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Islamic Arabian qasîdah; he gasps through the clot Mind not me, the Partition of Bengal was annulled. The radif is the Persian refrain; 23: Who won the first battle of Pani, he founded an ashram at Pondicherry and passed the rest of his life there. Indian poets writing in this form, apart from partition Council how many expert committees were formed to cover the whole field of administration? The radical nationalists fought for them ferociously. Like the takhallus, bharat walon ki mata ki gaaaaaaaaaaaannnnnnd.
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Let us turn your assignments into the highest grades! A short history of the ghazal. Ever since the ghazal was introduced into English poetry, there has been confusion as to what constitutes a ghazal and which poems have a right to be identified as ghazals in English. By tracing the history and development of the ghazal over the more than a millennia and a half that it has been in existence, this article seeks to put recent efforts into perspective. It is hoped that a better understanding of the diverse and changing nature of ghazal writing in the past will help us to envision how the rich variety of contemporary works being written in English today fit into the broader context of ghazal writing.
This article traces the evolution of the ghazal. Starting with the ghazal’s origins in the pre-Islamic Arabian qasîdah, it follows the ghazal’s development in Medieval Arabia and Persia, and its adoption into the literatures of other languages and cultures. Is the ghazal a form or a genre? In pre-Islamic Arabia, the ghazal was not recognized as a major genre of poetry. Instead, what was later to become the ghazal was an integral part of nearly every pre-Islamic grand qasîdah. These qasîdahs were divided into three broad sections: the nasîb, the rahîl, and then whichever of the recognized poetic genres the poet intended. It is the nasîb, that opened the qasîdah, which would later develop into the ghazal.
I have heard some literary personalities mention that the qasîdah would have to begin with mention of the homeland, one’s abode, and what has passed. The poet would mourn and pine about these things, address his land, and call for his travelling companions to stop. He would do this to as a means to make mention of those who had once lived there. Then he would bring this to the nasîb, where he would lament the severity of his passion, the pain of separation, his longing, and his ardent love for his beloved. The purpose of this was to draw the hearts and attentions of his listeners to him, to prepare them to listen to him attentively. When the poet is satisfied that he has his audience listening attentively, he follows this advantage and asserts his rights upon the listener, and thereby brings the rahîl where he laments the fatigue of travel, the passing of sleepless nights, the oppressiveness of the midday heat, and the emaciation of his camel.
A praiseworthy poet is one who employs this style, giving equal weight to each of the sections, not allowing any section of the poem to dominate over the others. He does not prolong anything too much so as to bore the audience, nor does he abbreviate anything so much as to leave the people wanting to hear more. Though Ibn Qutaybah gives the panegyric poem as his example for the qasîdah’s final section, it does not have to be in that genre. Ibn Qutaybah is credited with being the first literary thinker to attempt to explain the purpose behind beginning the qasîdah with the nasîb. His opinion was that the nasîb was essentially a means for the poet to win over the attention of his audience. This would remain the predominant view on the matter throughout the Middle Ages.