THIS INDEX IS IN ENGLISH
ALPHABETICAL ORDER. See also: *SETS*
— selected verses grouped according to structure or theme; and *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. == {4,4}, awkward scansion; {15,1}, awkward scansion; {21,1}, short meters;
{21,13}; {26,3}, unusually long 'cheat syllable'; {27,1}; {35,1}; {54,5x}, constraining; {77,4}, words accord with foot-breaks; {85,1}; {91,3}, discussion of special case; {96,4}*, Ghalib's metrical choices; {115,1}, internal line-breaks, cheat-syllables; {170,3}; {197,2}, metrical wit; {234,13}, in verse // {349x,1}**, ghazal with maximum internal rhyme; {353x,1}**, unique short meter; {361x,4}, mauzuunii ; {424x,6}, Zamin breaks scansion
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};
{173,4}, of 'ground'; {193,1}; {201,8};
{202,6}; {208,2};
{208,11}; {219,8},
;haa.sil-e zamiin ; {228,6}
bhartii (padding) — The use of unnecessary words simply to fill up all the (metrically required) space in the line. For discussion, see {17,9}.
buland-parvaazii
(high-flyingness)
— {5,4};
{18,1};
{85,4}
daliil (proof)
— [info from Dars] {1,3}; {32,2}; {199,1}; {230,12x} // {274x,2}
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. Ghalib's Urdu divan, carefully curated by the poet himself, was published four times during his lifetime. == {1,1}; {18,5}; {61,5}; {182,3x}
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}, in verse; {93}; {103}*; {109}; {128}; {135}*; {144}*; {144,1}; {150}; {156}
;Gazal (ghazal)
— [give Azad's def?]. See also musalsal. == {14,2}, Nazm complains of an unsuitable verse; {15,1}**, 'double ghazals' [do-;Gazlah] and formally identical ghazals; {26,10};
{37,1}*, strong parallelism in all verses; {37,2}*, a macaronic ghazal; {46,6}, with a
list of other genres; {53,11}, in verse; {60,4}*, Nazm's advice for composing;
{66,1}, a truly personal ghazal; {74,1}, Nazm complains of an unsuitable verse; {85,1},
musalsal ; {92,2}, sih-;Gazalah ; {111,1}, Ghalib boasts about it; {111,9}; {117,12}; {127,1} musalsal ; {139,1}, an elegy in ghazal form; {163,1}, Ghalib boasts about it; {167,5}, vs. na:zm ; {234,8}*, narrow?; {241x,1}, musalsal ; {280x,1}, musalsal ; {347x,7}, Zamin's advice for composing
;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}; {47,3x}; {48,5}; {48,7}; {48,10}; {49,2}; {58,7}; {60,5}; {61,1}; {74,1}; {75,4}; {75,7}; {80,8}; {111,1}; {111,11}; {130,3}; {140,6}; {143,3}; {143,4}; {147,1}; {196,2}; {208,4}; {210,4} // {278x,2}; ;
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 initial misdirection. == {11,2}; {27,10x}; {31,2}; {34,4}; {34,8}; {56,5}**, discussion; {60,11}; {61,02}; {68,4}**, discussion; {69,1}; {91,10}; {91,11}; {98,11}**, discussion; {100,3}; {108,6}; {114,4}; {120,3}*, on 'double activation' verses; {120,6}; {155,2}*, Josh explains; {156,2x}; {158,4};
{166,7x}; {182,1}; {191,7}*, Ghalib boasts; {196,6}; {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. == A few examples: {1,1},
with Faruqi's definition; {17,8};
{20,11}*, {34,7}; {51,10x}, both lines; {53,2}, both lines; {62,6}, Nazm endorses; {71,7}, {72,7}, Nazm endorses; {107,7}; {111,1}; {126,3}; {158,9}; {160,2}*, Nazm explains; {166,5}; {178,10}; {208,5} // {332x,6}, Zamin's definition
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. Ghalib referred to his published Urdu divan as an inti;xaab . == {4,8x}; {39,7x}; {82,3x}; {104,3x}, poor choice; {144,1}; {149,5} // {351x,4}, GC applies this to divan; {364x,6}, in verse
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 often used rather loosely, since in the ghazal world it is sometimes hard to distinguish from the simile.
== Some examples:{8,6x}, a double one; {10,1}, a 'reversed metaphor' [isti((aarah-e ma((kuus]; {24,3};
{30,3}; {34,1}; {34,7}; {45,2}; {50,5x}, too clear; {59,6}, discussion of
poetics; {76,4x}, bizarre; {77,7};
{79,4x}*; {98,7}*, partial statement is best; {105,2}; {111,13}*, root is exaggeration; {120,1},
contrasted with tam;siil ; {128,2x}, two jammed together; {146,1}; {152,3}*, 'foot of' expressions; {153,2}*; {153,8} // {329x,2}, two tenors, one vehicle
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. == {1,2}; {16,1};
{16,4}; {29,5x}; {56,2}, Nazm: too many; {80,3}, complex; {81,8x}, 'loss of the izafat' [faq-e i.zaafat]; {84,3x}, four in a row; {90,2}, four in a row; {173,8}, izafat of identity; {194,4}, four plus four, too much Persian; {223,1}, four in a row; {223,4x}, four, complex; {226,2}, noun-adjective-adjective; {228,13x}, three== On noun compounds or 'reversed izafats' [i.zaafat-e maqluub] see {129,6x}.
kaifiyat (mood) —
[def, srf?] == {5,6};
{17,2}; {17,8}*; {18,3}; {33,6}; {35,1}; {37,1}*; {37,2}*; {48,4}**; {49,10}, in verse;
{58,8}, about
Mir’s verse; {61,6}**; {75,6}; {78,1};
{80,4}; {93,1}; {116,5}; {140,6}**; {145,1}; {156,2x}; {158,3}; {187,2}; {190,6}*; {191,7}, Ghalib; {191,8}; {210,5}; {211,1}; {217,1}; {217,4}; {221,4x}, in verse; {228,13x}*, in verse // {263x,3}, in verse; {307x,5}; {322x,1}; , in verse; , in verse
;xayaal-bandii ('thought-binding') == {15,1}; {61,2}; {76,4x}* // {361x,2}**, SRF contemplates. For extensive discussion, scroll down to 'thought-binding' on the Terms page of 'A Garden of Kashmir'.
kinaayah (implication) —
[def] == {19,1}; {36,3}**; {36,5}; {39,2}; {40,1}; {52,1}; {52,1}; {53,6}; {62,4}; {97,5}*, Ghalib endorses; {99.1}; {99,9}**; {100,2}*, 'not mentioned'; {101,3}; {106,3}; {107,2}**; {111,8}; {120,9}; {121,4}, def.; {126,3}; {126,5}; {130,2}*; {131,4}; {133,4}; {140,2}; {142,4x}; {151,2}; {159,4}*, Ghalib explains; {160,4}; {170,6}; {186,2}; {189,4}; {197,1}; {210,7}; {219,5} // {319x,6}; {413x,7}*
kulliyaat (kulliyat) —
A volume containing a poet's complete works, in all genres. == {92,2}
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}; {169,2}; {169,8} // {261x,6}; {323x,2}; {385x,3}
laf:z-e taazah ('fresh word') — {3,11x}; {17,2}**, the famous 'fresh word' quote; {23,2x}; {42,8x}; {43,7}; {48,2}*; {57,10x}; {75,5}; {81,5}; {86,5}; {86,6}; {90,5}*; {100,5}; {103,4x}; {114,3}; {118,4}; {119,9}; {124,2}; {136,3}*; {136,6}; {137,4x}*; {140,6}; {152,3}; {153,4}; {154,1}; {155,4x}; {158,8}*; {164,9}*, commentators argue; {177,8}*, Nazm on specificity; {180,2}; {181,4}; {185,2}; {196,2}; {210,3}; {211,5x}; {228,6}; {229,5} // {322x,7}; {328x,6}; {329x,4}; {361x,8}; {373x,1}; {373x,2}; {376x,5}; {385x,7}; {404x,4}; {428x,6}
lahjah (tone)—
Explicated by Hali, quoting Ghalib: {57,7}
ma;h;zuuf (omitted)—
This is a complaint made almost exclusively by Nazm:
that some word has been (usually 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}, discussion; {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}; {20,8}; {28,1}; {27,3}; {34,5}; {38,6}; {43,6}; {74,1}; {91,7}; {119,7}**
Ghalib's famous letter; {120,10};
{134,2}**, {166,1}; {228,2}; {231,5} // {385x,7}, as tempestuous
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}.) == {31,3}, none; {41,8}, echoes opening-verse; {75,7} (none); {89}, no opening or closing; {92,7}; {123,10}, used in verse; {123,11}, amusing substitution; {226,3}, none
mar;siyah (elegy)
— [cf. dars-e balaa;Gat
pp. 140-42]== {66,1};
{86,9}; {99,1}; {139,1}**, an example; {145,5x}
ma;snavii (masnavi)
— [def] == {71,1};
{100,9}; {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. == Ghazals with an extra opening-verse: {4,2}; {10,2}; {14,2}; {21,2}; {24,2}; {97,2}; {121,2}; {212,5x}; {146,3x}; {204,2}; {217,11x} // {424x,2} == {126,1}, ;husn-e ma:tla(( (used for an excellent
verse that follows the opening-verse)
ma.zmuun (theme)
— pl. ma.zaamiin. [def] == {1,1}; {17,2}* with famous
'fresh word' quote; {17,4}; {18,5}; {29,4}*, in verse; {29,6x}, in verse; {29,9x}*, in verse; {88,5x}, in verse; {108,1}*, in verse; {108,6}*, in verse; {111,13}; {136,2}*, in verse; {156,2x}*, in verse; {169,13}*, in verse; {192,4}, badly artificial; {192,6x}, poorly developed; {211,6x}, minimal // {300x,2}, in verse; {332x,6}, in verse; {352x,6}, in verse; , in verse; {361x,9}, in verse; {371x,3}, in verse; {379x,1}, in verse; {389x,6}*, in verse; {436x,6}*, in verse on poetry
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?) == {60,4}, def. of mi.sra((
lagaanaa (joining lines);
{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' // {321x,7}, whole verse is one sentence; {361x,4}, in verse, mi.sraa(( . == On the term pesh mi.sra(( : M{1450,6}
mu((aamilah-bandii
(description of an
affair) — (def) == {3,3}, in verse; {91,7}; {119,5}, in verse; {125,1}; {144,1};
{148,2}; {149,5}; {153,3}; {167,6}
mubaali;Gah (exaggeration)
— (def) == {29,6x}; {29,9x}; {50,8x}**; {94,3x}; {111,13}**, discussion;
{111,15}; {195,2}*; {207,1}
munaasibat (affinity)
; also munaasib , ‘suitable,
harmonious’. [DEF]. See also muraa((at un-na:ziir. ==
{5,6}; {18,1}; {21,10}; {23,1}; {31,1}; {33,7}; {45,6x}; {48,10}*; {69,2}; {69,4x}; {75,3}**, used by Ghalib; {111,11}; {143,6}; {145,6x}; {152,2}; {181,7}; {190,10}.
muraa((at
al-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}; [{85,1}]; [{139,1}]; {181,1}*; {233,1}
mushaa((irah (mushairah)
— A gathering of poets and patrons for recitation,
appreciation, and literary discussion. In mushairah performance a poet recited the first line of a verse, then paused while the listeners responded; only after that did he go on to recite the first line followed by 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) -- {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}; {39,1}; {45,2}; {48,10}; {67,4x}; {68,8x}; {75,4}; {147,4x}; {147,6x}; {184,5x}; {192,4}, criticism // {389x,5}, in verse
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}, radical spelling adjustments; {24,2}; {26,8}; {49,2}; {51,10x}, same in both opening- and closing-verses; {60,4}, as start of verse composition; {95,1}*, discrepant vowel pronunciations; {108,2}; {114,1}; {123,4}, constraining; {125,1}, pronunciation skewed; {125,7}; {125,10}; {145,3}, qaafiyah-e shaa))igaan ('rhyme for free'); {163,1}, pronunciation skewed; {167,6}; {172,4x}; {174,4}; {196,8x}; {198,2}, two spellings of pardah ; {208,1}; {210,2}, adjacent repetitions; {223,1}; {223,3x}, three
repetitions // {241x}*, much internal rhyme; {294x,6}*; {347x,7}, Zamin on its centrality; {349x,1}**, ghazal with maximum internal rhyme; {361x,6}; {385x,1}, lailii spelling. On qaafiyah-e ma((muulah
('contrived rhyme') == [{8,1}];
[{26,8}]; {26,9}**, definition and discussion; {35,1}; {136,7}; {234,7}; {234,10} // {440x,6}; {441x,5}
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}; {95,1}; {167,6}; {168,1}; {178,1}; {181,1} // {250x}, to the Shah
qaul-e mu;haal (paradox)
— {17,7}**, pleasure=pain; {23,1}*, perfect example; {23,4x}; {70,2}*, explicit; {75,3}; {84,1}*; {91,3}; {97,1}; {102,3}; {108,11x}; {111,11}; {111,14}; {112,3}**; {114,2}*; {115,6}; {121,4}*; {126,7}; {153,1}; {163,6}; {164,8}; {169,1}, Ghalib explains; {183,4}; {183,8}; {196,7}*; {189,5}; {198,2}* // {241x,2}; {266x,3}; {335x,1}*; {361x,1}
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}, marked, {37,1}*, strong parallelism in all verses; {46,6}; {48,9}, marked; {49,4}*, marked; {53,6}*, marked; {59,6}; {70,1}; {71,8}; {84,6x}; {89,1}; {91,5}*, marked; verses enjambed; {91,7}; {95,1}, marked (betel nut one); {97,11}; {107,3}; {110,5}; {123,9}*, marked; {127,1}; {131,6}*, marked; {134,1}; {139,1};
{150,2x}; {162,4}*, marked; {164,4}; {164,9}*, marked; {169,6}*, marked; {177,9}*, marked; {181,1}*; {186,4}*, marked; {189,9}*, marked; {198,1}; {208,1}; {209,6}; {209,9}; {215,6}; {234,8}*, ; {428,6}, marked; {428,12}, marked// {320x,1}, marked; {422x,7}, marked, has ta;xallu.s
rab:t (connection) — The quality
of internal connectedness and organization within a single verse, especially
between its two lines. == {10,7}; {25,1}; {42,10x} (in the
verse); {44,5x}, in
verse; {60,4}*,
Nazm’s discussion of marbuu:t
lines; {60,10}; {61,9x}, disastrously lacking; {62,9}, Ghalib
uses the term; {71,3};
{81,12x}, lacking (SRF); {81,13x}, in
verse; {99,3};
{126,6}; {133,4}, in verse; {141,3}; {141,5}; {145,13x}; {146,4x, in
verse; {155,1};
{163,1}; {166,7x}, through wordplay; {167,6}*, more
from Nazm; {197,3x} (in the verse); {211,8x}, weak; {220,3x}, weak; {230,12x}, weak; {349x,1}, in verse; (360x,1}, in verse; {371x,3}, in verse
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}, shaping; {53,11}, in verse; {58,1}**, on refrains in translation; {75}, shaping; {80}, shaping; {83,1}, limiting; {85,1}; {114}, very long; {116,1}; {167,6}; {205}, very long; {208,1}, Ghalib's reference style; {211,1}, shaping; {212,1}, shaping // {241x,1}**, strongly shaping; {294x,6}; {325x}, very long, shaping; , shaping ( takyah ); {398x}, preservable ( pinhaa;N hai )
ravaanii (flowingness)
— [fluency] == {8,4x};
{44,1}; {62,10} // {361x,5}
ri((aayat (wordplay)
— [give def] == {15,18x}; {23,1}*; {34,3};
{38,6}; {41,4}; {41,6}; {41,10x}; {42,2}; {43,7}; {44,1}; {48,10}*; {53,8}; {58,5}; {61,5}; {69,2}, as a sign of vulgarity; {71,2}; {76,3x}, most primitive verse; {77,4}; {81,12x}; {88,1}; {110,1}; {120,3}*, 'doubly activated'; {128,3x}, bad repetition; {166,7x}*, disapproval; {172,3|; {180,1}; {211,6x}; {211,7x} // {307x,6}*; {309x,5}, vs. meaning-play
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}, goyam mushkil // {347x,3}
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}; {179,2}
.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}; {37,2}, macaronic; {42,6}; {49,11}; {53,5}; {56,5}; {59,5}; {59,9}; {60,11}; {69,1}; {69,2}; {75,7}; {89,1}; {98,2}; {111,13}; {126,6}; {131,1}, Nazm explicates; {152,2} == The device called 'doubt about derivation' [shubh'h-e ishtiqaaq]: {57,11x}*, {58,3}
shar;h (commentary)
— A systematic analytical discussion and explanation
of all or some of the verses of a poet's diivaan . == {9,3}*, one meaning apiece; {34,3}; {49,11}; {69,1}; ; {84,8x}; {90,3}**, egregious; {119,7}; ; {223,1}, clash // {404x,6}, dictionary needed
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}; {60,4}*, Nazm's advice for composition; {114,7}; {126,1}, bait ; {149,5}; {150,2x}, in verse; {167,6}*, autonomy
tajaahul-e
((aarifaanah
(feigned ignorance) — [def] == {1,1}: {46,7}; {98,6}*; {162,1}**; {162,4}
takraar (repetition)
— For discussion and examples (including more general
instances of padding), see {17,9}; {53,11}, in verse; {59,5}*; see also
'repetition' on the SETS page.
tam;siil (allegory) — {47,1}; {53,12x}**; {54,5x}, mi;saalii ; {63,3x}; {78,2}; {98,7}; {102,3}; {120,1}*; {166,4}; {174,8}; {199,3}*; {234,7}**, mi;saal
ta((qiid (convolutedness) — {15,18x}; {62,9}, Ghalib uses it; {68,4}; {80,7}; {116,3}; {125,9}; {128,2x} // {266x,2}
:tar;h , :tara;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}
tarii;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) See also {4,5}. == {22,5}*;
{22,6}; {26,8}; {31,1}; {34,5}; {37,1}, verse structure throughout ghazal; {49,11}; {62,9}; {62,10}; {63,1}; {71,2}; {71,7}**; {77,4}*, words accord with foot-breaks; {91,3}; {91,7}; {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. == {8,6x}, a double one; {15,3}, implicit; {23,1};
{25,6}*; {29,2}; {49,8}; {59,6}, discussion of
poetics; {98,4};
{98,7}; {137,2}; {217,4}, Nazm's categories // {322x,3}, implicit (?); {349x,3}, awful tangle
tavaarud (coincidence)
— The unintentional duplication of another poet’s
verse. == {60,4}
// {307x,7}
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 was 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. == {4,11x}, integrated; {5,9x}, 'Asad' to 'Ghalib; {6,6}, integrated; {40,5x}, word used in verse; {51,10x}, vs. ma;Gluub ; {65,3x}, 'like Asad'; {66,5};
{71,10}, 'Asadullah Khan'; {86,9}, Vahshat and Sheftah in verse; {111,1}; {132,7}, integrated; {186,4}, in the
penultimate verse;
{203,5}, plus 'Mirza Sahib' too // {350x,7} (used in verse); {422x,7}, in 7th of 9 verses. == Other
poets' names too were sometimes incorporated, notably that of 'Bedil'. Also: {36,11} (Mir); {92,7} (Mir); {92,8x} (Mir); {100,9} (Zuhuri).
ta.zaad (opposition)
— [def] == {76,1}
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 formally identical.) == {11,3x}*; {29,5x}; {52,1}; {58,3}*, a ‘stony’
ground;
{59,1}, a ‘stony’ ground; {92,2}; {111,1}; {115,8}; {125,1}; {125,10}**, difficult?; {173,4}; {193,1}
.zil((a — A form of
punning. == {5,4};
{6,4}; {23,1}***, with
definition; {34,8};
{69,2}*, Nazm scorns it; {75,2}; {75,3}; {92,7}; {100,8}; {101,8}; {102,2}; {101,8}; {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}
