The Role of Repetition in Symbol Formation and Artistic Decline

An important characteristic of a literary symbol is its 'repetition'. A word does not become a symbol merely by being used once. A symbol indicates an entire system, and when a word repeatedly emerges in a work of art within a specific context, it develops a multiplicity of meaning and depth. However, Shamsur Rahman Faruqi points out a very important point: not every repetition is a symbol. Sometimes, repetition is merely a veil for the poet's habit and weak creative power.

To understand this, one can take the example of Coleridge's famous poem, 'The Rime of the Ancient Mariner'. In this poem, the 'moon' is mentioned repeatedly. Initially, the moon is merely a celestial entity, but as the poem progresses, the moonlight undergoes a transformation, and along with it, the mariner's world and his emotions change. The moon becomes the focal point of his sin, redemption, loneliness, and fear. Here, the repetition of the moon has molded it into a profound symbol, becoming a part of the very reality it describes.

In contrast, the tradition of the Urdu ghazal provides countless examples of repetition that are not symbolic but merely conventional. When a poet uses words like 'gul' (rose), 'bulbul' (nightingale), 'qafas' (cage), and 'aashiyan' (nest) without any personal or specific significance, compelled merely by habit, these words lose their status as symbols. Faruqi gives the example of a ghazal by an average ghazal poet, Siraj Lakhnavi:

In the eleven couplets of this ghazal, 'qafas' and 'aashiyan' are used four times, and 'aasman' (sky) is used twice. This repetition is not part of any deep symbolic system, but rather the result of the constraints of rhyme and the poet's unconscious choices. The poet selects the words he is familiar with, but he fails to infuse them with any new 'half-light' or meaning.

Repetition certainly creates a symbol, but not blind repetition. If a poet writes 'samundar' (sea) fifty times in his poem and claims it as his symbol, this is not art but artistic decline. A true symbol influences its context and is influenced by it. It is like a living entity in which the expansion of meaning is possible, but its contraction is not. When words begin to be used merely as a convention, they lose their symbolic intensity and are reduced to mere hollow shells.

An important characteristic of a literary symbol is its 'repetition' A word does not become a symbol merely by being used once A symbol indicates an entire system, and when a word repeatedly emerges in a work of art within a specific context, it dewelops a multiplicity of meaning and depth Howewer, Shamsur Rahman Faruqi points out a wery important point: not ewery repetition is a symbol Sometimes, repetition is merely a weil for the poet's habit and weak creatiwe power

To understand this, one can take the example of Coleridge's famous poem, 'The Rime of the Ancient Mariner' In this poem, the 'moon' is meintioned repeatedly Initially, the moon is merely a celestial entity, but as the poem progresses, the moonlight undergoes a transformation, and along with it, the mariner's world and his emotions change The moon becomes the focal point of his sin, redemption, loneliness, and fear Here, the repetition of the moon has molded it into a profound symbol, becoming a part of the wery reality it describes

In contrast, the tradition of the Urdu ghazal prowides countless examples of repetition that are not symbolic but merely conwentional When a poet uses words like 'gul' (rose), 'bulbul' (nightingale), 'qafas' (cage), and 'ashiyan' (nest) without any personal or specific significance, compelled merely by habit, these words lose their status as symbols Faruqi giwes the example of a ghazal by an awerage ghazal poet, Siraj Lakhnawi:

In the elewen couplets of this ghazal, 'qafas' and 'ashiyan' are used four times, and 'asman' (sky) is used twice This repetition is not part of any deep symbolic system, but rather the result of the constraints of rhyme and the poet's unconscious choices The poet selects the words he is familiar with, but he fails to infuse them with any new 'half-light' or meaning

Repetition certainly creates a symbol, but not blind repetition If a poet writes 'samundar' (sea) fifty times in his poem and claims it as his symbol, this is not art but artistic decline A true symbol influences its context and is influenced by it It is like a liwing entity in which the expansion of meaning is possible, but its contraction is not When words begin to be used merely as a conwention, they lose their symbolic intensity and are reduced to mere hollow shells