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Ghazal-As Bhasi Seen

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Page 1: Ghazal-As Bhasi Seen

90 ���� ������ ���� ������ �� ����� ���� ����� ���������

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%�4���2�.

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A<�������B� !).

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A*8� ��������� 0�9���� ghazal, geet, nazm, nagma ���%���/���� ����<%.

��:���#��/6�� +%F&� ����� tarana, dadra, kajri, jhoola, chaiti ���%��,, ������,

�#��,. = �<���� ��3%����& A�0�K(�)� 0�9��#�$������,.

������<� ���, 0�K(�)� �,')�L* 9��#���� �;�� +%��, ���� %����.

'�#����, Khayal / thumri angil0�K(�)� �,')��8D����� ���� ���&���< , %���

%�������. +&�#"��� '�� �����, %7������ (�7�E����) thumri ���#�,

����� ��������#C !!

Nazam ��� �������/� H�%')�"����� �%���$. +���# �#C� =������, -��

50������ ���*2��� 5%*��, 5����.

Page 2: Ghazal-As Bhasi Seen

�M)��, �NO�"��, %��&�%���F %�%! P�!

+�� ����� �:����! ��:���, �'�������...

+�� %��� =����$ +�#C6��, = 58E�� %������� �*Q, �;*M������#C. ����$ +? '�� �#C.

��#C6�� "�4@��R6�%����# �;���2����..." �� ������&;. A T AS��, >���

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#���#�/��<�&��?. = �%�����# �#C� U�!���, -�� 50������

���*2��� %�%�/��V. '�� �W�� �#C.

+�� IXI�? ��,X ��0N���&�� = nazm ���&�,..

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

.

.

.

+�����, '�#����%���#C.

���/,....

'�� ���#� �G����� sher����� �,('���V. -��� sherA, / =�����,

�N�(Y��V.���� ��������� -�� ��#�����, �*Q%�, -�& A< . ����

Page 3: Ghazal-As Bhasi Seen

��!��� =���������� Z, A<�%�#C, ���� �8"���� J����� 4�#

��������, A<�%�,. ���1������, -�� '�#�� = 4 components A<�%/, - quafiya,

radiif, matla, makta. ����� beher (meter). �#C� sher�$&�, / =����$&�, -�� beher

5����&�,.

daayam pa.Daa huaa tere dar par nahii.n huu.N mai.n

Khaak aisii zindagii pe ke paththar nahii.n huu.N mai.n

kyuu.N gardish-e-mudaam se ghabaraa na jaaye dil

insaan huu.N, pyaalaa-o-saaGar nahii.n huu.N mai.n

+���

nahi hoo main �� �8"$ radeef, 58E�� sher-� (matla) �<� �%/ %����, which is two time

sin matla. ���� %��� =������� �<���� %����� ��(�, -�� �%/ %����.

Maqta, ��G��/ ��#���� U�!���� �%����� ��[ ��#C6�� ���� ��[ (pen

name) %��� sher. �#C� '�#����#�, shayar-��� peru (takhallus) %�/, ���#C-

-�� A8���/,

(+? ��\8� �D��� -��0N� '�� 5V... ��', H�%, �#E�] (���* 5V, 0E�,

�#E�], ^�� �#E�] ���%���� ^�����)

bhuulii bisarii cha.nd ummiide.n cha.nd fasaane yaad aaye

tum yaad aaye aur tumhaare saath zamaane yaad aaye

dil kaa chaman shaadaab thaa phir bhii Khaak sii u.Datii rahatii thii

kaise zamaane ai Gam-e-jaanaa.N tere bahaane yaad aaye

[shaadaab=in full bloom]

Page 4: Ghazal-As Bhasi Seen

Tha.nDii sard havaa ke jho.nke aag lagaakar chho.D gaye

phuul khile shaaKho.n pe naye aur dard puraane yaad aaye

[sard=cold]

ha.Nsane vaalo.n se Darate the chhup chhup kar ro lete the

gaharii gaharii soch me.n Duube do diivaane yaad aaye

+%��� shayar-��� ����#C. ��3 -�� U�!���#�, ��3 ���E"$& ���*2��#C.

�%�_�� '�#����� -�� ����#�B radeef %����6�� �%�� ‘hum radeeg ghazlein’ ���

����,.

+(���, '�#���� J��.

����? H�%,....

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'�� 0��* (shayar) ����� -�� ��#J��� �;�� ��/���%�,.

‘Zamana’ �� %�&���� �*Q, -�� ���F��3 ��#, ����� �;����, 5

��#J����# 4�# �%��0>���� �;�� ������&�, '�#��$.

bhuulii bisarii cha.nd ummiide.n cha.nd fasaane yaad aaye

Page 5: Ghazal-As Bhasi Seen

tum yaad aaye aur tumhaare saath zamaane yaad aaye

������ A8���/,-

bahadur shah zafar ������..

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������

5%0E���,, �#����, ��(a)� 4�Y��� �;�� '�#�� ���<�%����< .

+�� ����� �)��, �b%� – ghazal gayaki.

'�#��� #���%?���&����� ��!O, %��� %Ec��� -�� structure A<�������.

�������� 0�K(�)�� (����'�&���, ���� ��'�G�a������, �G��%�, �GE

�O����

(mid octave) ��(�, �d��&�� �)��. ���3 #�"��, (�;��, ��#��� ���#�,

������������#C)

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���3��������.

���)e �;f� ��������, '�� ����! ���"������� ��#�, ��#��#�, 4�#* sher

����! ���"�. ���V �#*&�, '-�� ��g�, ��(���!.. " '�#��� ������?.

�%������ J����#�, �����#�, �? '�#���� ��������, %��#C. ����

�,')�, -�� 9%�#� ���#�V.

Page 6: Ghazal-As Bhasi Seen

��\8� ����, '�#�, �#���, 5V '�#��� 0�K(�)� �,')����� ��)�� +�����?. ����� ��!O Barkhat Ali khan-A, (bade ghulam ali khan��� ����!) Ashiq Ahmed

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

Page 7: Ghazal-As Bhasi Seen

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

Page 8: Ghazal-As Bhasi Seen

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

Page 9: Ghazal-As Bhasi Seen

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.’

Page 10: Ghazal-As Bhasi Seen

Courtsey : Gopichand Narang and Nishat Zaidi