Neither the crown, nor the throne, nor the emperor or the kingdom remains Na wo taj hai na wo takht hai na wo shah hai na dayar haiĮverywhere there is the lament and wails of mourning, how terrible is the turn of fate Sabhi jaada matam-e-sakht hai, kaho kaisi gardish-e-bakht hai The last Mughal emperor, Bahadur Shah Zafar, wrote this verse while imprisoned by the British after the uprising ended: Both were later hung by the British for treason. The literary establishment of Delhi was split by the Indian Rebellion of 1857, as Ustad Zauq and Maulvi Muhammad Baqar supported the uprising, believing it would restore the Mughal Court to glory. In Delhi, the Red Fort 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. The Oudh State gained a reputation for being one of the most generous, leading to many poets flocking to Lucknow, Farrukhabad, and Faizabad. ĭuring this era, poets made a living by attracting the financial patronage of the courts. Another classical poet, Mirza Muhammad Rafi Sauda is notable for his poetry being socially aware, and sometimes even satirical. The poet Mir Taqi Mir 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. Mushaira in Hyderabad during the 19th century. Ĭritic and Scholar Shamsur Rahman Faruqi notes that one story claims the poet Wali was one of the first to draw from the store of Persian literary culture to write ghazal in Hindi-Urdu. He also began a tradition of arts patronage and promoted Hyderabad as a literary city of Urdu in Southern India. 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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