. This reading is interesting, but there's no proof/evidence for it.

Janab Shah Husain Nahri wants a tum to be assumed before naa-paidaa ho myaa;N , but in this the difficulty is that in that case tum ought to be indicated/reflected somewhere, but here there's no such possibility.



SRF gives the text of the verse in SSA with not martaa hai but jiitaa hai at the beginning of the second line, and that's how he discusses it too. It's clear that this is an error. I have corrected it to the kulliyat reading, and adjusted his discussion accordingly, since there's nothing in the discussion that is really affected by the change.

I can't make very much of this verse at all. If SRF needed a third verse to complete his quota for this ghazal, I would have preferred {907,2}:

mat ;hinaa))ii paa))o;N se chal kar kahii;N jaayaa karo
dillii hai aa;xir nah hangaamah kahii;N bar-paa ho myaa;N

[don't, walking on henna-ed feet, ever go anywhere
it's Delhi after all-- may a tumult not somehow be afoot, sir!]

The wordplay of 'feet' and bar-paa honaa is there, of course, but the chief charm is the vision of a turbulent, disorderly Delhi-- which in Mir's spelling is dillii , and thus somehow the city of the heart.