nigaah : 'Look, glance, sight, view, regard; consideration; — look, aspect (of); — watching, observation, attention'. (Platts p.1151)
mashshaa:tah : 'A comber of hair; waiting-maid; tire-woman; bride-dresser; (in Urdu, also) a woman who makes or concerts marriages, a match-maker, a go-between'. (Platts p.1037)
In the first line, the o is for comparison. That is, the reflection of the face in the mirror is like that of a Pari in a glass. Having seen this situation, the adorner's eyes are conquered, and are blood-scattering with amazement.
Oh True Beloved, you are not seen, but your reflection is in things present in the world. This is as if a Pari would be shut up in a glass, and the reflection of her face would be visible in a mirror. It's a cause for amazement. The adorner's gaze upon that wonder is, struck by amazement, scattering blood.
This meaning is the one that Asi and Vajahat Ali Sandilvi have expounded. The first line can have one more meaning: that o is only for similitude. Oh beloved, in the mirror your reflection is so beautiful that there seems to be a Pari in the glass. Seeing your gorgeousness, the adorner's amazement-filled eyes are becoming blood-scattering. The blood-scatteringness is probably because of pleasure. In this way the verse has come into the earthly realm. In my view, this latter interpretation is better.
SETS == LIST
GAZE: {10,12}
MIRROR: {8,3}
For more on Ghalib's unpublished verses, see the discussion in {4,8x}. See also the overview index.
As Gyan Chand notes in discussing {424x,1}, the addressee throughout this ghazal seems to be the Lord (or else a beloved so divinized that it's hard to tell the difference).
For more on the possibilities of a Pari in a glass, see {227,4x}.
The first line consists of a simple, verb-free 'list' of two items ('A, and B'). How are they to be put together, and how are they to be juxtaposed to the second line? In such an abstract verse, it's hard to tell. Gyan Chand notes the two most obvious readings.
Why does the gaze of the humble 'adorner' (see the definition above) then become 'blood-scattering'? Gyan Chand speculates that it might be a sign of pleasure. Usually Ghalib gives 'blood-scattering' eyes-- not a 'gaze', as here-- to the lover, who weeps tears of blood; for examples see {25,7}. But a female adorner, a maidservant, is an unlikely candidate for falling passionately in love with (the image of) the woman she's adorning.
Possibly there's something about the adorner's state of radical amazement that inspires the blood-scattering gaze; on the particular nature of ;hairat see {51,9x}). But then, how does a 'gaze' or 'look' manage to scatter blood in the first place, apparently without even the mechanism of tears? Really the second line is annoyingly obscure.
Asi:
You are in pardah, and your glory/appearance is visible and apparent. Its situation is like that of a Pari who would be shut up in a glass, and her reflection would fall into a mirror. Seeing this wondrous sight, the adorner's gaze has become amazed, and has become blood-scattering. By 'adorner' is meant the beholders of the glory/appearance of the marvels of nature. This verse has a powerful rank.
== Asi, p. 309