S. R. Faruqi:

This is a 'continuous' [musalsal] ghazal of five verses, in which the beloved has been made aware of the consequences of lover-ship. I have removed the comparatively weaker verses. The most interesting thing is that he has supposed the beloved to be a lover not of some other person, but of herself. As if there would be no one else in the world who would be able to steal the beloved's heart.

The original meaning of maa))il is 'bowed, bent'. In this sense the word dard has a zila with it. Because in a state of pain, a person often becomes bent and doubled over-- especially if the pain would be in the heart or breast. Thus if the beloved keeps on constantly looking at the aarsii (mirror), then she'll fall in love with herself, and then she'll become 'entirely pain' and stay that way.

In the second line, he has created an implication of the beloved's softness and delicacy. Even to look at her face is to do 'flower-picking' of her 'garden of beauty'. Then he's said 'if you keep doing flower-picking in your own garden of beauty, then through ardor and grief you'll become pale/yellow'. Because of its affinity with gul and baa;G , zard is very fine. To call the beloved 'tyrant' is also extremely superb, because for one thing she herself is a tyrant; that is, she practices tyranny on her lover. Then if she becomes in love with herself, it's as if she'll practice tyranny on herself as well.

A third point is that anyone who makes a joke out of tyranny, or anyone who does or says something unusual, is addressed as :zaalim . Thus Jigar Muradabadi has a peerless verse:

ay mu;htasib nah phe;Nk mire mu;htasib nah phe;Nk
:zaalim sharaab hai are :zaalim sharaab hai

[oh inspector, don't throw it away! my dear inspector, don't throw it away!
tyrant, it's wine! oh tyrant, it's wine!]

FWP:

SETS == EXCLAMATION
MOTIFS == [BELOVED BECOMES A LOVER]
NAMES
TERMS == GHAZAL; VERSE-SET

I have nothing special to add.