what is Urdu Ghazal in English – गजल हिन्दी मे

what is Urdu Ghazal in English

Ghazal has his own distinct work in Urdu poetry. This method came in Urdu from Persian and Arabic languages, mainly Ghazal, who speaks in the way of talking to Mahabob, and who narrates the confusion and difficulty of the mind, it is called Ghazal.
what is ghazal in english in my own words that Ghazal is a dialogue that is what is said by Ghazal that whatever comes from the mind of the person’s anxieties and thoughts Eminent literary late Raghupati Sahay ‘Firaq’ from Urdu, Gorakhpuri Sahib wrote a lot of Ghazal’s soulful definitions. You say, ‘When a hunter chases the deer with dogs in the forest and ran away in the forest, he is trapped in a bush from which he cannot get out, then a painful voice emerges from his throat. The same compassionate voice is called Ghazal. That is why being manifest in the Divine form of compulsion is the ideal of Ghazal, to become the bestower of tone.

This is what Sumitra Nandan Pant had said

 
The first poet will be born from the auspicious wisdom
Exclamation of the poem will come out secretly with eyes
 
 
Sumitra Nandan Pant hindi kavita
 
 
Ghazal’s scope is only in today’s time, only to talk with a mashuka or to Mehbooba, whether it is about any particular person or any society, religion, political problem, patriotism Keeping your opinions on the subject matter of the environment, or the problems that arise, have become the medium of submission to the society through poetry, or poetry, Urdu Poetic is a very popular, sweet, savory and lush style. In Urdu, Ghazal has a different position. Ghazal’s words are meant to talk to Mahbub. But Ghazal changed his style and then Rashid Ahmad Siddiqi, a well-known Urdu literary critic of Urdu, calls Ghazal with ‘Aarru-e-Shayari’ Probably all these things are that Ghazals are till date and are generally preferred to all sections.
 
 
The beginning of the ghazals was something similar. It seems as if they were written about women only. like-
 
 
Junky work we
Ek Nigah Hua Ghulam Hain.

Wali Dakani

 
 
But as time went by, Ghazal’s writing table changed, and now there is no such aspect of life on which Ghazal has not been written.
 
 
 
                                          What does Nazuki say about her Lips
The petals are a rose.

Meer Taqi Meer

 

Ghazal structure analysis

 

Ghazals are made of Sher. Every Sher has two lines. Every line of sher is called Misra. The main point of Ghazal is that every sher in it has a complete poem in its own right and it should be related to the next or the other sher coming to Ghazal, it is not necessary. This means that if there is 25  sher in any ghazal, then it will not be wrong to say that there are 25 independent poems in it. The first line of  sher is called ‘misra-e-Ula’ and the other is called ‘misra-e-Sani’.
 
 

Matla-

The first sher to Ghazal is called ‘Matla’. It is ‘Qafia’ in both the lines, which is in lines. If both Qafias are in the second row of Ghazal, then it is called ‘Husn e-Matla’ or ‘Mutla-e-Sani’.
 
 
 

Qafia-

The word that came before Randif in the two lines of Matla and in the second row of every sher, it is called Kaafia. Qafia can come in the changed form. But it is important that his pronunciation be the same, such as bar, gar, mar, dar, or makan, jahan, saman, etc.
 
 
 

Randif-

The words that come after ‘Qafiye‘ in each sher are called ‘radhif’. Radhif is one in Ghazals. There is no radhif in some ghazals. Such ghazals are called ‘non-radhif Ghazals’.
 


Makta-

Ghazal’s last sher in which the name of the shair or Pen name  surname is called ‘maqta’. If there is no name, it is called Ghazal’s ‘last sher‘ only. Shire’s nickname is ‘Takhallus’. Through the following Ghazal, things written about Ghazals will be easy.

popular Poetry of Mirza Ghalib

There is no hope
There is no visible appearance.
Death is a day of judgment.
Why sleep does not come overnight.
Halle heart pe laughter came forward
Now it does not matter.
We are from where we are also
Some of our news is not available.
Kaba will go by mouth ‘Ghalib’
Shame does not come to you
 
 
The ‘Qafia’ of this ghazal is fine, look, but, news, but it is. This Ghazal’s ‘Randif’ does not “come”. It has come at the end of the second line of every sher. This is mandatory for Ghazal. The first sher of this Ghazal will be called ‘Matla’ because it has ‘Randif’ and ‘Qafia’ in its two lines. The last sher will be called ‘Maqta’ of Gazal because it contains ‘Takhalus’.
 
 
 

Bloom, or meter

 
Gazal flares are measured according to the length of the shers. It is also called vazn or Meter. Every ghazal nineteen is based on one of the popular ones. In the colloquial language, the general gazelles are in any of the three herbs-
 

History of Ghazal

Ghazal came from Urdu in Persian The first poet of Urdu whose poetry-compilation (Diwan) has been published, is Mohammed Quli Qutbshah You were the emperor of Dakan and your poetry included Urdu besides Persian and the dialect of that time too.
 
 
 
Piya baz piyala piya jaye na
 
Piya baj yak til jiya jaye na
 
 
 
 

First round history of Ghazal

 
Along with Wali, Urdu Shayari came from north to Dakan. Here the first round of Urdu poetry starts. At that time the shayar was aabru, nazi, musmun, hatim etc. In all these, Shayari of Wali was the best of all. In this period, the dakni word was greatly reduced in Urdu poetry. The names of shayares coming in the end of this period are as follows. Mazhar jane jana, Sadulla ‘Gulshan’, Khan ‘Arzu’ etc. Surely, they all made good progress to Urdu poetry. Some of his shers, for example, are given below.
 
 
It was always fun to live with which life.
If you would like to enjoy yourself, your own garden, your garden

Mazhar Jane jana

You do not know anything at all.
 
What is the confidence of living?

Khan Arzo

 


Second Round-H
istory of Ghazal

The famous Shire of this period is ‘Meer’ and ‘Sauda’. This period is called the ‘golden age’ of Urdu poetry. Among other shirs of this period, Meer, Dard and Meer Ghulam Hassan’s name were also famous. At this time, the high crossing Ghazals were written, in which the language of Ghazal, the purpose of Ghazal and its softness or Nazuki were restored. The pain in Meer Shayari has emerged in such a way that it is called heart and Delhi of Murcia.
 
 
Seeing where the heart raises with it
 
Where are these smoke rising from the sky?
 
Along with pain, Mir in Shayari’s poetry was also worthy of praise.
What does Nazuki say about her Lips
 
The petals are a rose.
 
‘Meer’ in these eyebrows eyes
 
All the fun is of wine.
 

Meer Taqi Meer

Another important point of poetry of this era is that most of the shayars of this era were of Sufi cult. Therefore, Ghazals of this period also get details of the sacred ideas of the Sufi sect.
 
But it happened in ‘Insha’, ‘Mushfi’ and ‘Jurat’. As far as the Lucknow style and statement is concerned, its foundation ‘Nasikh’ and ‘Aatish’ cast it. Unfortunately, both of these poets also have low literal feelings of heart and mind, and the description of body fluctuations, make-up and dress is more. Urdu poetry now bolts in two editions, ‘Lakhnavi’ and ‘Dehalvi’. In Delhi, where Ashiq and Sushak’s heart were peeping in the depths, Lucknow’s Mehboob’s body was enjoying his beauty, makeup and styles. In Delhi and Lucknow, when Shayari was in this mode, at the same time in Delhi, ‘Zouk’, ‘Ghalib’ and ‘Momin’ were engaged in promoting the traditions of Urdu Ghazal. It would not be wrong to say that ‘Ghalib’ filled the philosophies in Ghazals, ‘Momin’ softened and ‘Zouq’ made the language clean, easy and easy. Take a few sheres of these shayars .
 
You’re near me
 
When there is no other
 

Momin

 
Came alive, took a pile, walked.
 
Do not cheer yourself; do not be happy about yourself
 

Zauk

 
There was also a bad shayar with these three great shayars who had told the final words of life in a dark room of a prison far away from the contry.
 
How much is unnecessary for ‘Zafar’ burial.
 
Two yards of land were not found in gallary of man.
 

Bahadur Shah zafar

 
Delhi Bulli, Lucknow was wasted in 1857 the days of luxury and peace ended. Shire now goes to Delhi and Lucknow, leaving Rampur, Bhopal, Matiyaburj and Hyderabad to increase the glory of courts. Now the Urdu poetry seems to have mixed mix of Delhi and Lucknow. Two famous poets of this era are ‘Dag’ and ‘Amir Meenai’.
 
In spite of being caught by the British rule, the Indian man was stammering for independence, and occasionally rebelled. The public life was awakening. Dreams of independence were being seen and writing was becoming a sword. Now things of character and philosophy began to emerge in Ghazals. Poems were written on the nationality, ie national emotions, and the hidden words of the English rule princesses and their envelopes covered, but even sharper satirical shers were written down. Now the center of Ishq in Ghazals is not the Khuda or the beloved, it is the nation and the motherland. Its main purpose is now independence. ‘Hali’, ‘Akbar Elahabadi’, ‘Chakbish’ and ‘Iqbal’ are the fiery shirts of this era.
All from where good Hindostan is ours.
 
We are Nightingales, its Garde ours.
 

Allama Iqbal

 
This nazam of ‘Iqbal’ was on every Indian language and is still there today. ‘Akbar’ satire is equally famous. But it is important to mention one thing that these shayars have written ghazals less and have more poetry or poems. And in reality, the first blow to Ghazal was not enough. Some people thought that Ghazal was being finished.
 
allama Iqbal Poetry
 
 
But Ghazal’s staggered boat was taken over by the great shayars like ‘Hasrat’, ‘Jigar’, and revived it and revived it again. ‘Jigar’ and ‘Hasrat’ brought Mahbub out of the imaginary world and brought them into the world walking the world. Hasrat ‘and’ Jigar ‘considered as Lover and also made him a perfect human being who wanted, loved, and liked others as well.
 
To summon me in the afternoon sunshine.
 
He remembers coming barefoot on your feet.
 

Hasrat mohani

 
This form of Ghazal greatly appreciated the people. Ghazal is now young in the right sense.
 
 
After these shayars, a new breed of shayars can be mentioned about Firaq, Nusur, Jazbi, Majaz, Janiisar Akhtar, Shakeel, Majrooh, Sahir, Hafiz Hoshiarpuri, Qateel Shifai, Ibne Insha, Faiz Ahmad Faiz and many others. The history of Urdu poetry will be dark without mentioning ‘Hafeez Jalandhar’ and ‘Josh Malihabadi’. It is true that these two poets wrote poems (Nazemen) more and less Ghazals. But their poetry collections are of very high quality. A Nazm of Josh, which was written during the Second World War and where Hitler was praised, caused the English government to send him to jail. 
 
It is compulsory to mention Faiz Ahmad Faiz separately. This is the first shayari who brought politics in Gazal and together with the great conflicts of life and the reality presented with greatness and cleanliness.
 
What is wrong if the Mata-e-Loho pen is snatched?
 
I have dug my fingers in the bloodstream.
 

Faiz ahmad Faiz

This sample of the Free pen Imprisonment, behind prison educators, completely proves the above-mentioned word. Some shayares have given Gazal a new mode. In these ghazals, there is a promising trend called symbolic hint or suggestion.
 
Faiz ahmad Faiz urdu shayari
 
 
That is why it can be said without any hesitation that if there were no artist singers who presented Ghazal in the music of the melodious music and presented him well before the audience, Ghazal would surely be forced to cling to the books, then he would fall down.
 


what is ghazal in hindi गजल हिन्दी मे

 
ग़ज़ल को उर्दू शायरी में अपना अलग मकाम हासिल है। ये विधा फारसी और अरबी भाषा से उर्दू में आयी मुख्य तौर पर ग़ज़ल को महबूब से बात करने का जो तरीका आशिक़ अपने अंदाज़ मे करता है और जो मन की उल्झनें और परेशानी का बयान करता है वो ग़ज़ल कहलाती है।
 
मैं अपने शब्दों में कहना चाहूंगा कि ग़ज़ल वो संवाद है जो कि किसी व्यक्ति के हृदय की बेचैनीयों और विचारों के मन्थन से जो कुछ उत्पन्न होता है ग़ज़ल उसी को कहते हैं
उर्दू के प्रख्यात साहित्यिक स्वर्गीय रघुपति सहाय फिराकगोरखपुरी साहब ने ग़ज़ल की बडी ही भावपूर्ण परिभाषा लिखी हैं। आप कहते हैं कि, ‘जब कोई शिकारी जंगल में कुत्तों के साथ हिरन का पीछा करता हैं और हिरन भागते भागते किसी ऐसी झाडी में फंस जाता हैं जहां से वह निकल नहीं सकता, उस समय उसके कंठ से एक दर्द भरी आवाज़ निकलती हैं। उसी करूण स्वर को ग़ज़ल कहते हैं। इसीलिये विवशता का दिव्यतम रूप में प्रगट होना, स्वर का करूणतम हो जाना ही ग़ज़ल का आदर्श हैं
 
 
 

इसी बात को सुमित्रा नंदन पन्त ने कहा था


वियोगी होगा पहला कवि आह से उपजा होगा ज्ञान
निकलकर आँखों से चुपचाप बही होगी कविता अन्जान

ग़ज़ल का दायरा आज के ज़माने में केवल माशूका से या महबूबा से बात कहने का संकुचित शब्द ना होकर जन सामान्य तक के हर समस्या, चाहे वो किसी व्यक्ति विशेष के बारे में हो या फिर किसी समाज, धर्म, राजनीतिक समस्या,  देशभक्ति, या फिर पर्यावरण तक के विस्त्रित विषय पर अपनी राय रखना या फिर इनमें आने वाली समस्याओं को कविता, या शायरी के माध्यम से समाज के आगे प्रस्तुत करने का माध्यम बन चुकी है ग़ज़ल उर्दू काव्य का एक अत्यंत लोकप्रिय, मधुर, दिलकश औऱ रसीला अंदाज़ हैं।
उर्दू ज़बान में ग़ज़ल को अपना एक अलग मुकाम है ग़ज़ल के मायने वैसे तो महबूब से बातें करने के हैं। लेकिन ग़ज़ल ने अपने अंदाज़ को बदला और फिर उर्दू के सुप्रसिद्ध साहित्यिक एवं आलोचक रशीद अहमद सिद्दीक़ी साहब ग़ज़ल को आबरू-ए-शायरीबडे फख्र के साथ कहते हैं। शायद यही सब बातें हैं कि ग़ज़ल आज तक क़ायम हैं और सामान्यत: सभी वर्गों में काफी हद तक पसंद की जाती हैं।
 
शुरूआत की ग़ज़लें कुछ इसी अंदाज़ की थीं। लगता था मानों वे स्त्रियों के बारे में ही लिखी गई हों। जैसे-
 
ख़ूबरू ख़ूब काम करते हैं।
 
इक निगह सू ग़ुलाम करते हैं। ।

वली दकनी

 
लेकिन जैसे जैसे समय बीता ग़ज़ल का लेखन पटल बदला, विस्तृत हुआ और अब तो ज़िंदगी का ऐसा कोई पहलू नहीं हैं जिस पर ग़ज़ल न लिखी गई हो।
या
 
नाज़ुकी उसके लब की क्या कहिये
पंखडी एक गुलाब की सी हैं। 

 मीर

 

 ग़ज़ल का विश्लेषण 

 
ग़ज़ल शेरों से बनती हैं। हर शेर में दो पंक्तियां होती हैं। शेर की हर पंक्ति को मिसरा कहते हैं। ग़ज़ल की ख़ास बात यह हैं कि उसका प्रत्येक शेर अपने आप में एक संपूर्ण कविता होता हैं और उसका संबंध ग़ज़ल में आने वाले अगले पिछले अथवा अन्य शेरों से हो, यह ज़रूरी नहीं हैं। इसका अर्थ यह हुआ कि किसी ग़ज़ल में अगर २५ शेर हों तो यह कहना ग़लत न होगा कि उसमें २५ स्वतंत्र कविताएं हैं। शेर के पहले मिसरे को मिसर-ए-ऊलाऔर दूसरे को मिसर-ए-सानीकहते हैं।
 

मत्ला

 
ग़ज़ल के पहले शेर को मत्लाकहते हैं। इसके दोनों मिसरों में यानि पंक्तियों में क़ाफियाहोता हैं। अगर ग़ज़ल के दूसरे सेर की दोनों पंक्तियों में भी क़ाफिया हो तो उसे हुस्ने-मत्लाया मत्ला-ए-सानीकहा जाता हैं।
 

क़ाफिया

 
वह शब्द जो मत्ले की दोनों पंक्तियों में और हर शेर की दूसरी पंक्ति में रदीफ के पहले आये उसे क़ाफियाकहते हैं। क़ाफिया बदले हुए रूप में आ सकता हैं। लेकिन यह ज़रूरी हैं कि उसका उच्चारण समान हो, जैसे बर, गर तर, मर, डर, अथवा मकां, जहां, समां इत्यादि।

रदीफ

 
प्रत्येक शेर में क़ाफियेके बाद जो शब्द आता हैं उसे रदीफकहते हैं। पूरी ग़ज़ल में रदीफ एक होती हैं। कुछ ग़ज़लों में रदीफ नहीं होती। ऐसी ग़ज़लों को ग़ैर-मुरद्दफ ग़ज़लकहा जाता हैं।
 

मक़्ता

 
 
ग़ज़ल के आखरी शेर को जिसमें शायर का नाम अथवा उपनाम हो उसे मक़्ताकहते हैं। अगर नाम न हो तो उसे केवल ग़ज़ल का आख़री शेरही कहा जाता हैं। शायर के उपनाम को तख़ल्लुसकहते हैं। निम्नलिखित ग़ज़ल के माध्यम से अभी तक ग़ज़ल के बारे में लिखी गयी बातें आसान हो जायेंगी।
कोई उम्मीद बर नहीं आती।
कोई सूरत नज़र नहीं आती। । १
 
मौत का एक दिन मुअय्यन हैं।
नींद क्यूं रात भर नहीं आती। । २
 
आगे आती थी हाले दिल पे हंसी।
अब किसी बात पर नहीं आती। । ३
 
हम वहां हैं जहां से हमको भी।
कुछ हमारी ख़बर नहीं आती। । ४
 
काबा किस मुंह से जाओगे ग़ालिब
शर्म तुमको मगर नहीं आती। । ५

 

इस ग़ज़ल का क़ाफियाबर, नज़र, भर, पर, ख़बर, मगर हैं। इस ग़ज़ल की रदीफ’ “नहीं आतीहै। यह हर शेर की दूसरी पंक्ति के आख़िर में आयी हैं। ग़ज़ल के लिये यह अनिवार्य हैं। इस ग़ज़ल के प्रथम शेर को मत्लाकहेंगे क्योंकि इसकी दोनों पंक्तियों में रदीफऔर क़ाफियाहैं। सब से आख़री शेर ग़ज़ल का मक़्ताकहलाएगा क्योंकि इसमें तख़ल्लुसहैं।
 
 


बहर, वज़्न या मीटर (
meter)

 
 
शेर की पंक्तियों की लंबाई के अनुसार ग़ज़ल की बहर नापी जाती हैं। इसे वज़्न या मीटर भी कहते हैं। हर ग़ज़ल उन्नीस प्रचलित बहरों में से किसी एक पर आधारित होती हैं। बोलचाल की भाषा में सर्वसाधारण ग़ज़ल तीन बहरों में से किसी एक में होती हैं-
 
 

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