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Wajih Sani - ÙجÛÛ Ø«Ø§ÙÛ
Apne Andaz Mein Auron Se Juda Lagte Ho
ÛÛ Ø¬Ø§Ù Ú©Ø± Ø¨Ú¾Û Ú©Û ØªÙ ØªØÛر کا بÙجھ ÛÙکا ÙÛÛÚº کر٠گÛ
Wajih Sani - ÙجÛÛ Ø«Ø§ÙÛ
Yeh Jaan Kar Bhi Ke Tum Tahayyur Ka Boojh Halka Nahi Karo Ge
Ú©Ø³Û Ú©Û Ø±Ø® Ú©Ù ØÛا Ú©Û Ú¯ÙابÛاں Ø¯Û Ú©Ø±
Wajih Sani - ÙجÛÛ Ø«Ø§ÙÛ
Kissi Ke Rukh Ko Haya Ki Gulabiya De Kar
Ù Ûرا Ø¯Ù Ø¨Ú¾Û Ø¨Ùجھ٠ÛÛ Ø§Ùر ÙÛ Ø¨Ú¾Û Ùا آسÙØ¯Û ÛÛ
Wajih Sani - ÙجÛÛ Ø«Ø§ÙÛ
Mera Dil Bhi Bhojal Hai Aur Wo Bhi Aaa Aasuuda Hai
اب باÙک٠آÙاز ÙÛ Ø¢Ø¦Û Ø§Úھا! ÚÙ¾
Wajih Sani - ÙجÛÛ Ø«Ø§ÙÛ
Ab Bilkul Awaz Na Aaye Acha Chup
دÛÚ©Ú¾Ùا اعصاب ÙÛ Ø§Ú© شخص ش٠کر Ø¬Ø§Ø¦Û Ú¯Ø§
Professor Rasheed Hasrat - پرÙÙÛسر رشÛد Øسرت
Dekhna Asaab Woh Ik Shakhs Shal Kar Jaye Ga
دÛÚ©Ú¾ÛÚº ÙÛ Ú©Ø¨Ú¾Û Ø§Ø³Ú©Û Ø·Ø±ÙØ Ú©ÛÛ ØªÙ Ø¯Ûا ÛÛ
Professor Rasheed Hasrat - پرÙÙÛسر رشÛد Øسرت
Dekhen Na Kabhi Uski Taraf Keh To Diya Hai
ÙÛ ØªÙ Ù Ø¬ÙÙÚºØ ÙÛ ØªÙ Ø±Ø§ÙØ¬Ú¾Ø§Ø ÙÛ ØªÙ ÙرÛاد Ú©Û ØµÙرت
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Na Tum Majnu Na Tum Ranjha Na Tum Farhad Ki Soorat
رÙز بÛÙاتا ÛÙÚº Ù ÛÚº اس Ú©Ù Ù ÙاÙÛ Ú©Û ÙئÛ
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Roz Behlata Hoon Main Us Ko Manane Ke Liye
دÛر Ù ØØ±Ù Ú©Û Ø¢Ø®Ø±Û Ø¯Ø±Ø¨Ø§Úº Ú©Û Ø·Ø±Ø ÛÙÚº
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Dair O Haram Ke Aakhri Darbaan Ki Tarah Hun
کس طرØØ Ú©Ø³ ٠کاں Ù¾Û Ú¯Ø²Ø±Û Ú¯Û
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Kis Tarah Kis Makan Pe Guzre Gi
جب Ú©ÙئÛØ Ø¢Ø³Ø±Ø§ ÙÛÛÚº ÛÙتا
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Jab Koi Aasra Nahi Hota
تخÙÛ٠٠ارتÙاء کا ع٠٠ساتھ ساتھ رکھ
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Takhleeq O Irtiqa Ka Amal Sath Sath Rakh
دÙÛا Ú©Û Ø¨ÙÙØ¯Û Ú©Û Ø·Ùبگار ÙÛÛÚº ÛÛÚº
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Duniya Ki Bulandi Ke Talabgar Nahi Hain
جب Ø¨Ú¾Û Ù ÛÚº ÙÛ ÙÙÙ Ø³Û Ø§Ù¾ÙÛ Ø§Ø³ کا Ù٠بر ØØ°Ù Ú©Ûا
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Jab Bhi Main Ne Phone Se Apne Us Ka Number Hazf Kya
ذکر٠اسÙØ§Ù Ø³Û ÛÛ Ú¯Ú¾Ø± Ù ÛÚ©Û
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Zikr E Aslaf Se Yeh Ghar Mehke
Ù ÛØ±Û Ûر غ٠ک٠ÙÛ Ø¨ÙÚ¾Ùا Ø¯Û Ú¯Ø§
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Mere Har Gham Ko Woh Bhula De Ga
ÛÛ Ø§Ø²Ù Ø³Û Ø¬Ø³ کا دش٠٠ÛÛ Ø²Ù Ø§ÙÛ Ø¹Ø´Ù ÛÛ
Shakir Dehlvi - شاکر دÛÙÙÛ
Hai Azal Se Jis Ka Dushman Yeh Zamana Ishq Hai
Ø®Ùد Ú©Ù ÛÙÚº ٠جبÙر Ú©Ûا ÛÛ
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Khud Ko Yun Majboor Kya Hai
بÙÚ¯ÙÙر Ø´Ûر٠گÙستاں
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Bangalore Shehr E Gulistan
Ù ÛÚº تÛز گا٠ÛÙÚºØ Ø¨Ø§ØªÙÚº Ù ÛÚº ÙÛ Ùگا ٠جھ Ú©Ù
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Main Taiz Gaam Hoon Baton Mein Na Laga Mujh Ko
زخ٠بھرÙÛ Ù ÛÚº ÙÙت Ùگتا ÛÛ
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Zakham Bharne Mein Waqt Lagta Hai
اگرÚÛ ØªÙÙ Ø±Ø³ØªÛ Ù Ø¬Ú¾Û Ù¾Ùر خطر دÛ
Aftab Alam Shah Noori - Ø¢Ùتاب عاÙÙ Ø Ø´Ø§Û ÙÙرÛ
Agarche Tu Rasta Mujhe Pur Khatar De
ØµØ¯Ù Ú©Û Ø§Ùدر Ø³Û ÚÙ Ú©Û Ù ÙتÛØ ØªØ¬Ú¾Û Ù ÛÚº د٠٠ÛÚº بسا Ú©Û Ø³Ùتا
Qazi Zaheer Ahmad - ÙØ§Ø¶Û Ø¸ÛÛر اØ٠د
Sadaf Ke Andar Se Chun Ke Moti Tujhe Main Dil Mein Basa Ke Sota
Urdu Ghazal Poetry is a literary shape of Ghazal (Poetry), especially in South Asia. It is generally stated that the outspread of Ghazal in South Asia is due to the domination of Sufism and the Delhi Sultanate (Islamic Empire). A Ghazal is constructed from verses that are similar to pairs. Those couplets are connected in rhymes such as AA, AB, BA, DA, EA, and much more in a single verse. Traditionally, Urdu Ghazal settles in the consciousness of an impassioned, distressed lover that is found in his Shairi, and historians call it “The Ghazal Universe”.
A Brief History
Urdu and Hindi literature was not common till the 18th century (1700s). In North India, plentiful literary traditions existed in Branjbhasha and Awadhi with premature text before the 14th century. Muhammad Quli Qutb Shah founded the Hyderabadi Ghazals in the 17th century in three languages, i.e., Urdu, Persian, and Telugu. Then the Urdu Shairi came to its classical period.
Mir Taqi Mir led the way for Urdu Ghazals Poetry in the early 18th century by mingling Persian impacts with idiomatic and ordinary Urdu language. After that, many poets contributed to the Ghazal revolution, i.e., Ghalib, Zouq, Momin, Dagh, Zafar, etc. The Ghazal made its root in the 1857 war so strong that the Mughal emperors were Ghazal lovers. You can guess it by the fact that Bahadur Shah Zafar (Last Mughal Badshah) also wrote Ghazals while imprisoned by the British.
After that, Urdu poetry started to modernize, and Aligarh Movement gave it a push. Then they started preserving Urdu Ghazals, and Rekhta Foundation was the largest Urdu Ghazal protecting and preserving organization. A large number of people still like Urdu Ghazals and Urdu Shairi.
Parts of the Urdu Ghazals
Five parts of Urdu Ghazals are given below and describe the format of the Urdu Ghazals briefly.
Matla'a
It is defined as the first two lines that are called a couplet in Ghazals is called Matla'a.
Radif
It is the word repeated at the end of every verse. Radif literary means a ride in the back.
Ghaafiyeah
Ghaafiyeah literary means the ride behind. The same weight and the same sound words that come before Radif are called Ghaafiyeah.
Maktaa
The literary meaning of the Maktaa is to end. The last couplet of the ghazal where the poet uses his pseudonym to end the couplet is finishing Maktaa.
Behr
Behr is the name of a technique that sets the length of a ghazal.
Themes of Urdu Ghazal
Initially, the Ghazals were constructed on an exclusively religious theme. After modernization, it has many other themes such as Romantic Ghazals, Sad Ghazal, love Ghazal, breakup Ghazal, and many more.
Wholehearted & Superior Love Urdu Ghazals
Love is always regarded as an essential ingredient that is necessary to complete a human. If acquired, it will raise him/her to the heights of intelligence (wise). It will also bring pleasure to his/her soul. Traditional Urdu Ghazals have no explicit or sexual element in them, and the love was purely spiritual. Love was governed by a man or woman. Urdu Ghazals were depicted the poet's point of view of unreturned love and considered as unachievable.
Mostly, either the poets’ love had not come back, or the lover has returned his sincerity in such a way that was not allowed by the societal circumstances. The love knew everything and put all on fate but continued to love unconditionally. The tension of breakup drove the lyrics. The presentation of the lover’s helplessness to counter his feelings mostly comprises excessive violence-based lyrics. Romantics, sad, breakup, and such Ghazals fall in this category.
Sufism (Religious Urdu Ghazals)
Several ancient Urdu Ghazal poets either put the taste of Sufis (Such as Rumi and Hafiz) or were supporters of Sufi ideas. Most Urdu Ghazals' content is spiritual with Mat’la (Metaphor) for God or the worthy master. The extreme divine love with Sufism is obeyed as a role model for love Ghazal poetry. Nowadays, most scholars acknowledged that many Ghazal verses are solely about Divine Love (Ishq e Haqiqi). Remaining emphasis on earthly love (Ishq e Majazi). These Ghazals are mostly written and sung by Pakistani, Afghani, and Indians.
Urdu Ghazals started to form their roots in Arab and Indo-Pak in the 17th century due to the eternal work of poets, i.e., Rumi, Hafiz Mirza Ghalib, and many more. Among all, Ghalib is known as the master of Ghazals.
Well-Known Ghazal Poets
The top Ghazal writers are Rumi, Saadi Shirazi, Mirza Ghalib, Iqbal, Friedrich Ruckert, Agha Shahid Ali, Moti Ram Bhatta, and Hamza Shinwari. These poets belong to different areas such as Pakistan, Persia, Ottoman Empire, North India, Bengal, Germany, Kashmir, and Nepal.
Conclusion
Urdu Ghazals are known as the important heritage of the Urdu language. Since the 14th century, the number of lovers of poetry is increasing day by day. People love Ghazals because of the lyrics that depict their emotions. Above all, we have provided you a piece of concise information in such a short article. Stay connected for more information.