S. R. Faruqi:

In the verse there's a strange kind of carelessness. From the eyes water mixed with blood is flowing, the heart's restlessness has kept the spirit in a state of agitation. But the speaker neither expresses amazement, nor demands wine, nor laments his condition, nor worries about how the beloved would learn of his state.

Carelessness, or rather disaffection, is what he feels, but in it there's no insensibility or passive helplessness; rather, there's a kind of dignity. Indeed, all this was there no doubt, and things have even remained like this, but it's not as if it's anything new; this kind of thing does after all keep on happening.

It's a very fine verse. And it's also quite tricky, because the verse first calls attention to its style, but the reason for it is understood only later.

FWP:

SETS == PARALLELISM
MOTIFS == EYES
NAMES
TERMS

The effect of thaa so thaa is something like 'then so what?' As with the English expression, the tone can very from genuine indifference ('Who cares? Go away and leave me alone'), through melancholy resignation ('Yes, it's a chronic condition, it happens every night'), to belligerent defiance ('Yeah, well, ya wanna make something of it?'). It can also convey a kind of fatalism: 'It was bound to happen', or 'Whatever will be, will be', or the like.

The structural parallelism of the lines encourages us to take them as semantically parallel, but it's also possible that one might be a cause, and the other an effect, of the lover's general wretchedness.