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Baat niklegi to phir door talak jagegi
Log be-vajah udaasi ka sabab poochhenge
Ye bhi poochenge, ke tum itni pareshan kyon ho..
Ungaliya uthenge sookhe hue balom ki taraf
Ek nazar dekhenge guzre hue saalon ki tarf
Joodiyon par bhi kayi tanz kiye jaenge
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[shaadaab=in full bloom]
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mujhko sooli pe chadhane ki zaroorat kya hai?
Mere hathon se kalam cheen lo mar jaonga.
+��� �(�������, +#C�#C�..
FAiz Ahmed Faiz, Mir Taqi Mir, Ghalib, Daag, Bahadur shah Zafar +%����& �%���� ��#J������
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Khan-A, Wali Mohammad Basheer ���"� �#��,
References in English ;
Nagma is comon word for song, it can be any genre ranging from pop to classic.
In poetry, the ghazal is a poetic form consisting of couplets which share a rhyme and a refrain. Each line must share the
same meter. Etymologically, the word literally refers to "the mortal cry of a gazelle". The animal is called Ghizaal, from
which the English word gazelles stems, or Kastori haran (where haran refers to deer) in Urdu. Ghazals are traditionally
expressions of love, separation and loneliness, for which the gazelle is an appropriate image. A ghazal can thus be
understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. The
form is ancient, originating in 10th century Persian verse. It is derived from the Persian qasida. The structural
requirements of the ghazal are more stringent than those of most poetic forms traditionally written in English. In its
style and content it is a genre which has proved capable of an extraordinary variety of expression around its central
theme of love and separation. It is considered by many to be one of the principal poetic forms the Persian civilization
offered to the eastern Islamic world.
Having a good working knowledge of Persian and having read a fair bit of Persian poetry such as Saadi and Hafiz. I find
that since early Urdu poets were persian speakers, they have copied Persian poetry forms in urdu almost verbatim.
For the sake of general knowledge, let me elucidate the various forms of verse that exists in persian poetry, urdu forms
are alomst identical.
1. Nazm.
Any form of verse ( not prose) is called a nazm. In urdu a nazm is normally any verse which deals with one subject only.
For example Shikwah and Jawab Shikwah is a nazm.
2. Ghazal.
In persian, any poetry dealing with love and ishq is called a ghazal. In urdu; whereas in nazm all verses deal with the
same subject; in a ghazal each couplet is complete in itself. This is the most sophisticated form of verse and all great
poets have written ghazals. Most of the Ghalib's poetry is ghazal. Just compare Ghalib's " Ye na thee hamari Kismat ke
waisale yaar hota..." with Iqbal's shikwah and you will see the difference.
3. Hazal
This is a form of nazm where poetry is used for fun. Such as the poems of late Dilawar Figaar. Hijv is a form of hazal
where you actually make fun of a person to insult him.
4. Marsia is a form of nazm used for lamentation ( Elegy in english)
5. Musaddass:
Normally in long nazms, it is very difficult to have exactly the same 'Qafia' and 'Radeef', nazm is subdivided into parts of
6 couplets ( such as musaddas Haali )
6. Rubai or Qata
It is a small nazm containing two couples. Again a very sophisticated form. A lot has to be said in just four verses.
7. Mathnavi:
This is the earliest form of nazm, where each couplet has different 'Qafia' even though the there may be one hundred
couplets ( shaer) all relating to the same subject.
8. Geet, tarana, naghma is any song, mostly nazm with all the couplets relating to one subject. For example our national
anthem or Iqbal's famous "lab pay aati hai duaa ban kay tamanna meree..)
9. Naat is a nazm dedicated to the praise of the holy prophet ( pbuh).
10. Hamd is a nazm dedicated to the praize of Allah.
11. Qasidah: This is a nazm written to praise grandeur of a king or a ruler. ( borrowed from Arabic)
12. Razm/Rizm: Also from Arabic. This refers to the tales describing heroic deeds of great warriors. Mahabharta is a form
of rizmic poetry.
Faraaq/firaaq is actually any separation, wisal refers to meeting of the lovers( implies actual love making) Sanam is any
idol that you worship; in poetry used for the beloved. Kafir; normally used in conjection with sanam; implies a beloved
that makes you adore/worship him or her.
What I find strangest of all is that in both the persian and urdu poetry, masculine form of the verb/noun is used for the
beloved.
Ghazal is not all about emotions and impressions. It also entails certain ontological and ideological leanings. Though
Urdu Ghazal chronicles aesthetic expressions of eternal human fascination with love and beauty which overshadows all
other aspects of human life, under influence of Sufism, it all along displays the metaphoric as well as real aspects of
spiritualism. Therefore, weaving philosophy into the wrap and woof of poetry it has attempted to disentangle secrets of
eternity and existence. These efforts, however, are not aimed at offering any logical solution to the ideological or
intellectual enigma. They are mere impressionistic or ecstatic outpourings of poets’ inner vision resulting from the
discernement of inherited religious beliefs, conterporary culture and social milieu. Therefore to comprehend the
approach of Urdu Ghazal towards the fundamental issues of the self and the universe and the creator and the creation,
it is imperative to keep in mind the social milieu, the cross currents of hindu and muslim gthought, and the growth of
Sufism which nurtured Urdu Ghazsal to its pinnacle.
A close look at the following verses from a Ghazal by Mohammed Quli Qutb Shah (a Ghazal poet of 1700) will make it
clear that fundamentally Urdu ghazal bears a deep impress of the Indian transcendental thought and has always been
inclined towards the principle of unity of being :
Tuj Amolak nu rte raushan jagat, ishq jhalkaran dipata mere khwab.
(The world entire is brightened by Your light
Your Glory is beyond spatial bound)
Jidhar dekhoon tu dise busn tera mere nain, Ki dil chaman manin tunhara hai baas jaise chaman
( Wherever I look, I see you, Your beauty in my Eyes,
You dwell in my heart like fragrance in the garder)
Now look at Mir (Mir Taqi Mir)
Gosh ko hosh se tuk khol ke sun shor-e-jabaan
Sab ki awaaz ke parde mein sukhan saaz hai ek
Chahe jis shakl se timsal sifat ismein dar aa
Aalam aine ke parde mein dar baaz hai ek
(Lend you ears once to the music of the world,
Behind all sound and fury there is only one singer.
Attributes may appear in any possible form,
The exhibitor is one behind the world’s mirror)
Mir kedin-o-Mazhab ko kya poochte ho tum unne to
Qashka kheencha dair mein baitha kab ka tark Islam kiya
Kiske Kaaba kaisa qibla kaun haram hai kya ahraam
Kuuche ke uske bashindon ne sab ko yahein se salaam kiya.
(Don’t ask about Mir’s religion,
He painted his forehead
Meditated in Hindu temples
Long ago he forsook Islam.
Kaba, Qilbla, haram, ahraam
Are not his concerns any more)
Ghalib
Na gule naghma noon na parda-e saaz
Main hoon apni shikast ki awaaz
Ham wahaan hain jahaan se ham ki bhi
Kuch hamaari khabar naheen ati
(Neither the song nor the musical note
I am a voice of my own doomed predicament.
I dwell in those recesses remote
Where even the news of myself reaches not)
The Urdu Ghazal elucidates, the fundamental experience of the consciousness of truth in terms of ‘oneness of being’ ,
ecstatic experience of essence or gnosis and self submission . It does not take the physical world as real. It holds that the
individual soul or psyche caught in the mires of this world, should turn its attention to the knowledge of essence and
should attain consonance with the sounds and music of the universe by merging with the infinite soul of the universe. As
pointed out earlier, these ideas reflected in Urdu ghazal, though drawn from Sufism which gained maximum popularity
in India, bear close proximity with the vedantic thought, The principle of realizing oneness of existence closely akin to
Vedantic principles and found a place in Sufism despite being in conflict with the basic spirit of Islam. When these ideas
travelled with Sufis, they readily caught the Indian imagination as they were in tune with the Indian psyche and thought.
It was, therefore, impossible for Urdu Ghazal to resist this influence. The very fact that the sufi ‘Wujoodi’(finding the
oneness of being) concepts of the immanence of God and surrender of individual ego became popular among Indian
muslims, so much so that they became a permanent feature in urdu, ghazal, is an ample proof in itself that they were in
consonance with the indigenous spiritual experience. This not only helped ghazal establish itself in Indian but also played
a significant role in strengthening the social fabric promoting tolerance and cohesion.’
Courtsey : Gopichand Narang and Nishat Zaidi