The word ‘ghazal’ means something like ‘conversations with women’; like the genre itself, it originated in sixth-century Arabic verse. Early Arabic ghazal revolved around two broad themes: the rakish celebration of wine, women, and song; and the elegiac lament over lost love. By the time the ghazal passed into Persian from the early eleventh century onward, this second theme had come to have mystical overtones: separation and suffering were at the heart of love, and the faithful, longing lover was even a kind of martyr. (For discussion, see the latter part of ‘Convention in the Classical Urdu Ghazal’ [site].) The overarching centuries-long history of Persian ghazal is described in detail in E. G. Browne’s four-volume A Literary History of Persia (1906; [site]). Through Persian, the medieval ghazal also came to develop major traditions in Turkish and Urdu. Nowadays, the ghazal remains alive only in Urdu. The rest of this discussion will focus on the classical (i.e., 18th/19th-century) ghazal in Urdu; the two greatest poets of this tradition were Mir Muhammad Taqi 'Mir' (1722-1810) and Mirza Asadullah Khan 'Ghalib' (1797-1869).

Formally speaking, a ghazal is a set of two-line verses (they aren’t technically ‘couplets’, since in most of them the two lines don’t rhyme). Ideally there are to be an odd number of them, and ideally the number is to be something like seven or nine. They share a strictly-defined Arabic-derived quantitative meter; for a full account see A Practical Handbook of Urdu Meter [site]. And at the end of each verse they also share a common rhyme syllable, and after it usually a common repeated refrain word (or words) as well. Beyond this, the verses of a ghazal share only the larger ghazal universe of stylized characters, scenes, actions, and images. A ghazal, in short, is a series of semantically independent two-line mini-poems that have a strong formal unity—but usually no particular unity beyond that. (On the quest for unity, see ‘Orient Pearls Unstrung’ [site].) Thus in performance, oral reciters and singers freely reorder the verses of a ghazal, and almost always omit a good number of them.

The first verse of a ghazal commonly incorporates the rhyme and refrain at the end of both lines, instead of only at the end of the second line. If it does this, it’s called an ‘opening-verse’. Under oral performance conditions, this feature enables the listeners to perceive the formal structure of the ghazal more quickly. The last verse commonly includes the poet’s chosen pen-name; if it does this, it’s called a ‘closing-verse’. Both these features reflect the ghazal’s expectation of oral performance.

The traditional venue for oral performance was the mushairah, which consisted of a smallish group of patrons, connoisseurs, master-poets (‘Ustads’), and apprentices. Most mushairahs were based on a well-known ‘pattern’ line announced in advance, so that everybody’s ghazals composed in this pattern were formally identical (sharing meter, rhyme, and refrain). This formal identity made them extremely comparable, so that individual achievement stood out strikingly. Recitation-- or chanting in a popular style called tarannum (an example: Jigar Moradabadi, 1957)-- of the first line of a verse was followed by a longish pause full of praise and exclamatory comment from the audience, after which the first line was repeated and then finally followed by the second line. This style of presentation created an interval of time when the audience had access to the first line but not the second-- with possibilities for creating suspense, misdirection, surprise, etc., that became major factors-- along with complex wordplay-- in the development of the ghazal's poetics.

Poets recited in order of increasing seniority; because of the emphasis on apprenticeship over time and the required mastery of technical skills, the seniormost poets were politely assumed to be the finest. Everybody had a small notebook in which he (women rarely attended mushairahs) quickly jotted down verses that struck his fancy, for later discussion with friends. Famous poets were often the rock stars of their day; bands of their apprentices were even known to riot when they encountered each other in the streets of Lucknow. Although the majority of ghazal poets were upper- or middle-class Muslim men, ghazals by women, by people of other religions (including Hindus, Sikhs, and Christians), and by people of working-class backgrounds, are amply documented. For details of this literary culture, and its self-documentation in anthologies called ‘tazkirahs’, see ‘A Long History’ ([site]).

All poetry is made out of other poetry, but not all poetry is glad of it; the ghazal, however, delights in its huge treasury of earlier verses. The very origins of Urdu poetry included macaronic (mixed) Persian/Urdu lines and verses; the classical training for a poet included memorizing literally thousands of verses by earlier Persian and Urdu Ustads. There were various technical terms for the deliberate or inadvertent use of another poet's line, or idea, or image. If deliberate, it was either a tribute or a challenge—or usually both; if inadvertent, was it creative coincidence, innovative development, or vulgar imitation? And was every usage of the early masters sacred, or should modern idiom have legitimacy as well? Mushairahs also functioned as technical workshops in which issues like these could be publicly addressed.

At the most basic level, the ghazal is the first-person voice of a passionate lover who laments his lack of access to his beloved. This lover is always construed as masculine. In some verses the beloved is very clearly feminine (as for example when women’s clothing, veiling, etc. is mentioned); she is then either a courtesan, or an inaccessible lady in pardah. In other verses the beloved is very clearly masculine (as when the beginnings of the coquettish adolescent boy’s beard are said to appear, destroying his androgynous charm). In most verses, the gender of the beloved can’t be decided for sure. This undecideability is partly due to the brevity of the verses, and to the emphasis on the lover’s feelings rather than descriptions of the beloved. In Persian, it’s also due to the nature of the grammar: verb endings don't vary with gender. In Urdu, the beloved is always treated as grammatically masculine.

And ultimately, this abstractly masculine gender is also due to the desire to keep open a mystical, Sufistic reading in which the supremely powerful, and irresistibly beautiful divine Beloved is the real object of desire. Since an erotic pursuit of God by a male lover is not only supremely transgressive but also bound to end badly, the lover knows from the beginning that his passion is doomed and will destroy him. But he doesn't care, since it's so much more powerful and beautiful than anything on offer in this flimsy, transitory 'real' life. Thus the great metaphors of his condition are the universal mystical ones of helplessness and/or transcendence: drunkenness, sex, madness, and death. The stylized settings of the ghazal world (garden, desert, wine-house, prison, etc.) and its supporting cast of characters (the Rival, the Messenger, the Doorkeeper, the Advisor, the Ascetic, etc.) are all precisely calibrated to accompany this passion play. In the ghazal world there's no marriage, no family life, no raising of children-- nothing at all to domesticate the wildness of the lover's mad quest.

Some modern readers have worried over the depiction of the beloved as a beautiful boy; the implications of pederasty distress them. But if the beloved can be envisioned as a beautiful boy or a courtesan, he can also be God, and plainly the ghazal lives in a world of its own and thus is the very reverse of autobiographical. For if the beloved is a denizen of that ghazal world, so too is the lover, who can speak as a caged bird, a hunted animal, a naked madman, a drunkard, or himself after his own death. The point is the transgressiveness, the liminality, the rush to break out of this flawed, doomed, limited worldly life into a larger, truer universe of passion. The moth flying into the candle flame is thus one of the ghazal's emblematic images; the burning, melting, self-consuming candle itself is another; and the blossoming rose whose ‘smile’ is also her death-warrant is a third. In the ghazal world the conversion of pain into joy, and joy back again into pain, is fundamental-- just as the beloved is an 'idol' and the lover an 'infidel', but their bond may also represent the deepest, truest religious feeling.

The classical ghazal world, with its aristocratic patronage and its famous Ustads, was killed off in the aftermath of the Rebellion of 1857. (For a classic statement of the later anti-ghazal 'natural poetry' credo, see Azad 1880 and many followers, such as Syed Abdul Latif 1924). In the years before Partition the Progressive poets were enormously influential (see A. and R. Mir 2006), and there have also been many ‘filmi’ ghazals composed for Bollywood movies. Nowadays most ghazals are either obscure and elite, printed in small poetry journals, or else simple, widely accessible, and often very popular. Modern mushairahs too are greatly changed: they tend to be public performances, like concerts, presided over by popular emcees who adjust the performances according to the mood of the audience. They thus form a kind of venue for the ghazal that mediates between the elite and the popular. And now, of course, 'ghazal' has become the name of a genre of modern English poetry as well. (For further discussion see Ravishing Disunities, by Agha Shahid Ali.)

Further resources: S. R. Faruqi and F. W. Pritchett, ‘Lyric Poetry in Urdu: the Ghazal’ [site]; F. W. Pritchett, Nets of Awareness [site]; A Desertful of Roses, ‘Bibliography’ [site]; the work of S. R. Faruqi [site].



 

Some basic technical terms for reading the ghazal:

i.zaafat == (f.) A Persian-derived grammatical construction linking a noun with another noun or adjective that follows it.

afaa((iil == (m.pl.) The names of the feet in traditional Perso-Arabic prosody.

ba;hr == (f.) Meter.

ta;xallu.s == (m.) The poet’s pen-name, which is used in the * maq:ta(( .

diivaan == (m.) A collection of a poet’s work. Ghazals in a diivaan are arranged in alphabetical order by the last letter of the rhyming elements.

rab:t == (m.) ‘Connection’. The relationship(s) between the two closely interlocked lines of a * shi((r .

radiif == (m.) ‘Refrain’. The repeated word(s), if any, at the end of the rhyming element.

zamiin == (f.) ‘Ground’. The rhyming elements of a ghazal ( * qaafiyah and * radiif ) specified together.

shaa((irii == (f.) Poetry.

shi((r == (m.) A couplet (or distich), two lines of verse meant to be read together as an integral unit. Every shi((r terminates in the rhyming elements of the ghazal of which it is a part.

ash((aar == (m.pl.) An (optional) Arabicized plural for * shi((r .

bait == (m.) The Persian term for a shi((r . Optional Arabicized plural: abyaat .

:tar;h (also :ta-ra;h) == (f.) The rhyming elements and meter of a ghazal, specified together; all ham-:tar;h verses could in principle be part of the same ghazal.

mi.sra((-e :tar;h == (m.) A ‘set line’ defining the pattern to be used for a ghazal.

;Gazal == (f.) A genre of brief, formally structured lyric poem in Arabic, Persian, Turkish, and Urdu.

;Gazal kahnaa == To compose a ghazal.

fard == (m.) A single * shi((r , presented in isolation and not as part of any ghazal.

qaafiyah == (m.) ‘Rhyme’. The rhyming syllable that begins the rhyming element(s) of every ghazal verse.

qi:t((ah == (m.) ‘Verse-set’. A series of * shi((r within a ghazal, meant to be read together as a sequential set. The beginning is marked with a q ; the end is not marked.The name can also be applied to independent, structurally ghazal-like poems.

kulliyaat == (m.) A complete collection of a poet’s work.

mushaa((irah == (m.) A traditional gathering of poets and patrons for poetic recitation and discussion.

mi.sra(( == (m.) A single line of verse, half of a * shi((r ; sometimes called a hemistich.

ma:tla(( == (m.) ‘Opening-verse’. The special first * shi((r in a ghazal, in which the rhyming elements are present at the end of both lines, not just the second line. Some ghazals omit the ma:tla(( ; others may have two or more.

maq:ta(( == (m.) ‘Closing-verse’. The special last (or sometimes next-to-last) * shi((r in a ghazal, which contains the * ta;xallu.s . Modern ghazals often admit it.

 


       
 
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