aa;Nkh lagii hai jab se us se aa;Nkh lagii zinhaar nahii;N
nii;Nd aatii hai dil-jam((ii me;N so to dil ko qaraar nahii;N

1) ever since the eyes have become 'attached' to her, the eyes haven't at all closed/'attached' [to each other]-- beware!
2) sleep comes in heart-composure-- and so, the heart has no stability



aa;Nkh lagnaa : ''The eyes to close'; to fall asleep, to doze; to have the eyes fixed on another (as an object of affection), to be enamoured (of)'. (Platts p.95)


zinhaar : 'Care, caution; protection, defence, patronage; —intj. Take care! beware! mind !—adv. (followed by neg. nah ), By no means, on no account; never'. (Platts p.618)


qaraar : 'Fixedness, fixity; permanence; consistency; stability, firmness, constancy; tenacity (of purpose); —rest, repose, quietness, quiet, peace, tranquillity; quietude, patient waiting, patience'. (Platts p.789)

S. R. Faruqi:

The theme is nothing special, but he's used the idiom aa;Nkh lagnaa well, in two senses. Momin too has tried to do this, but in his verse there's artificiality, because he makes explicit the mention among the friends-- that the point is to give information, not to express the state of the heart:

aa;Nkh nah lagne se shab a;hbaab ne
aa;Nkh ke lag jaane kaa charchaa kiyaa

[from the eyes not closing last night, the friends
spoke about the meeting of the eyes]

In the first line, shab is useless. Some people have read it as sab . But since a;hbaab itself is plural, to put 'all' with it is not very meaningful. Indeed, in Mir's verse the zila of nii;Nd and so to (in the sense of soto , 'sleepers') is unexpected and very interesting.



It's such a minor verse; the idiomatic pleasures are so cut-and-dried (except for the so to that SRF has pointed out). Probably SRF included it to make up the minimum of three verses that he likes to select from a single ghazal.