All-time famous Romantic Ghazal by Abdul Hameed ‘Adam’
आँखों से तेरी ज़ुल्फ़ का साया नहीं जाता
आराम जो देखा है भुलाया नहीं जाता
अल्लाह-रे नादान जवानी की उमंगें!
जैसे कोई बाज़ार सजाया नहीं जाता
आँखों से पिलाते रहो साग़र में न डालो
अब हमसे कोई जाम उठाया नहीं जाता
बोले कोई हँस कर तो छिड़क देते हैं जाँ भी
लेकिन कोई रूठे तो मनाया नहीं जाता
जिस तार को छेड़ें वही फ़रियाद-ब-लब है
अब हम से ‘अदम’ साज़ बजाया नहीं जाता
Check out all-time famous Ghazal written by By Abdul Hameed Adam. Choose from the Ghazals and Sheroshayari collection and share it with your loved ones and partners. Loving someone is great, but falling in love means you can’t live without someone. You can also download these Romantic Status images directly and share them on social media sites with your friends and loved ones.
A Brief History of Ghazal
Ghazal is an Arbic verse structure got from the North African Arabic term ghzl , significance yarn. Another importance of Ghazal is “discussions with ladies” In structure it resembles Petrarchan
The direction of the ghazal is not normal for that of whatever other scholarly structure that has had a past filled with crossing past its spatial limits. A short visit through the entries of this graceful structure and its different courses would uncover the two its uniqueness and all-inclusive intrigue. When the ghazal moved out of the Arabian Peninsula, it found a cordial space in medieval Spain where it was composed both in the Arabic and the Hebrew dialects. In one more occasion, we have the ghazal connecting with west African dialects like Hausa and Fulfulde.
Indeed, even while these ghazals built up their own imprints, they additionally held near the Arabic model by holding the customary Arabic meters and structures. It was just when the ghazal arrived at Persia in the eighth century that it began building up its own shapes even while it didn’t altogether withdraw from the proper examples of the Arabic ghazals. Afterward, the Persian ghazal obtained its positive character when it built up its own complex stamps in restoring the matla, the first sher of the ghazal, and developing an example of holds back (radeef) as the last unit of articulation in the second line of each sher. It likewise characterized the length of the ghazal from seven to 15 shers, and cleared a path for the artists to utilize their mark in maqta, the last sher of the organization.
Abdullah Jafar Rudaki, the main accepted ghazal author of Persia towards the finish of the ninth century, was followed in the sequential requests by other significant artists like Sanai Ghaznavi and Fariduddin Attar in the twelfth century, Sadi Shirazi and Jalaluddin Rumi in the thirteenth and Hafiz Shirazi in the fourteenth century. The Persian ghazal developed further after the traditional models in the ensuing hundreds of years however it constantly separated itself for two of its most unmistakable characteristics: its intense supernatural distractions and its sharp philosophical concerns. The ghazal written in Persian, the prevailing abstract language of focal Asia and India, had a surprising effect and demonstrated very important in the improvement of the ghazal as a prototype type of beautiful articulation in the East.
Outside of Arabia, where it begins, and of Persia, where it has created, it is in India that the ghazal found its most neighborly objective. Regardless of the way that ghazal in India a portion of the time returns to the thirteenth century in the progress of Amir Khusrau, its Urdu indication is precisely recognized in Mohammad Quli Qutub Shah around the second half of the sixteenth century and Vali Deccani in the following century.
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