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maddi
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30th December 2004, 03:22 PM

whats the diffrence between nazm and ghazal?
plz do answer this question of mine


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hi maddy...
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hi maddy... - 6th January 2005, 07:13 PM

well u asked the diff between ghazal n nazm...first n foremost thing is ghazal mein kafia n radeef hote hain jabki nazm in bandishon ki parwah nahin karti hai......n the other most important thing is ........nazm kisi ek khas khayal ya tassvur ko lekar likhi jati hai ...yani uska unvan{title} hota hai ...aur usi unvan ke lihaj se nazm aage badhti hai ..jaise aapne jagjit singh ki woh nazm suni hogi ...baat nikalegi to phir door talak jayegi ..isme ek lead idea ko liya gaya hai ..wahin ghazal kisi ek khas idea ko tawajjo nahin deti hai..har sher mukhatif ho sakata hai ...jaise..
hum to yun apni zindagi se mile
ajnabi jase ajnabi se mile

har wafa ek jurm ho goya
dost kuch aisi berukhi se mile........ab yahan dekhiye..
pahala sher shayar ne apne humnafaz {beloved one} ko tassvur mein rakh kar likha hai wahin dusra apne dost ke tagaful ya natavvajo par ........................hope u got it .....t c
amaan


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8th January 2005, 12:59 AM

bahut shukriya amaanji


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17th May 2005, 03:16 PM

Maikash ji!

Aadaab! Aapki is post se bahut seekhne ko mila hai... Haal hi me likhne ka shauq hua to ghazal ki bareekiyon se acche se vaakif karaayaa aapki is post ne. Whatever technicalities I know, have been acquired throught this post of yours...Wud definitely love to learn more... Please do provide more information as and when u get time...

Regards
Pulkit


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24th August 2005, 06:57 AM

Maikhas ji,

Thank you very much... this really helps a lot. for me it's always hard to write better with technicalities...lol. but I am sure anyone can write better after reading this one! it's amazing. I appreciate your help... you are Awesome!

khush raho.

   
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6th September 2005, 07:55 PM

bhaiya i want to know that what is the basic difference between a sher and a doha?i will b obliged if u cud plz clear my doubts.


aapka LUCKY



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hullo maikash - 8th November 2005, 07:24 PM

you ve done a good job by writing the basics of gazal writing.i understand you are quite loved on this site.i feel you should not give an ear to people like 'direct'.you know what his interests are 'timepass' . nobody is a master in this world and here everybody wants to learn and thats a good thing.here people have the will to write but lose there way inbetween there writing.you should keep on sharing your veiws and don't pay heed to people like 'direct'.i am new here but my rishta with urdu poetry is almost 25 years old.just keep it up


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16th December 2005, 05:56 PM

As Salaam o alaikum n Adaab...Maikash Jee....!!!

mujhe to alfaz ki kami padh gai aapki tarif karne ke liye...
juz superb,wow,gr8..etc etc...

mein to shayri ke field mein ZERO hoon...aapka article padha

bahut he khoobsurati se apne samjhaya hai..isske liye

tah-e-dil se shukriya karti hu...aur mein to ab aapki

fan ( phanka) ban gai hu janab lol

bas aap hume shayari kaise likhe jaate hain aise he shikh dete rahe....!!!

mein lafzon ko sahi maane pe jod nahin sakti aur ek line

dusri line attach karna mathlab mere liye sar pe pahad rakna

hota hai..he he...khair...aap jaise guru ka haath humare sar pe

raha toh ..hum bhi shayari likhne ki khosis karnege...

take care n keep smiling.
Allah Hafiz..!!
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Daanish_ Hyd
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14th January 2006, 02:20 PM

Maikash saheb
with due respect only those without a sound knowlrdge of 'beher' and 'wazn' would say that Ghalib had slipped on beher. I would be grateful if you could substantiate this statement of yours with a single misra from ghalib where he is 'out of rhythm' meaning out of 'behar'. I have read the entire dewan-e-ghalib very closely. based on my own understanding and thanks to what I have learnt from scholars and poets. including some of the greatest scholars of Ghalibiyaat such as Moulana Haali, Malik Ram, Ali Baqar, Bekhud Dehalvi and others I can say that Ghalib had a perfect sense of beher and even experimented with some rare patterns both in his faarsi as well as Urdu kalaam. To give you one example off-hand. Check the ghazal out whose matla starts with--"ajab nishaat se jallaad ke chale haiN hum aage". This is an extremely rare pattern that you will rarely come across in the entire body of Urdu poetry.
Oh no, on the contrary, Ghalib. had a profound knowledge of 'beher', NEVER EVER slipped up on 'beher' and showed his craftsmanship by using a wide array of metrical patterns. If you think he erred in 'beher' please quote just one misra to make yr point.


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15th January 2006, 07:34 PM

To add to what I wrote yesterday, not only Ghalib, but all our masters were skilled craftsmen in the technical aspects of poetry. I don't know where you got yr information from, Maikash saheb, but I still can't over the fact that you could make such a sweeping statement about Ghalib--that he can be faulted on behar. No way.
If you disagree with me give me one line either from his Urdu or Faarsi dewan to substantiate yr claim.
All our asaatzaa and their students and their students and perhaps their students as well, were so good at behar that this was taken for granted. you could throw a line that was completely out of rhythm at them, and they'd shape it into form in no time or tell you where you went wrong. Even today, it is not uncommon for poets to pick a line that is not in 'wazn' (at mushairas or other gatherings).
It is important for those who want to express their ideas in the ghazal form to understand these essential aspects. Even if you wish to depart from tradition, you need to have a sound understanding of tradition.


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maikasH
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15th January 2006, 11:06 PM

Daanish Sahab

upon reading ur reply i was forced to read the entire article again which i hadn't done after posting it coz the information provided
in it was so elementry that i didn't feel any need to make any changes apart for removing my own verses as examples and reples them with appropriate ones, which partly could be the reason why that statement about Ghalib escaped my mind.... i had intented to remove it days after i posted this thread on the board, reason being the very same , no examples were available to back up that claim and for that i must apologise

though i wasn't a delibrate mistake, around the time i was thinking of sharing this basic information with the peole who needed to know i had come acroos a behar discussion thread on ALUP where it was claimed that most urdu shayars have made the mistakes of falling out of behar more often that not in their unpublished but well documented work.....ofcourse not even a single example was mentioned and i was taking my very first steps in the direction of understanding this very fine art so i was taken aback by such statements, more surprised and impressed if i may say....so that became the base of such a statement made my me.....

a few months after posting this information i came in contact with some people who changed the whole way i used to look at urdu poetry...one among them were my ustaad jee as i mentioned in one of my earlier replies to u, then there were people like janaab irfan abid sahab , sarwar raz sarwar saahab, Raj kumar Qais saahab to name a few who r proving to be great advocates of urdu shayri in the modern era....from their knowledge i had learnt that such claims are made everyday on the net but are baseless as urself has claimed.....i intented to delete that troubling piece of information long time ago but somehow escaped my mind......

i must thank you for not putting it so politely to me coz i remember the day i mentioned it to my ustaad jee and the reaction i got out of him is unforgettable.....


the post has been edited and i once again apologise for my laziness


regards
maikash


.........................................

is tarhe teri yaad meiN har shaam dhaley hai
goyaa koyi nagin si kalejey pe chaley hai

maikash
...............................

Last edited by maikasH; 15th January 2006 at 11:10 PM..
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16th January 2006, 08:31 AM

Maikash Saheb
I didn't mean to be rude. It was just that I was appalled at the thought that someone could suggest that Ghalib could be faulted on beher. My apologies if I was less courteous to you than I ought to have been.
Thank you for editing your article and for so readily acknowledging the inadvertent lapse.
My apologies if I came across as brusque in my posts. While we are on the subject of beher there's an anecdote relating to Maqdoom Mohiuddin, the well-known poet from Hyderabad. Apparently, as a young man, when he was once reminded by a senior at a mushaira that one of his lines was out of rhythm--"not in beher", Maqdoom is supposed to have retorted, "maiN beher meiN nahiN samandar meiN padhhta huN". But, soon after, he shed that attitude realizing the importance of recognising the worth of these technical aspects.
regards


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Re: The Technical Aspects,Terms And Rules of Ghazal Writing.....
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Re: The Technical Aspects,Terms And Rules of Ghazal Writing..... - 24th February 2006, 01:55 AM

Quote:
Originally posted by maikasH
Dear Readers.....

I'm writing this article for people who has always wondered about how a Ghazal is written.
Who are keen to know the technical side of Ghazal writing

Note that i'm only trying to pass this information to you based on what i had been taught.

What is a Ghazal...?
A Ghazal is a combination of :-

1.Beher (Meter
2.Radeef
3.Kafiya
4.Matla
5.Maktaa

1. What is Beher (Meter) ...?

Beher is the length of a sheyr,rhythm of a sheyr which compliments the connecting misra's (lines) of a ghazal...all the misra's in a sher and all the sheyrs in a ghazal has to follow the same beher. There are 36 beher's and it demands serious studies to be understood.Apart from those 36 beher's a shayar can also creat his own beher as long as the sheyr is easy to recite and can be pronounced in rhythm n match the "wazan" of the ghazal..

2.What is Radeef...?

Radeef is the word(s) which ends the first two misra's and the second misra of every sheyr in a Ghazal.it is not necessary to use radeef in all the Ghazals...such Ghazals are called "gair-muraddaf" ghazals...but this is not what tradition allows...!!

Example of a Ghazal with radeef and kafiya :- (Abdul Hameed "adam")

phuuloN kii aarazuu meN baDe zaKhm khaaye haiN
lekin chaman ke Khaar bhii ab tak paraaye haiN

us par haraam hai Gam-e-dauraaN kii talKhiyaaN
jiske nasiib meN terii zulfoN ke saaye haiN


mahashar meN le gaii thii tabiyat kii saadagii
lekin baDe Khuluus se ham lauT aaye haiN


aayaa huuN yaad baad-e-fanaa unako bhii 'Adam'
kyaa jald mere siikh pe imaan laaye haiN


***here.."haiN" is the radeef of this Ghazal***




ai maigusaaro savere savere
Kharaabaat ke gird phere pe phere

(Abdul Hameed "adam")

here....radeef is missing...as last words of the sheyr are not same so its a "Ghair-muraddaf" ghazal...so radeef is that exact word or words that ends the first two lines and every second line of a ghazal...!!

3. What is Kafiya...?

Kafiya is that common sounding word that's used before "radeef"...for example in first ghazal mentioned above "khaaye".."paraaye"...."laaye" is the kafiya or should is say "aaye" is the kafiya because "aaye" is the sound that gives "wazan" to the radeef of the ghazal.

4.What is Matla...?

The very first sheyr or the first two misra's of a ghazal where radeef is used in both misra's is the "Matla" of a ghazal...!!

for example...

saaGar se lab lagaa ke bahut Khush hai zindagii
sahan-e-chaman meN aake bahut Khush hai zindagii


Matla is very necessary for the weight of a ghazal because the whole ghazal depends on kafiya and radeef used in the Matla.

5.What is Maktaa

Maktaa is the last sheyr of a ghazal where shayar use his "takhhallus" to leave his signature on his composition...A poet rather not have a maktaa rather than having a meaningless maktaa...its one of those finer points of shayri where shayar can express himself or his feelings or talk about anything using the rhythm of the ghazal...!!

example... ( Shakeel Badayuni ) :-

Khush huuN ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa

log un se ye kahate haiN ki kitane haiN "Shakeel" aap
is husn ke sadaqe meN meraa naam to aayaa

.................................................


Dear friends...thsi article is far from complete as far as depth and rules of ghazal writing are concerned..each topic especially "beher" needs to be studied thoroughly if someone wants to understand this fine art of shayri.

These are just the basic points that someone needs to look at before writing or understanding a ghazal...if anyone have any questions at all..i'll be overwhelmed to answer...i have an advice for shayar's who has just begun to write and are serious about learning shayri....you NEED to find an ustad who can guide you...find someone whom you can show your compositons...who can explain each term step by step and seek an advice..coz there's a lot more...A LOT MORE..in shayri than you can imagine...!!

I'll try to post more articles like this...its an attempt to bring all shayri lovers more closer to the real picture of shayri.

On the closing Note i'd like to thank all my friends out there who have supported me with all their strength...!!


maikasH


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mat poochiye kya shugl raha apna shab-e-gam
ye shama bhujhaai kabhi woh shama bhujaai

"har aansu" mein thi neelam si chamak ....par
afsos...ye dunyia hee ise na dekh paayi




thanks a lot ....................jitni baar thanks kahoon kam hai ..........

...........................sach kooi toh hona chaahiye sikhaane ke liye .........................aapke iss post se kaafi kutch shikhne ko mila................warna aaj jab main apne puraane post padhti hoon toh khud pe shrm aati hai ki kya likha karti thi main .....aapko padhi toh main pehle hin thi par aaj dil se thanks kehne ko ji kiyaa ................................

baaki log bhi iss post ko padhein or apne poem main chaar chaand lagaayein ....................


thanks a lot ................................


.................................................. .......

.................................................. .................chandsi

Last edited by chandsi; 24th February 2006 at 01:58 AM..
   
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Re: The Technical Aspects,Terms And Rules of Ghazal Writing.....
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Re: The Technical Aspects,Terms And Rules of Ghazal Writing..... - 5th March 2006, 04:18 PM

Quote:
Originally posted by maikasH
Dear Readers.....

I'm writing this article for people who has always wondered about how a Ghazal is written.
Who are keen to know the technical side of Ghazal writing

Note that i'm only trying to pass this information to you based on what i had been taught.

What is a Ghazal...?
A Ghazal is a combination of :-

1.Beher (Meter
2.Radeef
3.Kafiya
4.Matla
5.Maktaa

1. What is Beher (Meter) ...?

Beher is the length of a sheyr,rhythm of a sheyr which compliments the connecting misra's (lines) of a ghazal...all the misra's in a sher and all the sheyrs in a ghazal has to follow the same beher. There are 36 beher's and it demands serious studies to be understood.Apart from those 36 beher's a shayar can also creat his own beher as long as the sheyr is easy to recite and can be pronounced in rhythm n match the "wazan" of the ghazal..

2.What is Radeef...?

Radeef is the word(s) which ends the first two misra's and the second misra of every sheyr in a Ghazal.it is not necessary to use radeef in all the Ghazals...such Ghazals are called "gair-muraddaf" ghazals...but this is not what tradition allows...!!

Example of a Ghazal with radeef and kafiya :- (Abdul Hameed "adam")

phuuloN kii aarazuu meN baDe zaKhm khaaye haiN
lekin chaman ke Khaar bhii ab tak paraaye haiN

us par haraam hai Gam-e-dauraaN kii talKhiyaaN
jiske nasiib meN terii zulfoN ke saaye haiN


mahashar meN le gaii thii tabiyat kii saadagii
lekin baDe Khuluus se ham lauT aaye haiN


aayaa huuN yaad baad-e-fanaa unako bhii 'Adam'
kyaa jald mere siikh pe imaan laaye haiN


***here.."haiN" is the radeef of this Ghazal***




ai maigusaaro savere savere
Kharaabaat ke gird phere pe phere

(Abdul Hameed "adam")

here....radeef is missing...as last words of the sheyr are not same so its a "Ghair-muraddaf" ghazal...so radeef is that exact word or words that ends the first two lines and every second line of a ghazal...!!

3. What is Kafiya...?

Kafiya is that common sounding word that's used before "radeef"...for example in first ghazal mentioned above "khaaye".."paraaye"...."laaye" is the kafiya or should is say "aaye" is the kafiya because "aaye" is the sound that gives "wazan" to the radeef of the ghazal.

4.What is Matla...?

The very first sheyr or the first two misra's of a ghazal where radeef is used in both misra's is the "Matla" of a ghazal...!!

for example...

saaGar se lab lagaa ke bahut Khush hai zindagii
sahan-e-chaman meN aake bahut Khush hai zindagii


Matla is very necessary for the weight of a ghazal because the whole ghazal depends on kafiya and radeef used in the Matla.

5.What is Maktaa

Maktaa is the last sheyr of a ghazal where shayar use his "takhhallus" to leave his signature on his composition...A poet rather not have a maktaa rather than having a meaningless maktaa...its one of those finer points of shayri where shayar can express himself or his feelings or talk about anything using the rhythm of the ghazal...!!

example... ( Shakeel Badayuni ) :-

Khush huuN ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa

log un se ye kahate haiN ki kitane haiN "Shakeel" aap
is husn ke sadaqe meN meraa naam to aayaa

.................................................


Dear friends...thsi article is far from complete as far as depth and rules of ghazal writing are concerned..each topic especially "beher" needs to be studied thoroughly if someone wants to understand this fine art of shayri.

These are just the basic points that someone needs to look at before writing or understanding a ghazal...if anyone have any questions at all..i'll be overwhelmed to answer...i have an advice for shayar's who has just begun to write and are serious about learning shayri....you NEED to find an ustad who can guide you...find someone whom you can show your compositons...who can explain each term step by step and seek an advice..coz there's a lot more...A LOT MORE..in shayri than you can imagine...!!

I'll try to post more articles like this...its an attempt to bring all shayri lovers more closer to the real picture of shayri.

On the closing Note i'd like to thank all my friends out there who have supported me with all their strength...!!


maikasH


__________________
mat poochiye kya shugl raha apna shab-e-gam
ye shama bhujhaai kabhi woh shama bhujaai

"har aansu" mein thi neelam si chamak ....par
afsos...ye dunyia hee ise na dekh paayi


kaafiya kya hai kaise use karna hai ..........aaj samjh aaya ........aapka ye kehna ki ..........apne poems ko phir se likhye
................mujhe meri kami aaj pata chala ki main ..kahin bhi kaafiya ko saja hin nahi paati thi ......................


shayd aaj ke baad koshish karoon kaafiya use karne ki or wo bhi proper way main ............................


.................................................t hanks..............................





.




.
Bada hua to kya hua jaisay paid khajoor,
Panthi ko chhaya nahin, phal laagen ati door.

Nahaye dhoye kya bhala jo man ka mail na jaay
Meen sada jal mein rahe par tan ki baas na jaay

Akath Kahani Prem Ki, Kutch Kahi Na Jaye
Goonge Keri Sarkara, Baithe Muskae





.................................bye and tc ..................
   
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shukriyaa - 27th May 2006, 03:54 AM

Maikash ji,
aapka likha yeh tutorial bahut pehle padha tha aur aaj fir padha .us din to ise itna nahi samajh paaya tha magar aaj ise kaafi had tak jazb kar paaya hun.us din kaise shukriyaa kehta jab mai achi tarah se samjah nahi paaya tha.
aaj thik waqt aaya hai isiliye mai bhi chalaa aaaya hun, aapke is column se bahut se logon ko roshnai milegi ,likhne ke liye bahut bahut shukriyaa


Aag ab bhi wahi hai
Dard ab bhi wahi hai
Waqt shayad badal gaya hai
Meri shakhshiyat ab bhi wahi hai.

GKS
   
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GHAZAL WRITING
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Firoz Sayyad
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GHAZAL WRITING - 26th July 2006, 06:50 PM

Hi, Maikash bhai
I am a new member of this shayri.com where I am really enjoying reading different ghazals, shers and others are reading and enjoying vis-a-vis like me too.

Listening / writing ghazals, shers is a really enjoyment and it is also very much needed where you love something to go deep and enjoy at par. This art is really admired throughout the globe.

I appreciate your views and advise.

With regards,


Firoz.


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23rd August 2006, 11:56 AM

maikash ji
namaskar

aaj pata nahi kya doond raha tha or kya mil gaya.
sahi mayne me gazal kya hoti hai. aaj seekhne ko mila. aapne jis khoobsurati se saral andaz me gazal ko samajhaya hia bo bakai kabile tarif hai.

aaj maine jana hai gazal kya hoti hai

shukriya.


" Dilip " -Ek Adhoora khwab


Dard bantne se ab darr lagta hai
mere gamo ka usnane falsafa bana diya
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Re: The Technical Aspects,Terms And Rules of Ghazal Writing.....
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Re: The Technical Aspects,Terms And Rules of Ghazal Writing..... - 22nd September 2006, 05:33 PM

Quote:
Originally posted by maikasH
Dear Readers.....

I'm writing this article for people who has always wondered about how a Ghazal is written.
Who are keen to know the technical side of Ghazal writing

Note that i'm only trying to pass this information to you based on what i had been taught.

What is a Ghazal...?
A Ghazal is a combination of :-

1.Beher (Meter
2.Radeef
3.Kafiya
4.Matla
5.Maktaa

1. What is Beher (Meter) ...?

Beher is the length of a sheyr,rhythm of a sheyr which compliments the connecting misra's (lines) of a ghazal...all the misra's in a sher and all the sheyrs in a ghazal has to follow the same beher. There are 36 beher's and it demands serious studies to be understood.Apart from those 36 beher's a shayar can also creat his own beher as long as the sheyr is easy to recite and can be pronounced in rhythm n match the "wazan" of the ghazal..

2.What is Radeef...?

Radeef is the word(s) which ends the first two misra's and the second misra of every sheyr in a Ghazal.it is not necessary to use radeef in all the Ghazals...such Ghazals are called "gair-muraddaf" ghazals...but this is not what tradition allows...!!

Example of a Ghazal with radeef and kafiya :- (Abdul Hameed "adam")

phuuloN kii aarazuu meN baDe zaKhm khaaye haiN
lekin chaman ke Khaar bhii ab tak paraaye haiN

us par haraam hai Gam-e-dauraaN kii talKhiyaaN
jiske nasiib meN terii zulfoN ke saaye haiN


mahashar meN le gaii thii tabiyat kii saadagii
lekin baDe Khuluus se ham lauT aaye haiN


aayaa huuN yaad baad-e-fanaa unako bhii 'Adam'
kyaa jald mere siikh pe imaan laaye haiN


***here.."haiN" is the radeef of this Ghazal***




ai maigusaaro savere savere
Kharaabaat ke gird phere pe phere

(Abdul Hameed "adam")

here....radeef is missing...as last words of the sheyr are not same so its a "Ghair-muraddaf" ghazal...so radeef is that exact word or words that ends the first two lines and every second line of a ghazal...!!

3. What is Kafiya...?

Kafiya is that common sounding word that's used before "radeef"...for example in first ghazal mentioned above "khaaye".."paraaye"...."laaye" is the kafiya or should is say "aaye" is the kafiya because "aaye" is the sound that gives "wazan" to the radeef of the ghazal.

4.What is Matla...?

The very first sheyr or the first two misra's of a ghazal where radeef is used in both misra's is the "Matla" of a ghazal...!!

for example...

saaGar se lab lagaa ke bahut Khush hai zindagii
sahan-e-chaman meN aake bahut Khush hai zindagii


Matla is very necessary for the weight of a ghazal because the whole ghazal depends on kafiya and radeef used in the Matla.

5.What is Maktaa

Maktaa is the last sheyr of a ghazal where shayar use his "takhhallus" to leave his signature on his composition...A poet rather not have a maktaa rather than having a meaningless maktaa...its one of those finer points of shayri where shayar can express himself or his feelings or talk about anything using the rhythm of the ghazal...!!

example... ( Shakeel Badayuni ) :-

Khush huuN ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa

log un se ye kahate haiN ki kitane haiN "Shakeel" aap
is husn ke sadaqe meN meraa naam to aayaa

.................................................


Dear friends...thsi article is far from complete as far as depth and rules of ghazal writing are concerned..each topic especially "beher" needs to be studied thoroughly if someone wants to understand this fine art of shayri.

These are just the basic points that someone needs to look at before writing or understanding a ghazal...if anyone have any questions at all..i'll be overwhelmed to answer...i have an advice for shayar's who has just begun to write and are serious about learning shayri....you NEED to find an ustad who can guide you...find someone whom you can show your compositons...who can explain each term step by step and seek an advice..coz there's a lot more...A LOT MORE..in shayri than you can imagine...!!

I'll try to post more articles like this...its an attempt to bring all shayri lovers more closer to the real picture of shayri.

On the closing Note i'd like to thank all my friends out there who have supported me with all their strength...!!


maikasH


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ye shama bhujhaai kabhi woh shama bhujaai

"har aansu" mein thi neelam si chamak ....par
afsos...ye dunyia hee ise na dekh paayi
maikash ji aapke iss article se mujh jaise logon ko bahot help milegi.........aapka bahot bahot shukriya aapne ye bahot ki immportent points humare zahan me laa diye hai..........shayad mujhe aap jaisa likhne me bahot waqt lagega.........na jane aap jaisa likh bhi sakungi ya nahi...........lekin mein aap jaisa banna chahati hu............aur uske liye mujhe aap jaise ummda shayar ko to roz padhna hoga......aapke in sab points ko dhyaan me rakhte hue mein bhi ek saliike se sher ya gazal likhne ki puri koshish karungi........ aaj meine aapka likha pure dhyan se padha aur samajh bhi gai ji.....late samajh ata lekin aa jata hai.......thanks

gratse

aapki dost
pooja


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3rd October 2006, 06:19 AM

thanks "maikasH"ji for these insights into Gazal.
Hope to obatin more such useful information on the art of composition of shayri.


best regards
aarya
   
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Masha allah..
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Masha allah.. - 7th November 2006, 06:38 PM

Masha allah..
God bless you...


isham....
   
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Lightbulb frnd 4 ever - 16th September 2007, 04:41 PM

Quote:
Originally Posted by maikasH View Post
Dear Readers.....

I'm writing this article for people who has always wondered about how a Ghazal is written.
Who are keen to know the technical side of Ghazal writing

Note that i'm only trying to pass this information to you based on what i had been taught.

What is a Ghazal...?
A Ghazal is a combination of :-

1.Beher (Meter
2.Radeef
3.Kafiya
4.Matla
5.Maktaa

1. What is Beher (Meter) ...?

Beher is the rhythm of a sheyr which compliments the connecting misra's (lines) of a ghazal...all the misra's in a sher and all the sheyrs in a ghazal has to follow the same beher. There are many different beher's and it demands serious studies to be understood.Apart from those set beher's a shayar can also creat his own beher as long as the sheyr is easy to recite and can be pronounced in rhythm n match the "wazan" of the ghazal..

2.What is Radeef...?

Radeef is the word(s) which ends the first two misra's and the second misra of every sheyr in a Ghazal.it is not necessary to use radeef in all the Ghazals...such Ghazals are called "gair-muraddaf" ghazals...but this is not what tradition allows...!!

Example of a Ghazal with radeef and kafiya :- (Abdul Hameed "adam")

phuuloN kii aarazuu meN baDe zaKhm khaaye haiN
lekin chaman ke Khaar bhii ab tak paraaye haiN

us par haraam hai Gam-e-dauraaN kii talKhiyaaN
jiske nasiib meN terii zulfoN ke saaye haiN


mahashar meN le gaii thii tabiyat kii saadagii
lekin baDe Khuluus se ham lauT aaye haiN


aayaa huuN yaad baad-e-fanaa unako bhii 'Adam'
kyaa jald mere siikh pe imaan laaye haiN


***here.."haiN" is the radeef of this Ghazal***




ai maigusaaro savere savere
Kharaabaat ke gird phere pe phere

(Abdul Hameed "adam")

here....radeef is missing...as last words of the sheyr are not same so its a "Ghair-muraddaf" ghazal...so radeef is that exact word or words that ends the first two lines and every second line of a ghazal...!!

3. What is Kafiya...?

Kafiya is that common sounding word that's used before "radeef"...for example in first ghazal mentioned above "khaaye".."paraaye"...."laaye" is the kafiya or should is say "aaye" is the kafiya because "aaye" is the sound that gives "wazan" to the radeef of the ghazal.

4.What is Matla...?

The very first sheyr or the first two misra's of a ghazal where radeef is used in both misra's is the "Matla" of a ghazal...!!

for example...

saaGar se lab lagaa ke bahut Khush hai zindagii
sahan-e-chaman meN aake bahut Khush hai zindagii


Matla is very necessary for the weight of a ghazal because the whole ghazal depends on kafiya and radeef used in the Matla.

5.What is Maktaa

Maktaa is the last sheyr of a ghazal where shayar use his "takhhallus" to leave his signature on his composition...A poet rather not have a maktaa rather than having a meaningless maktaa...its one of those finer points of shayri where shayar can express himself or his feelings or talk about anything using the rhythm of the ghazal...!!

example... ( Shakeel Badayuni ) :-

Khush huuN ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa

log un se ye kahate haiN ki kitane haiN "Shakeel" aap
is husn ke sadaqe meN meraa naam to aayaa

.................................................


Dear friends...thsi article is far from complete as far as depth and rules of ghazal writing are concerned..each topic especially "beher" needs to be studied thoroughly if someone wants to understand this fine art of shayri.

These are just the basic points that someone needs to look at before writing or understanding a ghazal...if anyone have any questions at all..i'll be overwhelmed to answer...i have an advice for shayar's who has just begun to write and are serious about learning shayri....you NEED to find an ustad who can guide you...find someone whom you can show your compositons...who can explain each term step by step and seek an advice..coz there's a lot more...A LOT MORE..in shayri than you can imagine...!!

I'll try to post more articles like this...its an attempt to bring all shayri lovers more closer to the real picture of shayri.

On the closing Note i'd like to thank all my friends out there who have supported me with all their strength...!!


maikasH


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ye shama bhujhaai kabhi woh shama bhujaai

"har aansu" mein thi neelam si chamak ....par
afsos...ye dunyia hee ise na dekh paayi

MAIKASH ji,
AADAB.
KAISE HAI AAP?

apka bohot_bohot shukriya,
apki is post ne hame bohot kuch sikhaya hai
,
kafi dino se hame isi tarah ki post ka intezar tha,
yakinan hame in baato ki koi malumat nahi thi,
bas jo dil kehta likh dete the,

per eb INSHA ALLAH,behter likhne ki koshish karege,AAMIN

dilse aapka shukriya ada kar rahe hain.kabul kijiyega,

ALLAH APKO BOHOT TARAKKI DE,AAMIN,SUMM AAMIN


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( Badrul HaSSaN ki SoNi )

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forever..
and ever and ever!

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15th December 2007, 02:40 PM

kuchh tabiiyat hii milii thi aisii
cha'in se jeene ki suurat na huii
jisko chaaha usey apnaa na sakey
jo milaa uss se mohabbat na huii


WAH-WAH MAIKASHI JI I LIKE YOUR THJIS KALAM..........
   
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really very good
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Thumbs up really very good - 17th December 2007, 01:16 PM

hi all of u....!

maikash ji...

u did a gr8 job really.
apne tu kafi logon ki help kardi.
isitarhan se "most important onformations" dete rahiyega.

we will wait..
bye


Neha...!
   
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9th February 2008, 06:55 AM

Dear maikasH,
Thanks for bringing out the finer points so lucidly. A new style is emerging nowadays. Shairi has become a mix of languages including occasional words from English. BUt then, sab chalta hai....this is how India speaks nowadays....
Ek Mamooli Aadmi
   
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1st May 2008, 05:29 PM

thanks alot apne bahut compresive top da point n imp aspects likhe hai.. thnx again
   
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Thumbs up 10th July 2008, 10:23 AM

thanks 4 share it really its very usefuLL


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27th July 2008, 04:54 PM

Salam and Hi to everyone ....
acha laga useful tips dekh ker ....infact yeh tips hum jaise tute phutey shairon ko madad dengi ...bahut bahut shukriya apka .....


Kaali sayaahi se khich kar lakeerein
meri zindagi main tum chale gaye...
Naa jaane kyun un adrishyaa zanjeeron main hum ab bhi piste hain...
Koshish ki bahut humne un lakeeron ko mitaane ki..
Par jaane kyun har kosish pe aansoon aankh se riste hain....
   
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Arrow thik nahi kah rahi - 10th September 2008, 12:35 AM

kavita g aapke tarif karne ka andaj bahut hi acha laga .
magar hum aapko batana cahenge , ki shayari ki koi class nahi hoti hai .
ye wo hunar hai jo jamane ke sitam or mohobat ke intjar se paida hota hai .

iske liye tajurbe ki jarurat hoti hai .
jitna pyar me mitenge , khud ko mom ki tarah piglayenge ye hunar utna hi badta jayega .




ish kore kagaj par sabdo ki suruat aap se ho .
hum bahut tadpe aab tadpne ki suruat aap se ho.
tamana hai sanso ki aap ban jaye meri jindagi.
meri har subah har saam har raat aapse ho .
   
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shayari-e-dard - 27th September 2009, 07:13 PM

Maikash Ji tussi ho kithe
good article bhai, quite informative

but what about open verse, isn't there provision for it in Urdu shayari
so far as i remember u talked of rhyme n structured metre...


ek try main bhi maroon kya
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5th November 2009, 02:42 PM

Mehfil-e-Adab ko Salaam,

Bah'r ke mutalliq ek peshkash aap sab ki jaankari ke liye. Ummiid hai madad milegii.


Bah'r: The Backbone of Shaayari Author: Irfan 'Abid'
Date: 19th July, 2001

Before I started writing this article, I thought several times if I had the knowledge and expertise to dwell on a subject as vast and complex as 'shaayari'. After all, I have taken only the first step towards learning this great art. But then I thought that my experience might help those who are yet to take that first step. So here I am, with my explanation of 'bah'r', the most important technical aspect of shaayari.

The purpose of this article is to give the readers a general idea of what bah'r means and how it is used to construct a misra (line) of Urdu shaayari. I am sharing with you some of my limited knowledge of shaayari that my Ustaad 'Mazaq' Charkhariwi has graciously given to me. He belongs to Ustaad Daag Dehlvi's school of shaayari.

Everything written here conforms to that school and its teachings. There are areas where schools differ in opinion but that happens only in the case of very fine details. The scope covered here is very basic and should not pose any such issue. However, I wanted to post the disclaimer, just in case.

'Bah'r or 'Meter' is the structure over which the words of a misra (line) of a sher (verse) are arranged. Bah'r itself is made of 'arkaan' (plural of 'rukn'
which means 'pillar' or 'important part'). Arkaan are also referred to as 'feet'. Whosoever coined this term was perhaps trying to relate it to the bigger unit 'meter', without realizing that 'meter' and 'foot' are units of length in two different systems of measurement. However, the 'meter' and 'feet' combination may be justified by the fact that one meter is roughly equal to three and a quarter feet and most of the bah'rs do have three or four arkaan in one misra. Arkaan are meaningless dummy words, the basic purpose of which is to specify the places of long and short syllables in an actual word. The eight arkaan, broken down into syllables, used in Urdu shaayari are as follows:

'fa-uu-lun', 'faa-i-lun', 'ma-faa-ii-lun', 'mus-taf-i-lun', 'faa-i-laa-tun', 'mu-ta-faa-i-lun', 'ma-faa-i-la-tun' and 'maf-uu-laat'

Perhaps this is a good place to add a note on transliteration, that is the process of writing Urdu words in Roman script, so that they are pronounced correctly. We will treat 'a' as in 'akbar', 'i' as in 'ishq', 'u' as in 'uljhan', 'e' as in 'ek' ('ai' and 'ei' should be treated as 'e'), 'o' as in 'bahaaro', 'aa' as in 'aaraam', 'ii' as in 'merii' and 'uu' as in 'juutaa'. Other Roman letters used are self explanatory and are not as important as these vowels.

  • An 'a', 'i' or 'u' by itself or after a consonant will produce a short syllable (weight '1').
  • An 'e', 'o', 'aa', 'ii' or 'uu' by itself or after a consonant will produce a long syllable (weight '2').
  • An 'a', 'i' or 'u' between two consonants or before a consonant will produce a long syllable (weight '2').
  • An 'e', 'o', 'aa', 'ii' or 'uu' between two consonants or before a consonant will produce a long syllable (weight '3').
  • The syllable with weight '3' can be subdivided into two syllables, with weights '1' and '2' respectively, but let us keep it as it is for now.
Given this description, the eight arkaan mentioned above can be written respectively in terms of weights as
'1-2-2', '2-1-2', '1-2-2-2', '2-2-1-2', '2-1-2-2', '1-1-2-1-2', '1-2-1-1-2' and '2-2-3'

The arkaan mentioned above are in their 'saalim' (pure) form. With slight modification, each can be turned into one of its 'muzaahif' (modified) forms (These forms may be seen in the bah'rs given at the end of this article). Accordingly, a bah'r may be a 'saalim' or a 'muzaahif' one. Bah'rs are also classified according to the mix of their arkaan. If a bah'r is made by the repetition of the same rukn, it is a 'mufarrid' (made of a single ingredient) bah'r. If it uses a combination of more than one rukn, it is a 'murakkab' (composite) bah'r. Bah'rs given at the end of this article have examples of both.

The arkaan and bah'rs were developed by the masters of literature and music. That is why shaayari written in proper bah'r is fluent to recite and easy to compose into a tune. However, not all the bah'rs have the same ease of flow and spontaneity of rhythm. As a result, few became more popular than others. In this article, we will cover only the most popular ones. Most of the Urdu shaayari has been written using these bah'rs. Please note that in addition to the traditional bah'rs that I was taught, I have seen shaayars (poets) using other bah'rs that they have devised themselves. In my opinion, one can write poetry in any format as long as it follows some 'rule' and is enjoyable when recited. However, in the beginning, it is advisable to stick to the traditional bah'rs.

After you decide which bah'r to use, the next thing is to arrange your words on that bah'r. This is the real art in shaayari. If possible, the words should start and end where the arkaans do, but this is not necessary. A word can be spread over two adjacent arkaan. Moreover, a syllable in a word that is normally considered a long syllable, can be treated as a short one, if it does not fit into the arkaan and the bah'r. In other words, the 'weight' of the syllables can be reduced or the pronunciation of the syllables can be hastened to fit the bah'r. Where and how one can do it is a complex issue in Urdu shaayari. There are elaborate rules for doing so which are beyond the scope of this article. For now, all I can suggest is to look at the shaayari by the ustaads and see how they have used a particular word in a particular situation. A glimpse of this feature may be seen in the ashaar given with the bah'rs in this article. You may notice that certain words have been placed against a relatively small portion (or syllable) of a rukn. These are the words whose pronunciation is altered to fit the bah'r.

The bah'rs being discussed here are used for the most popular forms of Urdu shaayari (like ghazal, nazm, qit'aa and geet/naghma etc.), but not for all forms. Rubaayii, for instance, has its own set of bah'rs.
Following are some very frequently used bah'rs. You may find the names difficult to remember. But what's in a name! Pay attention to the structure because that is what matters. Each bah'r is accompanied by a sher on it, broken down according to the structure of the bah'r. If a word happens to be spread across more than one part of a rukn or across more than one rukn, its pieces are joined by a hyphen (-). I have used my own ashaar to illustrate the bah'rs, but I am also giving a classic sher for each bah'r. You may have heard the classic many times, may have memorized it and thus may find it easier to capture the structure of the bah'r. Try to break these classic ash'aar down according to the bah'r.
Bah'r Hazaj Saalim

bharii duniyaa sahii lekin Thikaanaa ham bhii paa leNge
jahaaN do gaz zamiiN hogii wahiiN ham ghar banaa leNge
Ma - faa - ii - lun Ma - faa - ii - lun Ma - faa - ii - lun Ma - faa - ii - lun

bha - rii duni - yaa sa - hii le - kin Thi- kaa - naa ham bhii paa leN - ge
ja - haaN do gaz za - miiN ho - gii wa - hiiN ham ghar ba-naa leN - ge

Classic Sher by Allama 'Iqbal':
mitaa de apnii hastii ko agar kuchh martabaa chaahe
ki daanaa Khaak meiN mil kar gul-e-gulzaar hotaa hai

Bah'r Hazaj Musamman Akhrab

KhwaaboN meiN banaaii thii aaNkhoN meiN sajaa lii hai
tasviir tirii ham ne is dil meiN basaa lii hai
Maf - uu - lu Ma - faa - ii - lun Maf - uu - lu Ma - faa - ii - lun

Khwaa - boN meiN ba - naa - ii thii aaN - khoN meiN sa - jaa lii hai
tas - vii - r ti - rii ham ne is dil meiN ba - saa lii hai

Classic by 'Jigar' Moradabadi:
kyaa husn ne samjhaa hai kya ishq ne jaanaa hai
ham khaak-nashiinoN kii thokar meiN zamaanaa hai

Bah'r Hazaj Musamman Akhrab Makfuuf Mahzuuf

tuufaan meiN tinke kaa sahaaraa bhii bahut hai
zulmat meiN to bas ek sharaaraa bhii bahut hai
Maf - uu - lu Ma - faa - ii - lu Ma - faa - ii - lu Fa - uu - lun

tuu - faa - n meiN tin - ke kaa sa - haa - raa bhii ba - hut hai
zul - mat meiN to bas e - k sha - raa - raa bhii ba - hut hai

Classic by Mirza Ghalib:
baaziicha-e-atfaal hai duniyaa mire aage
hota hai shab-o-roz tamaashaa mire aage

Bah'r Hazaj Musaddas Mahzuuf

tamannaaoN se aye dil kyaa milegaa
jo qismat meiN likhaa hogaa milegaa
Ma - faa - ii - lun Ma - faa - ii - lun Fa - uu - lun

ta - man - naa - oN se aye dil kyaa mi - le - gaa
jo qis - mat meiN li - khaa ho - gaa mi - le - gaa

Classic by 'Firaq' Gorakhpuri:
sitaaroN se ulajhtaa jaa rahaa huuN
shab-e-furqat bahut ghabraa rahaa huuN

Bah'r Ramal Musamman Mahzuuf

dil kii bechainii ne apnaa kaam aakhir kar diyaa
tujh se mere raabte ko aam aakhir kar diyaa
Faa - i - laa - tun Faa - i - laa - tun Faa - i - laa - tun Faa - i - lun*
dil kii be - chai - nii ne ap - naa kaa - m aa - khir kar di - yaa
tujh se me - re raa - b - te ko aa - m aa - khir kar di - yaa

* Faa - i - laan is acceptable here.

Classic by 'Hasrat' Mohani:
sab ghalat kahte hain lutf-e-yaar ko wajh-e-sukuuN
dard-e-dil usne tau 'Hasrat' aur duunaa kar diyaa

Bah'r Ramal Musaddas Mahzuuf

ishq kaa haasil hai kyaa mat puuchhiye
kyaa milaa kyaa kho gayaa mat puuchhiye
Faa - i - laa - tun Faa - i - laa - tun Faa - i - lun*

ish - q kaa haa- sil hai kyaa mat puu - chhi - ye
kyaa mi - laa kyaa kho ga - yaa mat puu - chhi - ye

* Faa - i - laan is acceptable here.

Classic by Meer Taqi 'Meer':
ibtidaa-e-ishq hai rotaa hai kyaa
aage aage dekhiye hotaa hai kyaa

Bah'r Mutaqaarib Saalim

muhabbat burii hai na nafrat burii hai
burii hai tau har shai kii kasrat burii hai
Fa - uu - lun Fa - uu - lun Fa - uu - lun Fa - uu - lun

mu - hab - bat bu - rii hai na naf - rat bu - rii hai
bu - rii hai tau har shai kii kas - rat bu - rii hai

Classic by 'Bekhud' Dehlvi:
na dekhaa thaa jo bazm-e-dushman meiN dekhaa
muhabbat tamaashe dikhaatii hai kya kya

Bah'r Mutaqaarib Musamman Maqbuuz Aslam (16 Ruknii)

ho shaam-e-gham jis qadar bhii lambii dhalegii yeh bhii zaruur yaaro
kabhii to utregaa mere ghar meiN Khushii kii kirnoN kaa nuur yaaro
Fa - uu - lu Faa - lun Fa - uu - lu Faa - lun
ho shaa - m-e- gham jis qa - dar bhi lam - bii

Fa - uu - lu Faa - lun Fa - uu - lu Faa - lun
dha - le - gii yeh bhii za - ruu - r yaa - ro

Fa - uu - lu Faa - lun Fa - uu - lu Faa - lun
ka - bhii to ut - re- gaa me - re ghar meiN

Fa - uu - lu Faa - lun Fa - uu - lu Faa - lun
Khu - shii kii kir - noN kaa nuu - r yaa - ro

Classic by 'Daag' Dehlvi:
sitam hii karnaa jafaa hii karnaa nigaah-e-ulfat kabhii na karnaa
tumheN qasam hai hamaare sar kii hamaare haq meN kamii na karnaa

Bah'r Kaamil Saalim

ki gaNwaa diye maine hosh bhii mujhe chain aa na sakaa kabhii
terii yaad yuuN hii jawaaN rahii tujhe dil bhulaa na sakaa kabhii
Mu - ta - faa - i - lun Mu - ta - faa - i - lun
ki gaN - waa di - ye mai - ne ho - sh bhii

Mu - ta - faa - i - lun Mu - ta - faa - i - lun
mu - jhe chai - n aa na sa - kaa ka - bhii

Mu - ta - faa - i - lun Mu - ta - faa - i - lun
te - rii yaa - d yuN hii ja - waaN ra - hii

Mu - ta - faa - i - lun Mu - ta - faa - i - lun
tu - jhe dil bhu - laa na sa - kaa ka - bhii

Classic by Hakeem 'Momin':
wo jo ham meN tum meN qaraar thaa tumheN yaad ho ke na yaad ho
wahii yaanii waadaa nibaah kaa tumheN yaad ho ke na yaad ho

Bah'r Mutadaarik Saalim

gul chiraaghoN ko kar ham sare shaam deN
kyon bhalaa aatish-e-dil ko aaraam deN
Faa - i - lun Faa - i - lun Faa - i - lun Faa - i - lun

gul chi - raa - ghoN ko kar ham sa - re shaa - m deN
kyoN bha - laa aa - ti - sh-e -dil ko aa - raa - m deN

Classic by Nida Fazli:
har taraf har jagah be-shumaar aadmii
phir bhii tanhaaiyoN kaa shikaar aadmii

Bah'r Mazaar'a Musamman Akhrab

maiN beqaraar kyoN huuN dil beqaraar kyoN hai
us bewafaa se ab tak aakhir yeh pyaar kyoN hai
Maf - uu - lu Faa - i - laa - tun Maf - uu - lu Faa - i - laa - tun

maiN be - qa - raa - r kyoN huuN dil be - qa - raa - r kyoN hai
us be - wa - faa se ab tak aa - khir yeh pyaa - r kyoN hai

Classic by Allama 'Iqbal':
saare jahaaN se achchhaa HindostaaN hamaaraa
ham bulbuleN haiN iskii yeh gulsitaaN hamaaraa

Bah'r Mazaar'a Musamman Akhrab Makfuuf Maqsuur

kaise kahuuN maiN apnii kahaanii ko baar baar
kyoN kar piyuuNgaa aaNkh ke paanii ko baar baar
Maf - uu - lu Faa - i - laa - tu* ma - faa - ii - lu** Faa - i - laan***

kai - se ka - huuN maiN ap - nii ka - haa - nii ko baa - r baar
kyoN kar pi - yuuN - gaa aa - Nkh ke paa - nii ko baa - r baar

* Faa-i-laa-tun is acceptable here.
** Maf-uu-lu is acceptable here.
*** Faa-i-lun is acceptable here.

Classic by Daag Dehlvi (with Faa-i-lun as the last rukn):
Khaatir se yaa lihaaz se main maan tau gayaa
jhuuti qasam se aap ka iimaan tau gayaa

Bah'r Mujtas Musamman Makhbuun Maqsuur

wafaa ke qaul se ham tau mukar nahiiN sakte
ki dushmanii meiN bhii had se guzar nahiiN sakte
Ma - faa - i - lun Fa - i - laa - tun Ma - faa - i - lun Fa - i - lun

wa - faa ke qau - l se ham tau mu - kar na - hiiN sa - k - te
ki dush - ma - nii meiN bhii had se gu - zar na - hiiN sa - k - te

Classic by Faiz Ahmed 'Faiz':
guloN meiN rang bhare baad-e-nau-bahaar chale
chale bhii aao ki gulshan ka kaar-o-baar chale

If this article helps you in any way, it will be my pleasure. If you are really serious about shaayari, find a ustaad near you and be his shaagird (student). There is no substitute for the guidance and teaching of a ustaad.


Ho Zor-e-kalam aur Ziaadaa.
Aadaab
Naadaan


"Wo kaun hai jinhe tauba ki mil gai fursat,
HumeN gunah bhi karne ko zindagi kam hai."
-Anand Narayan Mulla.

वो कौन है जिन्हें तौबा की मिल गई फुरसत,
हमें गुनाह भी करने को ज़िंदगी कम है.
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Love Shukriya aapka!!! - 8th November 2009, 11:53 PM

Quote:
Originally Posted by maikasH View Post
Dear Readers.....

I'm writing this article for people who has always wondered about how a Ghazal is written.
Who are keen to know the technical side of Ghazal writing

Note that i'm only trying to pass this information to you based on what i had been taught.

What is a Ghazal...?
A Ghazal is a combination of :-

1.Beher (Meter
2.Radeef
3.Kafiya
4.Matla
5.Maktaa

1. What is Beher (Meter) ...?

Beher is the rhythm of a sheyr which compliments the connecting misra's (lines) of a ghazal...all the misra's in a sher and all the sheyrs in a ghazal has to follow the same beher. There are many different beher's and it demands serious studies to be understood.Apart from those set beher's a shayar can also creat his own beher as long as the sheyr is easy to recite and can be pronounced in rhythm n match the "wazan" of the ghazal..

2.What is Radeef...?

Radeef is the word(s) which ends the first two misra's and the second misra of every sheyr in a Ghazal.it is not necessary to use radeef in all the Ghazals...such Ghazals are called "gair-muraddaf" ghazals...but this is not what tradition allows...!!

Example of a Ghazal with radeef and kafiya :- (Abdul Hameed "adam")

phuuloN kii aarazuu meN baDe zaKhm khaaye haiN
lekin chaman ke Khaar bhii ab tak paraaye haiN

us par haraam hai Gam-e-dauraaN kii talKhiyaaN
jiske nasiib meN terii zulfoN ke saaye haiN


mahashar meN le gaii thii tabiyat kii saadagii
lekin baDe Khuluus se ham lauT aaye haiN


aayaa huuN yaad baad-e-fanaa unako bhii 'Adam'
kyaa jald mere siikh pe imaan laaye haiN


***here.."haiN" is the radeef of this Ghazal***




ai maigusaaro savere savere
Kharaabaat ke gird phere pe phere

(Abdul Hameed "adam")

here....radeef is missing...as last words of the sheyr are not same so its a "Ghair-muraddaf" ghazal...so radeef is that exact word or words that ends the first two lines and every second line of a ghazal...!!

3. What is Kafiya...?

Kafiya is that common sounding word that's used before "radeef"...for example in first ghazal mentioned above "khaaye".."paraaye"...."laaye" is the kafiya or should is say "aaye" is the kafiya because "aaye" is the sound that gives "wazan" to the radeef of the ghazal.

4.What is Matla...?

The very first sheyr or the first two misra's of a ghazal where radeef is used in both misra's is the "Matla" of a ghazal...!!

for example...

saaGar se lab lagaa ke bahut Khush hai zindagii
sahan-e-chaman meN aake bahut Khush hai zindagii


Matla is very necessary for the weight of a ghazal because the whole ghazal depends on kafiya and radeef used in the Matla.

5.What is Maktaa

Maktaa is the last sheyr of a ghazal where shayar use his "takhhallus" to leave his signature on his composition...A poet rather not have a maktaa rather than having a meaningless maktaa...its one of those finer points of shayri where shayar can express himself or his feelings or talk about anything using the rhythm of the ghazal...!!

example... ( Shakeel Badayuni ) :-

Khush huuN ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa

log un se ye kahate haiN ki kitane haiN "Shakeel" aap
is husn ke sadaqe meN meraa naam to aayaa

.................................................


Dear friends...thsi article is far from complete as far as depth and rules of ghazal writing are concerned..each topic especially "beher" needs to be studied thoroughly if someone wants to understand this fine art of shayri.

These are just the basic points that someone needs to look at before writing or understanding a ghazal...if anyone have any questions at all..i'll be overwhelmed to answer...i have an advice for shayar's who has just begun to write and are serious about learning shayri....you NEED to find an ustad who can guide you...find someone whom you can show your compositons...who can explain each term step by step and seek an advice..coz there's a lot more...A LOT MORE..in shayri than you can imagine...!!

I'll try to post more articles like this...its an attempt to bring all shayri lovers more closer to the real picture of shayri.

On the closing Note i'd like to thank all my friends out there who have supported me with all their strength...!!


maikasH


__________________
mat poochiye kya shugl raha apna shab-e-gam
ye shama bhujhaai kabhi woh shama bhujaai

"har aansu" mein thi neelam si chamak ....par
afsos...ye dunyia hee ise na dekh paayi

Maikash Saaheb,
Aadaab!!!

Takreeban 2 maheene pehle ye forum join ki thee, aur aapka article achhi tarha se aaj pdha hai, jab mujhe Behar aur meter ke baare meiN pata karna tha. Mujhe behad afsos hai ki maine aapke article ko Pehle KyoN nahi theek tarike se pdha.
Bahut Kuch jo nahi maloom tha aapke iss article ki badaulat zehan meiN gaya.
Iss article ke liye main aapka bahut shukrguzaar hu, aapne waqi yeh kaam tareeff ke layak kiya hai....
Agar 1-2 article aise aur post kareN to mujhe aur mere jaise logon ko aur bahut Kuch pata lagega.....

Aapka bahut bahut Shukriya!!!

Vikram


'E Taahire Laahuti!!!
Uss Rizk Se Tau Maut Bhali
Jis Rizk Se Aatee Ho
Tere Parwaaz MeiN Kotaahi....



vikramjethi@gmail.com
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24th April 2011, 03:15 AM

shukriya dost, ilm jitna ho kam hai.

Quote:
Originally Posted by maikasH View Post
Dear Readers.....

I'm writing this article for people who has always wondered about how a Ghazal is written.
Who are keen to know the technical side of Ghazal writing

Note that i'm only trying to pass this information to you based on what i had been taught.

What is a Ghazal...?
A Ghazal is a combination of :-

1.Beher (Meter
2.Radeef
3.Kafiya
4.Matla
5.Maktaa

1. What is Beher (Meter) ...?

Beher is the rhythm of a sheyr which compliments the connecting misra's (lines) of a ghazal...all the misra's in a sher and all the sheyrs in a ghazal has to follow the same beher. There are many different beher's and it demands serious studies to be understood.Apart from those set beher's a shayar can also creat his own beher as long as the sheyr is easy to recite and can be pronounced in rhythm n match the "wazan" of the ghazal..

2.What is Radeef...?

Radeef is the word(s) which ends the first two misra's and the second misra of every sheyr in a Ghazal.it is not necessary to use radeef in all the Ghazals...such Ghazals are called "gair-muraddaf" ghazals...but this is not what tradition allows...!!

Example of a Ghazal with radeef and kafiya :- (Abdul Hameed "adam")

phuuloN kii aarazuu meN baDe zaKhm khaaye haiN
lekin chaman ke Khaar bhii ab tak paraaye haiN

us par haraam hai Gam-e-dauraaN kii talKhiyaaN
jiske nasiib meN terii zulfoN ke saaye haiN


mahashar meN le gaii thii tabiyat kii saadagii
lekin baDe Khuluus se ham lauT aaye haiN


aayaa huuN yaad baad-e-fanaa unako bhii 'Adam'
kyaa jald mere siikh pe imaan laaye haiN


***here.."haiN" is the radeef of this Ghazal***




ai maigusaaro savere savere
Kharaabaat ke gird phere pe phere

(Abdul Hameed "adam")

here....radeef is missing...as last words of the sheyr are not same so its a "Ghair-muraddaf" ghazal...so radeef is that exact word or words that ends the first two lines and every second line of a ghazal...!!

3. What is Kafiya...?

Kafiya is that common sounding word that's used before "radeef"...for example in first ghazal mentioned above "khaaye".."paraaye"...."laaye" is the kafiya or should is say "aaye" is the kafiya because "aaye" is the sound that gives "wazan" to the radeef of the ghazal.

4.What is Matla...?

The very first sheyr or the first two misra's of a ghazal where radeef is used in both misra's is the "Matla" of a ghazal...!!

for example...

saaGar se lab lagaa ke bahut Khush hai zindagii
sahan-e-chaman meN aake bahut Khush hai zindagii


Matla is very necessary for the weight of a ghazal because the whole ghazal depends on kafiya and radeef used in the Matla.

5.What is Maktaa

Maktaa is the last sheyr of a ghazal where shayar use his "takhhallus" to leave his signature on his composition...A poet rather not have a maktaa rather than having a meaningless maktaa...its one of those finer points of shayri where shayar can express himself or his feelings or talk about anything using the rhythm of the ghazal...!!

example... ( Shakeel Badayuni ) :-

Khush huuN ki meraa husn-e-talab kaam to aayaa
Khaalii hii sahii merii taraf jaam to aayaa

log un se ye kahate haiN ki kitane haiN "Shakeel" aap
is husn ke sadaqe meN meraa naam to aayaa

.................................................


Dear friends...thsi article is far from complete as far as depth and rules of ghazal writing are concerned..each topic especially "beher" needs to be studied thoroughly if someone wants to understand this fine art of shayri.

These are just the basic points that someone needs to look at before writing or understanding a ghazal...if anyone have any questions at all..i'll be overwhelmed to answer...i have an advice for shayar's who has just begun to write and are serious about learning shayri....you NEED to find an ustad who can guide you...find someone whom you can show your compositons...who can explain each term step by step and seek an advice..coz there's a lot more...A LOT MORE..in shayri than you can imagine...!!

I'll try to post more articles like this...its an attempt to bring all shayri lovers more closer to the real picture of shayri.

On the closing Note i'd like to thank all my friends out there who have supported me with all their strength...!!


maikasH


__________________
mat poochiye kya shugl raha apna shab-e-gam
ye shama bhujhaai kabhi woh shama bhujaai

"har aansu" mein thi neelam si chamak ....par
afsos...ye dunyia hee ise na dekh paayi


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27th July 2011, 06:09 AM



Sawaal ye aayaa hai ki ………………………………….
URDU ADAB KIYAA HAI ?
Is baarey me agar tafseel likhee jaaye aor us pe daleel de ke hawaalaa bhi diyaa jaaye to baat bahot lambee ho jaaye gee ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
ab us tafseel ko na main likh hi saktaa hun aor na itnee tafseel ka time hi hai ,,,,,,,,,,,,,,,,,,,,,,,,,
Bahot hi mukhtacar baat ye ho gee ki pahley ye pataa lagaa liyaa jaye ki ADAB kiyaa hotaa hai us ke baad us ko zabaan se jod diyaa jaaye kiun ki ADAB ADAB hotaa hai aor har zabaan me ADAB hotaa hai
ADAB kisee eyk zabaan me nahi har zabaan me paayaa jaataa hai shart ye hai ki us zabaan ki rasmul khat( font style ) paayi jaatee ho
Is liye bahot achhi baat ye hai ki mukhtacar andaaz me jaan liyaa jaaye ki ADAB kiya ahai
Ji haan ,,,,,,,,,,,,,,,,, adab ,,,,,,,,,,,, koi aisee tahreer yaa guftagoo jis me zabaan ke osool ko mokammal bartaa gayaa ho usey adab kahtey hain ……
Ab ye arbi farsee urdu hindee English bangla tamil koi bhi zabaan me ho saktaa hai …..
isee tarah … ADAB me nazm aor nacr donon shaamil hain is liye chaahe wo ghazal ho yaa nazm marciyah ho yaa macnavi rubaayi ho yaa qitaa waghairah waghairah …. aor chaahe wo afsaanah ho yaa naavil mokaalmah ho yaa mobaahecah mazmoon ho yaa khat yaa phir baahamee baat cheet waghairah waghairah sab hi ADAB maaney jaayen gey shart yahee hai ki us me ZABAAN ke osool ko bartaa gayaa ho
Ab agar main is roshnee me dekhoon to mahsoos hotaa hai ki is site pe honey waalee har tahreer agar ZABAAN ke osool ko barat ke pesh ki gayee hai to who ADAB hai
Aor ye ADAB ka ibtedaayi hissa hai balki is ko shart kahaa jaaye to zeyaadah behtar ho gaa
Warnah bahot se logon ne sirf zabaan ke osool ko barat lene ko ADAB nahi maanaa hai balki ye bhi shart lagaayee hai ki ZABAAN ke osool ko barat ke is khaas andaaz se pesh kiyaa jaanaa ki wo sunney yaa parhney waale pe acar andaaz ho jaaye tab wo adab ho gaa
aor isee bunyaad pe us ko FONOON E LATEEFAH me shumaar kiyaa jaaye gaa
Akheer me eyk baat ye bhi kahtaa chaloon ki ADAB KIYAA HAI is baarey me ye meri apnee raaye hai is se zeyaadah kuchh nahi
   
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27th July 2011, 01:03 PM

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Originally Posted by maikasH View Post
bhai urdu adab ki koi official definiton to mujhe nahiiN pataa, haaN jaise hum hindustaaniyoN meiN saNskaar ki baat hoti hai urdu adab bhi wohi cheez hai

aapka sawaal mujhe do parts meiN nazar aaya to do alag alag jawaab dene ki kohshish kar raha huuN :

1. aapne puucha ke kya arkaan aur bahuur (wazan,weight,meter in different sense) ko jaan'na zaroori hai ?

haaN bhi aur nahiiN bhi, wazan faqat rhythm ko kehte haiN aur har alag beher ki alag rhythm hoti hai, isi rhtyhm ko beher kaha jaata hai aur har beher ka ek mathematical formula available hai jise "taKh'tee" kahaa jaata hai

isko samajhne ke do tareeqey haiN, ek rhythm ko follow karna duusra taKhtee ka istemaal, zyadatar ustaad sahebaan prefer karte haiN ke naye seekhne waale taKhtee ka istemaal kareiN kyoNke iska sabse baDa fa'idaa hai ke laGhziishoN ki guNzaayish taqreeban naa ke baraabar hoti hai

lekin bohat se shayar aise bhi haiN jinhone kabhi arkaan ka istemaal nahiiN kiya, i have been fortunate enough to learn from two renowned and published poets, one of them would not hear a word about going against the mathematical formulas and the other did not know a thing about those formulas and despite being different in their teaching methods they were both absolutely spot on when it came to highlighting the mistakes in rhythm,literature and technacalities of using different words in different context.Urdu poetry is a vast field, its not just about understanding the rhythm or using the correct method of writying a Ghazal or a nazm but also how the words are used and where they are used, you would see many examples where upon reading a verse you would come to your own conclusions about the meaning of the verse however put it thrugh an experienced eye and you will get a totally different meaning that you would never have thought of that verse in that manner.

to in short ye zaruuri nahiiN hai ke aapko yeh 2-1-2-1 ka hisaab kitaab rakhna hi padega, mere ustaad-e-muhtarim ki kitaab meiN aapko beher ki ek bhi Ghalati nahiiN milegi aur unhone taKhtee par apne ash'aar parakhne ki kabhi zaruurat nahiiN samjhi

2. aap ne puucha hai ke kya urdu adab meiN manners zaruuri haiN ?


behadd zaruuri hai, hadd se zyada zaruuri hai, yeh rivaayat utni hi puraani hai jitna ke khud Ghazal

lekin yeh aap par munhasir hai aap kya chahte haiN, criticism accept kiye bina aap is fann ke do shabd bhi nahiiN seekh sakte, aisa nahiiN hai ke maine pehle din se hi is baat to accept kar liya tha, nahiiN, aap shayri.com ke shuruvaati panne khol ke dekh leiN to aapko meri "bachkaana harkateiN" zaruur nazar aayeNgi aur yaqeen kijiye maiN un haraktoN par bohat sharmiNdaa huuN

The day i started listening instead of throwing abuse at those who wanted me to learn it all started making sense, it took me years to learn basics and a bit more from there on, still learning as we speak, the journey has been an eye-opening one to different possibilites.


jee nahiiN aisa nahiiN hai ke agar aapko apni kaavish par kisi ke tabsire se ittefaaq nahiiN hai to aap chup raheiN, aap bilaa-jhijhak us par sawaal uThaa sakte haiN lekin phir vohi saNskaar waali baat aa jaati ke aisa kareiN zaruur lekin is baat ka bhi khayaal rakheiN aapke lehje meiN kaDvaahat na ho is tareeqey se baat na kareiN aap unheiN neecha dikhaane ko kohshish kar rahe haiN, yaad rakehiN ke us shakhs ne apna behadd qeemati waqt aur dimaag aapki madadd karne ke liye kharch kiyta hai to yeh to common sense ki baat hai ke aap tameez se pesh aayeN, iski bhi misaal aapko yahiiN mil jaayegi, mere Dheer aur Mayank saheb ke darmiyaan aisi bohat si baateiN hui haiN jahaan kahiiN maiN bhi Ghalat tha, aise mauqoN par maine ba'qaayada un se mazrat chaahi hai lekin aisi har baat ko jiska mujhe sau-fee-sadii pata na ho maiN hamesha ek disclaimer ke saath post karta huuN taake jisko islaah di gayi voh kahiiN aur se bhi is baat ki tasdeeq kar sake

agar aap bad'tameezi se pesh aayeNge to yeh aapka apna nuqsaan hai, puraane zamaane meiN to shaagird apne ustaad-e-muhtarim ko "Tokaa" taq nahiiN karte the, waqt badal gaya hai lekin udru adab ki requirements aaj bhi woh ihaiN, farq itna ahi ke aaj kal koi apna waqt bewajah barbaad nahiiN karta kyoNki naye ssekhne waaloN keiN voh tameez aur aur patience nahiiN rahi


ummiid hai ke aapko aapke sawaaloN ka jawaab mil gaya hoga, kuch aur madadd kar sakuuN to huqm kijiyega

(jaldi meiN type kiya hai, typos ko nazar-aNdaaz kar dijiyega, however even this is considered as a crime in urdu adab, khat-o-khitaabat meiN laGziishoN ko traditionally lightly nahiiN liya jaata )

rab raakha
maikash sahab aapne mere sawaal ko chuaa tak nahi hai aapke reply me.mera sawaa sirf ek tha...aapne saare tukdo ka jawaab diya 'ha' me.....na ' to possible hai hi nahi....magar precisly isliye ye sawaal poocha tha kyuki vikasji ke reply ko aapne indirectly beadab qaraar diya aur bade beadbi se.
khair aapse maine sawaal to kar diya phir khud sochne laga...dusro se poochne laga.phoir socha ki kal jawaab likhta hu, raat me sochta hu....ye adab ka qissa kuch saaf ho....jiske naam par itne jhagde hote hai aur jiski duhaii bhar kar dusro ko neecha dikhaya jata hai

------------------------------------------------------------------
pahle thoda sa background deta hu

agar koi speculate kare ki dar asl jise hum urdu kahte hai vo actually hindi hai!! to shayad pahle baar jo sune use bada atpata lage.

ab prepartition time period me jaiye.south me dravidian languages thi...tamil,telegu etc. bangal me bangali,assam me asom ,gujrat me gujrati , up aur bihar me braj,bhojpori,maithili aur pali.....
magar ye so called hindi to us samay dilli aur lucknow ke alawa kahi dikhti nazar nahi aa rahi...pori prepartition india me nadarad si hai.

kya nahi ho sakta ki jo braj aur pharsi( primarily) ke mixture se bhasha bani ,use shayad dilli aur lucnow me musalman urdu kahte ho aur hindu 'hindi' kahte ho ? yani zabaan wahi hai par alag naam se?......

partition ke baad india me yahi zabaan hindi naam se aayi aur sanskrit ki taraf jhukav kar gayi aur ab 60 saal baad ek distinct language ban gayi...same case with urdu..pakistaan me vo zabaan pharsi/arbi ki taraf jhukav kar gayi aur ek distinct zabaan ban gayi.dono me ek kattarpana aa gaya.....mix hone ka resileince chala gaya.

ab ye sawaal ka jawaab shayad easy ho jaaye...
urdu adab kya hai?

ab upar ka background kuch kaam aaye...kya urdu adab naam ki koi cheez hai?agar hai to obviously dili/luchnow se inspired hai aur wahi se nikli hai.
kya hum hindustani tehzeeb aur mughal courts ke routines aur manners ko urdu adab ka naam de rahe hai?...tab to sirf adab' hi kahna hoga...yani ki a way, a good way. ab normal human courtesies, manners, politness ye sab ,chahe jo tarike se aaye,bharti ya mughal ,adab to ho sakta hai,'urdu adab' nahi.

iska matlab ye hua ki urdu adab ek specific cheez hai...
logically speaking agar hum civilisational ways ko jaised maine upoar kaha hai, agar hata den to kuch bach jata hai ...vo ye hai shayad

a vast body of work which includes rules and regulations of grammar, which includes the fine art of prosody[urooz] and precedents debated and settled.

bus yehi hai. urdu adab....itna sa

--------------------------------------------------------

ab isme kai log thusam thaas kar lete hai manners/ courtesies in sab human traits ki...aur use legitimise karne ke liye urdu adab aur unke shayro ka hawala de dete hai.....jo mere khayaa se jayaz nahi hai...ofcourse this is a personally derived of my understandings of the facts


------------------------------------------------------------

mai ek adabi guftagu kar raha hu...ek topic per discussion.ise kisi aur tarah se na liya jaaye, ye guzarish hai

regards
   
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27th July 2011, 04:15 PM

Quote:
Originally Posted by masoodhassas View Post

Sawaal ye aayaa hai ki ………………………………….
URDU ADAB KIYAA HAI ?
Is baarey me agar tafseel likhee jaaye aor us pe daleel de ke hawaalaa bhi diyaa jaaye to baat bahot lambee ho jaaye gee ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
ab us tafseel ko na main likh hi saktaa hun aor na itnee tafseel ka time hi hai ,,,,,,,,,,,,,,,,,,,,,,,,,
Bahot hi mukhtacar baat ye ho gee ki pahley ye pataa lagaa liyaa jaye ki ADAB kiyaa hotaa hai us ke baad us ko zabaan se jod diyaa jaaye kiun ki ADAB ADAB hotaa hai aor har zabaan me ADAB hotaa hai
ADAB kisee eyk zabaan me nahi har zabaan me paayaa jaataa hai shart ye hai ki us zabaan ki rasmul khat( font style ) paayi jaatee ho
Is liye bahot achhi baat ye hai ki mukhtacar andaaz me jaan liyaa jaaye ki ADAB kiya ahai
Ji haan ,,,,,,,,,,,,,,,,, adab ,,,,,,,,,,,, koi aisee tahreer yaa guftagoo jis me zabaan ke osool ko mokammal bartaa gayaa ho usey adab kahtey hain ……
Ab ye arbi farsee urdu hindee English bangla tamil koi bhi zabaan me ho saktaa hai …..
isee tarah … ADAB me nazm aor nacr donon shaamil hain is liye chaahe wo ghazal ho yaa nazm marciyah ho yaa macnavi rubaayi ho yaa qitaa waghairah waghairah …. aor chaahe wo afsaanah ho yaa naavil mokaalmah ho yaa mobaahecah mazmoon ho yaa khat yaa phir baahamee baat cheet waghairah waghairah sab hi ADAB maaney jaayen gey shart yahee hai ki us me ZABAAN ke osool ko bartaa gayaa ho
Ab agar main is roshnee me dekhoon to mahsoos hotaa hai ki is site pe honey waalee har tahreer agar ZABAAN ke osool ko barat ke pesh ki gayee hai to who ADAB hai
Aor ye ADAB ka ibtedaayi hissa hai balki is ko shart kahaa jaaye to zeyaadah behtar ho gaa
Warnah bahot se logon ne sirf zabaan ke osool ko barat lene ko ADAB nahi maanaa hai balki ye bhi shart lagaayee hai ki ZABAAN ke osool ko barat ke is khaas andaaz se pesh kiyaa jaanaa ki wo sunney yaa parhney waale pe acar andaaz ho jaaye tab wo adab ho gaa
aor isee bunyaad pe us ko FONOON E LATEEFAH me shumaar kiyaa jaaye gaa
Akheer me eyk baat ye bhi kahtaa chaloon ki ADAB KIYAA HAI is baarey me ye meri apnee raaye hai is se zeyaadah kuchh nahi


shukriya masood saheb

aapne apna qeemati waqt nikaal kar apni ra'i se nawaaza


.........................................

is tarhe teri yaad meiN har shaam dhaley hai
goyaa koyi nagin si kalejey pe chaley hai

maikash
...............................
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27th July 2011, 08:25 PM

DostoN !! Ab Tak Ki Bahas Kaa Jo Saar Nikal Ke Aa Raha Hai ...Hum Jitnaa Chhaan Rahe HaiN ... Utnaa Ki KirKiraa Nikal Raha Hai ... !

Rahi Adab .. Chota .. BaDhaa ... Sab Humare VichaaroN Kaa Samhuu Hai ... Wahi Mann Ka Pratibim Ban Jaataa Hai ... Jise Har Koi Apne Dhang Se AbhivyakT Kar Detaa Hai ... !

Rahi Bahr Ki Baat ... Woh Ghazal Vidhaa Ka Khaas Hissa Hai ... Apne EhsaasoN Ko Usme Baandh Ke Prastut Karnaa ... Ghazal Kahne Ki Nipurntaa Kaa Suchak Bhi Kah Sakte HaiN ... !

Lekin ... Naye Likhne WaaloN Ko Kewal Iss Baat Par Khaariz Karna Uchit Nahi Ki Woh Bahr MeN Ghazal Kahane MeN Asmarth HaiN ... Yahaa Bahr Ke JaankaaroN Ko Aage Aakar Unki Madad Karni Chaahiye ... Naaki Mazaak Banaa !

Aap Naye Ko Seekhaa Kar ... Agli PiDhii Taiyaar Kar Rahe HaiN ... Agar Yeh Bhaav Rakh Ke Kaam Kiyaa Jaye Toh Kabhi Mann MeN AhaNkaar Kaa Janam Nahi Hoga ... Main BaDha HooN .. Woh Chota Hai ... Aise BhaaV Swetaa Hi Mann Se Lupt Hote Jaayenge ... !

Haa Yahaa Yeh Baat Bhi Gaur Karne Ki Hai ... Agar Aap 10 Jano Ko Bahr Seekhaate HaiN ... Woh Sab Bahr MeN NipurN Ho Jayenge ... Aisa Zaroori Nahi Hai ... Yeh Sab Seekhne Waale Ki Lagan Aur Samarpan Par Nirbhar Kartaa Hai ... Isliye ... Seekhaane Waale MeN Dhairey Honaa Bahut Zaroori Hai ... Yeh Hi BaaT Seekhne Waale Par Bhi Laagoo Hoti Hai ... !!

Yeh Sirf Mere Apne Vichaar HaiN ... Isse Koi Bhi AnyaThaa Naa Le ... !

Khush RaheN ... !
DuaaoN Ke Saath ... !




YuuN Besabab Aansoo Aate NahiN
Lag Zaroor Koii Baat Dil Ko Rahii Hai ...

Fareb Kaa ChaDhtaa Bazaar Dekh
Insaaf Se Bastii Khaalii Ho Rahii Hai ...


---Naresh Mehra----

Last edited by naresh_mehra110; 27th July 2011 at 09:05 PM..
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27th July 2011, 09:30 PM

good

guftagoo sahee rukh pe jaa rahee hai

ab koi eyk ghazal len aor us ki bah pe guftagoo karen taaki us se har eyk ko faayedah pahonchey

bahr me hai to kis wjah se hai nahi hai to us ki kiyaa wajah hai is ko zaroor bataayen taaki har koi aasaani se samajh sakey

is baat ka dheyaan den

ho saktaa hai aaj yah baat bahot zeyaadah faayedah na dey magar aisaa zaroor ho saktaa hai jab jab koi nayaa aaye to is se bahot kuch seekh ke jaaye

behtar ho gaa ki s d c ki koi ghazal le ke usee bahr me kisee ustaaz ki ghazal le len aor donon ko saath me rakh kar samjhaane ki koshish karen

yaa is se behtar koi soorat aap ki smajh me aaye to us ko bhi istemaal kar saktey hain
   
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29th July 2011, 07:54 AM

Quote:
Originally Posted by maikasH View Post
Vikas saheb aadaab aur namaste tasleem farmaa'iye


bhai mujhe aapse koi gilaa nahiiN hai isliye muaafi maaNg kar aap sharmiNdaa kar rahe haiN

maiN to yeh chaahta tha ke aap gussey ko zaraa pare'y rakh kar baat kareiN to kuch kaam ki baat ho paaye

meri ek hi buri aadat hai ke jo bhi kehta huuN be'dhadak kehta huuN aur kabhi kabhi kuch aisa bhi keh jaata huuN jo shayad mujhe maNzir-e-aam par nahiiN kehna chahiye lekin yaqeen kijiye mera aisa iraada kabhi bhi nahiiN hota ke kisi ki dil dukhey

ab is beebaaki-e-mijaaz ke peeche bhi ek qissa hai chaliye appse kahe deta huuN, maiN jab is site par naya naya aaya tha to taqreeban har roz apna kuch likha hua post karta tha, kuch mahiinoN meiN bohat mash'hoor ho gaya, apni post par duusoN ki "waah-waah" ki aisi aadat lagii ke replies gin'ne lagaa aur bachpana kahiye ya kacchi umr ka josh ke gurrur aa gaya ke "miyaaN yahaaN sabse baDa shayar maiN hi huuN"

phir ek din ek saheb ne meri do ek posts par sirf itna kaha ke "khayaal acha hai :lekin: WAZAN KAHAAN HAI?"

mujhe bohat gussa aaya, maine taabaR-toR un posts par is qism ki baateiN likhiiN ke "aapko kaun hote haiN mujhe kuch kehne waale", "maine sab dekha hai", "maiN aapse ziyada jaan'ta huuN" vaGhera vaGhera aur phir maine yeh "ailaan" kiya ke "meri yahaaN izzat nahiiN hai maiN yeh site choR kar jaa raha huuN"

uska nateejah yeh nikla ke ehbaab "mannane" lage ke mat jaaiye, khud Gaurav saheb ne (jinki yeh website hai) ne bhi iltijaa ki ke mat jaaiye, chooNke mere us guruur ko jo khuraak chahuye thi voh mil gayi to maiN nahiiN gaya

phir uske baad unhiiN saheb ka mujhe ek pm mila aur us pm meiN unhone mujhe baDi murravvat se samjhaaya bawajuud iske ke woh mujhse umr meiN bees saal baDe the aur maiN "chaaroN TaangeiN" uThaa kar unke peeche paDa hua tha, inhiiN saheb ne mujhe kuch websites ke links diye aur mujhe kaha ke apni kaavisheiN islaah ki garaz se wahaaN post kijiye, un meiN se ek thi "bazm-e-sukhan" jo bohat pehle baNd ho chuki hai, to bhai maiN apni GhazleiN aur apna "guruur" le kar wahaaN pahuNch gaya, yaqeen jaaniye do din meiN mujhe pata chal gaya maiN kitne paani meiN huuN, sharmiNdagii bohat huii, go be-izzat kisi ne kiya to nahiiN lekin mujhe yuuN laga jaise kisi ne kapDe utaar ke chau'raahe ke beechoN-beech jabran khaDa kar diya ho

yeh meri khush'qismatii hai ke wahaaN mujhe kuch suljhe hue sho'ra ne panaah di, unhiiN dinoN meiN yahaaN isi site par mere ustaad-e-muhtarim (tab ajnabi the) ne mujhse raabta kiya, chooNke guruur TooT chuka tha to ab duusroN ki kaDvi baat sun'ne meiN bhi aasaani hone lagi, khair DaaNt to nahiiN paDi albatta baDe zabt aur muhabbat se wazan aur zabaan ki baraakiiyoN se mera ta'rruf karaaya gaya, maiN aaj taq in logoN ka aur un saheb ka shukurguzaar huuN aur gaahe-ba-gaahe apni un bewakuufiiyoN ko yaad karke khud pe khafa hota huuN, agar maiN aaj bhi "laTTh" le kar khaDa rehta ke jee maiN hi maiN huuN to bhai jis nigaah se maiN urdu sha'iiri ko aaj dekh paa raha huuN voh shayad mujhe kabhi naseeb na hoti, to bhai ab jo dil meiN aata hai bilaa-jhijhak keh deta huuN, agley ko buraa lagey to agley ka nuqsaan

urooz ka mujhe itna ilm nahiiN hai, maine kuch saal pehle aur uske baad do-ek baar idhar-udhar thoDi kohshish ki thi ke ye failaan, mafailaan, mafailatun, 1-2,1-2 ko saNjeedagi se paDhuuN aur samajhne ki kohshish karuuN lekin kuch haalaat aise the ke waqt nahiiN nikaal paaya ab ustaadoN ki badaulat mujhe kam-az-kam she'r ko beher meiN paDhne meiN koi diqqat pesh nahiiN aati ba'shart'e ke she'r beher meiN ho, haaN kaun se ash'aar kaun si beher meiN kahe gaye haiN iska mujhe ratti bhar bhi ilm nahiiN hai go pichhle hafte se qamar kas'ii hai ke is baar ba'qaayedaah ta'leem haasil ho

bhai internet pe bohat is adab'ii mehfileiN haiN jahaaN ek se ek badhkar sho'ra shirkat karte haiN aur naye likhne waaloN ki khoob madadd bhi karte haiN, aap chaheiN to maiN aapko links bhej deta huuN, agar moderators sahebaan ki ijaazat ho to maiN isi thread meiN hi post kar duuNga, meri baat kareiN to maiN yahaaN ke ilaawa duusri mehfiloN meiN bohat kam jaata huuN albatta pichhle do-teen saaloN meiN to maine kisi bhi mehfil meiN haaziri nahiiN di hai, yahaaN bhi shayad do saal baad lauTa huuN

jee maiN apni Ghazal islaah ke liye kisi bhi website par post nahiiN karta, maiN apni Ghazal email meiN ustaad saheb ko bhej deta huuN aur phir un se phone par tabadalaa-e-khayaal ho jaata hai, beher ke ilaawa zabaan aur lehje ko baratne ke ta'ur, alfaaz ka sahee jagah aur sahee tareeqe se istemaal, kis muhavire ko kahaaN bart'aa jaa sakta hai kahaaN nahiiN in sabhi pehluuoN par khul kar ek hi baar meiN baat ho jaati jo ke achcha hai aur waqt bhi bach jaata hai

aksar maiN Ghazal ki islaah ke baad usko kahiiN post nahiiN karta lekin yeh Ghazal "agar" sitaa'iish ke qaabil nikli to maiN zaroor post karuuNga


chaliye waqfey ke baad milte haiN

rab raakha
maikash
aadaab maikash bhai
go ki yahaan meraa aaney ka koi tuk nahi ban raha athaa
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, taaham main apne dil ko rok na paayaa ,,,,,, aor saahab ,,,,, dil ki aawaaz pe labbaik kahnaa hi baa zameer logon ka shevah hai to janaab chand jumley agar baar e geraaN khaatir na ho to arz karun ,,,,
kahnaa bas itnaa hi thaa ............. khodaa aap ke qalam ko nazr e bad se bachaaye ................ keyaa khosoorat lab o lehjaa paayaa hai ,,,, oh ,,, jis salees andaaz me aap ne maa fizza meer ki adaayegee ki hai woh laayeq e sad sataayish hai ,,,, belaa shubha aap eyk khoobsoorat nacr nigaar hain ... yaqeen hai aap se tabaadal e khiyaal fikr aNgez ho gaa
is mazmoon pe khuley dil se daad qabool farmaayen
doa ka muhtaaj
masood hassaas
   
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Aadab,,
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Aadab,, - 29th July 2011, 01:56 PM

aadab ,,,

yahan sub ne gaagar me sagar bhar diya hai ,, yaqeenan ye thread layaq-e-sad sataish hai ,, taham intezaar ab bhi sahebe ghazal ka baaqi hai jiske baad humse mubtadi o talib-e-ilm hazrat ke ilm kasrat se izafa hone ke imkanat hai ,,

masood bhai aur zidd bhai ka nazriya apni jaga bilkul durust hai ,, ab maikash sahab se bhi adban guzarish hai ke jald az jald apna tabsere yahan chaspa kare.N taake sabhi hazrat chai.N ki saan's aur mustafeed o mahezooz ho sake ...allah sub ko shad o aabad rakhe ...


khadim ul khaddam

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maikasH
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30th July 2011, 02:47 AM

Quote:
Originally Posted by masoodhassas View Post
aadaab maikash bhai
go ki yahaan meraa aaney ka koi tuk nahi ban raha athaa
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, taaham main apne dil ko rok na paayaa ,,,,,, aor saahab ,,,,, dil ki aawaaz pe labbaik kahnaa hi baa zameer logon ka shevah hai to janaab chand jumley agar baar e geraaN khaatir na ho to arz karun ,,,,
kahnaa bas itnaa hi thaa ............. khodaa aap ke qalam ko nazr e bad se bachaaye ................ keyaa khosoorat lab o lehjaa paayaa hai ,,,, oh ,,, jis salees andaaz me aap ne maa fizza meer ki adaayegee ki hai woh laayeq e sad sataayish hai ,,,, belaa shubha aap eyk khoobsoorat nacr nigaar hain ... yaqeen hai aap se tabaadal e khiyaal fikr aNgez ho gaa
is mazmoon pe khuley dil se daad qabool farmaayen
doa ka muhtaaj
masood hassaas

taslee'maat masood bhai


aapki inaayat hai bhai jo mujh na'ehl ko itni izzat se nawaaz rahe haiN go aapke lehje meiN jo taQalluf nazar aaya voh zara sa chubh raha hai bara-e-mehr'baani paraaya na samjheiN


aapki daad aur duaayeiN sar-aaNkhoN par

khuda ne chaaha aur tabiyat ne saath diya to aage baat hoti rahegi



rab raakha
maikash


.........................................

is tarhe teri yaad meiN har shaam dhaley hai
goyaa koyi nagin si kalejey pe chaley hai

maikash
...............................
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