koft se jaan lab pah aa))ii hai
ham ne kyaa cho;T dil pah khaa))ii hai

1) from a blow/sorrow/vexation, the life has come to the lip
2) what a wound/blow/shock to the heart we have sustained/'eaten'!



koft : 'A blow, bruise; great fatigue, &c.; grief, sadness; crushing sorrow, anguish, pain; vexation'. (Platts p.863)

S. R. Faruqi:

The opening-verse is by way of introduction, but the balance of jaan and dil is interesting. Some time ago I wrote that Sauda's style is generally a style of verbal balance. And Mir and Ghalib's is a style of the juxtapositional logic of words, and the expansion of meaning. But it also happens that among some poets, both styles are found together. I still hold this opinion. I hope that the reader of this commentary too will perceive that Mir has some verses of verbal balance like Sauda's, and Sauda too has some verses based on the expansion of meaning (='meaning-creation') and the juxtapositional logic of words (metaphor, image, and this kind of creative words).



Because of the 'kya effect', the second line could also be interrogative: the speaker feels himself almost mortally injured, with his life on the verge of leaving his body, and wonders what exactly has caused his pain: 'Have we sustained a wound/blow to the heart?', or else 'What wound/blow to the heart have we sustained?'.

There's also the nice wordplay between 'lip' and 'eaten'. (In Urdu, of course, a blow or injury is 'eaten'.)