THIS GLOSSARY IS IN ENGLISH ALPHABETICAL ORDER. MORE
TERMS AND INFORMATION WILL BE ADDED TO IT AS THE COMMENTARY PROGRESSES.
STUDY MATERIALS: *SETS*
— SELECTED VERSES GROUPED ACCORDING TO COMMON VOCABULARY OR STRUCTURE
STUDY MATERIALS: *GRAMMAR
NOTES* — SOME HELP FOR STUDENTS (AND ALL OF US ARE STUDENTS)
ba;hr
(meter) — For practical purposes, see the list
of meters used for this site; it includes links to 'A Practical Handbook of Urdu Meter'. A ‘short meter’ [chho;Tii ba;hr] is a
particularly important source of influence on the structure of a ghazal.
== {21,1}; {21,13};
{85,1}; {170,3}. Awkward scansions: {4,4}; {15,1}.
bait
ul-;Gazal (high point of the ghazal)
— ‘The ‘fruit’ [;haa.sil] of the ghazal, the
verse that would be declared to be the best verse of some ghazal’.
[dars-e balaa;Gat
151-52] == {26,6};
{26,7}; {100,6};
{111,8}; {115,8};
{120,10}; {124,5},
;haa.sil-e zamiin ; {173,2};
{193,1}; {201,8};
{202,6}; {208,2};
{208,11}; {219,8},
;haa.sil-e zamiin ; {228,6}
buland-parvaazii (high-flyingness)
— {5,4}; {18,1};
{85,4}
daliil (proof) — [info from Dars] {1,3};
{32,2}; {199,1}
diivaan (divan) — A collection of (some of) a single poet’s
work, normally compiled by the poet himself. Within it poems are grouped
into genres; ghazals are then alphabetized by the last letter of the
refrain (or the rhyme
if there is no refrain), but within each letter-group ghazals are
arranged only according to the poet’s choice. == {1,1};
{18,5}; {61,5}
do-la;xt (two-part) — [do we need this one?] == {17,7}; {19,6} with def.; {126,6};
{167,6}
fard (individual verse)— A verse presented in isolation, as a kind of mini-ghazal. Asterisks
mark those that apparently were originally composed as ‘individuals’;
the rest were selected from longer ghazals for divan
publication. == {2}; {23}; {52}*;
{55}*; {65};
{74}; {82};
{84}; {84,8x} {93};
{103}*; {109};
{128}; {135}*;
{144}*; {144,1};
{150}; {156}
;Gazal
(ghazal) — [give Azad's def?] == {26,10};
{46,6}, with a list of other
genres too; {53,11}; {85,1},
;Gazal-e musalsal; {111,9};
{117,12}; {234,8}
;hamd
(praise [of God]) — The first verse in a poet’s volume
is traditionally expected to be one that praises God. == {1,1}; {91,2}
;husn-e
ta((liil (elegance in
assigning a cause) — ‘ta((liil means
‘to establish a reason’ or ‘to express a reason’. ;husn-e
ta((liil is to give a fine and superior example of that action.
If a reason is expressed for something such that even if it’s not
real, it has in it some poetic richness and subtlety, and it has some
affinity with reality and nature as well,
then that is called ;husn-e ta((liil.’ (— dars-e
balaa;Gat, pp. 49-50) == {1,1};
{1,3}; {1,5}; {6,3}; {16,7x};
{48,5}; {48,7}; {48,10};
{49,2}; {58,7};
{60,5}; {61,1};
{74,1}; {75,4};
{75,7}; {80,8};
{111,1}; {130,3};
{140,6}; {143,3};
{143,4}; {147,1};
{196,2}; {208,4};
{210,4}
iihaam
— Derived from the root vahm, the term literally
means ‘to put into deception’. It refers to special kinds of punning.
Mir defines it as a case when a poet uses a word
with two meanings, one of which is well-known and one obscure, and
leads the hearer to think initially of the well-known meaning, but
it’s really the obscure meaning that the poet intends, so that he
practices a kind of ‘misdirection’. The term is also used more loosely,
for other kinds of wordplay that rely on double meanings, and (by me) also for other verse structures that deliberately 'misdirect' the reader (I call these '1,2' verses). ==
{11,2}; {15,5}; {17,9}; {19,7}; {21,7}; {31,2}; {34,4}; {34,8}; {49,5};
{56,5}; {58,5}; {60,11};
{61,02}; {68,4};
{69,1}; {71,7};
{91,10}; {91,11};
{98,11}; {108,6};
{114,4}; {115,3};
{120,3}; {120,6}; {155,2};
{158,4}; {182,1};
{191,7}*; {208,3}; {208,7};
{217,5}; {234,7}
inshaa))iyah
— A form of speech that is non-falsifiable— usually interrogative,
exclamatory, vocative, subjunctive, hypothetical. It is defined in
opposition to ‘informative’ [;xabariyah] speech.
== {1,1}, with definition;
{17,8}; {20,11}, {34,7}; {62,6},
{71,7}, {72,7},
{107,7}; {111,1};
{126,3}; {158,9};
{160,2}*; {178,10};
{208,5}
inti;xaab
(selection) — An anthology or, literally, ‘selection’ of verses,
either by one poet or by various poets of the anthologist’s choosing;
some explanatory comments about the poets and poetry are often included.
== {82,3x}; {149,5}
i.slaa;h
(correction) — The evaluation, criticism, and improvement
that an Ustad performs on the poetry of a shagird.
== {155,3}; {161,1};
{177,2}; {180,7}
isti((aarah
(metaphor) — The term is used rather loosely by the commentators.
== Some examples: {24,3}; {30,3}; {34,1}; {34,7}; {45,2}; {59,6},
discussion of poetics; {77,7};
{98,7}; {105,2};
{111,13}; {120,1},
contrasted with tam;siil ; {146,1}
i.zaafat
— This grammatical construction,
borrowed from Persian, is very common in classical ghazal. Here is
C.
M. Naim’s account of how it works. == {16,1};
{56,2}; {194,4};
{226,2}
kaifiyat
(mood) — [def, srf?] == {5,6}; {17,2};
{17,8}; {18,3};
{33,6}; {35,1}; {37,1}; {49,10},
used in verse; {58,8},
about Mir’s verse; {78,1}; {116,5}; {145,1};
{187,2}; {190,6};
{210,5}; {211,1}
kinaayah (implication)— [def] == {19,1}; {36,3}; {36,5}; {39,2}; {40,1}; {52,1};
{52,1}; {53,6};
{62,4}; {73,2};
{107,2}; {111,8};
{121,4}, def.; {126,3};
{133,4}; {140,2};
{159,4}; {160,4};
{186,2}; {210,7}
laff
-o-nashr (‘collecting
and scattering’)— ‘In Rhetoric, “collecting and scattering”, a figure
corresponding to the Chiasmus of the classics’. (Platts p.958)
== {77,3}; {115,7};
{169,8}
ma;h;zuuf
(omitted)— This is a complaint made almost exclusively by Nazm: that some
word has been (undesirably) omitted. == {12,1};
{17,7}; {19,6};
{20,3}; {24,7}; {27,2};
{33,7}; {35,3}; {35,4}; {36,7}; {37,1}: {42,4}; {53,5};
{59,7}* (as a virtue); {64,2};
*{72,7} (as a virtue); {88,1};
compare {95,3}; *{95,5};
{96,4}; {97,3}
(as a virtue); {97,5} (as a virtue);
{97,8} (as idiomatic); {136,1};
{141,3}; {234,9}
ma((nii-aafiriinii
(meaning-creation) — Faruqi’s
definition is the best and simplest. == {4,8x};
{15,10}; {20,8}; {28,1};
{27,3}; {34,5}; {38,6}; {43,3}; {43,6}; {74,1};
{91,7}; {119,7} (Ghalib); {120,10};
{166,1}; {228,2};
{231,5}
maq:ta((
(closing-verse) — Literally, ‘point of cutting off’. A verse
that both includes the poet’s pen-name and
appears as the last verse— or sometimes next-to-last, especially
at the start of a verse-set, as in {48,9},
{131,6}, and {189,9}.)
== {75,7} (none); {92,7}; {123,10}
mar;siyah
(elegy) — [cf. dars-e balaa;Gat
pp. 140-42]== {66,1}; {86,9};
{99,1}; {139,1}; {145,5x}
ma;snavii(masnavi)
— [def] == {71,1}; {167,6}
ma:tla((
(opening-verse) — In a ghazal, an (optional but extremely
common) introductory pattern-setting verse that has the rhyme
(and refrain, if any) at the end of each of its
two lines. == Extra: {4,2}; {10,2}; {14,2}; {24,2}; {121,2}; {212,5x}, ;husn-e
ma:tla(( (for an excellent verse that follows the opening-verse);
{126,1}; {146,3x}
ma.zmuun
(theme) — pl. ma.zaamiin. [def]== {1,1}; {17,2} with famous quote; {17,4}; {18,5}; {29,4}*; {29,6x};
{29,9x}*; {108,1};
{108,6}; {111,13};
{136,2}*; {169,13}*
ma.zmuun-aafiriinii
(theme-creation) — The invention of new themes, is a form
of originality much admired in the ghazal world. == {15,9};
{17,4}; {36,6}; {39,4}; {88,1};
{91,7}; {111,13};
{120,10}; {140,4};
{167,6}; {192,5}
mi.sra((
(line) — (how much explanation?) mi.sra(( lagaanaa (joining
lines) == {60,4}, definition;
{115,1}; {125,10},
mi.sra((-e ;tar;h , or ‘pattern line’ (for a
mushairah); {167,6};
{201,1}; {204,5};
{223,1} on ‘joining lines’
mu((aamilah-bandii (description of an affair) —
(def) == {3,3}, literal use; {91,7};
{119,5}, literal use; {125,1};
{144,1}; {148,2};
{149,5}; {153,3};
{167,6}
mubaali;Gah (exaggeration) — (def) == {111,13}; {111,15};
{195,2}*
munaasibat
(affinity) ; also munaasib , ‘suitable,
harmonious’. [DEF]. See also muraa((at un-na:ziir. == {5,6}; {18,1}; {21,10}; {23,1}; {33,7}; {69,2};
{75,3}; {111,11};
{143,6}; {181,7}
muraa((at
un-na:ziir (affinity)
— Two words with a connection in their meanings, but not one of opposition
and comparison (— dars-e
balaa;Gat, pp. 56-57). See also munaasibat.
== {1,1}; {69,2};
{95,2}; {112,5};
{114,2}; {117,3}
musalsal (continuous)
— A ghazal that is meant to be read as a unified whole, with all
its verses intact and in the order given on the page. Such ghazals
tend to be narrative; they often have titles. == {15,1}; {57,1};
[{139,1}]; {181,1};
{233,1}
mushaa((irah
(mushairah) — A gathering of poets and patrons for recitation,
appreciation, and literary discussion. A poet reciting in a mushairah
usually repeated the first line of a verse at least two or three times,
and even paused for a bit longer before reciting the second line.
For more information and references, see Nets
of Awareness, Chapter 5. == {14,1};
{14,9}; {43,6}; {43,7}; {111,1};
{201,1}; {208,1};
:tar;hii mushaa((irah (patterned
mushairah) — [def] == {26,10}
mu;xammas
(mukhammas) — ‘Every stanza includes five lines. In the first
stanza, all five lines rhyme. In the later stanzas, the first four
lines rhyme, but the fifth line breaks the rhyme. It can be repeated,
or else its rhyme can be that of the first stanza.’ For more details,
see dars-e balaa;Gat
, p. 148. == {115,1}
naazuk-;xayaalii
(delicacy of thought) — Faruqi’s
definition is nicely illustrated with a verse from Ghalib. ==
{4,8x}; {28,1}; {38,6}; {45,2}; {48,10}; {68,8x};
{75,4}; {147,4x}; {147,6x}; {192,4}
qaafiyah
(rhyme) — In a ghazal, the rhyming syllable at the end of
the second line of each two-line verse. It is most usually (though
not always) followed by a refrain. == {4,2};
{9,7}; {24,2};
{26,8}; {49,2};
{60,4}; {95,1};
{108,2}; {114,1}; {125,1};
{125,7}; {125,10};
{167,6}; {172,4x}; {174,4};
{198,2}; {208,1};
{210,2}; {223,1}; {223,3x} (three repetitions); qaafiyah-e ma((muulah (contrived
rhyme) == [{8,1}]; [{26,8}];
{26,9} (def.); {35,1}; {136,7};
{234,7}; {234,10}
qa.siidah
(ode) — A poem with a ‘purpose’ [maq.sad].
The term generally refers to poems in praise of something or someone—
often a patron. == {14,2}; {46,6}; {74,1};
{92,7}; {167,6};
{168,1}; {178,1}; {181,1}
qaul-e
mu;haal (paradox)
— {23,1}; {70,2};
{75,3}; {102,3}; {111,11};
{111,14}; {112,3};
{114,2}; {115,6};
{121,4}; {126,7};
{153,1}; {163,6};
{164,8}; {169,1};
{183,4}; {183,8};
{196,7}
qi:t((ah
(verse-set) — Literally, ‘cutting, section’. Within
a ghazal or qa.siidah , a series of verses meant
to be read as a connected sequence. Its first verse is traditionally
marked with the letter qaaf ; its final verse
is not marked. Here, Arshi’s ‘official’ verse-sets are marked with
an asterisk; many other ‘informal’ ones are also discussed. A qi:t((ah also sometimes appears as a separate poem == {15,2}, {15,13}*, {37,1}; {46,6}; {48,9}; {49,4}*;
{53,6}*; {59,6};
{70,1}; {71,8}; [{84,6x}];
{89,1}; {91,5}*;
{91,7}; {95,1};
{97,11}; {107,3};
{110,5}; {123,9}*;
{127,1}; {131,6}*;
{139,1}; {162,4}*;
{164,4*; {164,9}*;
{169,6}*; {177,9}*;
{181,1}; {186,4}*;
{189,9}*; {198,1};
{208,1}; {209,6};
{209,9}; {215,6};
{234,8}
rab:t
(connection) — The quality of internal relationship, parallelism,
and self-reference within a single verse, especially between its two
lines. == {10,7}; {25,1}; {42,10x}
(in the verse); {44,5x} (in the verse);
{60,4}*, Nazm’s discussion of
marbuu:t lines; {60,10};
{62,9}, Ghalib uses the term;
{71,3}; {81,13x} (in the verse); {99,3};
{126,6}; {141,3};
{146,4x} (in the verse); {155,1}; {163,1};
{167,6}*, more from Nazm
radiif
(refrain) — In a ghazal, the identically repeated word
or words at the end of the second line of each two-line verse, after
the rhyme. A radiif is extremely common
but not compulsory; an example in which radiif
is preserved: {49}. == {49,1};
{53,11}; {58,1};
{85,1}; {116,1};
{167,6}
ravaanii
(flowingness) — [fluency] == {8,4x};
{44,1}; {62,10}
ri((aayat
(wordplay) — [give def] == {34,3};
{38,6}; {41,4}; {41,6}; {42,2}; {43,7}; {44,1}; {48,10}; {53,8};
{58,5}; {61,5};
{69,2}; {71,2};
{77,4}; {81,12x}; {88,1};
{110,1}; {180,1}
rubaa((ii
(quatrain) — A four-line poem in one or more of a group
of traditionally prescribed meters, usually rhyming AABA. ==
{46,6}; {120,1};
{141,1}
sahl-e
mumtana(( (‘unattainably
simple’) — The kind of verse that makes
you think you can go home and do the same thing. But you can’t. ==
{3,4}; {4,6}, {20,8}; {95,6},
in slightly altered form; {95,6}*;
{97,10}, in slightly altered
form; {155,2}; {173,2}
.san((at
(verbal device) — A general term of broad meaning, including
a whole range of stylistic and rhetorical possibilities; these are
usually analyzed into devices of word (laf:zii)
and of meaning (maa((navii). == {1,1}; {5,1};
{18,3}; {42,6}; {49,11};
{53,5}; {56,5};
{59,5}; {59,9};
{60,11}; {69,1};
{69,2}; {75,7};
{89,1}; {111,13};
{126,6}; {131,1};
{152,2}
shar;h
(commentary) — A systematic analytical discussion and explanation
of all or some of the verses of a poet’s diivaan .
== {34,3}; {49,11}; {69,1}; {84,8x}
shi((r
(verse) — A distich or two-line verse, treated in the
ghazal as an independent poetic unit; both lines must be in the same
meter and must make a complete poetic effect of their own, without
regard to the rest of the poem. The second line must end in the rhyme and refrain (if any). In Persian,
the term bait is more commonly used for the
verse. == {14,1}; {53,11};
{114,7}; {126,1},
bait ; {149,5}
tajaa;hul-e
((aarifaanah (feigned
ignorance) — [def] == {1,1}: {46,7}
takrar
(repetition) — For discussion and examples (including more general instances of padding), see {17,9};
see also ‘REPETITION’ on the SETS
page.
:tar;h
(pattern) — Specification of meter, rhyme, and refrain, such
that any two ham-:tar;h or ‘pattern-sharing’
ghazals will be formally identical (for discussion see {15,1}), and their verses could be commingled
undetectably. == {8,5x}; {26,10}; {89,1};
{123,5}; {209,1}
tari;x
(chronogram) — See the
abjad system. == {202,9}
tar.sii(( (parallelism) — ‘Making the words of a clause of rhyming
prose, or of verse, conformable in their measures, and agreeing, in
their latter parts, with the corresponding words of the corresponding
clause (cf. mura.s.sa(( )’. (Platts p.318) ==
{22,5}*; {22,6}; {26,8};
{31,1}; {34,5};
{49,11}; {62,9};
{62,10}; {63,1};
{71,2}; {71,7};
{77,4}*; {91,3};
{126,6}, applied to metrical
feet; {194,2}
tashbiih
(simile) — Although it technically means ‘simile’, the term
is often casually used in cases where ‘metaphor’ would be more correct.
== {23,1}; {29,2}; {49,8};
{59,6}, discussion of poetics; {98,4};
{98,7}; {137,2}
tavaarud (coincidence) — The unintentional duplication of another
poet’s verse. == {60,4}
ta;xallu.s
(pen-name) — A literary pseudonym adopted by a poet; it is
often a meaningful word, and may or may not have some connection with
the poet’s real name. It is usually incorporated into the last verse
of each poem (which thus became
a closing-verse), as a kind of signature meant to be apparent in oral
performance. == {66,5}; {86,9};
{111,1}; {132,7};
in the penultimate verse: {186,4};
{203,5}. Other poets’ names could also
be incorporated. == {8,5x} (Bedil);
{12,7x} (Bedil); {29,10x}
(Bedil); {36,11} (Mir); {40,5x}*;
{92,7} (Mir); {92,8x}
(Mir); {100,9}
ta.zaad
(opposition) — [def] == {76,1}
;xayaal-bandii (inventiveness) — [Get SRF def.]
== {15,1}; {61,2}
zamiin
(ground) — The specification of a certain rhyme and refrain; two ghazals in the same zamiin will be similar but not necessarily identical, since their meters
may differ. (Only ghazals in the same :tar;h are always formally identical.) == {11,3x}*;
{52,1}; a ‘stony’ ground, {58,3};
another ‘stony’ ground, {59,1};
{111,1}; {115,8};
{125,1}; {125,10};
{173,4}; {193,1}
.zil((a — A form of punning. == {5,4};
{6,4}; {23,1}, with definition; {34,8}; {69,2}*;
{75,2}; {75,3};
{92,7}; {100,8};
{101,8}; {102,2};
{111,11}; {114,2};
{121,8}; {131,1};
{137,1}; {143,6};
{147,2}; {147,3};
{152,1}; {152,2};
{152,4}; {167,6};
{182,1}
