We feel happy in madness only in the cities; may Qais be happy in the wilderness, may Farhad be happy in the mountains.

This powerful couplet suggests that intense passion and dramatic madness ('diwangi') are best suited for the artificial, complex environment of the city. Mir Taqi Mir suggests that true, unrestrained emotion doesn't flourish in the natural wilderness, but rather on the vibrant, dramatic stage of urban life. The city provides the setting, the people, and the backdrop for heightened emotional experiences, turning passion into a visible, celebrated performance.