Some more shayaris

Chaudavi Ka Channd Ho, Ya Aaftaab Ho,

Jo bhi Ho tum, Khuda Ki Kasam, Lajawaab ho.

Chehara Hai Jaise Zeel Mein hansata Hua Kanwal,

Ya Jindagike Saaz Pe Chhedi Hu.ee Gazal,

Masti Hai Jisme Pyaar ki, Tum Woh Sharaab Ho,

Chaudavi Ka...

Matlab ki Is Duniya Mein, Kaun Kiska Hota Hai,

Dhoka Wohi Deta Hai, Jispe Bharosa Hota Hai.

Chandi Jaisa Rang Hai Tera, Sone Jaise Baal,

Ek Tuhi Dhanwaan Hai Gori, Baaki Sab Kangaal.

Jis Raste se tu Guzare Woh Phulonse Bhar Jaaye,

Tere Pairki Komal Aahat Sote bhaag jagaye,

Jo Pathhar Chhule Gori Tu Woh Hira Ban jaaye,

Tu Jisko Mil Jaaye Woh Ho Jaaye malaamaal,

Ek tuhi Dhanwaan Hai Gori, Baaki Sab Kangaal.

Jo Beraang Ho Uspar Kya Kya Rang jamaate Log,

Tu Naadaan Na Jaane Kaise Roop Churate Log,

Najarein Bhar Bhar Dekhen Tuzko Aate Jaate Log,

Chhail Chhabilee Raani Thoda Ghunghat Aur Nikaal,

Ek tuhi Dhanwaan Hai Gori, Baaki Sab Kangaal.

Dhanak Ghata Kaliyaan Aur Taarein Sab Hai Tere Roop,

Gazalein Ho Ya Geet Ho Mere, Sabmein Tera Roop,

Yunhi Chamakati rahe hamesha Tere Husn Ki Dhoop,

Tuze Nazar Na Lage Kisiki Jiyen Hazaron Saal,

Ek tuhi Dhanwaan Hai Gori, Baaki Sab Kangaal.

dekh lo Khvaab magar Khvaab kaa charchaa na karo,

log jal jaayenge suuraj kii tamannaa na karo

vaqt kaa kyaa hai kisii pal bhii badal sakataa hai,

ho sake tum se to tum mujh pe bharosaa na karo

kirchiyaa.N TuuTe hue aks kii chubh jaayengii,

aur kuchh roz abhii aa_iinaa dekhaa na karo

[aks = reflection]

ajanabii lagane lage Khud tumhe.n apanaa hii vajuud,

apane din raat ko itanaa bhii akelaa na karo

Khvaab bachcho.n ke khilauno.n kii tarah hote hai.n,

Khvaab dekhaa na karo Khvaab dikhaayaa na karo

be-Khayaalii me.n kabhii u.Ngaliyaa.N jal jaayengii,

raakh guzare hue lamho.n kii kuredaa na karo

mom ke rishte hai.n garmii se pighal jaayenge,

dhuup ke shahar me.n "Shayar" ye tamaashaa na karo

[mom = wax]

Maine Puchha Chaand Se,

Ke Dekha Hai Kahin,

Mere Yaarsa Hasin,

Chaandne Kaha Chandani ki Kasam, Nahi, Nahi, Nahi.

Maine Yeh Hijaab Tera Dhoondha,

Har Jagah Shabaab Tera Dhoondha,

Kaliyonse Misaal Teri Puchhi,

Phulonme Jawaab Tera Dhoondha.

Maine Puchha Baagse,

Phalak Ho Ya Jameen,

Aisa Phool Hai Koi,

Baagne Kaha har Kali ki Kasam, Nahi, Nahi, Nahi.

Maine Puchha Chaandse...

Chaal Hai Ke Mauj ki Rawaani,

Zulph Hai Ke Raat Ki Kahani,

Honth Hai KE Aa.ine Kanwal Ke,

Aankh Hai ke Maikadonki Raani,

Maine Puchha Jaam Se,

Ke Aisi Dilnasheen,

Koi May Bhi Hai Kahin,

Jaam Ne Kaha, Maikashi ki Kasam, Nahi, Nahi, Nahi.

Maine Puchha Chaandse...

Khoobsuarati Jo Tune Paa.i,

Loot Gayi Khuda Ki Bas Khudai,

Meer Ki Gazal Kahun Tuze Main,

Ya Kahun Khayyam ki Rubaa.i,

Mai Jo Puchhon Shayaronse,

Aisa Dilnashin Koi Sher Hai Kahin,

Shayar Kahe Shayari ki Kasam, Nahi,Nahi,Nahi.

Maine Puchha Chaandse...

Some more Shayaris

jo kuchh kaho qubuul hai taqaraar kyaa karuu.N,

sharmindaa ab tumhe.n sar-e-baazaar kyaa karuu.N

[qubuul=accept;taqaraar=argument;sar-e-baazaar=in public]

is haal me.n bhii saa.Ns liye jaa rahaa huu.N mai.n

jaataa nahii.n hai aas kaa aazaar kyaa karuu.N

[aas = hope; aazaar = illness/woe]

Thaanii thii dil me.n ab na mile.nge kisii se ham

par kyaa kare ke ho gaye naachaar jii se ham

[Thaananaa = to firmly decide; naachaar = helpless]

mujhase milane ke vo karataa thaa bahaane kitane

ab guzaaregaa mere saath zamaane kitane

mai.n giraa thaa to bahut log ruke the lekin

sochataa huu.N mujhe aaye the uThaane kitane

jis tarah mai.n ne tujhe apanaa banaa rakkhaa hai

sochate ho.nge yahii baat na jaane kitane

tum nayaa zaKhm lagaa_o tumhe.n is se kyaa hai

bharane vaale hai.n abhii zaKhm puraane kitane

[zaKhm = wound]

tum saraapaa ho suurat-e-tasviir

tum se phir baat kyaa kare ko_ii

[saraapaa = from head to toe; suurat-e-tasviir = like a picture]

Yun to har Dil mein Ek Kwahish Hoti Hai,

Har Chah Mein Ek Kashish Hoti Hai,

Mumkin nahi hai har kisiko Taj Mahal Banana,

Magar har Dil mein ek Mumtaz Hoti hai. Kaun hai Jisne May Nahi Pi Hai,

Kaun Jhuthi Kasam Uthata Hai,

Maikadese Jo Bach Nikalta Hai,

Teri Aankhonmein Doob Jaata Hai.

[Maikada - Sharabkhana, May - Sharab]

Rangat Teri Zulphonki Ghataon ne Chura.ee,

Khushbu Tere Aanchalse Hawaon ne Uda.ee

Paimane Ka Dil Tut Na Jaaye To Kahoon main,

Hai Cheez Gajabki Jo Nigahonne Pila.ee

Qaidi Teri Zulphonka Hai Aazad Jahanse,

Muzko Yeh Riha.e To Sajaon.ne Dila.e.e

Thamthamkae Barasana Kabhi Jamjamke Barasana,

Saawanko Ada yeh mere Ashkonen Sikha.ee

Lutake Rah-E-Muhabbat Mein, Har Khushi Maine,

Liya Hai Ghum Ka Saharaa, Abhi Abhi Maine.

Na Jaane Kyon Tere Chashm-e-karam Ko Sah Na Saka,

Tere Sitam To Sahe The Hansi-Khushi Maine.

Aahatsi Koi Aaye, To Lagata Hai Ke Tum Ho,

Saaya Koi Leharaye, To Lagata Hai Ke Tum Ho.

Sab Chamanse Gulaab Le Aaye, Husnwale Shabab Le Aaye,

Shekhsaahabne Maangli Jannat, Hum Wahanse Sharaab Le Aaye.

Chumkar Madbhari Aankhonse Gulaabi Kaagaj,

Usne Bheja Hai Mere Naam Jawabi Kaagaj.

Uska Khat Paatehi Maikhaneki Yaad Aati Hai,

Uske Chhunese Hua Sara, Sharaabi Kaagaj.

Beparda nazar Aayi, Jo Kal Chand Beewiyan,

Akbar Jameenme Gairat-e-Quomi se Gad Gaya,

Puchha Jo Maine Aapaka Parda Wo Kya Hua,

Kehne Lago Ke Akl Pe Mardonki Pad Gaya.

Nikalona Benaqaab, Jamana Kharaab Hai,

Aur Uspe Yeh Shabaab, Jamana Kharaab Hai.

Matlab Chhupa Hua Hai, Yahan Har Sawal Mein,

Do Sochkar Jawaab, Jamana Kharab Hai.

Is Rang Badalti Duniya Mein, Insaan ki Neeyat Theek nahi,

Nikalana Karo Tum Sajdhajkar, Imaan ki Neeyat Theek nahi.

Yeh Dil hai Bada hi Deewana, Chheda na Karo Is Paagalko,

Tumse na shararat Kar baithe, Naadan Ki Neeyat Theek nahi.

Kaandhe se Hata lo Sar Apna, Yeh Pyaar Muhabbat Rehane Do,

Kashti ko Sambhalo maujon se, Tufaan ki Neeyat Thik Nahi.

Main kaise Khuda Hafiz Kah doon, Muzko To Kisika Yakeen Nahi,

Chhup jao Hamari Aankhon me, Bhagwaan ki Neeyat Theek Nahi.

Selected Shayaris

• kal huaa qatl shahar jis ke sabab
  husn ab bhii usii singaar me.n thaa
• subah raato.n me.n bikhar jaatii hai
  shaam baaho.n me.n utar jaatii hai
  din sulag uThataa hai chandan kii tarah
  raat naagan sii lipaT jaatii hai
  qaafile se mujhe rahane do alag
  bhii.D me.n ruuh bikhar jaatii hai
• Apna Koi mile to galese Laga.e.eye
  Kya kya kahenge Log, Use Bhool Ja.e.eye
  Pehle Nazar Mila.e.ye Phir Dil Mila.e.eye,
  Mil jaye dil se dil to, Galese laga.e.eye
• ilzaam kyaa hai ye bhii na jaanaa tamaam umr
  mulzim tamaam umr havaalaat hii me.n thaa
• vo bhii shaayad ro pa.De viiraan kaaGaz dekh kar
  mai.n ne us ko aaKhirii Khat me.n likhaa kuchh bhii nahii.n
• vo aaj bach ke nikalate hai.n mere saaye se
  ki mai.n ne jin ke liye Ghum kii dhuup jhelii thii
• vo jhuk ke phir merii turbat pe kar rahe hai.n salaam,
  isii adaa ne to "Shayar" kii jaan le lii thii [turbat : grave]
• ham ne to nisaar kar diyaa dil
  ab jaane vo shoKh yaa na jaane
  [nisaar : offer]
• ab ye hogaa shaayad apanii aag me.n Khud jal jaa_e.nge
  tum se duur bahut rah kar bhii kyaa paayaa kyaa paa_e.nge
  dukh bhii sachche sukh bhii sachche phir bhii terii chaahat me.n
  ham ne kitane dhoke khaa_e kitane dhoke khaa_e.nge
  aql pe ham ko naaz bahut thaa lekin ye kab sochaa thaa
  ishq ke haatho.n ye bhii hogaa log hame.n samajhaa_e.nge
• Tere bare me jab socha nahi tha
  main tanaha tha magar Utna nahi tha
  Teri tasweer se karata tha baatein,
  mere kamare mein aaina nahi tha.
  samundar ne muze pyaasa hi rakha,
  main jab sehara mein tha, pyaasa nahi tha.
  [sehara : desert]

Definition of Ghazal

Classical Definition of Ghazal

Ghazal in short, is a collection of Sher's which follow the rules of 'Matla', 'Maqta', 'Beher', 'Kaafiyaa' and 'Radif'. So to know what Ghazal is, it's necessary to know what these terms mean.

To understand these terms easily , we will take an example.
1. koi ummid bar nahin aati
koi surat nazar nahin aati
2. aage aati thi haale dil par hasi
ab kisi baat par nahin aati
3. hum wahan hain, jahan se humko bhi
kucch hamaari khabar nahin aati
4. kaabaa kis muh se jaaoge 'Ghalib'
sharm tumko magar nahin aati

What is a Sher?
It's a poem of two lines. This definition is deceptively simple. Please note that, every Sher is a poem in itself! A Sher does not need, anything around it, to convey the message. All the 4 stanzas in our example are independent poems, Sher's.

So Ghazal is necessarily a collection of two-line-poems called Sher. [ So the Rafi solo "rang aur noor ki baaraat kise pesh karu" is NOT a Ghazal, as every stanza is of 3 lines, and not 2. ]

What are the other restrictions?
Many, and important ones. [Any collection of Sher's is not Ghazal. Some good examples are the famous Mukesh song from Yehoodi, "yeh mera deewaanaapan hai"; and the title song of "dil apana aur preet parayi". Each stanza in these songs can be considered as an independent Sher, but they are NOT a Ghazal. To understand, why, we have to wait till 'Kaafiyaa, 'Radif'.]

What is 'Beher'?
'Beher' is the 'meter' of the Sher's. It can be considered as the length of the Sher. Both the lines in the Sher *MUST* be of same 'Beher'. And all the Sher's in one Ghazal *MUST* be of the same 'Beher'. There are 19 kinds of 'Beher'. But in simple terms, 'Beher' is categorized in 3 classes. Short, Medium and Long. [The examples in [] are my additions, from Hindi Films.]

Small: ahale dairo-haram reh gaye tere deewane kam reh gaye [Also Talat song, "dil-e-nadan tuze hua kya hai"]

Medium: umr jalwo me basar ho, ye zaruri to nahin har shab-e-gam ki seher ho, ye zaruri to nahin [And by Gulzar, "ruke ruke se kadam, ruk ke baar baar chale"]

Long: ai mere humnashin, chal kahin aur chal, is chaman me ab apanaa guzaaraa nahin baat hoti gulon ki, to seh lete hum, ab to kaaton pe bhi haq hamaaraa nahin [The filmfare winner, "Manzile apani jagah hai" !! Yes ! It IS a Ghazal. And the Shayar is Prakash Mehra !! surprise , surprise !!]

So Ghazal is a collection of Sher's of SAME 'Beher'.

What is 'Radif'?
In a Ghazal, second line of all the Sher's *MUST* end with the *SAME* word/s. This repeating common words is the 'Radif' of the Ghazal.

In our example, the 'Radif' is "nahin aati". [ Sometimes, the Ghazal becomes known by its 'Radif'. eg. "jaraa aahista chal" sung by Pankaj Udhas. On RMIM we all know one Ghazal by the 'Radif' as "aahista aahista", don't we ? or is it 2 or 3 ? :-) ]

What is 'Kaafiyaa'?
'Kaafiyaa' is the rhyming pattern which all the words before 'Radif' *MUST* have. In our example the 'Kaafiyaa' is "bar", "nazar", "par", "magar" etc. This is a necessary requirement. Something which is followed even in the exceptions to all these rules.

So Ghazal is a collection of Sher's of same 'Beher', ending in same 'Radif' and having same 'Kaafiyaa'. [That's the reason, why "yeh mera diwanapan hai" etc. are NOT Ghazals. There is no common thing which can be called 'Kaafiyaa' and 'Radif'.]

What is 'Matla'?
The first Sher in the Ghazal *MUST* have 'Radif' in its both lines. This Sher is called 'Matla' of the Ghazal and the Ghazal is usually known after its 'Matla'. There can be more than one 'Matla' in a Ghazal. In such a case the second one is called 'Matla-e-saani' or 'Husn-e-matla'. In our example, the first Sher is the 'Matla'.

What is 'Maqta'?
A Shayar usually has an alias ie. 'takhallus' eg. Mirza Asadullakhan used 'Ghalib' as his 'takhallus' and is known by that. Other examples are 'Daag' Dehlvi, 'Mir' Taqi Mir, Said 'Rahi', Ahmed 'Faraz' etc. There is a Sher in a Ghazal, the last one, which has the Shayar's 'takhallus' in it.

[A Shayar, can use the 'Maqta' very intelligently. He can "talk to himself" like one in our example. I have lots of favourite Sher's which are 'Maqta' of some Ghazal. Some gems are -

koi nam-o-nishan puchhe to ai kaasid bataa denaa,
takhallus 'Daag' hai, aur aashiqon ke dil me rehte hai and

jab bhi milte hain, to kehte hain, "kaise ho 'Shakil'",
iske aage to koi baat nahin hoti hai

The first one uses the meaning of the 'takhallus' to create the magic, and the second one is just simple, simply beautiful.]

To summarize, Ghazal is a collection of Sher's (independent two-line poems), in which there is atleast one 'Matla', one 'Maqta' and all the Sher's are of same 'Beher' and have the same 'Kaafiyaa' and 'Radif'.

EXCEPTIONS AND IMP. POINTS TO NOTE

1. Ghazal is just a form. It is independent of any language. eg. in Marathi also, there can be (and there are) good Ghazals.
2. Some Ghazal's do NOT have any 'Radif'. Rarely. Such Ghazal's are called "gair-muraddaf" Ghazal.
3. Although, every Sher, should be an independent poem in itself, it is possible, that all the Sher's are on the same theme. What famous example can be other than "chupke chupke raat din aasun bahaanaa yaad hai".
4. In modern Urdu poetry, there are lots of Ghazal's which do NOT follow the restriction of same 'Beher' on both the linesof Sher. [ My example in 'Maqta', the Sher by Shakil, is one. ] But even in these Ghazal's, 'Kaafiyaa' and 'Radif' are present.
5. The restriction of 'Maqta' is really very loose. Many many Ghazal's do NOT have any 'Maqta'. [I think 'Maqta' was used inthe earlier times, as a way to keep the credit. But since this is traditional, many Ghazal's do have a 'Maqta' just for the sake of it. Sometimes the name of the Shayar comes unnaturally in the last Sher of the Ghazal.]

History of Ghazals

This is a brief note on the evolution of ghazal from a poetic form into a genre of light classical music. The beginnings of this evolution can be traced to the early 20th century. Many of its early exponents were classically trained singers who specialized in Khayaal and Thumri style of singing. However, unlike classical music which to this day is perceived as elitist, ghazals have become popular with the common man. The magical combination of beautiful lyrics and dulcet voices have enabled ghazals and ghazal singers to leave an indelible mark on the hearts and souls of ghazal listeners everywhere.

The popularity of the ghazal can be attributed to a few stalwart names in the field of ghazals today. Jagjit and Chitra Singh, with the release of their album "The Unforgettables", pulled ghazals back from the very brink of extinction. Like a breath of fresh air, ghazals swept through the Indian music scene, with ample encouragement and support being provided by the great maestros from across the border - Ghulam Ali and Mehdi Hassan. Pankaj Udhas played a big role in making ghazals popular by selecting ghazals with simple words and catchy tunes. Whether this was good or bad, only history can tell. It did have the adverse effect of diluting the ghazal gaayaki style embodied by Begum Akhtar and other ghazal singers of that era.

Ghazal has come a long way and so have ghazal singers. The number of ghazal singers has grown exponentially in the past decade or so. Yet few have been able to leave a lasting impression on the ghazal scene. The old names endure - Begum Akhtar, K.L.Saigal, Mehdi Hassan, Ghulam Ali, Jagjit Singh, Talat Mahmood. Unfortunately, the recent years have seen a steady decline in the standard of ghazal singers and ghazal 'gaayaki'. Often, geets are passed off as ghazals and an uninformed/ignorant audience accepts this without qualms (for the most part). Serious followers of ghazals spurn the 'modern' ghazal singers like Anup Jalota who have made ghazal singing a farce. Ghazal singing is an art, albeit a dying one. In the words of Mallika-e-Ghazal Begum Akhtar - "Gazal sahii Dhang se gaa_ii jaaye to us kaa nashaa sar cha.Dh ke bolataa hai" ("If a ghazal is sung in the proper way, it can be very intoxicating"). This 'nashaa' is seen less and less nowadays as anyone and everyone tries to cash in the poularity of ghazals.

One can only hope and pray that the golden age of ghazals will return, bringing with it a fresh perspective, enthusiasm and talented artistes who will take ghazal singing to new heights without having to resort to cheap gimmicks or sacrificing the traditional ways.