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778:: This classic Persian romance is often referencing in ghazal, with the poet comparing themselves to Majnun's state of mind in the tale. In the story, Majnun wanders the desert, where he lives an ascetic life and composes verses declaring his love for Layla. Ghazal poets frequently use this story as a simile or reference point to portray their love as similarly obsessive and pure. Ghazal poets frequently use this story as a simile or reference point to portray their love as similarly obsessive and pure. Urdu ghazal is a form of lyrical poetry that originated in the Urdu language during the Mughal Empire. It consists of rhyming couplets, with each line sharing the same meter.
34:
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1533:"Mir Taqi Mir: Selected Ghazals and Other Poems. (trans. Shamsur Rahman Faruqi.) (Murty Classical Library of India, 21.) xxxv, 666 pp. Cambridge, MA: Harvard University Press, 2019. ISBN 978 0 674 91920 4. - Mir Taqi Mir: Remembrances. (ed. and trans. C.M. Naim.) (Murty Classical Library of India, 22.) xxii, 371 pp. Cambridge: Harvard University Press, 2019. ISBN 978 0 674 66029 8"
650:, literary events that were historically held in the Mughal Courts, but in current times can be anywhere. At a mushaira, the order of poets who read their poems is in order from novice to master. The Mushaira is also considered to be a professional workshop, where poets can improve their ghazal after seeing how the audience reacts to certain parts.
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The ghazal as a genre embraces the concealment or rejection of one's love, viewing this as an intensification of feeling. The poet will often depict their self in positions of destitution with tattered clothing, or with stones being thrown at them. A key theme is that the beloved and lover are never
804:
Sufi thought first entered the ghazal genre in the
Persian language before eventually entering in Urdu as well. In the ghazal, themes of love and union with a lover simultaneously refer to union with the divine in a mystical Islamic tradition. Love for a Sufi is the presence of God, not the presence
792:
A common theme of the ghazal is of the tortured ('ashiq) pursuing an indifferent or cruel beloved (mehboob). The gender of both the speaker and the addressee of a ghazal can be heterosexual, homoerotic, or fluid and indeterminate. Through this ambiguity of personhood, the beloved is an ideal of love
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The Urdu ghazal makes use of a store of common characters, settings, images, and metaphors that inform both readers and poets of how to navigate the aforementioned ghazal universe. These tropes have been cultivated for hundreds of years and are meant to deeply resonate with listeners of the ghazal,
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Because the ghazal's ashaar are only two lines long, a reader's understanding comes not just from reading a singular she'r, but also from considering that she'r in the context of its relation to pre-established ideas in the ghazal tradition. Readers commonly navigate new she'r by comparing them to
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A ghazal is composed of ashaar, which are similar to couplets, that rhyme in a pattern of AA BA CA DA EA (and so on), with each individual she'r (couplet) typically presenting a complete idea not necessarily related to the rest of the poem. They are often described as being individual pearls that
249:
Classically, the ghazal inhabits the consciousness of a passionate, desperate lover, wherein deeper reflections of life are found in the audience's awareness of what some commentators and historians call "The Ghazal
Universe", which can be described as a store of characters, settings, and other
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The characters of the ghazal create expectations within the audience of how the speaker and addressees of the ghazal might act. The central characters are implicated in the classic love situation of the lover pursuing the beloved, while the other secondary characters mostly add to the lover's
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The Tavern (me'khana), where a wine-bearer (saqi) invites the speaker to deeper and deeper stages of intoxication. The wine-bearer is often a teenage boy or young man who is flirtatious with the speaker. The wine does not refer to sensual intoxication, instead opening up themes of spiritual
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Moth and Candle (Shama aur parvana): The moth is typically described as enraptured by the glow of the candle, circling it to the point of being incinerated. This image can be used as a metaphor to present the lover's obsession with the beloved, and his willingness to destroy himself for
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Arrows: In the same way an animal wounded by an arrow would run around a desert in a fit of passion, so too does the lover wander aimlessly in their obsession of the beloved. Often, the lover is described as physically wounded by the beloved's indifferent cruelty, invoking images of
323:
of an Urdu ghazal is based upon rules in Arabic scansion. The distinction between long and short syllables is not based on vowel length, like it is in
English poetry scansion. Instead, a long syllable generally contains two letters, while a short syllable generally contains one.
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A ghazal is composed of five or more ashaar (singular she'r), which are complete texts even when pulled from the rest of the ghazal. In the vast majority of ghazals, there is not logical connection or flow between ashaar in terms of content or theme.
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They are often described as couplets by
Western audiences and critics, yet using the word "couplet" to describe a she'r is not entirely accurate, as ghazals do not have the rhyme scheme of couplets, nor are they a Western poetic form.
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should be remodeled after the
English forms and conventions. While the classical ghazal embraced ambiguity, emotional hyperbole, and wordplay, the Aligarh Movement proposed that literature should be simple, clear, and modern.
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Medical: Poems often relate existential pain to having a medicinal cure, often invoked through the words dard or ilaaj (cure, medicical treatment). This she'r by Ghalib invokes medicinal imagery as well as the aforementioned
770:ġham-e-hastī kā 'asad' kis se ho juz marg ilaaj sham.a har rañg meñ jaltī hai sahar hote tak Asad, what can cure the grief of existence, except dying? The candle is obliged to burn before extinguishing at dawn.
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The Garden (bagh), where the poet often takes on the personage of the bulbul, a songbird indigenous to the Middle East and South Asia. Traditionally, this is a metaphor expressing desire for union with the
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is often lauded as ushering in a "Golden Age" of Urdu ghazal poetry in the early 18th century by mastering the blend of
Persian influences with the common and idiomatic Urdu. Another classical poet,
1830:
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In the late 19th century, reform movements of Urdu's literary landscape were influenced by the impacts of
British colonialism. One notable leader in the modernist Islamic reform movement was
476:, the founder of Hyderabad, composed ghazal in Persian, Urdu, and Telugu. He also began a tradition of arts patronage and promoted Hyderabad as a literary city of Urdu in Southern India.
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Meter is considered intrinsic to the craft, with some classical poets being mocked for crafting meter incorrectly. Meter for Urdu is completely unlike meter in
English poetry, as
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Women writers also began to receive recognition for writing ghazal after carving space for themselves during the 1940s in the masculine, male-dominated mushaira. Writers such as
533:, as Ustad Zauq and Maulvi Muhammad Baqar supported the uprising, believing it would restore the Mughal Court to glory. Both were later hung by the British for treason.
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Therefore, love in the ghazal is not only that of factual human love affairs (ishq-e-mijazi), but also of a divine union and mystical transcendence (ishq-e-haqaqi).
627:
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described as "voltas" or "turns" from the first misra (line) to the second, where the intention of the poet is to surprise the reader or invert expectations.
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The rose (gul) and bulbul: Poets often remark on the smile of the rose, or of its relation to the season of love, where the world blooms into spring.
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served as both a location where mushaira were hosted, and as an institution that provided patronage to poets such as Ghalib, Zauq, Dagh, and Momin.
305:. These ashaar tend to be more personal by the poet referring to themselves, diverting from the ghazal's universal and self-transcendent qualities.
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In this motif of the ghazal, the poets are often indifferent to their own implication of running into the religious figures at the tavern.
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362:. The radif is a repeating refrain consisting of a single word or short phrase that ends every second line in the ghazal. However, in the
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Another motif present in the ghazal is unbounded love for the beloved and destruction of self that is parallel to the Sufi practice of
1880:
Chakrabarty, Rajarshi (2010). "Professor B.B. Chaudhuri Prize: SHATRANJ KE KHILADI AND UMRAO JAAN: REVISITING HISTORY THROUGH FILMS".
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that historically and culturally gathers around like an audience to listen to the poet and to show appreciation to the performance.
643:. Another way to recite ghazal is tarannum, which is a mix of heightened speaking and low-key singing, often described as chanting.
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Metrical feet (rukn) are represented by mnemonic words called afaail, which both emulate and name the metrical foot. For example,
586:, which has digitized over 90,000 Urdu literary works, including ghazal. For the past five years, it has hosted the annual event
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Urdu for pleasure for ghazal lovers : intekhāb-o-lughāt : 500 selected verses & 10,000 Urdu words, English-Hindi
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gained a reputation for being one of the most generous, leading to many poets flocking to
Lucknow, Farrukhabad, and Faizabad.
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of physical passion. Many poets have written she'r which parody orthodox religious puritans, as in this she'r of Ghalib:
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The last Mughal emperor, Bahadur Shah Zafar, wrote this verse while imprisoned by the
British after the uprising ended:
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Literature written in Hindi-Urdu was not common prior to the 1700s. In North India, rich literary cultures existed in
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There are common settings wherein ghazals take place that usually shape the circumstances of the ghazal's meaning.
110:
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The Advisor attempts to console the lover, yet typically adds to his suffering with smug or unsympathetic advice.
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The vision of my own bleeding head as I would grow up passed before my eyes [and the stone dropped from my hand
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The ghazal is notable for its exaggerated, far-fetched, and elevated imagery with highly figurative language.
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186:
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Coppola, Carlo; Russell, Ralph; Islam, Khurshidul (1969). "Three Mughal Poets: Mir, Sauda, Mir Hasan".
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was one of the first to draw from the store of Persian literary culture to write ghazal in Hindi-Urdu.
1964:
Kugle, Scott (October 2007). "Qawwālī Between Written Poem and Sung Lyric, Or... How a Ghazal Lives".
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tradition, which is popular in South Asia. They are also commonly sung outside of Sufi shrines called
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Ahmed, Safdar (June 2016). "Literary Romanticism and Islamic Modernity: The Case of Urdu Poetry".
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In the aftermath of the rebellion, the old institutions of patronage, ustads, and mushaira ended.
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In this she'r by Ghalib, he invokes eternal longing and pain from the story of Layla and Majnun:
473:
465:, with earliest Awadhi texts dating to the 14th century. In Delhi, poets wrote in Persian, while
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The transformation of plot in the couplet of the Urdu Ghazal : an examination of narrative
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During this era, poets made a living by attracting the financial patronage of the courts. The
897:
491:
469:/Hindvi (what is now recognizable as Hindi-Urdu) did not have the same literary recognition.
1516:
Azmi, Yusuf (2018). "Chapter 9: Urdu Poetry and Hyderabadi Culture". In Azam, Kousar (ed.).
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The Lover (Aashiq) is standard "narrator" of the ghazal who pursues their beloved (mehboob).
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The Beloved (Mehboob)is aashiq's object of desire. The gender of the mehboob is universal.
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have expanded the ghazal to explore feminist perspectives and speak on issues in society.
8:
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The Religious Figure claims piety and righteousness yet indulges in alcohol or other sins
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Everywhere there is the lament and wails of mourning, how terrible is the turn of fate
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1977:
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1810:"From Antiquary to Social Revolutionary: Syed Ahmad Khan and the Colonial Experience"
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1119:"Lyric Poetry in Urdu: the Ghazal, by Shamsur Rahman Faruqi and Frances W. Pritchett"
1071:"Lyric Poetry in Urdu: the Ghazal, by Shamsur Rahman Faruqi and Frances W. Pritchett"
583:
159:
2315:
2249:
1973:
1831:"Jashn-e-Rekhta: For the love of Urdu, a language that defines a composite culture"
1755:
1711:"Bahadur Shah Zafar's Poem About The 1857 Revolt & Dilli-The Garden Of Harmony"
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2240:
Goodyear, Sara Suleri; Raza, Azra (July 2008). "Ghalib and the Art of theGhazal".
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has also adapted the Urdu ghazal for movie audience, creating a sub-genre called
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Mukhia, Harbans (1999). "The Celebration of Failure as Dissent in Urdu Ghazal".
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is notable for his poetry being socially aware, and sometimes even satirical.
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Critic and Scholar Shamsur Rahman Faruqi notes that one story claims the poet
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1227:. Nathani, Sultan, 1918-1992. (4th ed.). Bombay: Sultan Nathani. 1992.
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One of the largest organizations dedicated to preserving the Urdu ghazal is
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366:, the first she'r of a ghazal, the radif will end both lines of the she'r.
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1791:"Literary Notes: Anti-ghazal, meta-ghazal, free ghazal and English ghazal"
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Neither the crown, nor the throne, nor the emperor or the kingdom remains
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1901:
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is the final she'r of a ghazal, where the poet will often include their
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is the first she'r of a ghazal. In this she'r, the poet established the
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1857:"Golden Era of Bollywood: Ghazal in Golden Era of Bollywood (Part-1)"
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When Sun meets Moon : gender, Eros, and ecstasy in Urdu poetry
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where deeper reflections of life, death, and god can be expressed.
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have also portrayed the cultural decadence associated with ghazal.
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But, believe me, Ghalib, I did see him stealing in as I departed
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enlightenment and the Sufi concept of self-annihilation through
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The Rival competes with the lover for attention of the beloved.
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1520:. Abingdon, Oxon : Routledge, Taylor & Francis Group.
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Sabhi jagah matam-e-sakht hai, kaho kaisi gardish-e-bakht hai
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Masterpieces of Urdu ghazal from the 17th to the 20th century
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other she'r and reflecting upon similarities or divergences.
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279:
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Even as I, a young lad, picked up a stone to cast at Majnun
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There are many special rules that poets employ, such as the
1278:
Urdu ghazals : an anthology, from 16th to 20th century
369:
The qaafiya is a rhyming syllable that precedes the radif.
227:
2077:"Convention in the Classical Urdu Ghazal: The Case of Mir"
1854:
543:
Na wo taj hai na wo takht hai na wo shah hai na dayar hai
253:
2358:"The Story of Layla and Majnun: The Idealization of Love"
724:
I sing from the warmth of the passionate joy of thought
342:
denotes three long syllables in a metrical foot, while
1941:"Female Urdu Poets Used Ghazals for Social Commentary"
1537:
Bulletin of the School of Oriental and African Studies
815:
kahāñ mai-ḳhāne kā darvāza 'ġhālib' aur kahāñ vaa.iz
556:
529:
The literary establishment of Delhi was split by the
376:, the qaafiya is bolded and the radif is underlined:
1633:
Nets of awareness : Urdu poetry and its critics
1280:. Kanda, K.C. New Delhi: Sterling Paperbacks. 1995.
234:. It is commonly asserted that the ghazal spread to
210:
Khwaja Hafiz recites his poetry in the 17th century.
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1170:
Ravishing disunities : real ghazals in English
635:The Urdu ghazal can be sung with music in the Sufi
818:par itnā jānte haiñ kal vo jaatā thā ki ham nikle
354:The Urdu ghazal makes use of two main rhymes: the
653:A group of poets and poetry admirers is called a
2403:
1168:Agha, Shahid Ali, 1949-2001. (3 November 2000).
809:What! the Waiz standing aface the tavern door!
744:
714:Hoon garmi-i-nishat-i-tasavvur se naghma sanj
631:The Mushaira Jashn-e-Bahar in New Delhi, 2011.
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495:Mushaira in Hyderabad during the 19th century.
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2220:International Journal of English and Studies
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1663:: CS1 maint: multiple names: authors list (
1518:Languages and Literary Cultures in Hyderabad
1200:: CS1 maint: multiple names: authors list (
250:tropes the genre employs to create meaning.
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729:I am the bulbul of a garden not yet created
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331:character, which denotes aspiration in the
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2015:: CS1 maint: location missing publisher (
1882:Proceedings of the Indian History Congress
1748:South Asia: Journal of South Asian Studies
1667:) CS1 maint: numeric names: authors list (
1444:"Conventions of Love, Love of Conventions"
1361:Journal of the Society for Ethnomusicology
1204:) CS1 maint: numeric names: authors list (
238:from the influence of Sufi mystics in the
194:
180:
2213:"Ghazal: Journey from Persian to English"
2189:CS1 maint: multiple names: authors list (
2144:Kugle, Scott Alan, 1969- author. (2016).
2074:
1855:bolywoodfiles.blogspot.com (2017-07-02).
1460:Farooqi, Mehr Afshan (21 February 2008).
1107:(Thesis). University of British Columbia.
717:Main andalib-i-gulshan-i-na afridah hoon
294:that the rest of the ghazal will follow.
1442:Faruqi, Shamsur Rahman (June 11, 2020).
1100:
666:invoking their expectations of meaning.
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1998:
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1489:Early Urdu Literary Culture and History
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1354:"Tarannum: The Chanting of Urdu Poetry"
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254:Craft Characteristics of an Urdu Ghazal
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2148:. University of North Carolina Press.
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1808:Faruqi, Shamsur Rahman (August 2006).
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1492:. New Delhi: Oxford University Press.
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845:maiñ ne majnūñ pe laḌakpan meñ 'asad'
646:Ghazal are traditionally performed at
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2121:"COLUMN: GHALIB'S 'UNCREATED' GARDEN"
2096:"COLUMN: The bulbul in Urdu's garden"
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1963:
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1631:Pritchett, Frances W., 1947- (2004).
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335:script, being metrically invisible.
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2242:Transition: An International Review
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2119:Farooqi, Mehr Afshan (2019-03-24).
2094:Farooqi, Mehr Afshan (2015-10-11).
2061:
1915:Farooqi, Mehr Afshan (2019-06-02).
1687:"Ghalib and the revolution of 1857"
1387:
832:
486:
410:chashm-e-dil khol is bhī aalam par
13:
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1675:
1611:
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1352:Qureshi, Regula (September 1969).
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557:Modernism and the Aligarh Movement
422:baar baar us ke dar pe jaatā huuñ
14:
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848:sañg uThāyā thā ki sar yaad aayā
271:A she'r will often contains what
1978:10.1111/j.1478-1913.2007.00202.x
1531:Dudney, Arthur (February 2020).
1415:
1383:– via Columbia University.
1332:"Meter Chapter 1: General Rules"
930:Molana Inamur Rahman Inam Thanvi
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1486:Faruqi, Shamsur Rahman (2001).
1479:
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1022:"A Short History of the Ghazal"
950:
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398:nāzukī us ke lab kī kyā kahiye
1399:"Chapter Five-- Metrical Feet"
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1111:
1101:Liboiron, Paul Adrien (1989).
1063:
1038:
1014:
622:
77:(father of Urdu literature) -
1:
1917:"COLUMN: A BOUQUET OF POETRY"
1172:. Wesleyan University Press.
1007:
673:
1789:Parekh, Rauf (11 May 2015).
1760:10.1080/00856401.2011.633300
1418:"hasti apni habab ki si hai"
913:
866:
745:Classic Images and Metaphors
346:denotes two long syllables.
7:
2075:Pritchett, Frances (1979).
1685:Parekh, Rauf (2008-02-05).
995:
903:Mirza Asadullah Khan Ghalib
699:
578:Contemporary literary scene
246:make up a united necklace.
10:
2433:
2362:University Musical Society
1046:"Appreciating Urdu Poetry"
448:History of the Urdu Ghazal
434:nuqta-e-ḳhāl se tirā abrū
312:
218:is a literary form of the
81:(father of Urdu poetry) -
2320:10.1017/S0026749X99003522
2254:10.2979/trs.2008.-.99.112
1549:10.1017/S0041977X2000021X
1462:"Language of Whose Camp?"
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505:Mirza Muhammad Rafi Sauda
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73:
68:
53:
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25:
18:
2412:Urdu-language literature
2382:"Famous Ghazals in Urdu"
1999:Kiernan, Victor (1971).
606:The Chess Players (film)
531:Indian Rebellion of 1857
453:Emergence of Urdu Ghazal
349:
258:
143:Anjuman-i Taraqqi-i Urdu
2039:. Sterling Publishers.
1861:Golden Era of Bollywood
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474:Muhammad Quli Qutb Shah
2226:(4) – via ijoes.
1308:: CS1 maint: others (
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820:
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602:Umrao Jaan (1981 film)
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222:-poetry unique to the
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2035:Kanda, K. C. (2002).
2005:. London. p. 32.
1945:www.outlookindia.com/
898:Mohammad Ibrahim Zauq
843:
807:
768:
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538:
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472:In the 17th century,
378:
209:
2308:Modern Asian Studies
2211:Singh, R.P. (2019).
1397:Pritchett, Frances.
1330:Pritchett, Frances.
1149:Pritchett, Frances.
2081:Columbia University
1403:Columbia University
1336:Columbia University
883:Mirza Muhammad Rafi
232:Hindostani language
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372:In this ghazal by
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2155:978-1-4696-2679-6
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59:Urdu language
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2389:. Retrieved
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1839:. Retrieved
1837:. 2019-12-13
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1747:
1719:. Retrieved
1717:. 2018-07-02
1714:
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1690:
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1577:Books Abroad
1576:
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1469:. Retrieved
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1074:
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1054:. Retrieved
1052:. 2019-09-25
1050:Hersh Bhasin
1049:
1040:
1029:. Retrieved
1025:
1016:
985:Rahat Indori
972:Javed Akhtar
962:Fehmida Riaz
951:Contemporary
908:Daagh Dehlvi
888:Mir Taqi Mir
856:
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788:Love ('ishq)
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592:
581:
569:argued that
560:
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501:Mir Taqi Mir
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165:India Portal
163:
137:Institutions
126:
101:Urdu writers
83:Mir Taqi Mir
79:Wali Dakhani
75:Amir Khusrau
2248:: 112–125.
2180:|last=
1416:Taqi, Mir.
1002:Urdu poetry
623:Performance
216:Urdu ghazal
55:By category
2406:Categories
2391:2022-01-23
2367:2020-08-20
2130:2020-06-17
2105:2020-07-01
1950:2020-08-18
1926:2020-07-01
1866:2020-06-19
1841:2020-06-19
1721:2020-08-09
1696:2020-08-09
1583:(4): 645.
1128:2020-08-19
1080:2020-07-01
1056:2020-07-01
1031:2020-07-01
1008:References
679:troubles.
674:Characters
512:Oudh State
463:Brajbhasha
236:South Asia
2344:246231477
2328:0026-749X
2270:154285480
2262:0041-1191
2172:cite book
2164:971049255
2055:670951779
2011:cite book
1986:0027-4909
1894:2249-1937
1776:144687955
1768:0085-6401
1659:cite book
1651:419075128
1597:0006-7431
1557:0041-977X
1304:cite book
1251:cite book
1196:cite book
1188:916501978
990:Jaun Elia
977:Ada Jafri
914:Modernist
867:Classical
720:- Ghalib
594:Bollywood
499:The poet
442:kī sī hai
430:kī sī hai
418:kī sī hai
406:kī sī hai
394:kī sī hai
385:kī sī hai
340:maf'uulan
303:Takhallus
111:Novelists
91:Abdul Haq
2125:DAWN.COM
2100:DAWN.COM
1921:DAWN.COM
1902:44147585
1817:Columbia
1691:DAWN.COM
1605:40124023
1296:34345620
1243:29221730
1155:Columbia
996:See also
838:united.
700:Settings
648:Mushaira
519:Red Fort
333:Nastaliq
321:scansion
2386:Urdusad
1471:11 June
857:-Ghalib
765:candle:
761:battle.
709:divine.
637:Qawalli
360:qaafiya
288:qaafiya
131:Fiction
107:Writers
2417:Ghazal
2342:
2336:313103
2334:
2326:
2268:
2260:
2162:
2152:
2053:
2043:
1984:
1900:
1892:
1774:
1766:
1649:
1639:
1603:
1595:
1555:
1496:
1422:Rekhta
1381:849999
1379:
1294:
1284:
1241:
1231:
1186:
1176:
800:Sufism
783:Themes
754:union.
661:Tropes
655:Mehfil
641:Dargah
467:Rekhta
459:Awadhi
344:fa'lun
290:, and
220:ghazal
127:Ghazal
87:Ghalib
63:Rekhta
2340:S2CID
2332:JSTOR
2266:S2CID
2216:(PDF)
1898:JSTOR
1813:(PDF)
1772:S2CID
1601:JSTOR
1447:(PDF)
1377:JSTOR
1357:(PDF)
364:matla
356:radif
350:Rhyme
299:maqta
284:radif
280:matla
259:She'r
121:Forms
115:Poets
2324:ISSN
2258:ISSN
2195:link
2191:link
2184:help
2160:OCLC
2150:ISBN
2051:OCLC
2041:ISBN
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