In the 17th century, Muhammad Quli Qutb Shah, the founder of Hyderabad, composed ghazal in Persian, Urdu, and Telugu. In Delhi, poets wrote in Persian, while Rekhta/Hindvi (what is now recognizable as Hindi-Urdu) did not have the same literary recognition. In North India, rich literary cultures existed in Awadhi and Brajbhasha, with earliest Awadhi texts dating to the 14th century. Literature written in Hindi-Urdu was not common prior to the 1700s. In this ghazal by Mir Taqi Mir, the qaafiya is bolded and the radif is underlined:īait ik intiḳh āb kī sī hai History of the Urdu Ghazal Emergence of Urdu Ghazal The qaafiya is a rhyming syllable that precedes the radif. However, in the matla, the first she'r of a ghazal, the radif will end both lines of the she'r. The radif is a repeating refrain consisting of a single word or short phrase that ends every second line in the ghazal. The Urdu ghazal makes use of two main rhymes: the radif and qaafiya. For example, maf'uulan denotes three long syllables in a metrical foot, while fa'lun denotes two long syllables. Metrical feet (rukn) are represented by mnemonic words called afaail, which both emulate and name the metrical foot. There are many special rules that poets employ, such as the do chashmi he character, which denotes aspiration in the Nastaliq script, being metrically invisible. Instead, a long syllable generally contains two letters, while a short syllable generally contains one. The distinction between long and short syllables is not based on vowel length, like it is in English poetry scansion. Meter for Urdu is completely unlike meter in English poetry, as scansion of an Urdu ghazal is based upon rules in Arabic scansion. Meter is considered intrinsic to the craft, with some classical poets being mocked for crafting meter incorrectly. These ashaar tend to be more personal by the poet referring to themselves, diverting from the ghazal's universal and self-transcendent qualities. The maqta is the final she'r of a ghazal, where the poet will often include their Takhallus. In this she'r, the poet established the radif, qaafiya, and beher (meter) that the rest of the ghazal will follow. The matla is the first she'r of a ghazal. Ī she'r will often contains what Agha Shahid Ali 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. 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. In the vast majority of ghazals, there is not logical connection or flow between ashaar in terms of content or theme. 1 Craft Characteristics of an Urdu GhazalĬraft Characteristics of an Urdu Ghazal She'r Ī ghazal is composed of five or more ashaar (singular she'r), which are complete texts even when pulled from the rest of the ghazal.
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