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The ghazal found its way to the Indian subcontinent almost nine hundred years ago and reverberated across royal courts far and wide. A Persian poetry tradition that was absorbed into Urdu poetry, the ghazal had the patronage of the Delhi Sultanate, the Mughal Empire, and the Deccan kingdoms down south. In recent decades, ghazal has found a global audience through films and more, evoking renewed interest in Urdu poetry along the way.

To understand how it all started, I spoke with Dr. Ali Minai, the great-grandson of the poet Aamir Minai, and a nephew of Talat Mahmood, the famous Bollywood singer. Dr. Minai, a professor of Electrical Engineering & Computer Science at the University of Cincinnati, Ohio, proudly continues his family lineage of Urdu poetry, and his works have been featured in several books.

Urdu Poetry Tunes Download

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Ghazal singers like Talat Mahmood [T0p left] , Mehdi Hassan [Bottom] , and Jagjit Singh [Top right] have legions of fans because of their their ability to transform Urdu poetry to haunting melodies hummed by millions.

The ghazal[a] is a form of amatory poem or ode,[1] originating in Arabic poetry.[2] Ghazals often deal with topics of spiritual and romantic love and may be understood as a poetic expression of both the pain of loss or separation from the beloved and the beauty of love in spite of that pain.[2][3]

The ghazal form is ancient, tracing its origins to 7th-century Arabic poetry. The ghazal spread into the Indian subcontinent in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate, and is now most prominently a form of poetry of many languages of South Asia and Turkey.[4]

The word ghazal originates from the Arabic word (azal). This genre of Arabic poetry is derived from (azal) or (azila) - To sweet-talk, to flirt, to display amorous gestures.[6]

The 'Early Persian poetry' period spanned approximately one century, from the Ghaznavid era (which lasted until 1187) till a little after the Mongol Invasion. Apart from the movement towards brevity, this period also saw two significant and lasting changes to the ghazal form.

During the reign of the Sultan of Bengal Ghiyasuddin Azam Shah, the city of Sonargaon became an important centre of Persian literature, with many publications of prose and poetry. The period is described as the "golden age of Persian literature in Bengal". Its stature is illustrated by the Sultan's own correspondence with the Persian poet Hafez. When the Sultan invited Hafez to complete an incomplete ghazal by the ruler, the renowned poet responded by acknowledging the grandeur of the king's court and the literary quality of Bengali-Persian poetry.[18]

Many of the major historical ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz), or were sympathizers with Sufi ideas.[citation needed] Somewhat like American soul music, but with melancholy instead of funk, most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry.[citation needed]

Renowned ghazal singer, and pioneer of Telugu ghazals, Ghazal Srinivas popularized the ghazal in Telugu.[31] Ghazals in the Kannada language were pioneered in the 1960s by poet Shantarasam, though recordings of their poetry only began to be made in the early 2000s.[32] Legendary musician Umbayee composed ghazals in Malayalam and popularized this form of music across Kerala.[33]

Suresh Bhat popularized ghazals in the Marathi language. Some of his amazing ghazals were sung by famous artists like Lata Mangeshkar and Asha Bhosale. He was known as Ghazal Samrat (the Emperor of ghazals) for his exposition of the ghazal form of poetry and its adaptation to the Marathi language. His disciple Ilahi Jamadar continued the tradition, blending Urdu and Marathi verses in his work.

After nearly a century of "false starts," the early experiments of James Clarence Mangan, James Elroy Flecker, Adrienne Rich, Phyllis Webb, etc., many of whom did not adhere wholly or in part to the traditional principles of the form, experiments dubbed as "the bastard Ghazal,"[35] the ghazal finally began to be recognized as a viable closed form in poetry of the English language some time in the early to mid-1990s. It came about largely as a result of serious, true-to-form examples being published by noted American poets John Hollander, W. S. Merwin and Elise Paschen as well as by Kashmiri-American poet Agha Shahid Ali, who had been teaching and spreading word of the Ghazal at American universities over the previous two decades. Jim Harrison created his own free-form Ghazal true to his poetic vision in Outlyer and Ghazals (1971).[36]

"Chaiyya Chaiyya" ("[walk] in shade") is an Indian pop-folk song, featured in the soundtrack of the Bollywood film Dil Se.., released in 1998. Based on Sufi music and Urdu poetry,[1] the single was derived from the lyrics of the song "Tere Ishq Nachaya", written by Bulleh Shah, with music composed by A.R. Rahman, written by Gulzar, and sung by Sukhwinder Singh and Sapna Awasthi. The accompanying music video was directed by Mani Ratnam and picturised on Shah Rukh Khan and Malaika Arora, where they perform the song on top of a moving train.

In an interview called "Sadhanai Tamilargal" alongside Mani Ratnam and Vairamuthu, Rahman stated that the song was originally composed for his album Vande Mataram. But as it didn't fit in, he decided to show it to Mani Ratnam, who loves these kind of catchy tunes. The very first time hearing the song, Mani Ratnam decided to shoot the song on a train.[7]

Sahir was educated at the Khalsa High School in Ludhiana. He then enrolled at the Government College, Ludhiana.[10] The auditorium there is named after him.[11] As a college student, Sahir was popular for his ghazals and nazms (poetry in Urdu) and empassioned speeches.[12]

Sahir's poetry was influenced by noted Pakistani poet, Faiz Ahmed Faiz. Like Faiz, Sahir gave Urdu poetry an intellectual element that caught the imagination of the youth of the 1940s, 1950s and 1960s and reflected the feelings of the people of that period. He roused people from an independence-induced smugness. He would pick on the self-appointed custodian of religion, the self-serving politician, the exploitative capitalist, and the war-mongering super-powers. Sahir wrote with verve about the arrest of progressive writers in Pakistan; the launch of the satellite Sputnik and the discovery of Ghalib by a government lusting after minority votes. He wrote Kahat-e-Bangal (The Famine of Bengal) at 25 years of age. Subah-e-Navroz (Dawn of a New Day), mocks the way people celebrate while the poor exist in squalor. Of the Taj mahal, he wrote,

This was also the time when Urdu poetry went from being just a part of the cinematic experience to defining the very themes of the movies being produced. Although Urdu poets of the era belonged to different parts of the country, they were connected through a common network based in Mumbai (Bombay at the time). Stalwarts like Jan Nisar Akhtar (father of Javed Akhtar), Sahir Ludhianvi, Kaifi Azmi (father of Shabana Azmi), and Shakeel Badayuni, were either related or were close friends with each other. This clique also included several acclaimed movie-makers and music directors. Many famous Urdu poets like Akhtar ul Iman were also accomplished scriptwriters. Steeped in similar artistic traditions, they influenced one another and became equally important, if not equal parts of the movie-making process. Moreover, almost all lyricists of that time had formal training in Urdu poetry and were well-versed with its various forms like ghazal, nazm, qawwali etc. Their careers began in mushairas (Urdu poetry symposiums).

With such iconic poets at the helm of affairs, this era produced some of the best-written songs in the history of Hindi cinema. From romantic sonnets like Chaudhavin Ka Chand, to songs of desperate misery like Dekhi Zamane Ki Yaari, and qawwalis like Yeh Ishq Ishq Hai, this was truly the high noon of Urdu poetry in Bollywood. The following couplet by Sahir Ludhianvi from the movie Hum Dono, exemplifies what a naturally poetic time this was for cinema.

Another more unfortunate theme was an artificial distinction between Hindi and Urdu on religious grounds. Post-Partition, Pakistan adopted Urdu as its official language. This led to Urdu being defined as solely the language of Muslims. Nothing could be farther from the truth. Essentially Hindi and Urdu are the same spoken language expressed through different scripts. They are both successors of Hindustani, which was an amalgamation of spoken languages in North India. They have near identical syntax and only differ in their over-reliance on Sanskrit and Persian respectively, as the source of technical words. Nevertheless, overemphasis on this distinction has led to a rapid decline in the study of Urdu as a language, extending the same fate to traditional Urdu poetry. (Image Credit: Gulzar by Bollywood Hungama [CC BY 3.0 ], via Wikimedia Commons)

However, there is hope yet for Urdu lovers. Gulzar sahab is perhaps the biggest surviving symbol of this hope. He continues to pen songs retaining classical traditions of Urdu poetry, but with an updated vocabulary that resonates with the current generation.

There are others too who effortlessly transcend the boundary between classical and commercial. Javed Akhtar has moved on from script writing and explored his lyrical side with great success during the last two decades. He has enhanced his familial legacy of traditional poetry by adding a dash of modern informality to it. Irshad Kamil is well known for writing Sufi classics like Kun Faya Kun, but has at the same time penned the commercially viable Second Hand Jawani. Piyush Mishra is known for maintaining his tryst with Urdu while also flirting with the subaltern lingo of his times. Amitabh Bhattacharya can write both the irreverent Bhaag DK Bose and the poignant Shikayatein. 006ab0faaa