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The Urdu ghazal makes use of a store of common characters, settings, images, and metaphors that inform both readers and poets of how to navigate the aforementioned ghazal universe. [33] These tropes have been cultivated for hundreds of years and are meant to deeply resonate with listeners of the ghazal, invoking their expectations of meaning.
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In Persian, Turkic, and Urdu ghazals, the radīf (from Arabic رديف; Persian: ردیف; Azerbaijani: rədif; Turkish: redif; Urdu: ردیف; Uzbek: radif) is the word which must end each line of the first couplet and the second line of all the following couplets. [a] It is preceded by a qafiya, which is the actual rhyme of the ghazal. [1] [2 ...
The anthology of his poems, Kulliyat-e-Siraj, contains his ghazals along with his masnavi Nazm-i-Siraj.He was influenced by Persian poet Hafiz. [1]He had also compiled and edited a selection of works of Persian poets under the title "Muntakhib Diwan".
He also published ghazals under the title, Dil ki Zuban. His other publications include: Naqd-o-Nigarish (a work of literary criticism) Maqalaat-e-Mumtaz; Shaakhsaanay (Short stories) Maqam-e-Ghazal (edited work of Hafiz Hoshiarpuri) Nashid-i-Hurriyat; Nukta-e-Raz (collection of research articles on Urdu poetry) [1] Bhagvad Gita (Urdu ...
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Nazm is a significant genre of Urdu and Sindhi poetry; the other one is known as ghazal. Nazm is significantly written by controlling one’s thoughts and feelings, which are constructively discussed as well as developed and finally, concluded, according to the poetic laws.
He can "talk to himself", "to somebody else", "refer to something" etc. For example Firaq Gorakhpuri, whose takhallus is the word for the common theme in Urdu poetry of the state of pining for the beloved, plays on his pen name and the word firaq: Urdu: تو یہ نہ سمجھنا کے فِراق تیری فِراق میں ہیں