S. R. Faruqi:

These verses have been taken from a 'double-ghazal' [{1236} and {1237}]. In the whole double-ghazal a river of mingled Persian and Prakritic words, wordplay, wit and humor, 'theme-creation' is in commotion. I have selected only those verses that are extraordinary even within this extraordinary double-ghazal. In any case, the use of such rhymes-- and that too, in composing a ghazal with no refrain-- is in itself a proof of poetic mastery. Here, the additional accomplishment is that every rhyme seems to be used with extreme informality and ease.

In the opening-verse, the theme is fresh, but apparently light/trifling. It doesn't seem to be anything special. If we pay it a bit of attention, our eye lingers on the word mu.saa;hib . One meaning of it is commonplace: 'someone who would be in attendance on some noble or important person, and his status would be more or less like that of a servant'. A second meaning is ham-.su;hbat -- that is, 'one who associates as an equal, a friend, a companion'. And a third meaning is mu.saa;habat -- that is, 'one who converses'. It's clear that all three meanings are appropriate here, for a cloud and wind have the relationship of a 'blouse and skirt' [cholii-daaman].

Now let's observe that the action of a wind on a cloud is of two kinds. Sometimes a wind brings clouds flying along, and gathers them into the configuration for heavy rain. Sometimes, when the wind is very strong/swift, then it scatters the clouds. Just these actions exist between a sigh and tears. Sometimes the intensity of the sigh opens a path to tears, and sometimes the sigh lightens the heart, and it doesn't become an occasion for tears.

The word subhaa))o too is fine here. Between baa))o and sabhaa))o there's the device of 'doubt about derivation' in any case (because there's an external similarity between them but their origins are different; they have no etymological relationship). It's also interesting that the action of a sigh (that was described above) has been called a subhaa))o (that is, a good quality). The meaning of subhaa))o can be only 'quality, habit, manner', and also-- by extension-- the meaning of 'good quality', etc., is also appropriate. Mir Hasan:

magar ham ne ;xuubaa;N kaa dekhaa subhaa))o
kih big;Re se duunaa ho un kaa banaa))o

[but we have seen the quality of beautiful ones
that from being angry, their self-adornment is doubled]

FWP:

SETS
MOTIFS
NAMES
TERMS == DEVICE; DOUBLE-GHAZAL; RHYME; 'THEME-CREATION'

Mir himself was so proud of this 'double-ghazal' that he called attention to it in the closing-verse of the first ghazal {1236,10}:

is hii zamii;N me;N miir ;Gazal aur ek kah'h
go ;xvush nah aave saama((o;N ko baat kaa ba;Rhaa))o

[in only/emphatically this ground, Mir, compose another ghazal
although it might not please the listeners, the prolongation/escalation of speech!]

This closing-verse thus acts as a hinge, connecting the ghazal that has just ended to the one that is about to begin. The meaning of baat ba;Rhaanaa , 'to prolong a contest or dispute, to spin out or continue an altercation; to make a serious affair of' (Platts p.117), adds a witty touch of challenge.

I can't think of much to say about this particular verse; by Mirian standards it feels somewhat flat, abstract, prosy. It lacks 'dramaticness'.

Note for meter fans: All meters officially end with a long syllable; after most, an extra short 'cheat syllable' is permitted. The rhyme in this double-ghazal ends with an unusually conspicuous 'cheat syllable' consisting of ))o .

Note for vocabulary fans: If you're familiar with your Hindi-side vocabulary, you might recognize that subhaa))o is not really based on su + something. Instead, it's a directly imported form of svabhaav .