Khwaja Mir Dard's 'madrasa ta ya dair ta ya Ka'ba ya but-khana ta'

For a scholarly article on the difficulties of translating Dard click here.
An interesting idea in an essay found here concerns the distinction between izafat and i'tibar- both of which have no real existence in themselves but with the former having a partial empirical existence through the One Reality's self revelation and the latter being wholly fictional and of the character of negation and non being. 
This enriches our reading of Dard, for the use of izafat will now suggests a variant ontology such that what it links exists only in a manner derivative  from that to which it grammatically enchains. 
Here is my version of the first ghazal in Dard's Divan.

Whether at the Ka'ba or Jaba the Hutt's Holy fane

Thy Guests, Lord, we at thy pleasure remain

Death's dawn revealed all Revelation was vain

Existence a dream and the Logos insane

 Does Autumn's feverish colour the wind's chill explain?
 Does the delivery boy, for its coquetry coy, my cock disdain?

My Pop's station is higher than Popes attain

'I'm a great mystic', is this ghazal's refrain

Oh yes and add in some shite about tears flowing like rain

And the Saqi and the Tavern & Love's torment & pain

& once you are done, start over and do it again

For 'I'm a great mystic' is every ghazals' refrain

My translation is not literal because I'm assuming Dard wasn't utterly stupid or concerned merely with coining sonorous cliches. But there is a more serious point- one I might refer to as the holographic nature of mystic poetry whereby the whole is contained in every part for by the principle of  lâ takrâr fi’l-tajallî, no synergy of the whole is not contained in the uncoiling haecceity of  the part, echo as it is of the primordial 'kun' ('Be').