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The Urdu ghazal is a literary form of the ghazal-poetry unique to the Indian subcontinent, written in the Urdu standard of the Hindostani language. It is commonly asserted that the ghazal spread to South Asia from the influence of Sufi mystics in the Delhi Sultanate .
Urdu poetry (Urdu: اُردُو شاعرى Urdū šāʿirī) is a tradition of poetry and has many different forms. Today, it is an important part of the culture of India and Pakistan . According to Naseer Turabi, there are five major poets of Urdu: Mir Taqi Mir (d. 1810), Mirza Ghalib (d. 1869), Mir Anees (d. 1874), Muhammad Iqbal (d. 1938 ...
Urdu literature (Urdu: ادبیاتِ اُردُو, “Adbiyāt-i Urdū”) comprises the literary works, written in the Urdu language.While it tends to be dominated by poetry, especially the verse forms of the ghazal (غزل) and nazm (نظم), it has expanded into other styles of writing, including that of the short story, or afsana (افسانہ).
Nazm (Urdu: نظم) is a major part of Urdu and Sindhi poetry that is normally written in rhymed verse and also in modern prose-style poems. Nazm is a significant genre of Urdu and Sindhi poetry; the other one is known as ghazal. Nazm is significantly written by controlling one’s thoughts and feelings, which are constructively discussed as ...
The recurring theme of elusive love is often explored in ghazals such as "Wo tou khushbu hai" (He is fragrance), where the poet describes the essence of love as fleeting and intangible, like a scent. For example, in "Khushbu bhi us k tarz-e-pazeerai per gai" (Fragrance also goes by his style of welcome), the poet suggests that even fragrance is ...
He can "talk to himself", "to somebody else", "refer to something" etc. For example Firaq Gorakhpuri, whose takhallus is the word for the common theme in Urdu poetry of the state of pining for the beloved, plays on his pen name and the word firaq: Urdu: تو یہ نہ سمجھنا کے فِراق تیری فِراق میں ہیں
Bal-i-Jibril is regarded as the peak of Iqbal's Urdu poetry. It consists of ghazals , poems, quatrains , epigrams and advises the nurturing of the vision and intellect necessary to foster sincerity and firm belief in the heart of the ummah and turn its members into true believers.
Along with N. M. Rashid, he was a leading poet of the group Halqa-e Arbab-e Zauq, which broke away from the classic convention of radeef and qafia, explored the rich resources of blank verse and Free Verse, rejected the confines of the socially "acceptable" and "respectable" themes, rejected the stranglehold of Persianised diction, and explored ...