Posts Tagged ‘urdu poetry’

Ramadan and Ghalib

June 24th, 2015, posted in DAtEs iN a YeAR, Ghalib
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It is the month of Ramadan and Ghalib has his share of quotes for the season. Ghalib was known for his wit, when asked how many fasts he had kept he is reported to have replied ek na rakha (I did not keep one). Typical Ghalib.

But in his tongue-in-cheek manner Ghalib also pushes his readers to think of many other aspects of a situation than the one that seems obvious on the surface.

Our choice this week reflects this quality of Ghalib:

iftaar-e-saum kii jise kuch dast.gaah ho
us shakhs ko zaroor hai rozaa rakha kare

jis paas roza khol ke khaane ko kuch na ho
roza agar na khaaye to naachaar kya kare

the one who has the wherewithal to break his fast
that person should indeed keep the fast

the one who has nothing to break his fast with
what else can he do but be constrained to ‘eat the fast’

The Ghalib wordplay is obvious to the Urdu reader and the way he sets up the paradox is uniquely his own.

But we can take away a lot more from this set of couplets (qat’aa).

Think of this situation: You observe an individual not eating during the day. You can conclude that the individual is fasting (i.e., not eating out of choice). But it is also possible that the individual is not eating because he or she has nothing to eat (i.e., not eating out of necessity). The person is starving! ‘Eat the fast’ is a nice play here because the colloquial expression signifies not fasting but it is particularly apt in the context for the destitute because eating a fast is equivalent to eating a zero, i.e., eating something that yields no sustenance.

Here we have a profound observation on our understanding of choice. The notion of choice only becomes relevant when our basic necessities are satisfied. Thus we can take the theory of choice for granted in the West. But in a location like South Asia, where almost a third of the population lives below the poverty line, we need to be a lot more conscious of attributing observed behavior to the exercise of free choice. Some fast, others starve – the observed behavior is the same (not eating) but the compulsions leading to that action are entirely different. Some do not eat for a month; others do not eat all year round. What does fasting mean in this context ??

So, Ghalib is educating us to be aware of the context, to not be judgmental, to not think that our own way is the only correct way of behaving, to be empathetic and tolerant, and to understand the reasons that might compel others to behave differently from us.

To be willing to observe the rituals of piety is one thing; to be able to do so quite another. Let one not be judgmental from the luxury of a good sehri and well-laid iftaar table.

 

 

source :  https://thesouthasianidea.wordpress.com
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Teri Zulfaien Jis Ke Baazu Par Pareshaan Ho Gaain

February 11th, 2015, posted in Art, Ghalib, LoVE, Scarface'S DIARY
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Your sleep, heart, soul and night belong to the one whose shoulder your curls scatter on after a night of passion

– Ghalib –

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Neend us ki hai
Dimagh us ka hai
Raatien us ki haan
Teri zulfaien jis ke baazu par pareshaan ho gaain

– Ghalib –

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Difference between Ghazal and Nazam

January 20th, 2015, posted in POEtRY..
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Nazam and Gazal both are the form of Urdu poetry but have quite differences. When readers try to develop interest in Urdu poetry, while reading Nazam and Gazal they often get confused between Gazal and Nazam.  Both are very polite and meaningful forms of Urdu poetry. These are some common differences between Nazam and Gazal.

Characteristics of the Gazal:

  • Short in size
  • Have Rhythm in phrases called matla.
  • Ending point of Gazal used the poet name (pen name).  In Urdu it is called takhalus.
  • Ends at makta.
  • Pattern of all phrases have the same rhythm.
  • Gazal divides into complete phrases or verses which gives complete meanings.
  • By reading individually any verse doesn’t lose its meaning.
  • Commonly verses are not dependent on each other.

Characteristics of Nazam:

  • No size limits.  It can be very long or very short in size. For example Nazam Shikwa written by Urdu poet Allama Iqbal is very long. Another Nazam (poem) of Allam Iqbal is “Ram”. It is very short in size.
  • Matla and makta are not compulsory for Nazam (poem).
  • Verses of Nazam are bound to convey the complete theme.
  • Verses cannot convey complete theme individually. They are interlinked.
  • Nazam covers more areas than Gazal which is a descriptive form of poetry.Difference between Ghazal and Nazam (poem),Difference between Ghazal and Nazam,Difference between ,Ghazal and Nazam ,poem,Difference ,between Ghazal and Nazam ,Ghazal,Nazam,Urdu ,Urdu Poetry,Poetry,Urdu Adaab,urdu shairi,Characteristics of the Gazal,Characteristics of Nazam,Allama Iqbal

Hisotry :

In poetry (and as the lyrics in songs), the ghazal (Persian/Arabic: غزل‎, Hindi: ग़ज़ल, Turkish gazel) is a poetic form consisting of couplets which share a rhyme and a refrain. (The word “ghazal” is of Arabic origins, and is pronounced roughly like the English word “guzzle”, but with a different first consonant.) Ghazal (adapted into Urdu from Persian) is a reference to the cry of a gazelle.

The form is ancient, originating in 10th century Persian verse. It is derived from the Persian qasida, which in turn derived from a pre-Islamic Arabian form. The ghazal spread into India in the 12th century under the influence of the new Islamic Sultanate courts and Sufi mystics. Although the ghazal is most prominently a form of Urdu poetry, today, it has influenced the poetry of many languages.

A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qaafiyaa, Radif, Khayaal and Wazan. The traditional complete ghazal has a matla, a maqta, and three other shers in between. The first two shers of a ghazal have the form of a qatha (a specific variation of which is a ruba’ee; most familiar to modern readers from Khayyám’s Rubayyat).

Ghazals were written by the Persian mystics and poets Jalal al-Din Muhammad Rumi (13th century) and Hafez (14th century), the Turkish poet Fuzuli (16th century), as well as Mirza Ghalib (1797–1869) and Muhammad Iqbal (1877–1938), who both wrote Ghazals in Persian and Urdu. Through the influence of Johann Wolfgang von Goethe (1749–1832), the ghazal became very popular in Germany in the 19th century, and the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri-American poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited a volume of “real ghazals in English.”

The ghazal is a common song form in India and Pakistan today. Strictly speaking, it is not a musical form, but a poetic recitation. Today, however, it is commonly conceived of as an Urdu song, with prime importance given to the lyrics.

In some modernized ghazals the poet’s name is hidden somewhere in the last verse, usually between the front and end of a word.

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Nazm (Urdu: نظم ) is an Urdu poetic form that is normally written in rhymed verse.

YAAD
By: Fazil Jamili

Tum hanstee thee jaisey saawan gaa’ye malhaar
Tum rotee thee jaisey baarish, woh bhi moosla dhaar
Tum chaltee thee subah saweray jaisey chaley hawa
Tum ruktee thee maang raha ho jaisey koi dua
Tum sotee thee toot rahi ho jaisey koi angrraayee
Mein ney jitney mosam dekhhey yaad tumhaaree aayee

Translation:
REMEMBRANCE
You laugh as if sawan is singing malhar
You weep as if it is raining in torrents
You walk as if the breeze is blowing
You stop as if someone is praying
Your sleep is fascinating like a yawn

You are always on my mind eve or dawn

Sawan: rainy season
malhar: a kind of song said to induce rain

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Kushboo Ki Shahdaat

January 9th, 2015, posted in LYRiCS
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Souna Hai Ishq Kar Behtay Ho

December 31st, 2014, posted in LoVE, POEtRY..
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