THIS INDEX IS IN ENGLISH
ALPHABETICAL ORDER. See also: *SETS*
— selected verses grouped according to structure or theme; and *GRAMMAR
NOTES* — some help for students (and all of us are students).
baḥr (meter)
— For practical purposes, see the list of meters
used for this site; it includes links to 'A Practical Handbook
of Urdu Meter'. A ‘short meter’ [chhoṭī baḥr] is a particularly
important source of influence on the structure of a
ghazal. == {4,4}, awkward scansion; {15,1}, awkward scansion; {21,1}, short meters;
{21,13}; {26,3}, unusually long 'cheat syllable'; {27,1}; {35,1}; {54,5x}, constraining; {77,4}, words accord with foot-breaks; {85,1}; {91,3}, discussion of special case; {96,4}*, Ghalib's metrical choices; {115,1}, internal line-breaks, cheat-syllables; {170,3}; {197,2}, metrical wit; {234,13}, in verse // {349x,1}**, ghazal with maximum internal rhyme; {353x,1}**, unique short meter; {361x,4}, mauzūnī ; {424x,6}, Zamin breaks scansion
bait ul-ġhazal
(high point of the
ghazal) — ‘The ‘fruit’ [ḥāṣil] of the ghazal, the verse
that would be declared to be the best verse of some
ghazal’. [dars-e balāġhat 151-52] ==
{26,6};
{26,7};
{100,6}; {111,8}; {115,8}; {120,10}; {124,5}, ḥāṣil-e zamīn ; {173,2};
{173,4}, of 'ground'; {193,1}; {201,8};
{202,6}; {208,2};
{208,11}; {219,8},
ḥāṣil-e zamīn ; {228,6}
bhartī (padding) — The use of unnecessary words simply to fill up all the (metrically required) space in the line. For discussion, see {17,9}.
buland-parvāzī
(high-flyingness)
— {5,4};
{18,1};
{85,4}
dalīl (proof)
— [info from Dars] {1,3}; {32,2}; {199,1}; {230,12x} // {274x,2}
dīvān (divan) —
A collection of (some of) a single poet’s work,
normally compiled by the poet himself. Within it poems
are grouped into genres; ghazals are then alphabetized
by the last letter of the refrain
(or the rhyme if there is no
refrain), but within each letter-group ghazals are
arranged only according to the poet’s choice. Ghalib's Urdu divan, carefully curated by the poet himself, was published four times during his lifetime. == {1,1}; {18,5}; {61,5}; {182,3x}
do-laḳht (two-part)
— [do we need this one?] == {17,7}; {19,6}
with def.; {126,6};
{167,6}
fard (individual verse)— A verse
presented in isolation, as a kind of mini-ghazal.
Asterisks mark those that apparently were originally
composed as ‘individuals’; the rest were selected from
longer ghazals for divan
publication. == {2};
{23}; {52}*; {55}*; {65}; {74}; {82}; {84}; {84,8x}, in verse; {93}; {103}*; {109}; {128}; {135}*; {144}*; {144,1}; {150}; {156}
ġhazal (ghazal)
— [give Azad's def?]. See also musalsal. == {14,2}, Nazm complains of an unsuitable verse; {15,1}**, 'double ghazals' [do-ġhazlah] and formally identical ghazals; {26,10};
{37,1}*, strong parallelism in all verses; {37,2}*, a macaronic ghazal; {46,6}, with a
list of other genres; {53,11}, in verse; {60,4}*, Nazm's advice for composing;
{66,1}, a truly personal ghazal; {74,1}, Nazm complains of an unsuitable verse; {85,1},
musalsal ; {92,2}, sih-ġhazalah ; {111,1}, Ghalib boasts about it; {111,9}; {117,12}; {127,1} musalsal ; {139,1}, an elegy in ghazal form; {163,1}, Ghalib boasts about it; {167,5}, vs. naz̤m ; {234,8}*, narrow?; {241x,1}, musalsal ; {280x,1}, musalsal ; {347x,7}, Zamin's advice for composing
ḥamd (praise [of God]) — The
first verse in a poet’s volume
is traditionally expected to be one that praises God.
== {1,1}; {91,2}
ḥusn-e
taʿlīl
(elegance in assigning a cause) — 'taʿlīl means 'to establish a
reason' or 'to express a reason'. ḥusn-e
taʿlīl is to give a fine and superior example
of that action. If a reason is expressed for something
such that even if it’s not real, it has in it some
poetic richness and subtlety, and it has some affinity with reality and
nature as well, then that is called
ḥusn-e taʿlīl.’ (— dars-e
balāġhat, pp. 49-50) == {1,1}; {1,3}; {1,5}; {6,3}; {16,7x}; {47,3x}; {48,5}; {48,7}; {48,10}; {49,2}; {58,7}; {60,5}; {61,1}; {74,1}; {75,4}; {75,7}; {80,8}; {111,1}; {111,11}; {130,3}; {140,6}; {143,3}; {143,4}; {147,1}; {196,2}; {208,4}; {210,4} // {278x,2}; ;
īhām — Derived from the
root vahm, the term literally
means 'to put into deception’. It refers to special
kinds of punning. Mir defines it
as a case when a poet uses a word with two meanings,
one of which is well-known and one obscure, and leads
the hearer to think initially of the well-known
meaning, but it’s really the obscure meaning that the
poet intends, so that he practices a kind of
'misdirection'. The term is also used more loosely,
for other kinds of wordplay that rely on double
meanings and initial misdirection. == {11,2}; {27,10x}; {31,2}; {34,4}; {34,8}; {56,5}**, discussion; {60,11}; {61,02}; {68,4}**, discussion; {69,1}; {91,10}; {91,11}; {98,11}**, discussion; {100,3}; {108,6}; {114,4}; {120,3}*, on 'double activation' verses; {120,6}; {155,2}*, Josh explains; {156,2x}; {158,4};
{166,7x}; {182,1}; {191,7}*, Ghalib boasts; {196,6}; {208,3};
{208,7}; {217,5}; {234,7}
inshāʾiyah
— A form of speech that is non-falsifiable— usually
interrogative, exclamatory, vocative, subjunctive,
hypothetical. It is defined in opposition to
‘informative’ [ḳhabariyah]
speech. == A few examples: {1,1},
with Faruqi's definition; {17,8};
{20,11}*, {34,7}; {51,10x}, both lines; {53,2}, both lines; {62,6}, Nazm endorses; {71,7}, {72,7}, Nazm endorses; {107,7}; {111,1}; {126,3}; {158,9}; {160,2}*, Nazm explains; {166,5}; {178,10}; {208,5} // {332x,6}, Zamin's definition
intiḳhāb (selection)
— An anthology or, literally, ‘selection’ of verses,
either by one poet or by various poets of the
anthologist’s choosing; some explanatory comments
about the poets and poetry are often included. Ghalib referred to his published Urdu divan as an intiḳhāb . == {4,8x}; {39,7x}; {82,3x}; {104,3x}, poor choice; {144,1}; {149,5} // {351x,4}, GC applies this to divan; {364x,6}, in verse
iṣlāḥ (correction)
— The evaluation, criticism, and improvement that an Ustad performs on the poetry of a
shagird. == {155,3}; {161,1}; {177,2}; {180,7}
istiʿārah (metaphor)
— The term is often used rather loosely, since in the ghazal world it is sometimes hard to distinguish from the simile.
== Some examples:{8,6x}, a double one; {10,1}, a 'reversed metaphor' [istiʿārah-e maʿkūs]; {24,3};
{30,3}; {34,1}; {34,7}; {45,2}; {50,5x}, too clear; {59,6}, discussion of
poetics; {76,4x}, bizarre; {77,7};
{79,4x}*; {98,7}*, partial statement is best; {105,2}; {111,13}*, root is exaggeration; {120,1},
contrasted with tamṡīl ; {128,2x}, two jammed together; {146,1}; {152,3}*, 'foot of' expressions; {153,2}*; {153,8} // {329x,2}, two tenors, one vehicle
iẓāfat —
This grammatical construction, borrowed from Persian,
is very common in classical ghazal. Here is C. M. Naim's account of how it
works. == {1,2}; {16,1};
{16,4}; {29,5x}; {56,2}, Nazm: too many; {80,3}, complex; {81,8x}, 'loss of the izafat' [faq-e iẓāfat]; {84,3x}, four in a row; {90,2}, four in a row; {173,8}, izafat of identity; {194,4}, four plus four, too much Persian; {223,1}, four in a row; {223,4x}, four, complex; {226,2}, noun-adjective-adjective; {228,13x}, three== On noun compounds or 'reversed izafats' [iẓāfat-e maqlūb] see {129,6x}.
kaifiyat (mood) —
[def, srf?] == {5,6};
{17,2}; {17,8}*; {18,3}; {33,6}; {35,1}; {37,1}*; {37,2}*; {48,4}**; {49,10}, in verse;
{58,8}, about
Mir’s verse; {61,6}**; {75,6}; {78,1};
{80,4}; {93,1}; {116,5}; {140,6}**; {145,1}; {156,2x}; {158,3}; {187,2}; {190,6}*; {191,7}, Ghalib; {191,8}; {210,5}; {211,1}; {217,1}; {217,4}; {221,4x}, in verse; {228,13x}*, in verse // {263x,3}, in verse; {307x,5}; {322x,1}; , in verse; , in verse
ḳhayāl-bandī ('thought-binding') == {15,1}; {61,2}; {76,4x}* // {361x,2}**, SRF contemplates. For extensive discussion, scroll down to 'thought-binding' on the Terms page of 'A Garden of Kashmir'.
kināyah (implication) —
[def] == {19,1}; {36,3}**; {36,5}; {39,2}; {40,1}; {52,1}; {52,1}; {53,6}; {62,4}; {97,5}*, Ghalib endorses; {99.1}; {99,9}**; {100,2}*, 'not mentioned'; {101,3}; {106,3}; {107,2}**; {111,8}; {120,9}; {121,4}, def.; {126,3}; {126,5}; {130,2}*; {131,4}; {133,4}; {140,2}; {142,4x}; {151,2}; {159,4}*, Ghalib explains; {160,4}; {170,6}; {186,2}; {189,4}; {197,1}; {210,7}; {219,5} // {319x,6}; {413x,7}*
kulliyāt (kulliyat) —
A volume containing a poet's complete works, in all genres. == {92,2}
laff-o-nashr ('collecting and
scattering')— 'In Rhetoric,
“collecting and scattering”, a figure corresponding to
the Chiasmus of the classics'. (Platts p.958) == {77,3}; {115,7}; {169,2}; {169,8} // {261x,6}; {323x,2}; {385x,3}
lafz̤-e tāzah ('fresh word') — {3,11x}; {17,2}**, the famous 'fresh word' quote; {23,2x}; {42,8x}; {43,7}; {48,2}*; {57,10x}; {75,5}; {81,5}; {86,5}; {86,6}; {90,5}*; {100,5}; {103,4x}; {114,3}; {118,4}; {119,9}; {124,2}; {136,3}*; {136,6}; {137,4x}*; {140,6}; {152,3}; {153,4}; {154,1}; {155,4x}; {158,8}*; {164,9}*, commentators argue; {177,8}*, Nazm on specificity; {180,2}; {181,4}; {185,2}; {196,2}; {210,3}; {211,5x}; {228,6}; {229,5} // {322x,7}; {328x,6}; {329x,4}; {361x,8}; {373x,1}; {373x,2}; {376x,5}; {385x,7}; {404x,4}; {428x,6}
lahjah (tone)—
Explicated by Hali, quoting Ghalib: {57,7}
maḥżūf (omitted)—
This is a complaint made almost exclusively by Nazm:
that some word has been (usually undesirably) omitted. == {12,1}; {17,7}; {19,6}; {20,3}; {24,7}; {27,2}; {33,7}; {35,3}; {35,4}; {36,7}; {37,1}: {42,4}; {53,5}, discussion; {59,7}*
(as a virtue); {64,2};
*{72,7} (as a
virtue); {88,1};
compare {95,3};
*{95,5}; {96,4}; {97,3}* (as a virtue); {97,5} (as a
virtue); {97,8} (as
idiomatic); {136,1};
{141,3}; {234,9}
maʿnī-āfirīnī (meaning-creation)
— Faruqi’s
definition is the best and simplest. == {4,8x}; {20,8}; {28,1}; {27,3}; {34,5}; {38,6}; {43,6}; {74,1}; {91,7}; {119,7}**
Ghalib's famous letter; {120,10};
{134,2}**, {166,1}; {228,2}; {231,5} // {385x,7}, as tempestuous
maqt̤aʿ (closing-verse)
— Literally, ‘point of cutting off’. A verse that both
includes the poet’s pen-name
and appears as the last verse— or sometimes
next-to-last, especially at the start of a verse-set, as in {48,9}, {131,6}, and {189,9}.) == {31,3}, none; {41,8}, echoes opening-verse; {75,7} (none); {89}, no opening or closing; {92,7}; {123,10}, used in verse; {123,11}, amusing substitution; {226,3}, none
marṡiyah (elegy)
— [cf. dars-e balāġhat
pp. 140-42]== {66,1};
{86,9}; {99,1}; {139,1}**, an example; {145,5x}
maṡnavī (masnavi)
— [def] == {71,1};
{100,9}; {167,6}
mat̤laʿ (opening-verse)
— In a ghazal, an optional but extremely
common introductory, pattern-setting verse that has
the rhyme (and refrain, if any) at the end of
each of its two lines. == Ghazals with an extra opening-verse: {4,2}; {10,2}; {14,2}; {21,2}; {24,2}; {97,2}; {121,2}; {212,5x}; {146,3x}; {204,2}; {217,11x} // {424x,2} == {126,1}, ḥusn-e mat̤laʿ (used for an excellent
verse that follows the opening-verse)
maẓmūn (theme)
— pl. maẓāmīn. [def] == {1,1}; {17,2}* with famous
'fresh word' quote; {17,4}; {18,5}; {29,4}*, in verse; {29,6x}, in verse; {29,9x}*, in verse; {88,5x}, in verse; {108,1}*, in verse; {108,6}*, in verse; {111,13}; {136,2}*, in verse; {156,2x}*, in verse; {169,13}*, in verse; {192,4}, badly artificial; {192,6x}, poorly developed; {211,6x}, minimal // {300x,2}, in verse; {332x,6}, in verse; {352x,6}, in verse; , in verse; {361x,9}, in verse; {371x,3}, in verse; {379x,1}, in verse; {389x,6}*, in verse; {436x,6}*, in verse on poetry
maẓmūn-āfirīnī (theme-creation)
— The invention of new themes, is a form of
originality much admired in the ghazal world. == {15,9}; {17,4}; {36,6}; {39,4}; {88,1}; {91,7}; {111,13}; {120,10}; {140,4}; {167,6}; {192,5}
miṣraʿ (line) —
(how much explanation?) == {60,4}, def. of miṣraʿ
lagānā (joining lines);
{115,1}; {125,10}, miṣraʿ-e ṭarḥ , or ‘pattern
line’ (for a mushairah); {167,6}; {201,1}; {204,5}; {223,1} on
'joining lines' // {321x,7}, whole verse is one sentence; {361x,4}, in verse, miṣrāʿ . == On the term pesh miṣraʿ : M{1450,6}
muʿāmilah-bandī
(description of an
affair) — (def) == {3,3}, in verse; {91,7}; {119,5}, in verse; {125,1}; {144,1};
{148,2}; {149,5}; {153,3}; {167,6}
mubāliġhah (exaggeration)
— (def) == {29,6x}; {29,9x}; {50,8x}**; {94,3x}; {111,13}**, discussion;
{111,15}; {195,2}*; {207,1}
munāsibat (affinity)
; also munāsib , ‘suitable,
harmonious’. [DEF]. See also muraa((at un-na:ziir. ==
{5,6}; {18,1}; {21,10}; {23,1}; {31,1}; {33,7}; {45,6x}; {48,10}*; {69,2}; {69,4x}; {75,3}**, used by Ghalib; {111,11}; {143,6}; {145,6x}; {152,2}; {181,7}; {190,10}.
murāʿat
al-naz̤īr
(affinity) — Two words with a
connection in their meanings, but not one of
opposition and comparison (— dars-e
balāġhat, pp. 56-57). See also munāsibat.
== {1,1}; {69,2}; {95,2}; {112,5}; {114,2}; {117,3}
musalsal (continuous)
— A ghazal that is meant to be read as a unified
whole, with all its verses intact and in the order
given on the page. Such ghazals tend to be narrative;
they often have titles. == {15,1}; {57,1}; [{85,1}]; [{139,1}]; {181,1}*; {233,1}
mushāʿirah (mushairah)
— A gathering of poets and patrons for recitation,
appreciation, and literary discussion. In mushairah performance a poet recited the first line of a verse, then paused while the listeners responded; only after that did he go on to recite the first line followed by the second line. For more
information and references, see Nets of
Awareness, Chapter 5. == {14,1}; {14,9}; {43,6}; {43,7}; {111,1}; {201,1}; {208,1} == t̤arḥī mushāʿirah (patterned
mushairah) -- {26,10}
muḳhammas (mukhammas)
— ‘Every stanza includes five lines. In the first
stanza, all five lines rhyme. In the later stanzas,
the first four lines rhyme, but the fifth line breaks
the rhyme. It can be repeated, or else its rhyme can
be that of the first stanza.’ For more details, see dars-e
balāġhat , p. 148. == {115,1}
nāzuk-ḳhayālī (delicacy of thought)
— Faruqi’s
definition is nicely illustrated with a verse
from Ghalib. == {4,8x};
{28,1}; {38,6}; {39,1}; {45,2}; {48,10}; {67,4x}; {68,8x}; {75,4}; {147,4x}; {147,6x}; {184,5x}; {192,4}, criticism // {389x,5}, in verse
qāfiyah (rhyme)
— In a ghazal, the rhyming syllable at the end of the
second line of each two-line verse. It is most usually
(though not always) followed by a refrain.
== {4,2}; {9,7}, radical spelling adjustments; {24,2}; {26,8}; {49,2}; {51,10x}, same in both opening- and closing-verses; {60,4}, as start of verse composition; {95,1}*, discrepant vowel pronunciations; {108,2}; {114,1}; {123,4}, constraining; {125,1}, pronunciation skewed; {125,7}; {125,10}; {145,3}, qāfiyah-e shāʾigān ('rhyme for free'); {163,1}, pronunciation skewed; {167,6}; {172,4x}; {174,4}; {196,8x}; {198,2}, two spellings of pardah ; {208,1}; {210,2}, adjacent repetitions; {223,1}; {223,3x}, three
repetitions // {241x}*, much internal rhyme; {294x,6}*; {347x,7}, Zamin on its centrality; {349x,1}**, ghazal with maximum internal rhyme; {361x,6}; {385x,1}, lailī spelling. On qāfiyah-e maʿmūlah
('contrived rhyme') == [{8,1}];
[{26,8}]; {26,9}**, definition and discussion; {35,1}; {136,7}; {234,7}; {234,10} // {440x,6}; {441x,5}
qaṣīdah (ode) —
A poem with a ‘purpose’ [maqṣad].
The term generally refers to poems in praise of
something or someone— often a patron. == {14,2}; {46,6}; {74,1}; {92,7}; {95,1}; {167,6}; {168,1}; {178,1}; {181,1} // {250x}, to the Shah
qaul-e muḥāl (paradox)
— {17,7}**, pleasure=pain; {23,1}*, perfect example; {23,4x}; {70,2}*, explicit; {75,3}; {84,1}*; {91,3}; {97,1}; {102,3}; {108,11x}; {111,11}; {111,14}; {112,3}**; {114,2}*; {115,6}; {121,4}*; {126,7}; {153,1}; {163,6}; {164,8}; {169,1}, Ghalib explains; {183,4}; {183,8}; {196,7}*; {189,5}; {198,2}* // {241x,2}; {266x,3}; {335x,1}*; {361x,1}
qit̤ʿah (verse-set)
— Literally, ‘cutting, section’. Within a ghazal
or qaṣīdah , a series of
verses meant to be read as a connected sequence. Its
first verse is traditionally marked with the letter qāf ; its final verse is not
marked. Here, Arshi’s ‘official’ verse-sets are marked
with an asterisk; many other ‘informal’ ones are also
discussed. A qit̤ʿah also
sometimes appears as a separate poem == {15,2}; {15,13}, marked, {37,1}*, strong parallelism in all verses; {46,6}; {48,9}, marked; {49,4}*, marked; {53,6}*, marked; {59,6}; {70,1}; {71,8}; {84,6x}; {89,1}; {91,5}*, marked; verses enjambed; {91,7}; {95,1}, marked (betel nut one); {97,11}; {107,3}; {110,5}; {123,9}*, marked; {127,1}; {131,6}*, marked; {134,1}; {139,1};
{150,2x}; {162,4}*, marked; {164,4}; {164,9}*, marked; {169,6}*, marked; {177,9}*, marked; {181,1}*; {186,4}*, marked; {189,9}*, marked; {198,1}; {208,1}; {209,6}; {209,9}; {215,6}; {234,8}*, ; {428,6}, marked; {428,12}, marked// {320x,1}, marked; {422x,7}, marked, has taḳhalluṣ
rabt̤ (connection) — The quality
of internal connectedness and organization within a single verse, especially
between its two lines. == {10,7}; {25,1}; {42,10x} (in the
verse); {44,5x}, in
verse; {60,4}*,
Nazm’s discussion of marbūt̤
lines; {60,10}; {61,9x}, disastrously lacking; {62,9}, Ghalib
uses the term; {71,3};
{81,12x}, lacking (SRF); {81,13x}, in
verse; {99,3};
{126,6}; {133,4}, in verse; {141,3}; {141,5}; {145,13x}; {146,4x, in
verse; {155,1};
{163,1}; {166,7x}, through wordplay; {167,6}*, more
from Nazm; {197,3x} (in the verse); {211,8x}, weak; {220,3x}, weak; {230,12x}, weak; {349x,1}, in verse; (360x,1}, in verse; {371x,3}, in verse
radīf (refrain)
— In a ghazal, the identically repeated word or
words at the end of the second line of each two-line
verse, after the rhyme. A radīf is extremely common but not
compulsory; an example in which radīf
is preserved: {49}.
== {49,1}, shaping; {53,11}, in verse; {58,1}**, on refrains in translation; {75}, shaping; {80}, shaping; {83,1}, limiting; {85,1}; {114}, very long; {116,1}; {167,6}; {205}, very long; {208,1}, Ghalib's reference style; {211,1}, shaping; {212,1}, shaping // {241x,1}**, strongly shaping; {294x,6}; {325x}, very long, shaping; , shaping ( takyah ); {398x}, preservable ( pinhāñ hai )
ravānī (flowingness)
— [fluency] == {8,4x};
{44,1}; {62,10} // {361x,5}
riʿāyat (wordplay)
— [give def] == {15,18x}; {23,1}*; {34,3};
{38,6}; {41,4}; {41,6}; {41,10x}; {42,2}; {43,7}; {44,1}; {48,10}*; {53,8}; {58,5}; {61,5}; {69,2}, as a sign of vulgarity; {71,2}; {76,3x}, most primitive verse; {77,4}; {81,12x}; {88,1}; {110,1}; {120,3}*, 'doubly activated'; {128,3x}, bad repetition; {166,7x}*, disapproval; {172,3|; {180,1}; {211,6x}; {211,7x} // {307x,6}*; {309x,5}, vs. meaning-play
rubāʿī (quatrain)
— A four-line poem in one or more of a group of
traditionally prescribed meters, usually rhyming AABA.
== {46,6}; {120,1}; {141,1}, goyam mushkil // {347x,3}
sahl-e
mumtanaʿ
(‘unattainably simple’) — The kind
of verse that makes you think you can go home and do
the same thing. But you can’t. == {3,4}; {4,6}, {20,8}; {95,6}, in slightly
altered form; {95,6}*;
{97,10}, in
slightly altered form; {155,2}; {179,2}
ṣanʿat (verbal device)
— A general term of broad meaning, including a whole
range of stylistic and rhetorical possibilities; these
are usually analyzed into devices of word ( lafz̤ī ) and of meaning ( māʿnavī ). == {1,1}; {5,1}; {18,3}; {37,2}, macaronic; {42,6}; {49,11}; {53,5}; {56,5}; {59,5}; {59,9}; {60,11}; {69,1}; {69,2}; {75,7}; {89,1}; {98,2}; {111,13}; {126,6}; {131,1}, Nazm explicates; {152,2} == The device called 'doubt about derivation' [shubh'h-e ishtiqāq]: {57,11x}*, {58,3}
sharḥ (commentary)
— A systematic analytical discussion and explanation
of all or some of the verses of a poet's dīvān . == {9,3}*, one meaning apiece; {34,3}; {49,11}; {69,1}; ; {84,8x}; {90,3}**, egregious; {119,7}; ; {223,1}, clash // {404x,6}, dictionary needed
shiʿr (verse) — A distich
or two-line verse, treated in the ghazal as an
independent poetic unit; both lines must be in the
same meter and must make a complete poetic effect of
their own, without regard to the rest of the poem. The
second line must end in the rhyme
and refrain (if any). In
Persian, the term bait is more
commonly used for the verse. == {14,1}; {53,11}; {60,4}*, Nazm's advice for composition; {114,7}; {126,1}, bait ; {149,5}; {150,2x}, in verse; {167,6}*, autonomy
tajāhul-e
ʿārifānah
(feigned ignorance) — [def] == {1,1}: {46,7}; {98,6}*; {162,1}**; {162,4}
takrār (repetition)
— For discussion and examples (including more general
instances of padding), see {17,9}; {53,11}, in verse; {59,5}*; see also
'repetition' on the SETS page.
tamṡīl (allegory) — {47,1}; {53,12x}**; {54,5x}, miṡālī ; {63,3x}; {78,2}; {98,7}; {102,3}; {120,1}*; {166,4}; {174,8}; {199,3}*; {234,7}**, miṡāl
taʿqīd (convolutedness) — {15,18x}; {62,9}, Ghalib uses it; {68,4}; {80,7}; {116,3}; {125,9}; {128,2x} // {266x,2}
t̤arḥ , t̤araḥ (pattern) — Specification
of meter, rhyme, and refrain, such that any two ham-t̤arḥ or 'pattern-sharing'
ghazals will be formally identical (for discussion see
{15,1}), and their
verses could be commingled undetectably. == {8,5x}; {26,10}; {89,1}; {123,5}*; {209,1}
tarīḳh (chronogram)
— See the abjad system. == {202,9}
tarṣīʿ
(parallelism)
— ‘Making the words of a clause of rhyming prose, or
of verse, conformable in their measures, and agreeing,
in their latter parts, with the corresponding words of
the corresponding clause (cf. muraṣṣaʿ
)’. (Platts p.318) See also {4,5}. == {22,5}*;
{22,6}; {26,8}; {31,1}; {34,5}; {37,1}, verse structure throughout ghazal; {49,11}; {62,9}; {62,10}; {63,1}; {71,2}; {71,7}**; {77,4}*, words accord with foot-breaks; {91,3}; {91,7}; {126,6}, applied
to metrical feet; {194,2}
tashbīh (simile)
— Although it technically means ‘simile’, the term is
often casually used in cases where metaphor would be
more correct. == {8,6x}, a double one; {15,3}, implicit; {23,1};
{25,6}*; {29,2}; {49,8}; {59,6}, discussion of
poetics; {98,4};
{98,7}; {137,2}; {217,4}, Nazm's categories // {322x,3}, implicit (?); {349x,3}, awful tangle
tavārud (coincidence)
— The unintentional duplication of another poet’s
verse. == {60,4}
// {307x,7}
taḳhalluṣ (pen-name)
— A literary pseudonym adopted by a poet; it is often
a meaningful word, and may or may not have some
connection with the poet’s real name. It was usually
incorporated into the last verse of each poem (which
thus became a closing-verse), as
a kind of signature meant to be apparent in oral
performance. == {4,11x}, integrated; {5,9x}, 'Asad' to 'Ghalib; {6,6}, integrated; {40,5x}, word used in verse; {51,10x}, vs. maġhlūb ; {65,3x}, 'like Asad'; {66,5};
{71,10}, 'Asadullah Khan'; {86,9}, Vahshat and Sheftah in verse; {111,1}; {132,7}, integrated; {186,4}, in the
penultimate verse;
{203,5}, plus 'Mirza Sahib' too // {350x,7} (used in verse); {422x,7}, in 7th of 9 verses. == Other
poets' names too were sometimes incorporated, notably that of 'Bedil'. Also: {36,11} (Mir); {92,7} (Mir); {92,8x} (Mir); {100,9} (Zuhuri).
taẓād (opposition)
— [def] == {76,1}
zamīn (ground)
— The specification of a certain rhyme
and refrain; two ghazals in the
same zamīn will be similar but
not necessarily identical, since their meters may
differ. (Only ghazals in the same t̤arḥ
are formally identical.) == {11,3x}*; {29,5x}; {52,1}; {58,3}*, a ‘stony’
ground;
{59,1}, a ‘stony’ ground; {92,2}; {111,1}; {115,8}; {125,1}; {125,10}**, difficult?; {173,4}; {193,1}
ẓilʿa — A form of
punning. == {5,4};
{6,4}; {23,1}***, with
definition; {34,8};
{69,2}*, Nazm scorns it; {75,2}; {75,3}; {92,7}; {100,8}; {101,8}; {102,2}; {101,8}; {111,11}; {114,2}; {121,8}; {131,1}; {137,1}; {143,6}; {147,2}; {147,3}; {152,1}; {152,2}; {152,4}; {167,6}*; {182,1}
