Formally speaking, this is a second, supererogatory opening-verse . In fact, it's the opening-verse of the other of the two ghazals from which Ghalib originally chose the verses that he combined into a new ghazal and published in his divan . Both opening-verses use the same rhyme -word. Obviously Ghalib had no objection to re-using rhyme words in the same ghazal; this is only a particularly clear example among a number of other such repetitions. This verse also continues the paradoxical line of thought of the previous verse, 24,1 , in which a 'claim of purity'-- a -- is imagined as having 'writhed in blood'. The first line is and multivalent in Ghalib's usual style, in ways that we have seen so often: (1a) expresses a hope, (1b) asks a question, and (1c) makes a (contingent) statement. And of course, we can't interpret the first line until we've been made to wait (under mushairah performance conditions) for the second. In the typical Ghalibian manner, the second line turns out to evoke, and wryly or amusingly address, all three possible readings of the first line. Beauty loves show and spectacle-- loves showing itself, seeing everything, being at the center of the action. It thus seems to be at risk for accusations of faithlessness, fickleness, some kind of visual promiscuity. Beauty's defense against the charge is a document under seal, upon which many witnesses have stamped their personal seals, just as would be appropriate for a court proceeding. But in this case, instead of applying a round personal seal to the document, the witnesses have applied their round eyes, leaving marks of their gazes. Does this count as a defense, or a proof of guilt? The commentators have explored some of the ramifications and implications. For more on the connection of eyes and seals, see 61,5 . Moreover, the 'spectacle' [] that Beauty loves can have mystical as well as this-worldly dimensions. For discussion of these implications, see 8,1 . graphics/eyeseals.jpg