shevah : 'Business, trade, profession; manner, habit, custom, practice; amorous ways and looks'. (Platts p.741)
aur : 'And, also, for the rest, besides, again, moreover; but, yet, still; over, else; and lo!; — another, other, different; more, additional'. (Platts p.104)
FWP:
SETS
For more on Ghalib's unpublished verses, see the discussion in {4,8x}. See also the overview index.
This ghazal is extremely late (1865) and has received very little commentarial attention.
On the idiomatic range of sahii expressions, see {9,4}.
The first line sounds piously indignant-- for after all, any claim-- the word is clearly implied, though not actually present-- to be more beautiful than a celestial, paradise-dwelling Houri would be outrageous. Under mushairah performance conditions, we of course are then made to wait before being allowed to hear more about the repudiation of this scandalous claim.
Then the second line gives us several grounds for the repudiation. It's not that the beloved is acknowledged to be less beautiful than a Houri. Rather, it's that her behavior and style don't resemble those of Houris. Compared to Houris, the beloved's behavior and style may be aur in the sense of 'other, different' (she's simply incommensurable with them), or else in in the sense of 'more, additional' (whatever they've got, she has more of it). This verse is a member of the 'snide remarks about Paradise' set; for more, see {35,9}.
And since it's surely the lover speaking, there's also a great range of tone possible. Is the lover teasing the beloved, because he's amused by her presumptuousness? Is he fervently asserting her superior power and beauty? Is he ruefully referring to her cruelty (since Houris are not cruel)? Is he soothing her vanity with words that sound flattering but can also convey his bitterness or despair? The idiomatic possibilities of those multivalent words shevah , andaaz , adaa , followed by that aur sahii , are almost endless.
Compare {100,6}, in which the same general idea is presented even more enjoyably.