GHAZALS:
The lover for his part portrayed as a spineless individual resigned to his fate that has no choice but to continue hopelessly loving his beloved. He almost enjoys the pain and torment that the beloved puts him through, for that is better than nothing. This is illustrated in the following couplet from Ahmed Faraz's Urdu ghazal "Ranjish hi sahi":

ranjish hi sahi dil hi dukhane ke liye aa
aa phir se mujhe chhod ke jaane ke liye aa

Misery at least; come, even if it is to break my heart
Come, even if it is so that you can leave me once again.
Ahmed Faraz.
.

GHAZALS:

For sometime now I had the thought of handling this subject, but the problem was...I knew so little, my knowledge on the subject was inadequate, so much so that I could not even deffrenciate between a regular song and a ghazal, it is so hard for members of this community to do so, (we certainly hope to change that or at least give our colleagues an understanding at the end of it all.)

Starting out this porject...It is a fact that we will be starting out with nothing but at the end, we all hope to gain something.

There are times when colluegues were hinting that I should do something to make a start but I was afraid that "how could someone moderate a topic when he knows little or nothing whatsoever, because of this I always kept putting it off, hoping that someday when it is the right time I will get to it.

A little research and time spent to understand the intracacies still this does not give me the knowledge and authority to delve into and expend what I have learned to others. But the resolve is that a little bit of patience and understanding, with your help and contributions, we can definately make this effort facinating.

Ray, we are aiming for 50,000 page views and about 500 posts, so good buddy another long one to go

asj:
..

Will get back to Ghazals asap and then thread will be open to any comments and suggestions:

For the meantime please bear with me....thanks:

Asj...your efforts will be richly rewarded. You are a very humble and hard working man...may you forever remain our asj bhai.

GHAZALS:

Our intention is to present some of the many ghazal's singers, their background, their songs, but before doing so, we will have a page or two writeups.
In the writeups we shall try to explain ghazals and its origin, how it fare throughout the many hundreds of years, and most important of all will try to give a concise explanation to our viewers and readers on Ghazals.
As like our other projects, we shall be delving a lot into the internet for information, information that will be used to educate and not for profit.
To the many providers of articles that we shall be using.......we wish to express our profound "Thanks" and also to the many sites that will provide ghazals link, (please provide us with mp3 recordings) our heartfelt thanks are extended.

.

GHAZALS:

As I have stated before, I know that there will be contributions from members of GNI, also from friends from everywalk of life, examples our dedicated translators.

To you guys (you know who you are) my sincere thanks for being part of this.

Lake, your expertise on Ghazals will be in the limelight......make it count buddy

Brother Saeed where are you? if you can spare the time to be part of this, all the ghazals fans will be indebted.

Lynn are you still around?

Very important, would like all to know that this is not an asj baby, but will be a collective effort by so many

comments are welcome at this stage.
.

Origin and History Of Ghazal
The origin if ghazal form can be traced back to the 10th century A.D in Iran. It grew from the Persian form qasida, which had come from Arabia in verse form. The qasida was a panegyric written in the praise of the lord or the emperor. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in mono-rhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven. Because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form of poetry in Iran.
Since the arrival of the Turkic and Afghan tribesmen in India in about A.D. 1000, a most important place, a power base or shakti sthala has been occupied in Indian poetry and music by the lyric form called ghazal. This word, of Arabic origin, is now common heritage to all Indian languages and many Indian poets use it as the preferred form.
In Arabic, ghazal means a lover talking to his beloved amorously. The ghazal was developed further and to its maximum potential in Iran and in India where Persian was the court language of the Turcomans, Afghans and the Mughals who ruled in the North and the Bahamanis and their successors in the South. Of the Persian poets, Hafiz of Shiraz enjoys the highest reputation. The Indian poets held in esteem for Persian verse are Amir Khusrau (13th century) and Mirza Bedil (18th century). Khusrau also wrote in Hindi and was devoted to the great Sufi Nizamuddin Auliya. Khusrau's Persian and Hindi verse is sung at Sufi shrines even today, some seven centuries later. On the anniversary of the saint's death, the Urs festivities start with qawwals singing a Khusrau verse.
Ghazal – 2
What is a ghazal
The most commonly used definition for a ghazal is very simplistic and yet kind of misleading. A ghazal is commonly defined to be a collection of shers (couplets). A sher is a couplet, which means two line of poetry and makes sense all by itself. In other words, each sher is a poem by itself and it doesn't depend on the rest of the ghazal to make sense. This also means that there is absolutely no enjambments anywhere in the ghazal not even between the two lines of the sher.
Consider this sher,
The day we met my life was bound, with you
Every dream I dreamt of was found, with you.
You would notice that each line makes sense by itself and the sher is a complete poem by itself. Yet not all collections of shers form a ghazal. Lets look at the other rules which have to be followed.


Beher
Beher refers to the meter of the ghazal. All the shers should have the same meter. The types of beher are loosely classified as:
Short
Just that day, I was yours
In every way, I was yours
Medium
The day we met my life was bound, with you
Every dream I dreamt of was found, with you.
Long
Just for that one joy in my lifetime, I would do anything
To live with your love so sublime, I would do anything
As you see the number of syllables is not same in each line but close enough
Ghazal – 3
Radif
Radif or the refrain is the phrase or word with which all the shers end. The last line of all the shers end with the same word or set of words.
Refer
Just that day, I was yours
In every way, I was yours
"I was yours" forms the radif here. The opening sher in all ghazal must have the radif in both the lines and is called the matla. All the examples cited above are matlas.
Kaafiya
Kaafiyaa' is the rhyming pattern which all the words before 'Radif' MUST have. The ghazal follows an intricate internal rhyming pattern.
Just that day, I was yours
In every way, I was yours
Day and way form the kaafiya in our example.
Maqta
In the last sher of the ghazal the shayar generally uses his nick name or alias in the poem. This may be in first person, second person or third persona and may be in any part of the last sher, though this is not a compulsory pat of the ghazal it is commonly used.
When you were away from me, my love
My heart was away ground, with you
Ephemeral though this life may be, dearest,
By love, I will our world surround, with you
Here I take the nickname Ephemeral and use it to portray the timelessness of love.
Now coming to the most important rule of a ghazal. All the shers of the ghzals MUST NOT follow the same line of thought. Each sher should be a separate line of thought and yet must have the same underlying theme. Each sher shouldn't follow each other but must be disjointed. If the shers are scrambled and arranged in different orders It should still make sense. Remember it is a collection where except for the matla the placement of the rest shouldn't really matter.
Ghazal – 4
Consider this ghazal I wrote a while ago.
You look up with a smile, as love catches me unawares
Your dancing eyes beguile, as love catches me unawares

Stolen kisses whispered words, walks in the moonlight
Fond memories pile, as love catches me unawares

Nose pressed to the window, ears tuned to the door
My dreams run fertile, as love catches me unawares

Snow kissing my nose, wind whipping away my cape
I walk with steps agile, as love catches me unawares

Roses bloom in splendor, spring has spread her beauty,
I just want to sit down awhile, as love catches me unawares

Waves kissing the shore, branches swaying to the wind
Flowers bloom in style, as love catches me unawares

Wind whispers in my ears, the promises of a sweet tomorrow
My heart yearns to walk the aisle, as love catches me unawares
In some cases the whole second line of the sher is used as the radif throughout the poem.
The wind lovingly ruffles your hair
As the rain splatters against the pane

A new found love blossoms in passion
As the rain splatters against the pane

A matured love basks in familiar comfort
As the rain splatters against the pane.

A young couple share the day's worries
As the rain splatters against the pane.

A young heart dreamily yearns for love
As the rain splatters against the pane.

An old souls knits memories of love
As the rain splatters against the pane.

My heart just wishes you were still be my side
As the rain splatters against the pane.
Generally when writing a new form of poetry I use a blank form and then fit my words in it.
The Ghazal Format
Sher 1
------------------------------rhyme A + refrain
------------------------------rhyme A + refrain
Sher 2
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 3
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 4
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 5
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 6
----------------------------------------------------
------------------------------rhyme A + refrain
Sher 7
----------------------------------------------------
------------------------------rhyme A + refrain

Now draft the first sher, While doing so keep a few things in mind. Pick a rhyme for which you would be able to find lots of rhyming words, which gives you freedom. Then, make sure that the refrain is strong enough to sustain throughout the ghazal.
I pick my first sher as
They were people all new, the two strangers by the night,
Like the morning dew, the two strangers by the night..
My refrain is two strangers by the night and my kaafiya will be new, dew and so on. Now I write out the next sher
Just a chance clash of glances across a crowded hall,
Life took on a new hue, the two strangers in the night.
I make sure I stuck to the rhyme scheme, my radif is there and my kaafiya is correct. Now move on to the rest of the couplets one by one
Thrown together by a chance of a fate, circumstances
Act stronger than a glue, the two strangers in the night

Just a few moments together in a life spent apart
Will tell if love is true, the two strangers in the night

Whispered words and concealed glances at each other
In one night their love grew, the two strangers in the night

In the night set for romance in a star spangled sky
And a moonlight view, the two strangers in the night

The face a passing blur, catching yearning in the heart
Sometimes love occurs to, the two strangers in the night.
Till you get all the rules of the ghazal known thoroughly it might be a good idea to use this form.
Ghazal – 6
A class about ghazals would be incomplete without the mention of nazms.
A nazm is very similar to a ghazal except that all the shers are bound together by a single thought.
Some contemporary shayars use the nazm within the sher too.
An example of a nazm
I stood waiting for you near the door, just to be by your side
That's what I wanted since I was four, just to be by your side

When we met for the first time holding our mommy's hands
I hated you and thought it a bore, just to be by your side

Yet I pounced on excuses and often landed on your door
even when the rain did pour, just to be by your side

The year when i turned sixteen you made me yours with a kiss
My heart did pound and blood did roar, just to be by your side

All through the tumultuous years we were together and fought
I wanted even when we were at war, just to be by your side

And then came the day when we were named man and wife
That was the day I solemnly swore, just to be by your side

Now as you sleep carelessly on the bed with an arm around me
I know I am blessed, even if you do snore, just to be by your side
The ghazal takes a little bit of time in the beginning to master the rules but is a pleasure to write later on. It is a very beautiful form to capture the myriad emotions of love. The ghazals of Ghalib are a treasure to read and I have provided the link below.
Recommended Reading
http://www.msci.memphis.edu/~ramamurt/ghalib.html
Wrapping up the rules pertaining to a ghazal are
"¢ A poem of five to fifteen couplets
"¢ No enjambment between couplets. Think of each couplet as a separate poem. One must have a sense that line 2 is amplifying line 1, turning things around, surprising us.
"¢ Once again, ABSOLUTELY no enjambment between couplets"”each couplet must be like a precious stone that can shine even when plucked from the necklace though it certainly has greater luster in its setting.
"¢ What links these couplets is a strict formal scheme. This is how it works: The entire ghazal employs the same rhyme and refrain. The rhyme must always immediately precede the refrain. If the rhyme is merely buried somewhere in the line, that will have its charm, of course, but it would not lead to the wonderful pleasure of IMMEDIATE recognition which is central to the ghazal. The refrain may be a word or phrase.
"¢ Each line must be of the same length (inclusive of the rhyme and refrain). In Urdu and Persian, all the lines are usually in the same meter and have the same metrical length. So establish some system"”metrical or syllabic"”for maintaining consistency in line lengths.
"¢ The last couplet may be (and usually is) a signature couplet in which the poet may invoke his/her name in the first, second, or third person.
"¢ The scheme of rhyme and refrain occurs in BOTH lines of the first couplet (that is how one learns what the scheme is), and then in only the second line of every succeeding couplet (that is, the first line of every succeeding couplet has no restrictions other than to maintain the syllabic or metrical length.
"¢ There is an epigrammatic terseness in the ghazal, but with immense lyricism, evocation, sorrow, heartbreak, wit. What defines the ghazal is a constant longing.

GHAZALS:

In my next posts I will try to go through in laymam terms the definition so that one could have a slight idea of "What is a Ghazal"

Lake have presented a very informative piece, which I will try to delve into.

GHAZALS:

Ghazal in short, is a collection of Sher's which follow the rules of
'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif'. So to know what
Ghazal is, it's necessary to know what these terms mean.

To understand these terms easily , we will take an example.

1. koi ummid bar nahin aati
koi surat nazar nahin aati

2. aage aati thi haale dil par hasi
ab kisi baat par nahin aati

3. hum wahan hain, jahan se humko bhi
kucch hamaari khabar nahin aati

4. kaabaa kis muh se jaaoge 'Ghalib'
sharm tumko magar nahin aati

To explain ghazal, firstly we need to know

What is a Sheyr
A sheyr is a couplet

What is a Couplet
A couplet is two lines of rhyming verses:

In the above example we can say we have 4 sheyrs or 4 Couplets

Putting a collection of couplets or Sheyrs together, we have a Ghazal:

That was easy: it gives a general idea of what is a ghazal

Not so fast,

As the Ghazal is made up with certain requirements, which we will deal with later.

For now that is the general idea of a Ghazal:
.

Ghazal in short, is a collection of Sher's which follow the rules of
'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif'. So to know what Ghazal is, it's necessary to know what these terms mean.

Will explain on a layman basis next:

.

GHAZALS:

Can't wait to spin some ghazals by MEHNDI HASSAN, GHULAM ALI, JAGJIT SINGH, FARIDA KANOOM,
AND SO MANY MORE ARTISTE.

Will get to Ghazals later:

quote:

Originally posted by asj:
GHAZALS:

Can't wait to spin some ghazals by MEHNDI HASSAN, GHULAM ALI, JAGJIT SINGH, FARIDA KANOOM,
AND SO MANY MORE ARTISTE.

Will get to Ghazals later:

Asj, I anxiously await them, especially Jagjit's. I know Dara, Laker & Rajkumarie will find them spellbinding too.

quote:

Originally posted by asj:
GHAZALS:

Brother Saeed where are you? if you can spare the time to be part of this, all the ghazals fans will be indebted.

.

a la Veer Zara

Mein yahan hooun yahan hooun yahan

You are nothing if not ambitious hehehe ... tough mazmoon but the audience is going to love it.

Count me in asj bhai

quote:

Originally posted by Saeed:

quote:

Originally posted by asj:
GHAZALS:

Brother Saeed where are you? if you can spare the time to be part of this, all the ghazals fans will be indebted.

.

a la Veer Zara

Mein yahan hooun yahan hooun yahan

You are nothing if not ambitious hehehe ... tough mazmoon but the audience is going to love it.

Count me in asj bhai

Bhai Saeed, Certainly a la Veer Zara, it seems like ages since the highly successful Rafi Project but it has only been one year, but that seems like eternity, so I know that you will hate me for saying thanks, but thats my humble way of telling you that you were "missed"

Thanks for coming aboard.

.

quote:

Originally posted by Joan:

quote:

Originally posted by asj:
GHAZALS:

Can't wait to spin some ghazals by MEHNDI HASSAN, GHULAM ALI, JAGJIT SINGH, FARIDA KANOOM,
AND SO MANY MORE ARTISTE.

Will get to Ghazals later:

Asj, I anxiously await them, especially Jagjit's. I know Dara, Laker & Rajkumarie will find them spellbinding too.

Joannie,
Will get to that........as we all are eagerly awaiting the melodious voice of Jagjit and others pouring out their heart and soul into some of the greatest renditions ever recorded, but it is sooooo important to let our viewers know a little bit about Ghazal.
.

I dont know anything about Ghazals but I do enjoy Jagjit and Chitra Singh.
Thank you for theinfo u share asj.

GHAZALS:

quote:

Originally posted by VIDYA:
I dont know anything about Ghazals but I do enjoy Jagjit and Chitra Singh.
Thank you for theinfo u share asj.

Vidya, it is our intention that long before we are finished with this thread, we all will know something about the Ghazals:

To recap what we have learnt so far:

I am poositively sure you know what is a "couplet"
that is two rhyming verses put together;

And we can call a "couplet" a "sheyr"

Putting together a collectiion couplets or "Sheyrs" together give us an indication of a Ghazal.

But in order to rightly call it a Ghazal, there are other consideration to be taken into account.

And those considerations, we will take into account next.
.

To recap what we have learnt so far:

I am poositively sure you know what is a "couplet"
that is two rhyming verses put together;

And we can call a "couplet" a "sheyr"

Putting five or more than five couplet or "Sheyrs" together give us an indication of a Ghazal.

But in order to rightly call it a Ghazal, there are other consideration to be taken into account.

And those considerations, we will take into account next.
.[/QUOTE]

(1) "Beher".
Beher is the length or the meter of the Sheyr, In a Ghazal the lines or couplets or sheyrs must be of the same length or meter,

for example:
1.koi ummid bar nahin aati
koi surat nazar nahin aati

the lines or length of the lines are relatvely equal,

We have the rhyming verses and the lines of relatively of equal lengths

It is important to note that the "Beher" could be of
a) A short length
b) A medium length
c) A long length

Now we can say that a Ghazal is a collection of sheyrs of the same "beher/length/meter"

But there are other considerations, which we will get to later.

.

GHAZALS:

Now we can say that a Ghazal is a collection of sheyrs of the same "beher/length/meter"

But there are other considerations, which we will get to later.

Other consideration we will look at are

1) Radif

2) Kaafiyaa

3) Matla

4) Maqta:

.

GHAZALS:

Now we can say that a Ghazal is a collection of sheyrs of the same "beher/length/meter"

But there are other considerations, which we will get to later.

Other consideration we will look at are

1) Radif

2) Kaafiyaa

3) Matla

4) Maqta:

(1)RADIF:

If you notice in the Sheyr or the Couplet, the ending of the second line, is the same as the ending of the first line, example:

koi ummid bar nahin aati
koi surat nazar nahin aati

thus the Radif is "nahin aati"

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif

GHAZALS:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif



ALBUM : ANDAZ E MASTANA
GHAZAL: TERE ANDAZ E MASTANA
SINGER : MEHNDI HASSAN:

TERE ANDAZ E MASTANA:

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Tere shoukhi nirale hain (Tere devar juda na na)2
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

(Ye ada eke je dil nashee Jaan ley ley na mere kahin)2
You na sharma kay balkhana (Hai Tere Andaz e mastana)2

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

(Jal na jaye kare dhuup hain Tera nazook bara ruup hain)2
Mere aankhon may aajana (Hai Tere Andaz e mastana)2

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Tere Damsay hai mousam haseen Husn ko tere ai nazneen
Phool dayte hain nazrana (Hai Tere Andaz e mastana)2

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Tere shoukhi nirale hain (Tere devar juda na na)2
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2

Will look at this and see if we can recap what we had done so far:

(1) We have six Sheyrs put together

(2) Looking at these Sheyrs, we noticed that they are of equal length

(3) Looking at these Sheyrs again, we noticed that the last word of every second line
is the same as the last word of the very first line

Agreeing with the above we will notice that we have:

(1)A collection of sheyrs

(2)We have "Beher" Sheyr of equal length

(3)We have Redif that is ending word of every second line is the same as the first line:

Hence:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif



Any comments so far Saeed Bhai?
.

Very informative, Bhai. We could perhaps now go to actual enjoyment of ghazals. May I request for a Ghalib ghazal sung by .. umm .. lets see ... Jagit? Right, Joan, Vidya?

quote:

Originally posted by Saeed:
May I request for a Ghalib ghazal sung by .. umm .. lets see ... Jagit? Right, Joan, Vidya?

Thank you Saeed.
I don't even know any names of Ghazal, but yes, I like Jagjit and Chitra Singh and I really don't know about the other singers of ghazals.
(actual I do know 2 of them but I am not sure I know the correct words of the songs, only the tune with a single word here and there. One of them something like
"charka mera rangala..."

the other (please forgive me but this one might be all wrong but I'm taking a chance hoping that one of you may recognise it:

"daee din ne jawanee are chalke urke
mar mar ke ( followed by what sounds like a big crowd applause)
This was a big hit back in Guyana in the 80's.


Thanks to asj for the information he provided, at least, nowiI know something about ghazals.

asj bhai...you are doing a fantastic job...never did I understand the intricacies of ghazal compositions before...it all lends itself to greater appreciation on my part..thanks bud...I know now a sheyr, a beher...and a radif.

Saheed bhai please translate Tera Andaaz Mastana for me....thank you.

GHAZALS:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif

ALBUM : ANDAZ E MASTANA
GHAZAL: TERE ANDAZ E MASTANA
SINGER : MEHNDI HASSAN:

TERE ANDAZ E MASTANA:

Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)
Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Teri shoukhi nirale hain (Tere tewar juda dana)2
YOUR BEAUTY IS UNIQUE AND YOUR PRESENCE IS EXTRAORDINARY
Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)
(tewar=gestures reflecting attitude- like raising of an eyebrow)

(Ye adaein tere dil nashee Jaan ley ley na mere kahin)2
YOUR CHARM MY LOVE, ONE DAY MAY NOT KILL ME
(dil-nashee= one that is close to my heart)
Yun na sharma kay bal khana (Hai Tere Andaz e mastana)2
PLEASE DON'T BE SHY AND TURN AWAY FROM ME WITH YOUR INTOXICATING WAYS
((Balkhana=turning away w/coqetry)

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

(Jal na jaye kari dhoop hain Tera nazook bara ruup hain)2
LOOK OUT,YOU MIGHT BURN IN THIS STRONG SUN YOUR BEAUTY IS SO DELICATE
Mere aankhon may aajana (Hai Tere Andaz e mastana)2
COME AND I WILL SHELTER YOU WITH MY EYES DESPITE YOUR INTOXICATING WAYS

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Tere Damsay hai mousam haseen Husn ko tere ai nazneen
BECAUSE OF YOU THE VISTA IS SO BEAUTIFUL, YOUR BEAUTY MY LOVE
Phool dayte hain nazrana (Hai Tere Andaz e mastana)2
IS ACKNOWLEDGED BY THE (BEAUTIFUL) FLOWERS AND WITH YOUR INTOXICATING WAYS

Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Tere shoukhi nirale hain (Tere tewar juda dana)2
YOUR BEAUTY IS UNIQUE AND YOUR PRESENCE IS EXTRAORDINARY
Mujhay kar dena deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

TRANS:RANJANA

NB Ranjana has now corrected our incorrected lyrics and she has definately made a beautiful song even better, God, this woman is so good in her translations.

Lake buddy, I haven't hear from you in a couple of days, I guess if you are sick, then this one will make you feel better

This was not meant to be released as yet, as I still have to discuss with Ranjana but the temmptation is too much, sorry Ranjana that is the "Power of the Ghazals"
..

quote:

GHAZALS:

Now we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poem) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif

ALBUM : ANDAZ E MASTANA
GHAZAL: TERE ANDAZ E MASTANA
SINGER : MEHNDI HASSAN:

TERE ANDAZ E MASTANA:

Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)
Mujhay kar dein na deewana (Hai Tere Andaz e mastana)2
I AM AFRAID THAT I MAY NOT GO INSANE, WITH YOUR INTOXICATING WAYS(GESTURES)

Asj, seeing the translation makes this ghazal so much more appealing. No wonder I was just entranced listening to it...

quote:

Asj, seeing the translation makes this ghazal so much more appealing. No wonder I was just entranced listening to it...

Joannie,
Ranjana take a good song and makes even better, she gets and deserves the credit if there is any.
.

quote:

Originally posted by asj:

quote:

Asj, seeing the translation makes this ghazal so much more appealing. No wonder I was just entranced listening to it...

Joannie,
Ranjana take a good song and makes even better, she gets and deserves the credit if there is any.
.

asj bhai I have been around..and thank you so very much...I am afraid that this ghazal is all to tempting to get me sick....

The Persians were a highly mystical and erotic people and we see these characteristics manifested in their lifestyle, music, poetry, etc. In their music, done mostly in Ghazals, they sang their hearts out; beckoned their lovers; enchanted their audiences; and left their works for later generations of musicians to emulate, and music lovers to be enchanted by. In their poetry, the mysticism and eroticism are exemplified in the works of Khalil Gibran, Omar Khayyam, Jalaludin Rumi, etc. Here's a great article to further describe this:

http://en.wikipedia.org/wiki/Ghazal

quote:

Originally posted by Saeed:
Very informative, Bhai. We could perhaps now go to actual enjoyment of ghazals. May I request for a Ghalib ghazal sung by .. umm .. lets see ... Jagit? Right, Joan, Vidya?

Saeed Bhai, you are correct, all writings and no music, makes things dull

So in my final 3 posts explaning
2) Kaafiyaa

3) Matla

4) Maqta:

We will try to use Jagjit sings Ghalib with the lyrics explained to the subject of Kaafiyaa, Matla, and Maqta; the other intricate components that explain Ghazals.
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GHAZALS

"KAAFIYA" ANOTHER COMPONENT OF THE GHAZAL WHICH WE WILL LOOK AT:

SINGER: JAGJIT SINGH
ALBUM : CLOSE TO MY HEART

EK PYAR KI NAGMA HAIN:

Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Kuchh paakar khonaa hai, kuchh khokar paanaa hain
Jeewan kaa matalab to, aanaa aaur jaanaa hain

Do pal ke jeewan se, yek umar churaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Too dhaar hain nadiyaa kee, main teraa kinaaraa hoo
Too meraa sahaaraa hai, main teraa sahaaraa hoo

Aakhon mein samandar hai, aashaaon kaa paanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Tufaan to aanaa hai, aa kar chale jaanaa hain
Baadal hain ye kuchh pal kaa, chhaa kar dhal jaanaa hain

Parachhaeeyaan rah jaatee, rah jaatee nishaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

WHAT A SOOTHING MELODY, IT CHUGS AT THE STRINGS OF THE HEART;
SUCH SWEET AND MELODIOUS VOICE: AND THE MUSIC: REFRESHING:

BACK TO OUR LESSON:

So far we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
The next component Kaafiya is simply the word that comes in a rhyming form

Looking at the first line of the lyrics by Jagjit Singh, we noticed that the Radif is "Hain" now the word before "Hain" is
Rawanee:
The next line the Radif is "Hain" and the word before "Hain" is
Kahanee:

Rawanee and Kahanee are rhyming words, thus this is what we call the Kaafiya, the other important component of the Ghazals:

Looking at that Ghazal "Ek Pyar ki nagma hain"

(1) We have seven sheyrs or couplets

(2) We have Beher (length of the Sheyr)

(3) We have Radif (that is the last word of the second line in every couplet or sheyr is the same as the ending word of the first line

(4) And now we have Kaafiya....the rhyming pattern of the word before the radif.

So far we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
The next component Kaafiya is simply the word that comes in a rhyming form before the radif

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GHAZALS:

Questions so far?

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GHAZALS:

"Ghazals: Alive and Well"

It may suprise many of you, especially those who know the ghazal in its relatively new English form, that it is very much well and alive in the mainstream of Indian and Pakistani culture. Properly speaking, ghazal denotes a poetic genre, though in India and Pakistan today, the term commonly also implies the musical form in which it is rendered. As a lyric genre, the ghazal has its roots in classical Arabic poetry. Ghazal is an Arabic word which literally means talking to women. It grew from the Persian qasida, which verse form had come to Iran from Arabia around the 10th century A.D..The qasida was a eulogy written in praise of the emperor or his noblemen. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in monorhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven.

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GHAZALS:

"Ghazals: Alive and Well"

The film ghazal, as popularized by Talat Mahmood, Lata Mangeshkar, and others, retained some of the exotic and romantic associations of the courtesan world and of Urdu verse in general, while aiming at a contemporary and less sophisticated audience. The Urdu lyrics cohered well with the diction of so-called Hindi films, most which were in fact in Urdu, in accordance with that language's "sweet" and romantic ethos, as opposed to standard Hindi, which is perceived as a more utilitarian tongue. Meanwhile, throughout the 1960s, the light-classical ghazal, particularly as sung by Begum Akhtar, continued to enjoy a stable, if limited degree of popularity among connoisseurs of classical music and Urdu poetry.

By the early 1970s the film ghazal, although still relatively common, was undergoing a marked decline. Aside from the retirement of Talat Mahmood in 1970, a primary factor was the reorientation of film music in general, toward fast, rhythmic songs influenced by Western rock and disco, in place of the traditional melodic, sentimental styles like ghazal.

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GHAZALS:

The Decline:
One of the cause was the increasing trend toward action-oriented masala (lit. spice) films, rather than sentimental melodramas and costume-drama mythologicals. Although the ghazal's versatile formal structure could conceivably have been adapted even to disco styles, the genre has remained too closely associated with its traditional subject matter of broken hearts, weepy lovers, and the stylized refinement of Urdu culture in general. The other development that contributed to the gradual eclipse of the ghazal, in both its film and light-classical styles has been the marked decline of the Urdu language in India, with Independence in 1947 and the subsequent partition of India and Pakistan.

The decline of the ghazal, in both its commercial film and light-classical varieties, was an inevitable concomitant. Nevertheless, by the mid-1970s, certain broad social, aesthetic, and technological developments had emerged which paved the way for the revival of a modernized form of the ghazal. As we have noted, the action-oriented masala films, while satisfying cinema audiences, took film music in a direction contrary to the tastes of the many middle-class listeners, who continued to prefer tuneful, sentimental crooning to the disco-influenced modern film music. One may hypothesize that as the consumerist urban bourgeoisie grew in strength, numbers, and self-identity, a demand arose for a music which reflected its own self-image and aesthetic values. Such a music would have to be more genteel than the raucous and lowest-common-denominator film music, and yet it needed to be simpler and more accessible than classical music, constituting, in Birmingham School terms, a "rearticulation" of the elite semi classical ghazal. As more middle class consumers were able to afford phonographs, the potential began to emerge for a new pan-regional popular music which could be, for the first time, independent of films. A modernized, simplified pop ghazal was the ideal genre for such an audience, and it correspondingly began to flourish as such around 1977.

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GHAZALS:

Recoup of lost Grounds:

In order to achieve a genuinely mass audience, however, it required a mass medium which was cheaper and more accessible than records, and yet still distinct from cinema. The spread of cassette players among the upper and middle classes in the late 1970s provided the essential catalyst for the flowering of the modern ghazal as the first pan-regional commercial genre to challenge the dominance of film music and its coterie of stars and producers.

The modern ghazal, as befits the composition and tastes of its audience, retains a distinctly aristocratic, courtly image (or, one might say, pretension). Singers appear on stage and on cassette covers dressed in fine Muslim-style kurtas and sherwanis. Cassettes often feature canned (artificially inserted) exclamations of "wah wah!" (bravo!) intended to suggest the ambiance of the genteel courtesan salon ormusha'ra (poetry reading). In the use of tabla (as opposed to bongos, or folk barrel drum), occasional tame improvisations, ghazal form, and the Urdu language itself, the modern ghazal retains some of the mannerisms, if not the substantive content, of the traditional light-classical ghazal enjoyed by the Urdu-speaking nobility of previous generations. Thus the entire identity and core audience of the modern ghazal are quite distinct from those of the mainstream film song. Journalistic critics, for their part, are quick to deplore the occasional presence of film elements in the contemporary ghazal, such as the usage of borrowed film melodies. At the same time, the modern ghazal is clearly more accessible, in style, diction, and patterns of dissemination, than was its highbrow predecessor, the audience of which consisted primarily (though not exclusively) of aristocrats steeped in refined Urdu culture. Thus, for example, whereas the aesthetic substance of the light-classical ghazal was the process of textual-melodic improvisation (bol banao), cassettes of modern ghazals are aimed at musically less-educated consumers who expect lyrical, fixed tunes.

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SINGER: JAGJIT SINGH
ALBUM : CLOSE TO MY HEART

EK PYAR KI NAGMA HAIN:

Ek pyaar kaa nagmaa hai, maujo kee rawaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Kuchh paakar khonaa hai, kuchh khokar paanaa hain
Jeewan kaa matalab to, aanaa aaur jaanaa hain

Do pal ke jeewan se, yek umar churaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Too dhaar hain nadiyaa kee, main teraa kinaaraa hoo
Too meraa sahaaraa hai, main teraa sahaaraa hoo

Aakhon mein samandar hai, aashaaon kaa paanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain

Tufaan to aanaa hai, aa kar chale jaanaa hain
Baadal hain ye kuchh pal kaa, chhaa kar dhal jaanaa hain

Parachhaeeyaan rah jaatee, rah jaatee nishaanee hain
Zindagee aaur kuchh bhee nahee, teree meree kahaanee hain


Looking at that Ghazal "Ek Pyar ki nagma hain"

(1) We have seven sheyrs or couplets

(2) We have Beher (length of the Sheyr)

(3) We have Radif (that is the last word of the second line in every couplet or sheyr is the same as the ending word of the first line

(4) And now we have Kaafiya....the rhyming pattern of the word before the radif.

So far we can say that a Ghazal is a collection of 4 or more sheyrs (two lines poems) of the same "beher/length/meter" and the (ending words of the second line, is the same as the ending word of the first line) Radif.
Kaafiya is simply the word that comes in a rhyming form before the radif

And the 5th component: Matla:

The Matla is the first two lines of the Ghazal where the two last word is the same, that is the Radif is the same,

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Poet - Mirza Ghalib

Composer - K L Saigal

Singer - K L Saigal


Phir Mujhe Deeda-e-Tar Yaad Aaya
Dil Jigar Tishna-e-Fariyaad Aaya

Dum Liya Tha Na Qayamat Ne Hanoz
Phir Tera Waqt-e-Safar Yaad Aaya

Koi Veerani Si Veerani Hai
Dasht Ko Dekh Ke Ghar Yaad Aaya

Main Ne Majnu Pe Ladakpan Mein 'Asad'
Sang Uthaya Tha Ke Sar Yaad Aaya


*Rough Translation*

I again recall those tearful eyes,
My complaining heart is brimming again

Hardly had the doom receded,
When the thought of your parting rose again

How bewildering the desolation!
Sight of the wilds reminds me of home

In boyhood, Asad, at Majnun's head,
I had aimed a stone, when I thought of my own.

Will look at the example of Mirza Ghalib Gazal and recap what we have done so far:

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GHAZALS:

The Ghazal Verse Form
by Len Anderson

Ghazal (pronounced "ghuzzle") is an Arabic word that means "talking to women."

History.

The Ghazal was developed in Persia in the 10th century AD from the Arabic verse form qasida. It was brought to India with the Mogul invasion in the 12th century. The Ghazal tradition is currently practiced in Iran (Farsi), Pakistan (Urdu) and India (Urdu and Hindi). In India and Pakistan, Ghazals are set to music and have achieved commercial popularity as recordings and in movies. A number of American poets, including Adrienne Rich and W.S. Merwin, have written Ghazals, usually without the strict pattern of the traditional form.

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