सियाह शब् से ताल्लुक जो सब ने तोड़ लिया
हवाओं ने भी चिरागों से मुंह मोड़ लिया
जो आसमान की उंचाईयों से बाज़ बड़ा
तो जुगनुओं को सितारे समझ के तोड़ लिया
वोह और कोई नही तितलियों का दुश्मन है
तमाम फूलों का जिसने अर्क निचोड़ लिया
वोह अपने आपको फिर कोहे कुन कहता है
ज़रा पहाड़ किसी ने जो तोड़ फोड़ लिया
जो गुडिया गुड्डे की शादी रचाई बच्चों ने
कहानियो ने वही से अजीब मोड़ लिया
फिर आशियानों का पर्सा दिया परिंदों को
हवा ने खूब दरख्तों को जब झिंझोड़ लिया
Tuesday, March 24, 2009
Monday, March 9, 2009
इंसानियत के लिए क्या किया ?
Salam,Iss thread mei aap sab hum se woh incident, woh waqt, woh moments share karenge.. jis mei aap ne kabhi kisi k liye kuch bhalayee ki ho.. kisi ka problem solve kiya ho.. kisi ki madad ki ho.. kisi ko sahara diya ho !Yeh thread start karna ka maqsad yeh nahi ke log apni taareef karein ya tareef karwayein.. iss ka maqsad yeh hai ke hum ek doosre ki achai, support aur insaaniyat se kuch seekhein aur ussey apni life mei apply karne ki koshish karein.. kisi ke kaam aayen.Guys lets spread love, lets help others.. someone out there need us ! lets bring smile to the needy people.. making someone smile is the only true happiness !To bataiye.. aap ne insaaniyat ke liye kya kiya? वक्त है हम सभी को एक प्लेटफोर्म पर आकर सच्चे मन से इंसानियत के जज्बे को आगे लाना है उसके लिए चाहे आपको कितने भी मुश्किलातों का सामना करना पड़े आप सभी हज़रात को सामने आना होगा क्योकि अब इंसानियत को जींदः रखने का वक्त आगया है क्योकि अब आज का इंसान अब इंसानियत भूल गया है वक्त उसको जगाने का होश में लेन का ताकि एक बार फिर वो इंसानियत का परचम अपने हाथों में ले और फख्र से बोले मैं हूँ एक सच्चा देशभक्त जो हिन्दुतान के लिए और इंसानियत को जींदः रखने के लिए मर मिटने को तय्यार हूँ तो दोस्तों आप भी गाँधी राजनीती को त्याग कर इंसानियत के प्लेटफोर्म पर आने की पुरी कोशिश करें ताकि हमारा हिंदुस्तान एक बार फिर सोने की चिडया कह लाये और इंशाल्लाह आप हज़रात आयेंगे इंसानियत को बढावा देने यह मेरा दिल कहता है इंशाल्लाह , अमीन
दिले ग़मगीन
Dil-e-ghamgheen ko bahla rahi haiMusalsal yaad teri aa rahi haiTapish meri muhabbat ki to dekhoGhuroor-e-husn ko pighla rahi haiJise maloom hai anjaam-e-ulfatWo shakhegul pe bhi ithla rahi haiMuhabbat dil me aur aankhon me nafratBazahir kya hai kya dikhla rahi haiDam-e-aakhir tera paigham qatilPyame zindagi kehla rahi haiMarize marg ke haalaat Aijaz Nazar hasrat bhari dhundhla rahi है
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हिस्ट्री ऑफ़ ग़ज़ल
Ghazal originated in Iran in the 10th century A.D. It grew from the Persian qasida, which in verse form had come to Iran from Arabia. The qasida was a panegyric written in praise of the emperor or his noblemen. The part of the qasida called tashbib got detached and developed in due course of time into the ghazal. Whereas the qasida sometimes ran into as many as 100 couplets or more in monorhyme, the ghazal seldom exceeded twelve, and settled down to an average of seven. Because of its comparative brevity and concentration, its thematic variety and rich suggestiveness, the ghazal soon eclipsed the qasida and became the most popular form of poetry in Iran.
The ghazal came to India with the advent and extension of the Muslim influence from the 12th century onwards. The Moghuls brought along with them Iranian culture and civilization, including Iranian poetry and literature. When Persian gave way to Urdu as the language of poetry and culture in India, the ghazal, the fruit of Indo-Iranian culture, found its opportunity to grow and develop. Although the ghazal is said to have begun with Amir Khusro (1253-1325) in Northern India, Deccan in the South was its real home in the early stages. It was nursed and trained in the courts of Golconda and Bijapur under the patronage of Muslim rulers. Mohd. Quli Qutab Shah, Wajhi, Hashmi, Nusrati and Wali may be counted among its pioneers. Of these, Wali Deccany (1667-1707) may be called the Chaucer of Urdu poetry. Wali's visit to Delhi made in 1700 acquires a historic significance. This visit was instrumental in synthesizing the poetic streams of the South and the North. Wali's poetry awakened the minds of the Persian-loving North to the beauty and richness of Urdu language, and introduced them to the true flavor of ghazal, thus encouraging its rapid growth and popularity.
In its form, the ghazal is a short poem rarely of more than a dozen couplets in the same metre. It always opens with a rhyming couplet called matla. The rhyme of the opening couplet is repeated at the end of second line in each succeeding verse, so that the rhyming pattern may be represented as AA, BA, CA, DA, and so on. In addition to the restriction of rhyme, the ghazal also observes the convention of radif. Radif demands that a portion of the first line -- comprising not more than two or three words -- immediately preceding the rhyme-word at the end, should rhyme with its counterpart in the second line of the opening couplet, and afterwards alternately throughout the poem. The opening couplet of the ghazal is always a representative couplet: it sets the mood and tone of the poem and prepares us for its proper appreciation. The last couplet of the ghazal called makta often includes the pen-name of the poet, and is more personal than general in its tone and intent. Here the poet may express his own state of mind, or describe his religious faith, or pray for his beloved, or indulge in poetic self-praise. The different couplets of the ghazal are not bound by the unity and consistency of thought. Each couplet is a self-sufficient unit, detachable and quotable, generally containing the complete expression of an idea.
Some poets including Hasrat, Iqbal and Josh have written ghazals in the style of a nazm, based on a single theme, properly developed and concluded. But such ghazals are an exception rather than a rule, and the traditional ghazal still holds sway. However, we do come across, off and on, even in the works of classical poets, ghazals exhibiting continuity of theme or, more often, a set of verses connected in theme and thought. Such a thematic group is called a qita, and is presumably resorted to when a poet is confronted with an elaborate thought difficult to be condensed in a single verse. Although the ghazal deals with the whole spectrum of human experience, its central concern is love. Ghazal is an Arabic word which literally means talking to women.
The ghazal came to India with the advent and extension of the Muslim influence from the 12th century onwards. The Moghuls brought along with them Iranian culture and civilization, including Iranian poetry and literature. When Persian gave way to Urdu as the language of poetry and culture in India, the ghazal, the fruit of Indo-Iranian culture, found its opportunity to grow and develop. Although the ghazal is said to have begun with Amir Khusro (1253-1325) in Northern India, Deccan in the South was its real home in the early stages. It was nursed and trained in the courts of Golconda and Bijapur under the patronage of Muslim rulers. Mohd. Quli Qutab Shah, Wajhi, Hashmi, Nusrati and Wali may be counted among its pioneers. Of these, Wali Deccany (1667-1707) may be called the Chaucer of Urdu poetry. Wali's visit to Delhi made in 1700 acquires a historic significance. This visit was instrumental in synthesizing the poetic streams of the South and the North. Wali's poetry awakened the minds of the Persian-loving North to the beauty and richness of Urdu language, and introduced them to the true flavor of ghazal, thus encouraging its rapid growth and popularity.
In its form, the ghazal is a short poem rarely of more than a dozen couplets in the same metre. It always opens with a rhyming couplet called matla. The rhyme of the opening couplet is repeated at the end of second line in each succeeding verse, so that the rhyming pattern may be represented as AA, BA, CA, DA, and so on. In addition to the restriction of rhyme, the ghazal also observes the convention of radif. Radif demands that a portion of the first line -- comprising not more than two or three words -- immediately preceding the rhyme-word at the end, should rhyme with its counterpart in the second line of the opening couplet, and afterwards alternately throughout the poem. The opening couplet of the ghazal is always a representative couplet: it sets the mood and tone of the poem and prepares us for its proper appreciation. The last couplet of the ghazal called makta often includes the pen-name of the poet, and is more personal than general in its tone and intent. Here the poet may express his own state of mind, or describe his religious faith, or pray for his beloved, or indulge in poetic self-praise. The different couplets of the ghazal are not bound by the unity and consistency of thought. Each couplet is a self-sufficient unit, detachable and quotable, generally containing the complete expression of an idea.
Some poets including Hasrat, Iqbal and Josh have written ghazals in the style of a nazm, based on a single theme, properly developed and concluded. But such ghazals are an exception rather than a rule, and the traditional ghazal still holds sway. However, we do come across, off and on, even in the works of classical poets, ghazals exhibiting continuity of theme or, more often, a set of verses connected in theme and thought. Such a thematic group is called a qita, and is presumably resorted to when a poet is confronted with an elaborate thought difficult to be condensed in a single verse. Although the ghazal deals with the whole spectrum of human experience, its central concern is love. Ghazal is an Arabic word which literally means talking to women.
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