Sanson Ki Mala Pe Simroon Main Pi Ka Naam

Meera Bhajan sung awesomely in Qawwali style by inimitable Nusrat Fateh Ali Khan sahib, true Sufiana colors added to the beautiful bhajan makes it even more mesmerizing!

Aa Piya In Nainan Mein, Main Palk Dhamp Tohe Loon
Naan Mein Dekhoon Gair Ko Naan Mein Tohe Dekhan Doon

Kajal Daloon Karkira Jo Surma Diya Na Jaal
Jin Nainan Mein Piya Basey, Bala Doojha Koun Samaaye

Neel Gagan Se Bhi Pare Saiya Ji Ka Gaon
Darshan Jal Ki Kamna Pat Rakheo Ri Ram

Abb Kismat Ke Haath Hai Iss Bandan Ki Laaj
Maine To Mann Likh Diya Sawariya Ke Naam

Janey Koun Se Beiss Mein Sawarian Mil Jaye
Jhuk Jhuk Kar Sansaar Mai Sab Ko Karoon Salaam

Woh Chatar Hai Kamni Woh Hai Sundar Nar
Jiss Pagli Ne Kar Liya Sajan Ka Mann Ram

Jab Se Radha Shaam Ke Nain Hue Hain Char
Shaam Banne Hain Radhika Radha Ban Gaye Shaam

Sanson Ki Mala Pe Simroon Main Pi Ka Naam
Sanson Ki Mala Pe Simroon Main Pi Ka Naam

Apne Mann Ki Main Janoo Aur Pi Ke Mann Ki Ram
Sanson Ki Mala Pe Simroon Main Pi Ka Naam

Yehi Meri Bandagi Hai Yehi Meri Pooja
Sanson Ki Mala Pe Simroon Main Pi Ka Naam


Ik Ka Sajan Mandir Mein Ik Ka Preetam Masjid Mein
Par Main Sanson Ki Mala Pe Simroon Main Pi Ka Naam

Ham Aur Nahi Kachu Kaam Ke Matware Pi Ke Naam Ke
Sansoon Ki Mala Pe Simroon Main Pi Ka Naam

Sajni Paati Tab Likhoon Jo Preetam Ho Pardes
Tann Mein Mann Mein Piya Basey Ab Bejhoon Kise Sandes

Har Har Mein Har Basey, Har ko Har ki Aass
Har Ko Har Har Dhoon Phiri Aur Har Hai Morey Paas

Prem Ke Raang Mein Aisi Doobi Ban Gaya Ek Hi Roop
Prem Ki Mala Japte Japte Aap Bani Main Shaam

Preetam Ka Kuch Dosh Nahi Hai Woh To Hai Nirdosh
Aapne Aap Se Batein Karke Ho Gayee Main Badnaam

Prem Piyala Jab Se Piya Hai Jee Ka Hai Ye Haal
Angaroon Pe Neend Aajaye Kantoo Pe Aaraam

Jeevan Ka Shingar Hai Preetam Mang Pe Hai Sindoor
Preetam Ki Nazron Se Girr Karr Jeena Hai Kis Kaam

Sanson Ki Mala Pe Simroon Main Pi Ka Naam
Sanson Ki Mala Pe Simroon Main Pi Ka Naam

Jinhe Naaz Hai Hind Par Wo Kahan Hai

Sahir sahib's original ghazal was 'sanaa-Khwaan-e-taqdees-e-mashriq kahaaN haiN' (those who praise the pious eastern ways) which he simplified for the movie Pyaasa song 'jinhe naaz hai hind par vo kahaaN haiN'.

ye kooche ye neelaam ghar dil-kashi ke

ye luT-te hue kaarawaaN zindagii ke

kahaaN haiN, kahaaN haiN muhaafiz Khudi ke?

Kooche = Streets
Nilaam Ghar = Auction Houses

Muhaafiz Khudi ke = the protectors of pride

ye pur-pech galiyaaN, ye badnaam baazaar

ye gumnaam raahii, ye sikkoN ki jhaNkaar

ye ismat ke saude, ye saudoN pe takaraar

Jinhe..

pur= full of

ismat=Blessings,Pride,Honor

ye sadiyoN se be-Khauf sahmii sii galiyaaN

ye maslee hui adh-khulee zard kaliyaaN

ye bikati hui khokalii rang-raliyaaN

Jinhe..

Zard = yellowing
Be-rooh = soul-less

wo ujale dareechoN meiN paayal ki chhan-chhan

thaki haarii saaNsoN pe tabale ki dhan-dhan

ye be-ruuh kamroN meiN khaaNsii kii Than-Than

Jinhe ..

ye phuuloN ke gajare, ye peekoN ke chheeNTe

ye be-baak nazreN, ye gustaaKh fiqare

ye Dhalake badan aur ye beemaar chehare

Jinhe ..

yahaaN peer bhii aa chuke haiN jawaaN bhi

tanuumand beTe bhi, abbaa miyaaN bhi

ye biwi bhi hai aur behan bhi hai, maaN bhi

Jinhe...
Peer = old, wise
tanuumand = healthy, fit

madad chaahti hai ye hawwaa ki beTi

yashodaa ki ham-jins raadhaa ki beTi

payaMbar ki ummat zulaiKhaa ki beTi

Jinhe..

Hawwa-Eve

Hum-jins = breed

Payambar = prophet
Ummat = race

zaraa mulk ke raahbaroN ko bulaao

ye kuuche ye galiyaaN ye maNzar dikhaao

jinheN naaz hai hind par unako laao

jinhe naaz hai hind par vo kahaaN haiN?

kahaaN haiN kahaaN haiN kahaaN haiN?

raahbaroN = leaders

Mohsin Naqvi-Awargi

ye dil, ye paagal dil meraa, kyo.n bujha gayaa, awargi
is dasht me.n ik shahar thaa, vo kyaa huaa, awargi

Aawargi: Loiter Vagrancy, Waywardness
Dasht: Desert, Hands, Jungle, Wilderness

kal shab mujhe be-shakl sii, aavaaz ne chau.Nkaa diyaa
mai.nne kahaa tuu kaun hai, usane kahaa, awargi

Shab: Night
Shakl: Aspect, Appearance, Way
Be-shakl: Unbodied, Formless
Chaunkaana: To cause to start, to startle;

ik tuu ki sadiyo.n se, mere ham-raah bhii ham-raaz bhii
ik mai.n ki tere naam se na-aashnaa, awargi

Sadiyon: Centuries
Ham-Raah: Fellow traveler
Ham-Raaz: Confidant
Aashanaa: Acquaince, Confidant, Friend, Someone Close
Na-aashnaa: Not Acquainted, Stranger

ye dard kii tanahaaiyaa.N, ye dasht kaa viiraa.n safar
ham log to uktaa gaye apanii sunaa, awargi

Viiraan: Deserted, Desolate Place, Lonely, Wilderness
Safar: Journey, Tourism, Travel, Trip, Tour, Went
Uktaa jaana: Get Bored
Uktaahat: Boredom

ik ajanabii jho.nke ne jab, puuchhaa mere Gam kaa sabab
saharaa kii bhiigii ret par, mai.nne likhaa, awargi

Sabab: Bring About, Cause, Occasion, Reason, Relationship
Saharaa: Desert, Wilderness
Bhiigi: Wet
Ret, Reyt: Sand; filings

le ab to dasht-e-shab kii, saarii vus’ate.n sone lagii.n
ab jaaganaa hogaa hame.n kab tak bataa, awargi

Dasht-e-Shab: Desert night
Vusaat: Area, Breadth, Expanse, Expansion, Extent, Largeness, Latitude, Quantity

kal raat tanahaa chaa.Nd ko, dekhaa thaa mai.nne Kvaab me.n
‘mohsin’ mujhe raas aayegii shaayad sadaa, awargi

Khwaab: Sleep, Dream
Mohsin: A reference to the poet, ‘Mohsin Naqvi’
Raas aanaa: To Find Suitable
Sadaa: Always, Call, Conversation, Echo, Ever, Sound, Tone, Voice

Momin-Woh Jo hum meN

Woh jo hum me.n tum me.n qaraar thaa tumhe.n yaad ho ke na yaad ho
vahii yaanii vaadaa nibaah kaa tumhe.n yaad ho ke na yaad ho

Qaraar: Ease, Patience, Quietude, Repose, Residence Rest, Satisfaction, Stability

Woh jo lutf mujh pe the peshtar, woh karam ke thaa mere haal per
mujhe sab hai.n yaad zaraa zaraa, tumhe.n yaad ho ki na yaad ho

Luft: Benignity, Enjoyment, Favor, Grace, Joy, Kindness, Pleasure, Taste, Wit
Pesh-tar: Before, prior
Karam: Benevolence, Benignity, Benedictions, Bounty, Clemency, Favor, Kindness, Largeness

vo naye gile vo shikaayate.n vo maze maze kii hikaayate.n
vo har ek baat pe ruuThanaa tumhe.n yaad ho ke na yaad ho

Gilaa: Complaint, Blame, Reproach, Lamentation
Shikaayat: Ailment, Complaint, Accusation, Illness
Hikaayat: Anecdote, Story, Narrative

kahiin baiThe sab hai.n jo ruu-ba-ruu to ishaarato.n hii mein guftaguu
Woh bayaan shauq ka bar-malaa tumhe.n yaad ho ki na yaad ho

Ruu-ba-Ruu: Face To Face, In Front Of
Ishaarat: Sign, signal; beck, nod, wink, nudge, gesticulation; pointing to, indication, trace, mark; allusion, hint, clue; insinuation, inuendo; love-glances, ogling; dumb-show
Guftaguu: Conversation Discourse, Speech, Talk
Bar Malaa: Open, public, conspicuous; openly, in open day, publicly, in the sight of all, manifest

hue ittefaaq se gar baham, vo vafaa jataane ko dam-ba-dam
gilaa-e-malaamat-e-aqrabaa, tumhe.n yaad ho ke na yaad ho

Ittefaaq: Accordance, Accident, Agreement, Concord, Chance, Event, Opportunity
Gar: If
Baham: Gather, Together, With One Another
Vafaa: Fulfilling A Promise, Fulfilment, Fidelity, Faithful, Sincerity, Sufficiency
Jataana: Admonish, Emphasise
Dam-ba-Dam: Every Moment, Continuously
Malaamat: Animadversion, Blame, Censure, Lesson, Rebuke, Reproach
Aqrab: Nearer; nearest; most near;—s.m. A near relative
Gilaa-e-Malaamat-e-Aqrabaa: Admonitions and Rebukes to a near and dear/loved one

ko_ii aisii baat agar hu_ii jo tumhaare jii ko burii lagii
to bayaa.N se pahale hii bhuulanaa tumhe.n yaad ho ke na yaad ho

Bayaan: Account, Declare, Description, Explanation, Manifestation, Narration, Relate, State Statement, Tale

kabhii ham me.n tum me.n bhii chaah thii, kabhii ham se tum se bhii raah thii
kabhii ham bhii tum bhii the aashnaa, tumhe.n yaad ho ke na yaad ho

Chaah: Affection, Appetite, Choice, Desire, Liking, Longing, Love, Need
Raah: Custom, Fashion, Journey, Means of Access, Method, Passage, Path, Progress, Road, Track, Way
Aashnaa: Acquaintance, Friend, Lover

suno zikr hai ka_ii saal kaa, ke kia ek aap ne wada thaa
so nibaahane ka to zikr kyaa, tumhe.n yaad ho ke na yaad ho

Zikr: Discussion, Remembrance, Memory, Mention

kahaa mein ne woh baat kothi ki, mere dil se saaf utar gayi
toh kaha ke jaane meri balaa, tumhe.n yaad ho ki na yaad ho

Kothi: Mansion, Dwelling, Residence
Balaa: Calamity, Danger, Distress, Trial, Misfortune, Problems

vo biga.Dnaa vasl kii raat kaa, vo na maananaa kisii baat kaa
vo nahiii.n nahii.n kii har aan adaa, tumhe.n yaad ho ki na yaad ho

BigaDnaa: Bungled, Corrupt, To Become Angry, Ruined, Spoil, Tarnish, Vilify, Vitiate
Vasl: Meeting, Union
Maananaa: Agree
Aan: Moment
Adaa: Beauty, Charm, Elegance, Fascination, Grace

jise aap ginte the aashnaa jise aap kahate the baavafaa
mai.n vahii huu.N “Momin”-e-mubtalaa tumhe.n yaad ho ke na yaad ho

Ginna: Enumerate, Count
Baa-vafaa: Faithfulness, Fidelity
Momin: A reference to the poet, Momin Khan Momin
Mubtalaa: Embroiled In

Ahmad Faraz-Ab ke hum BichDe

ab ke hum bichh.De to shaayad kabhii Khvaabo.n me.n mile.n
jis tarah suukhe hue phuul kitaabo.n me.n mile.n

Dhuu.NDh uja.De hue logo.n me.n vafaa ke motii
ye Khazaane tujhe mumkin hai Kharaabo.n me.n mile.n

Ujada: Desolate
Kharaab: Bad, Depraved, Kaput,

tuu Khudaa hai na meraa ishq farishto.n jaisaa
dono.n insaa.N hai.n to kyo.n itane hijaabo.n me.n mile.n

Khudaa: God
Farishta: Angel, Apostle, Messenger, Prophet
Hijaab: Bashfulness, Coyness, Curtain, Modesty, Night, Shyness, Veil

Gam-e-duniyaa bhii Gam-e-yaar me.n shaamil kar lo
nashaa ba.Dataa hai sharabe.n jo sharaabo.n me.n mile.n

Gam: Concern, Care, Grief, Sorrow, Woe
Shaamil: Associated, Annex, Attached, Blended, Comprising, Common, Connected, Including, Joined In, Link
Nashaa: Addiction, Intoxication, Pride
Sharaab: Alcohol, Wine, Liquor

aaj ham daar pe khe.nche gaye jin baato.n par
kyaa ajab kal vo zamaane ko nisaabo.n me.n mile.n

Daar: Country Gallows, Having, Holding, House, Mansion, Piece Of Wood
Khiinchna: Drawing, dragging, pulling; draw, pull; attraction; drawing aside or apart (from)
Nisaab: Root, origin, principle;—capital, principal; property;—dignity;—fortune

ab na vo mai.n huu.N na tu hai na vo maazii hai `Faraz’,
jaise do shaKhs tamannaa ke saraabo.n me.m mile.n

Maazi: Past , Yore
Saraab: Mirage, Illusion

Ghalib-Dil-E-Naadaa.N

dil-e-naadaa.N tujhe huaa kyaa hai
aaKhir is dard kii davaa kyaa hai

Naadaan: Ignorant, unlearned;

ham hai.n mushtaaq aur vo bezaar
yaa ilaahii ye maajaraa kyaa hai

Mushtaaq: Ardent, Eager, Interested, Keen
Bezaar: Angry, Uninterested
Ilaahii: God
Maajraa: Affair, Event, Matter, Ongoing

mai.n bhii muu.Nh me.n zabaan rakhataa huu.N
kaash puuchho ki muddaa kyaa hai

Muddaa: Aim, Topic

jab ki tujh bin nahii.n koii maujuud
phir ye ha.ngaamaa, ai Khudaa kyaa hai

Maujuud: Available, Existing,
Hangaamaa: Affray, Confusion, Disorder, Riot, Ruckus, Tumult, Turmoil, Uproar

ye parii cheharaa log kaise hai.n
Gamzaa-o-ishvaa-o-adaa kyaa hai

Parii: Beautiful Woman, Fairy
Gamzaa: Amorous Glance
Ishvaa: A Confused and Dubious Affair, Amorous,
Adaa: Accomplished, Beauty, Posture
Gamzaa-o-Ishvaa-o-Adaa: Amorous/coquetish posture

shikan-e-zulf-e-ambarii kyo.n hai
nigah-e-chashm-e-surmaa saa kyaa hai

Shikan: Crease, Crack,
Ambarii: Fragrance
Shikan-e-Zulf-e-Ambarii: Tussled but fragrent hair
Nigah-e-Chashm-e-Surmaa: A glance through Kohl decorated eyes

sabzaa-o-gul kahaa.N se aaye hai.n
abr kyaa chiiz hai havaa kyaa hai

Sabzaa: Flora, Greenery
Abr: Cloud

hamako unse vafaa kii hai ummiid
jo nahii.n jaanate vafaa kyaa hai

Wafaa: Fulfilling A Promise,
Ummiid: Anticipation, Chances,

haa.N bhalaa kar teraa bhalaa hogaa
aur darvesh kii sadaa kyaa hai

Darvesh: Beggar, Mendicant
Sadaa: Always, Call,

jaan tum par nisaar karataa huu.N
mai.n nahii.n jaanataa duaa kyaa hai

Nisaar: Throwing, Dispersion, Offer,
Duaa: Blessing, Prayer, Wish

mai.n ne maanaa ki kuchh nahii.n ‘Ghalib’
muft haath aaye to buraa kyaa hai

Hasrat Mohani-Chupke Chupke

chupke chupke raat din aa.Nsuu bahanaa yaad hai
ham ko ab tak aashiqii kaa vo zamaanaa yaad hai

baah-a-zaaraa.N iztiraab-o-sad-hazaaraa.N ishtiyaaq
tujhase vo pahale pahal dil kaa lagaanaa yaad hai

Baah: Coitus; venereal passion, Lust
Zaar: Desire, Feeble, Weeping, Wish
Iztiraab: Anxiety, Chagrin, Commotion, Disturbance
Sad: Hundred
Hazaar: Thousand
Ishtiyaaq: Longing, Craving, Desire
Pahale: First
Pahal: Beginning, commencement;
Pahale Pahal: Very first

tujhase milate hii vo bebaak ho jaanaa meraa
aur teraa daato.n me.n vo u.Ngalii dabaanaa yaad hai

Bebaak: Bold, Confident, High Spirited, Unconstrained

khii.nch lenaa vo meraa parde kaa konaa daffaatan
aur dupaTTe se teraa vo muu.Nh chhupaanaa yaad hai

Khiinch: Pull, Yank
Daffaatan: Suddenly

jaan kar sotaa tujhe vo qasad-e-paabosii meraa
aur teraa Thukaraa ke sar vo muskuraanaa yaad hai

Qasad: Intention, design, purpose, resolve,
Paa-bos: Tied by the leg; clogged, fettered, bound, restrained; encumbered (with a family, &c.);–one who is restrained or bound, a servant; a rope with which the forefeet of a horse are tied; fetters:

tujh ko jab ta.nhaa kabhii paanaa to az_raah-e-lihaaz
hal-e-dil baato.n hii baato.n me.n jataanaa yaad hai

Tanhaa: Alone, Solitary,
Az: From, Then, By
Lihaaz: Regard, Respect Consideration
Az Raah-e-Lihaaz: With Due Caution
Jataanaa: Admonish, Emphasise

jab sivaa mere tumhaaraa koii diivaanaa na thaa
sach kaho kyaa tum ko bhii vo kaarKhaanaa yaad hai

kaarKhaanaa: Factory, Workshop

Gair kii nazaro.n se bachakar sab kii marzii ke Khilaaf
vo teraa chorii chhipe raato.n ko aanaa yaad hai

aa gaya gar vasl kii shab bhii kahii.n zikr-e-firaaq
vo teraa ro ro ke mujhako bhii rulaanaa yaad hai

Vasl: Meeting, Union
Shab: Night
Zikr: Discussion, Remembrance, Memory, Mention
Firaaq: Separation, Anxiety, Absence, Distance

do-pahar kii dhuup me.n mere bulaane ke liye
vo teraa kothe pe na.nge paao.n aanaa yaad hai

Do-pahar: Afternoon
Dhuup: Sun Light
Kotha: terrace
Nange paaon: Bare foot

dekhanaa mujhako jo bargashtaa to sau sau naaz se
jab manaa lenaa to phir Khud ruuTh jaanaa yaad hai

Bargashtaa: Angry, Turned Against, Upset
Naaz: Airs, Arrogant, Blandishment, Coquetry, Delicacy, Elegance, Gracefulness, Pride, Softness

chori chori ham se tum aa kar mile the jis jagah
muddate.n guzarii.n par ab tak wo thikaanaa yaad hai

Muddat: Awhile, Duration, Length Of Time, Period Of Time, Term, While

beruKhii ke saath sunaanaa dard-e-dil kii dastaa.N
aur teraa hatho.n me.n vo ka.ngan ghumaanaa yaad hai

Be-rukhii: Aloofness Caused By Anger, Ignorance, Indifference
Dastaan: Story, Fable, Tale

vaqt-e-ruKhsat alvidaa kaa lafz kahane ke liye
vo tere sukhe labo.n kaa thar-tharaanaa yaad hai

Vaqt: Hour, Occasion, Opportunity, Time, Term, Season
Rukhsat: Dismissal, Indulgence, Leave, Permission, Send Away

baavajuud-e-iddaa-e-ittaqaa ‘Hasrat’ mujhe
aaj tak ahad-e-havas kaa ye fasaanaa yaad hai

Baavajuud: Inspite Of
Idaa: Claiming (a thing), demanding as a right; claim; pretension, to seek, to desire
Ittaqaa: Avoiding, shunning, abstaining (from, -se); piety, abstinence
‘Hasrat’: A reference to the poet Hasrat Mohani
Ahad: Promise
Havaas: Five Senses, Sense And Sensibility
Fasaanaa: Fable, Fictional Tale, Romance, Story, Tale

Akbar Allahabadi-Hungama hey Kyo Barpa

hangaamaa hai kyuu.N barpaa tho.Dii sii jo pii lii hai
Daakaa to nahii.n Daalaa chorii to nahii.n kii hai

Barpaa: Start, Arisen

naa-tajurbaakaarii se vaaiz kii ye baate.n hai.n
is rang ko kyaa jaane puuchho to kabhii pii hai

Naa-Tajrubaakarii: Lack of experience
Vaaiz: Preacher, Advisor,

us mai se nahii.n matalab dil jis se ho begaanaa
maqsuud hai us mai se dil hii me.n jo khi.chktii hai

Mai: Wine, Liquor
Matlab: Aim, Desire,
Begaanaa: Alien, Foreign,
Maqsuud: Intended, Proposed
Khichna: To be drawn, dragged, or pulled, &c.; to be attracted; to be absorbed, be sucked in;

vaa.N dil me.n ki sadame do yaa.N jii me.n ke sab sah lo
un kaa bhii ajab dil hai meraa bhii ajab jii hai

Sadma: Affliction, Bereavement,

har zarraa chamakataa hai anvaar-e-ilaahii se
har saa.Ns ye kahatii hai ham hai.n to Khudaa bhii hai

Zarra: Atom, Minute Particles Particle, Speck
Anwar: splendid, resplendent
Ilaahii: Divine, of God, heavenly
Anvaar-e-Ilaahi: Divine Light

suuraj me.n lage dhabbaa fitarat ke karishme hai.n
but ham ko kahe kaafir allaah kii marzii hai

Fitrat: Machination, Nature, Wise, Wisdom
Karishma: Wonder, Miracle
But: Icon, Idol,
Kaafir: Infidel, Non-Believer, Disbeliever, One who worships someone else in place of Allah, Unfaithful, Disloyal
Marzi: Assent, Acquiescence, Choice,

Amir Khusro - Khabaram raseed imshab (Persian)

(Beautifully composed and sung in Raag Kedar)

Khabaram raseed imshab ki nigaar khuahi aamad
Sar-e man fidaa-e raah-e ki sawaar khuahi aamad

Tonight there came a news that you, oh beloved, would come –
Be my head sacrificed to the road along which you will come riding!

Ham-e aahwan-e sehra sar-e khud nihada bar kaf
Ba-umeed aankhe bashikaar khuahi aamad

All the gazelles of the desert have put their heads on their hands
In the hope that one day you will come to hunt them….

Kashishe ki ishq daarad naguzaradat badinsaa
Ba-janazah gar nayai ba-mazaar khuahi aamad

The attraction of love won’t leave you unmoved;
Should you not come to my funeral,
you’ll definitely come to my grave.

Balabam raseeda jaanam faube ya ke zindah maanam
Pas azan ki man na-maanam bacha kar khuahi aamad

My soul has come on my lips (e.g. I am on the point of dying);
Come so that I may remain alive -
After I am no longer – for what purpose will you come?

Ghazal Definition by Abhay Avachat

1. What is a 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

2. 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. ]


3. What are 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 Ghazal's.
To understand, why, we have to wait till 'Kaafiyaa, 'Radif'. ]


4. 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, long.
[ The examples in [] are my additions, from Hindi Films. ]

Small :
ahale dairo-haram reh gaye
tere deewane kam reh gaye
[ Also ghalib ghazal, "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

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


5. 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]


6. 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'. ]

7. 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'.

8. 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 IMPORTANT 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 lines
of 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 in
the 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.