After leaving the mosque, Ranjha arrives at the banks of the River Chenab, across which lies Jhang Sial. Waris Shah paints an idyllic picture of the Punjab with birds chirping at dawn, young girls starting to churn milk and the sleepy eyed waking up for their morning ablutions. Ranjha sees a boat laden with baggage, alsmot ready to leave and he encounters Luddan the boatman. a man of impressive girth. Waris Shah's Heer is laced with humor and in a certain sense the whole Luddan chapter, which startes with this verse can be viewd as comic relief in the Shakespearean mold.

Stung by Ranjha's accusation of his being inhospitable, the Mullah relents and grudgingly allows Ranjha to spend the night at the mosque, cautioning him to leave at daybreak. He dismisses Ranjha's arguments as absurd and tries to hold his ground. Waris Shah laments the infestation of the houses of God by outwardly pious hypocrites who lack compassion.

Unperturbed by the Mullah's diatribe, Ranjha continues to chide him. He mocks the Mullah for his greed, suggesting that he benefits from the death of his congregants, savoring the delicacies that are served at funerals. He accuses him of using the Sharia as a shield and masking the misdeeds of the wealthy and the powerful. Finally he reproaces the Mullah for his inhospitable behaviour; a mosque is supposed to be a sanctuary but the Mullah, instead of welcoming travelers, commands them to be on their way.

The Mullah continues to berate Ranjha, pompously declaring hisemlf to be a fount of knowledge about Islamic juriprudence. He claims that he guides the faithful to paradise on judgement day and sees fit to chastise those who do not conform to the Sharia. Once again Warish Shah uses the tyranny of the Mullah to lay bare the oppression of the arbiters of organized religion.

Ranjha unleashes a barrage of rhetorical questions at the Mullah about the nature of Namaz or daily prayer. He waxes eloquent, asking about the attributes and antecedents of Namaz, making the point that prayer is free and attempts to tether prayer by ritualizing it are futile.

The Mullah continues to assail Ranjha, comparing him to a filthy dog and declaring that mosques, the realm of Allah, are no place for either dogs or mendicants. He launches into a diatribe taking issue with Ranjha's long hair, his mustache which according to him is too long and in violation of the Sharia. He threatenns to rip his tehmat or sarong, which hangs below his ankles and is hence to long and declares that he will burn his mustache. He calls Ranjha an apostate for abjuring daily prayer and declares that one like him, who does not understand Islamic jurispurdence should bepromptly sent to the glalows, thus again invoking Mansur al-Hallaj. Waris Shah in this verse rails aganst the arbiters of organized religion, who misuse their authority to judge and oppress those who they should be ministering to.

Ranjha assails the Mullah, saying that while he might have the outward appearance of a holy man, his thoughts and deeds are satanic. He accuses him of oppressing wayfarers such as himself; the reference here is to both his physical journey after leaving home and his inner journey on the Sufi path. He accuses the Mullah of hypocrisy, suggesting that he hides behind the Quran, interpreting it as he sees fit to suit his own agenda. He rebukes the Mullah and rejects his characterizing what is pure and defiled, for he feels that he understands the Sharia well and does not need the Mullah's instructions. Finally Ranjha accuses the Mullah of adultery and sexual misconduct, which according to him goes on clandestinely in the inner room of the mosque. In this verse we see Waris Shah in his iconoclastic avatar, laying bare the hypocrisy and the sanctimony of the representatives of organized religion. 

On hearing Ranjha's flute in the middle of the night, the Mullah in charge of the mosque hastens here. Ranjha's long hair offends him deeply and he castigates him for not following the Sharia. In his eyes, Ranjha is a rebellious and arrogant dandy and he threatens him, saying that he will meet an end like Mansur al-Hallaj, the Persian Sufi, who was sent to the gallows for declaring An Halaq or I am Truth. Mansur is a towering figure in Sufi lore and the Mullah's casting Ranjha in his mold is a subtle foreshadowing of Ranjha's transformation by Waris Shah.

The poet on the students who study at the mosque.

The poet continues to list the various classical texts that the students at the mosque study.