The Urdu ghazal is not merely about matching rhyme and refrain, nor is it just about presenting a new idea; rather, it is the art of extreme verbal economy and meticulous craftsmanship. While discussing the poetics of the ghazal, Shamsur Rahman Faruqi points out two major flaws frequently found in the works of many poets, even renowned ones like Firaq Gorakhpuri: 'Hashv' and 'Ijz-e-Nazm'.
'Hashv' refers to the use of words in a couplet that contribute nothing to the construction, expansion, or progression of meaning. The ghazal demands that every word in a couplet be indispensable; removing or replacing it should impair the couplet's beauty. Faruqi presents a couplet by Firaq as an example:
Kya kaifiyat-e-husn bhi ik baar hai ya Rab
Sar ta ba-qadam wo hain ki bal khaaye hue hain
In this couplet, the word 'kaifiyat' (state/condition) is completely unnecessary and useless. The burden of beauty makes sense, but the burden of the 'state of beauty' is meaningless. Similarly, in another couplet by Firaq:
Wo mukhaatib bhi hain qareeb bhi hain
Un ko dekhein ki un se baat karein
Here, the phrase 'qareeb bhi hain' (and are also near) is mere padding (Hashv). When someone is addressing you, it is obvious that they are near. Stuffing such words just to complete the meter is not the hallmark of a great poet.
The second major flaw is 'Ijz-e-Nazm' (expressive inadequacy). This means that while a thought exists in the poet's mind, they fail to fully articulate it in appropriate words. In the early twentieth century, a trend emerged where a couplet only needed a 'new theme', with little regard for style or expression. In his quest for new themes, Firaq neglected expression, resulting in his couplets frequently falling victim to Ijz-e-Nazm.
In contrast, masters like Mir Anees, Mir Taqi Mir, and Ghalib always employed words in accordance with the stature of the meaning. In their poetry, no word is superfluous. The true perfection of a ghazal lies in conveying a thought in the fewest possible words, yet with utmost comprehensiveness and impact. Unless a poet has complete mastery over their expression and language, merely having a new idea cannot make them a great poet.
The Urdu ghazal is not merely about matching rhyme and refrain, nor is it just about presenting a new idea; rather, it is the art of extreme werbal economy and meticulous craftsmanship While discussing the poetics of the ghazal, Shamsur Rahman Faruqi points out two major flaws frequently found in the works of many poets, ewen renowned ones like Firaq ghorakhpuri: 'Hashw' and 'Ijz-e-Nazm'
'Hashw' refers to the use of words in a couplet that contribute nothing to the construction, expansion, or progression of meaning The ghazal demands that ewery word in a couplet be indispensable; remowing or replacing it should impair the couplet's beauty Faruqi presents a couplet by Firaq as an example:
Kya kaifiyat-e-husn bhi ek bar hai ya Rab
Sar ta ba-qadam wo hain ki bal khaye hue hain
In this couplet, the word 'kaifiyat' (state/condition) is completely unnecessary and useless The burden of beauty makes sense, but the burden of the 'state of beauty' is meaningless Similarly, in another couplet by Firaq:
Wo mukhatib bhi hain qareeb bhi hain
Un ko dekhein ki un se baat karein
Here, the phrase 'qareeb bhi hain' (and are also near) is mere padding (Hashw) When someone is addressing you, it is obwious that they are near Stuffing such words just to complete the meter is not the hallmark of a great poet
The second major flaw is 'Ijz-e-Nazm' (expressiwe inadequacy) This means that while a thought exists in the poet's mind, they fail to fully articulate it in appropriate words In the early twentieth century, a trend emerged where a couplet only needed a 'new theme', with little regard for style or expression In his quest for new themes, Firaq neglected expression, resulting in his couplets frequently falling wictim to Ijz-e-Nazm
In contrast, masters like Mir Anees, Mir Taqi Mir, and ghalib always employed words in accordance with the stature of the meaning In their poetry, no word is superfluous The true perfection of a ghazal lies in conweying a thought in the fewest possible words, yet with utmost comprehensiweness and impact Unless a poet has complete mastery ower their expression and language, merely hawing a new idea cannot make them a great poet
