| Ghazal originated in Iran in the 10th century | | | | couplet called matla. The rhyme of the |
| A.D. It grew from the Persian qasida, which | | | | opening couplet is repeated at the end of |
| in verse form had come to Iran from Arabia. | | | | second line in each succeeding verse, so that |
| The qasida was a panegyric written in praise | | | | the rhyming pattern may be represented as AA, |
| of the emperor or his noblemen. The part of | | | | BA, CA, DA, and so on. In addition to the |
| the qasida called tashbib got detached and | | | | restriction of rhyme, the ghazal also |
| developed in due course of time into the | | | | observes the convention of radif. Radif |
| ghazal. Whereas the qasida sometimes ran into | | | | demands that a portion of the first line - |
| as many as 100 couplets or more in monorhyme, | | | | comprising not more than two or three words - |
| the ghazal seldom exceeded twelve, and | | | | immediately preceding the rhyme-word at the |
| settled down to an average of seven. Because | | | | end, should rhyme with its counterpart in the |
| of its comparative brevity and concentration, | | | | second line of the opening couplet, and |
| its thematic variety and rich suggestiveness, | | | | afterwards alternately throughout the poem. |
| the ghazal soon eclipsed the qasida and | | | | The opening couplet of the ghazal is always a |
| became the most popular form of poetry in | | | | representative couplet: it sets the mood and |
| Iran. | | | | tone of the poem and prepares us for its |
| | | | proper appreciation. The last couplet of the |
| The ghazal came to India with the advent and | | | | ghazal called makta often includes the |
| extension of the Muslim influence from the | | | | pen-name of the poet, and is more personal |
| 12th century onwards. The Moghuls brought | | | | than general in its tone and intent. Here the |
| along with them Iranian culture and | | | | poet may express his own state of mind, or |
| civilization, including Iranian poetry and | | | | describe his religious faith, or pray for his |
| literature. When Persian gave way to Urdu as | | | | beloved, or indulge in poetic self-praise. |
| the language of poetry and culture in India, | | | | The different couplets of the ghazal are not |
| the ghazal, the fruit of Indo-Iranian | | | | bound by the unity and consistency of |
| culture, found its opportunity to grow and | | | | thought. Each couplet is a self-sufficient |
| develop. Although the ghazal is said to have | | | | unit, detachable and quotable, generally |
| begun with Amir Khusro (1253-1325) in | | | | containing the complete expression of an |
| Northern India, Deccan in the South was its | | | | idea. |
| real home in the early stages. It was nursed | | | | |
| and trained in the courts of Golconda and | | | | Some poets including Hasrat, Iqbal and Josh |
| Bijapur under the patronage of Muslim rulers. | | | | have written ghazals in the style of a nazm, |
| Mohd. Quli Qutab Shah, Wajhi, Hashmi, Nusrati | | | | based on a single theme, properly developed |
| and Wali may be counted among its pioneers. | | | | and concluded. But such ghazals are an |
| Of these, Wali Deccany (1667-1707) may be | | | | exception rather than a rule, and the |
| called the Chaucer of Urdu poetry. Wali's | | | | traditional ghazal still holds sway. However, |
| visit to Delhi made in 1700 acquires a | | | | we do come across, off and on, even in the |
| historic significance. This visit was | | | | works of classical poets, ghazals exhibiting |
| instrumental in synthesizing the poetic | | | | continuity of theme or, more often, a set of |
| streams of the South and the North. Wali's | | | | verses connected in theme and thought. Such a |
| poetry awakened the minds of the | | | | thematic group is called a qita, and is |
| Persian-loving North to the beauty and | | | | presumably resorted to when a poet is |
| richness of Urdu language, and introduced | | | | confronted with an elaborate thought |
| them to the true flavor of ghazal, thus | | | | difficult to be condensed in a single verse. |
| encouraging its rapid growth and popularity. | | | | Although the ghazal deals with the whole |
| | | | spectrum of human experience, its central |
| In its form, the ghazal is a short poem | | | | concern is love. Ghazal is an Arabic word |
| rarely of more than a dozen couplets in the | | | | which literally means talking to women. |
| same metre. It always opens with a rhyming | | | | |