shab hu))ii phir anjum-e ra;xshindah kaa man:zar
khulaa
is takalluf se kih goyaa but-kade kaa dar khulaa
1) night came, again/then the scene/view of shining
stars opened
2) with such ceremony that, so to speak, the door of an idol-temple opened
Urdu text: Vajid 1902 {14}
In this [second] opening-verse he has again [as in {14,1}] repeated the same theme [of praise for the king's mushairah] in different words. (29)
There's reason to suppose that this verse would not be from a ghazal. Because looking at the glittering stars, Mirza has remembered an idol-temple, he has not remembered paradise. The passion that idol-worshipers have for idols is apparent, and the worship of beauty is a practice of those with the temperament of lovers. And this theme seems best suited to the ghazal alone. But indeed it's also possible that this verse might have been composed in the introductory part [tashbiib] of some romantic ode. (30)
SETS == PHIR
IDOL: {8,1}
RELIGIONS: {60,2}
It's true that Ghalib has an ode in this same rhyme-scheme, though a different meter (Hamid pp. 198-200). But Nazm's flat assertion of 'non-ghazalness' is not warranted by anything in the nature of the genre. He makes a similar complaint about {74,1} as well.
The apparent reference in the verse is to the widespread use of lamps in Hindu temples, and the ceremonial opening of doors to permit a formal viewing of the image. Note that the comparison is a favorable one, based on radiance, beauty, and a lofty elegance.
Ghalib makes a much more amusing and rakish use of the stars' coming out, in {111,3}.
Nazm:
He's only shown a comparison for the stars coming out. This verse is not a ghazal one; rather, it's from the introductory part [tashbiib] of an ode. Probably other verses were with it, which were removed when the selection was made [of verses for the published diivaan]. (14)
== Nazm page 14