Album: KUCHH TO HAI RABTA
Music: R.D. KAILEY
Lyrics: PANCHHI JALONVI
Singer: R.D. KAILEY
Producer: Lalit Arora & Panchhi Jalonvi
The ghazal (Urdu: غزَل , Hindi: ग़ज़ल), a type of amatory poem or ode,[1] was famous all around the Indian subcontinent in the 18th and 19th centuries. A ghazal may 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 Arabic poetry in Arabia long before the birth of Islam. It is derived from the Arabian panegyric qasida. The structural requirements of the ghazal are similar in stringency to those of the Petrarchan sonnet. In style and content, it is a genre that has proved capable of an extraordinary variety of expression around its central themes of love and separation.
The ghazal was spread into South Asia in the 12th century by the influence of Sufi mystics and the courts of the new Islamic sultanates. Although the ghazal is most prominently a form of Dari and Urdu poetry, it is now found in the poetry of many languages on the Indian subcontinent.
Ghazals were written by Rumi and Hafiz of Persia; the Azerbaijani Turkish poet Fuzûlî in the Ottoman Empire; Mirza Ghalib and Muhammad Iqbal of North India; and Kazi Nazrul Islam of Bengal. Through the influence of Goethe (1749–1832), the ghazal became very popular in Germany during the 19th century; the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri 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". Ghazals were also written by Moti Ram Bhatta (1866–1896), the pioneer of Nepali ghazal writing in Nepali.[2]
All the lines of a ghazal have the same meter. It is common in ghazals for the poet's name (known as takhallus) to be featured in the last verse (a convention known as the maqta).
Can usually be interpreted for a higher being or for a mortal beloved. Love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal law may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman.[5]
The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take, for example, the following couplets from Amir Khusro's Persian ghazal Nami danam chi manzil buud shab:
Many of the major historical ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz), or were sympathizers with Sufi ideas.[citation needed] Most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry.[citation needed]
Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi). Others are about "earthly love" (ishq-e-majazi), but many of them can be interpreted in either context.
Collection of ghazals. Illuminated headpiece. Rare Book & Manuscript Library University of Pennsylvania LJS 44
Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia,[citation needed] and gained prominence in the thirteenth- and fourteenth-century. Thanks to such Persian poets as Rumi and Hafiz and later due to Indian poets such as Mirza Ghalib. In the eighteenth-century, the ghazal was used by poets writing in Urdu. Among these poets, Ghalib is the recognized master.
Music: R.D. KAILEY
Lyrics: PANCHHI JALONVI
Singer: R.D. KAILEY
Producer: Lalit Arora & Panchhi Jalonvi
The ghazal (Urdu: غزَل , Hindi: ग़ज़ल), a type of amatory poem or ode,[1] was famous all around the Indian subcontinent in the 18th and 19th centuries. A ghazal may 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 Arabic poetry in Arabia long before the birth of Islam. It is derived from the Arabian panegyric qasida. The structural requirements of the ghazal are similar in stringency to those of the Petrarchan sonnet. In style and content, it is a genre that has proved capable of an extraordinary variety of expression around its central themes of love and separation.
The ghazal was spread into South Asia in the 12th century by the influence of Sufi mystics and the courts of the new Islamic sultanates. Although the ghazal is most prominently a form of Dari and Urdu poetry, it is now found in the poetry of many languages on the Indian subcontinent.
Ghazals were written by Rumi and Hafiz of Persia; the Azerbaijani Turkish poet Fuzûlî in the Ottoman Empire; Mirza Ghalib and Muhammad Iqbal of North India; and Kazi Nazrul Islam of Bengal. Through the influence of Goethe (1749–1832), the ghazal became very popular in Germany during the 19th century; the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri 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". Ghazals were also written by Moti Ram Bhatta (1866–1896), the pioneer of Nepali ghazal writing in Nepali.[2]
All the lines of a ghazal have the same meter. It is common in ghazals for the poet's name (known as takhallus) to be featured in the last verse (a convention known as the maqta).
Can usually be interpreted for a higher being or for a mortal beloved. Love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal law may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman.[5]
The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take, for example, the following couplets from Amir Khusro's Persian ghazal Nami danam chi manzil buud shab:
Many of the major historical ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz), or were sympathizers with Sufi ideas.[citation needed] Most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry.[citation needed]
Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi). Others are about "earthly love" (ishq-e-majazi), but many of them can be interpreted in either context.
Collection of ghazals. Illuminated headpiece. Rare Book & Manuscript Library University of Pennsylvania LJS 44
Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia,[citation needed] and gained prominence in the thirteenth- and fourteenth-century. Thanks to such Persian poets as Rumi and Hafiz and later due to Indian poets such as Mirza Ghalib. In the eighteenth-century, the ghazal was used by poets writing in Urdu. Among these poets, Ghalib is the recognized master.
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