Salma Agha Ghazals

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• Salma Agha Ghazals Mp3

This article needs additional citations for. Unsourced material may be challenged and removed. ( October 2011) The ghazal (: ਗ਼ਜ਼ਲ,: غزَل ‬‎,: ग़ज़ल,: غزل‎,: غزل‎,: গজল,: ગઝલ,) is a form of amatory poem or ode, originating in Arabic poetry. A ghazal may be understood as a poetic expression of both the pain of loss or separation and the beauty of love in spite of that pain. A ghazal commonly consists of between five and fifteen couplets, which are independent, but are linked – abstractly, in their theme; and more strictly in their poetic form.

The structural requirements of the ghazal are similar in stringency to those of the. In style and content, due to its highly allusive nature, the ghazal has proved capable of an extraordinary variety of expression around its central themes of love and separation. The ghazal is one of the most widespread and popular poetic forms, especially across the Middle East and South Asia. In India, popularly known as 'The Ghazal King' , popularizes ghazals and ghazal singing among scores of music lovers. Readings or musical renditions of Ghazals are well attended in these countries, even by the laity. In a similar manner to, the Ghazal is gaining popularity among western poetry readers.

Amir Khusrow teaching his disciples in a miniature from a manuscript of Majlis al-Ushshaq. Amir Khusrow is considered the first Urdu poet The ghazal was spread from into in the 12th century by the influence of mystics and the courts of the new Islamic sultanates. This period coincided with the early Islamic Sultanates in India, through the wave of Islamic invasions into the region in that period. The 13th century poet and musician is considered the first Urdu poet. Although the ghazal is most prominently a form of and , it is now found in the poetry of many languages on the. Mirza Asadullah Khan Baig is considered the greatest and most influential poet of Urdu and Farsi ghazals Poetic form All the lines of a ghazal have the same meter. It is common in ghazals for the poet's name (known as ) to be featured in the last verse (a convention known as the ).

Themes The ghazal was initially composed to a purely religious theme. Now it is more likely to lean towards romantic themes.

Unconditional, superior love Can usually be interpreted for a higher being or for a mortal beloved. Love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal law may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman. The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension.

Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the 'arrows of his eyes', or by referring to the beloved as an assassin or a killer. Take, for example, the following couplets from 's Persian ghazal Nami danam chi manzil buud shab. I wonder what was the place where I was last night, All around me were half-slaughtered victims of love, tossing about in agony. There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers.

Sufism Many of the major historical ghazal poets were either avowed Sufis themselves (like or ), or were sympathizers with Sufi ideas. Most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry. Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love (ishq-e-haqiqi). Others are about 'earthly love' (ishq-e-majazi), but many of them can be interpreted in either context. Collection of ghazals.

Illuminated headpiece. Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia and gained prominence in the thirteenth- and fourteenth-century, thanks to such Persian poets as Rumi and Hafiz, and later to Indian poets such as. In the eighteenth-century, the ghazal was used by poets writing in Urdu.

Salma Agha Ghazals Mp3

Among these poets, is the recognized master. Important ghazal poets Ghazals were written by, and of; the poet in the; and of; and of. Through the influence of (1749–1832), the ghazal became very popular in during the 19th century; the form was used extensively by (1788–1866) and (1796–1835).

Adobe acrobat 6.0 professional. The poet was a proponent of the form, both in English and in other languages; he edited a volume of 'real Ghazals in English'. Ghazals were also written by (1866–1896), the pioneer of Nepali ghazal writing in.

Ghazals were also written by, He is known as the father of Ghazals Important poets of Persian ghazal In, prominent and acclaimed ghazal poets include, Dehlvi,. Translations and performance of classical ghazal Enormous collections of ghazal have been created by hundreds of well-known poets over the past thousand years in Persian, Turkish, and Urdu as well as in the Central Asian Turkic languages. Ghazal poems are performed in Uzbek-Tajik, Turkish, Persian and Uyghur. There are many published translations from Persian and Turkish by, and many others. Ghazal 'Gayaki', the art of singing or performing the ghazal in the Indian classical tradition, is very old. Singers like Ustad Barkat Ali and many other singers in the past used to practice it, but the lack of historical records make many names anonymous.

It was with and later on Ustad that classical rendering of ghazals became popular in the masses. The categorization of ghazal singing as a form of 'light classical' music is a misconception. John deere combine serial number lookup.

Classical ghazals are difficult to render because of the varying moods of the 'shers' or couplets in the ghazal., Begum Akhtar, Mehdi Hassan, and Ustad, Moinuddin Ahamed, are popular classical ghazal singers. Popularity Understanding the complex lyrics of ghazals required education typically available only to the upper classes. The traditional classical in which the lyrics were rendered were also difficult to understand. The Ghazal has undergone some simplification in terms of words and phrasings, which helps it to reach a larger audience around the world. Most of the ghazals are now sung in styles that are not limited to, and other classical and light classical genres. However, those forms of the ghazal are looked down on by purists of the Indian classical tradition. In Pakistan, Abida Parveen, Farida Khanum, Ghulam Ali, and Mehdi Hassan are known for ghazal renditions.

Singers like (who first used a in ghazals), and many others have been able to give a new shape to the ghazal by incorporating elements of Western music. In North India, in addition to, ghazals have been very popular in the. For around a century, starting with, there have been many notable Gujarati ghazal writers like, 'Befaam', Aasim Randeri, Shunya Palanpuri, Khalil Dhantejvi and many more. Some notable ghazals of those prominent writers have been sung by Bollywood playback singer. Renowned ghazal singer, and pioneer of Telugu ghazals, popularized the ghazal in. Srinivas also introduced ghazal singing in, and Ghazals in Kannada were written by Markandapuram Srinivas.

The first true-to-form Bangla (Bengali) ghazal are published in 'gajaler aayanaay' by British Dashgupta. The classical ghazal singer has the unusual talent of singing in the recitational style while accompanying himself on the. In English After nearly a century of 'false starts', the early experiments of, etc., many of whom did not adhere wholly or in part to the traditional principles of the form, experiments dubbed as 'the bastard Ghazal', the ghazal finally began to be recognized as a viable closed form in poetry of the some time in the early to mid-1990s. It came about largely as a result of serious, true-to-form examples being published by noted American poets, and as well as by Kashmiri-American poet Agha Shahid Ali, who had been teaching and spreading word of the Ghazal at American universities over the previous two decades. Created his own free-form Ghazal true to his poetic vision in Outlyer and Ghazals (1971). In 1996, Ali compiled and edited the world's first anthology of English-language Ghazals, published by in 2000, as Ravishing DisUnities: Real Ghazals in English. (Fewer than one in ten of the ghazals collected in Real Ghazals in English observe the constraints of the form.) Devi Panthi of Nepal started composing ghazals claiming himself the pioneer of English ghazals since 2006.

A ghazal is composed of couplets, five or more. The couplets may have nothing to do with one another except for the formal unity derived from a strict rhyme and rhythm pattern. A ghazal in English observes the traditional restrictions of the form: Where are you now? Who lies beneath your spell tonight? Whom else from rapture's road will you expel tonight? Those 'Fabrics of Cashmere—' 'to make Me beautiful—' 'Trinket'— to gem– 'Me to adorn– How– tell'— tonight? I beg for haven: Prisons, let open your gates– A refugee from Belief seeks a cell tonight.

God's vintage loneliness has turned to vinegar– All the archangels– their wings frozen– fell tonight. Lord, cried out the idols, Don't let us be broken Only we can convert the infidel tonight. Mughal ceilings, let your mirrored convexities multiply me at once under your spell tonight. He's freed some fire from ice in pity for Heaven. He's left open– for God– the doors of Hell tonight. In the heart's veined temple, all statues have been smashed No priest in saffron's left to toll its knell tonight God, limit these punishments, there's still Judgment Day– I'm a mere sinner, I'm no infidel tonight. Executioners near the woman at the window.

Damn you, Elijah, I'll bless Jezebel tonight. The hunt is over, and I hear the Call to Prayer fade into that of the wounded gazelle tonight. My rivals for your love– you've invited them all? This is mere insult, this is no farewell tonight. And I, Shahid, only am escaped to tell thee– God sobs in my arms.