S. R. Faruqi:

This ghazal and the previous one [{508}] form a 'double ghazal'. [SSA integrates its selected verses into one ghazal: first this opening-verse from {509}, then the two verses from {508}, then three more verses from {509}.]

In the opening-verse there's nothing special, except that the affinity between chashm bhar aave and jigar is fine, because pieces of the liver are drawn out along with tears, so that if there's a great deal of weeping then finally the whole liver will be cut to pieces and will flow away. This theme he has versified once more in the first divan itself, but in that case too, without any special success [{514,2}]:

ka;Te hai dekhiye yuu;N ((umr kab talak apnii
kih sunye naam tiraa aur chashm tar kariye

[let's see how long my lifetime will last, like this--
that one would hear your name, and would make his eyes wet]

Mir Dard has given to life itself the rank of the beloved, and thus expressed a new idea, although his theme is different from Mir's:

zindagii hai yaa ko))ii :tuufaan hai
ham to is jiine ke haatho;N mar chale

[is it life, or is it some typhoon?
we, at the hands of this 'life', died and passed on]

FWP:

SETS
MOTIFS == LIVER
NAMES
TERMS == DOUBLE-GHAZAL; PEN-NAME

These two ghazals, {508} and {509}, that are identified by SRF as a 'double-ghazal' [do-;Gazlah], What does it take to make a 'double-ghazal'? Certainly the two ghazals in question must be formally identical (in meter, rhyme, and refrain); but this alone doesn't necessarily suffice. In every double-ghazal set that I know of, the two ghazals also appear together sequentially in the poet's divan, so that they seem to have been deliberately linked. Other 'double-ghazal' sets that are represented in SSA: {377} and {378}.

In the present case the two ghazals share another feature as well: both of them have the poet's pen-name in the penultimate verse, rather than the last one. This too suggests a deliberate linkage.