The Ghazal (pronounced Guzzle) is an Arabic form
that consists of rhyming couplets. It typically deals with the pain of love
(especially lost love) combined with the beauty of love. The Persian form which
derives from the older Arabic form deviates considerably. Generally when the Ghazal
is described it is the Persian form that is used. Goethe introduced the form to
the Western world which became transmuted into the Bastard
Ghazal
Form Type:
|
Metered
|
Origins:
|
Arabic
|
Creator:
|
Unknown
|
Number of Lines:
|
|
Rhyme Scheme:
|
AA, bA,
cA, etc
|
Meter:
|
Not
Applicable
|
Persian Ghazal
There are a number
of rules to observe in a fully formed Persian Ghazal, though some may be
omitted. They are:
1. The
poem must consist of 5 or more couplets,
known as sher or bayt unto
a maximum of 25 couplets.
2. The
second line of each sher usually ends with a radif which
is a repeated word or phrase, this may however be omitted.
3.
Before the radif or at the end of the sher if the radif is not present is a
rhyme known as the qaafiyaa.
4.
Each line and each couplet must have the same meter beher.
Although this restriction is relaxed in modern Urdu Gazals.
6.
Each sher should be a closed poem in its own right, however there may be a
continuity of theme or thought running through them. In this case the poem is
known as a musalsal ghazal (continuous
ghazal).
7. The
final sher is called the maqta it
is usual for the writer to include their takhallus name
or pen name in this sher. However this is relaxed in some modern Ghazals.
8. Normal practice
is to keep the number of Shers odd.
Arabic Ghazal
The older Arabic
form of the Ghazal differs slightly with its rules. They are:
1. It
is traditional not to split the Sher into a couplet, but to keep it as a bayt (long
line). However it can still be rendered as a couplet.
2.
Each line must share the same meter. The line must divide naturally into
two hemistiches (halves)
with a caesura in
the middle. The caesura must occur metrically and may appear in the middle of a
word. The author decides how visible the caesura should be.
3. The
length of a hemistiches must be between trimeter and heptameter.
If using a accentual or accentual-syllabic meter you
will have between three and seven beats. If using syllabic meter
then the hemistiches should be between six and fourteen syllables long. If
totally free style then the lines should look evenly balanced.
5.
While Slant Rhyme can
be used it should not be so subtle as to lose the effect of rhyme which is
vital to this form.
6. Using the same
rhyming word should be avoided unless there is a very good reason for it.
7.
Complete Autonomy within
a line is not as important as in the Persian forn. Some enjambment between
lines is allowed, but this should not be too radical.
8. The
first line rhymes the syllable before
the caesura with
the syllable ending the line. All other lines rhyme on the final syllable.
9. Stanza breaks are
not required and may be used when the writer feels it is appropriate.
Example Poem
Your Love (Ghazal)
I spent
youth's dawn just searching for your love;
no idealist, it need
not be pure love.
An Idealist in every
other way
I wanted shared
devotion from your love.
I tried other girls
as I searched for you,
but none did cleave
so well until your love.
Your mind captured
my mind, your body sang
to mine.
I was fulfilled by your love.
I let unimportant
matters intrude,
Lawrencealot,
neglect cost you your love!
(c) Lawrencealot
- April 5, 2012
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