Types of Shayaris

Self-pity

Haq zidka cheenati hai badguman-e-aatish

Ankhen jalti hai kuch aisi ke tasavvur na bane

Or

Idhar taqdeer sir pe hai zid udhar wo muskura rahe hai

Khaudaya aap bhi kaise kaise ghazab dha rahe hai

Or

Ek asasa khalk reh jata hai unki aadat-e-guftaar-e-haya mein

Wasl ki  raat guzare arram se zid subah gunah samjhe aate hai

Or

Na socha na samajha na sikha na jana
mujhe aa gaya khudbakhud dil lagana (Meer)

Or

Sher ke parde mein main ne gham sunaya hai bahut
marsiye ne dil ko mere bhi rulaya hai bahut (Meer)

Or

Zid kya kya dekh rahi hai teri ankhein koi pur-asar sher nahin milta

Awaaze cheekh rahi hai raston mein, par koi dilkashi-e-saaz nahin milta

Or

Yaksu dil hi dilmein soch raha hai zid kabse

Ke gar mera koi mukam hota to wo kaise hota

Bayan-e-fana

Ek riwayat hai zid jo farden farden tameel hoti hai

Aate farte-shauk wapas namurad ban kar jata hai

Or

Jo bijli hamakti ha unke mehal par

Wo karle tasalli mera ghar jala kar

Or

Khoob roshan hai zid afatab jinhe jeena pasand hai

khub kiye hai intezaar jinhe marna pasand hai

Or

Jano-imaan fana zid jab bhi hoti hai

Admi ko rage gairat ki kaha hoti hai

Or

Duniya ne kis ka rah-e-fana mein diya hai sath
tum bhi chale chalo yun hi jab tak chali chale (Zouk)

Indignant Shayari

There are verses that seek to chastise or self-deprecate the poet.

Nikalna khuld se sunte the aadam ka lekin

Bade be-abroo hokar tere kuche se hum nikle (Galib)

Or

Honge kam is bisat par hum jaise badkimar

Jo chal hum chale nihayat buri chale (Ibrahim Zouk)

Or

Yun hi ‘Firaq’ ne umr basar ki
Ya gham-e-janan ya gham-e-dauran-Firak Gaurakhpuri

Or

 Jist-e-toofan achha hai, jungju sar accha hai

 Marne se pehle ek aur zid ka khayal accha hai

Or

Is hal huun zid sivay fursat kuch kaam nahin milta…

Or

Is badnasib ka sar ho to zid qutl kya hai

Mar to pehlehi gaya tha isme harz kya hai

Or

Bayaan main kya karun ab is se aage apni nakaami
Tere yeh tevar aur mujh ko tujhi se kaam rahta hai- Jafar Ali Khan

Or

Ham se pehle bhi mohabbat ka yehi anjaam tha
‘Qais’ bhi nashaad tha, ‘Farhad’ bhi nakaam tha-Hasrat Mohani

Or

Muddat hui rasaayi-e-qismat ko ro chuke
Vo sang-e-dar kahan yeh hamaari jabeen kahan- Riaz Khairabadi

Or

Idhar se aaj vo guzre to munh phere hue guzre
Ab inse bhi hamari bekasi dekhi nahi jaati- Asr Lakhnavi

The poets readily walk into the common man shoe & express themselves whole-heartedly. Typically these are the verses that create a pity in the mind of the listener; that the poet is also like him, but also creates pride in him; that he is also like the poet. 

Self-eulogizing shayari

Hai to waise duniyamein aur bhi sukhanwar acche

Magar kehte hai Galib tera andaaz-e-bayan kuch aur hai

Or

Zid tu aata hai jab bhi tund apni kalam-e-tausan pe sawaar

Tab tab mizaz-e-ghalib-e-fun koi aatish-e-bayan yaad aaya

Mehfilo-tanz shayari

Mai nahi samhjta huun ke marhala jaanne ki sabko zarrorat kya hai

Aadab Karen shartiya wah karen samazhneki zaroorat kya hai

or

Bazm gar phareb hai to yeh jist kya hai

Hum kya hai, tum kya hai yeh zid kya hai

or

Aaj phir mehfilse nakaam khudaya ghar aaye,

Roz to aate rahe par aap aaj bahot yaad aaye

Political- Husn-IshqTug of war

नाहक़^[1] हम मजबूरों पर यह तुहमत^[2]है मुख़्तारी^[3] की
चाहते हैं सो आप करें हैं, हमको अबस^[4] बदनाम किया

Or

Main muntazir hun magar tera intazar nahi (Sahir)

Or

Jise aap ginte the aashna, jise aap kehta the bawafa
Main wahi hoon Momin-e-mubtala tumhen yaad ho ke na yaad ho

Or

Be-khabar soye hain woh loot ke neendain meri,
Jazba-e-dil pe tarss khaney ko jee chahta hai(Sahir)

Or

Zulphe-muntashir koi kam dimagi sabak nahin Zid zindgika

Jab bhi girah suljhata huun dao-pech aur samajh leta huun

Or

Allah ki khidmat karen zid unhone unhe baharon mein saja rakkha hai

Mai huun nakaam gayabana shae, unhe hazaron mein saja rakhha hai

Or

Wo nikale hai gulfam ban kar, muzhe chehera-e-surk bana rakhha hai

Wo choo gaye aasman be-dilike, zaminpe ba-dili-e-zid bana rakkha hai

Or

Unka robodab mat puchiye, unka behelna mat puchiye, zid

Jab baat muhobbat ki ho to kyunkar nakkab banker aate hai

Or

Is vast aa pahunch hai mere ghar pe jab shame soza-e-mom nahin

Ek thi  zid ki shan-o-shaukat ab wo hijr mein chale aate hai

Be-afsos –e-bayan

फ़क़ीराना आए सदा कर चले

मियाँ खुश रहो हम दुआ कर चले-Meer

Or

Yeh siyahi, ye kagaz ye malba jala dije saab zid

Ye jaddo-jehad ye tere saath jata to kaisa hota

Or

Zid bhi agar na ho sabit muhobbat kabil thik hai

johri-e-alamadar na ho to zeenat kaha hoti hai

Ba-afsos-e-bayan

बहोत आरजू थी गली की तेरी

सो याँ से लहू में नहा कर चले-Meer

Or

Ab aate hai zid jab sar manzar khamosh hai

Idhar log afsos karen hai wahan kismet-e-wafa badlee jati hai

Fitrat-e-shayari

Zid asar ka ek aisa mod hai ke sab kuch ho jaye tabah

Gar taqdeer ek sawaal hai to isko sakht girah chahiye

Or

Wo aise tane hai abroo ke jaise shamsheer-e-ajal babasta ho unse

Mai sochu sharaa-e-kaam-e-sharafat shamsheer-ba-kaf chale aate hai

Tijarat-e-khas shayri

Teri aamdani badhti jaye hai , haadsoe ki, aatishi-lafzo ki

Kya kya sunaye sheher-e-nigra, zid ab tak koi hisab nahin

Or

Kis junoon se likhte aaye ho tum be-mehfilke

Tehjib-ae-shauk-e-tijrat mein faake bahot hai

Junu-e-shayari

Kuch kam hi talluk tah muhobbat ka junu se

Diwane to hote hai banaye nahin jaate

Or

Junoon ke charche hai kya kya hidayat di jaati hai

ruh ki pehchan ke liye khud hi jal janeka paigam diye jati hai

Self-motivating shayari

Zid tu ek tandrust aashiq hai, tu berukhi se darna nahi

Garke-darya hona hai tuzhe, maut se marna nahi

Metaphysics

जबीं सजदा करते ही करते गई

हक-ऐ-बंदगी हम अदा कर चले-Meer

Hum bhi aate rahe is jannat-e-fiza mein kabhi kabhi

Bas gaye aadmi gar yaha to Zid maza kya hai

Or

Wo ek waqt tha ke shagufa mein lipte rehte the

Aaj gar beparde huye to tarikh bhi badlee jayegi

Or

Shab-e-mah behte darya mein muzhe shabgard banakar

Zid na ho taqdeer-e-khafa ek din zeenat bhi badlee jayegi

Tautology

Ye zameen aur hawa zid har ek hai unki ada

Sair hai zamaneki par mere kam aate bhi nahi

Or

Dekhe ja rahe hai husn to qatil nazar aaya

Gaur-talab har shae chake-gireba nazar aaya

Falsafa-e-shayri

Ishq mein dil hi nahi deed bhi sambhli jati hai

Jis thokar pe utthe gubar uski taseer-e-seerat badlee jati hai

Or

Meer, मर्ग^[5] इक मान्दगी ^[6]का वक़्फ़ा^[7] है
यानि आगे चलेंगे दम लेकर

Or

Jo gham-e-habeeb se door the woh khud apni aag mein jal gaye
Jo gham-e-habeeb ko pa gaye woh ghamon se hans ke nikal gaye- Shair Lakhnavi

Or

Shabe ghum chashme naam jaga kiye Zid khwabo ki ek haqeekat mili

Wo yakayak tufano me jo kashti dubi kaise taqdeer palatkar ise ulfat mili

Ba-khuda shayari

Momin na sahi bosa-e-pa sajda hi karenge
Woh but hai jo auron ka to apna bhi Khuda hai

Or

Aisi ghazal kahi yeh ke jhukta hai sab ka sar
Momin ne is zameen ko masjid bana diya

Spatial Poetry

These are the verses that have a very open space. Over the length of the ghazal the poet seeks to condense the space & make it more nuclear.

Dilme ek lehar si utthi hai abhi

Loi taaza hawa chali hai abhi

Or

ek hawa khawab bun rahi hai, iska pesh-e-khidmat kya hoga

Aahat to milti rahi dilonko, khushboo-e-paigam kya hoga (Zid)

Or

Mulke mein adam bahut fail gaye sab taraf

Hawwa befuzul kyun hawa ki tareh lehrati hai

Or

Phir ek lamha ja basa fiza-e-shauk-e-fursat mein

Waqt ko milna hai kisise par ittefaq bhi zaroori hai

Or

Ayega waqt bhi piche tere bandhe sehra

Aaj fursat nahin ae waqt tere guzar jane ko

There is humor that gets manufactured in any poetic expressions. That is principally because there could be confusion between a subject & object. Poetry is a afst track communication of emotions, values, philosophy that likes to keep off any rigid rules or formalities of grammar.

In the verse, for example;

Apni fitrat-e-quad chod maikhane chale aate hai the subject is not clear. Actually the subject is not stated. So it imperative that the listener would tend to think the poet is talking about quad but then he is talking about fitrat-e-quda. It is quite a change in the subject. The word ‘maikhane’ is also a contestant for the subject.

Similarly in the line

Zid tuze dekhe hai har shaks kambhakto ki nazar

Whether the word ‘ kambhakt’ ( gushtaki mauf kare!) is not clearly addressed with respect to the poet. However in the context or form the perspective of the ‘taseer’ of the wholesome ghazal it is obvious that he expression ‘Kambakht’ is with reference to the poet. It is a fashionable expression in poetry; post Mirza Gaalib & poets take pride in saying this. Hence no apologies to the poet concerned here!

Kya guzar shauk baithe phir tuzhe samjhaneko

But eventually the purpose of the poetry is never to create a nucleus. At best one could say it is poetic compulsion to use some sort of nucleus upon which ideas get developed. At best it could start off with the nucleus & expand it into the space. Meaning starts where the words end. Human emotions are more about speechlessness & lesser about utterances. It is truer in case of matters of love & other finer aspects of life. But words do open up varied vistas of thoughts. Words are as harsh as they are provocative. Artistic sensitivity therefore is not so much the measure of one’s understands of the poetry but one’s natural instinct to set off on ‘another’ journey in response to the poetic stimulus.

When the audience involvement is considered within the time & space of the recitation it is likely that poetic verses are more obvious. I call this ‘Kacchi Shayari’. You mostly enjoy this in company of kith & kin.

Nazar nawajish nazaron mein ji nahin lagta

Wo kya gay eke baharon me ji nahi lagta

But where the effect is likely to be more after the poetic interface the verses are likely to be very subtle, very open & very quiet. Good poetry has that intent capacity to hide the content & also the meaning. I call this ‘Pakki Shayari’. You mostly enjoy this when you are alone.

Shab-ae-furkat ka jaga huun farishto ab to sone do

Kabhi furst mein kar lena hisab aahista aahista-Ameer

Or

Daamne yaar ki zeenat na bane har aansoo

Apne palko ke liye kuch to bachaye rakkhiye-Tarik Badayani

There are ghazals that are short & hence they seek to make a fast-track effort to come to the conclusion. In that sense the ghazal is not one of the classical journeys through poetry as much as it is a generous recipe of beauty of music, expressions & the personification of ‘leher’ by the singer.

Waqt accha bhi aayega naseer

Gum na kar zindgi padi hai abhi

In the poetry

Allah ki khidmat karen unhone unhe baharon mein saja rakkha hai

After many cribs & transgressions such as

Mai huun sans-e-tar unhe, be-dhadkan aaram de rakkha hai

the ghazal takes you to a very poignant case;

Ab marna hai isliye unhone meherbaniye kinaron pe basa rakkha hai

Biggest jump comes at the end where the poet says;

Yeh khwab hi sahi, Zid dekh unhone tuzhe palko mein bitha rakkha hai

But most good poetries take recourse to metaphors that offer soothing touch to the soul.

 Self-Talk poetry

These are the intricate areas of human consciousness that many time borders on the subconscious thinking. This is category of mature poetry that steadily reduces the number that ether wants to listen to this or they can understand this. Poetry being it, never tries to offer any explanation for anything that is said. It is against the poetic rights or for that matter, rights of every creative sport.

Apni zid ko sawarne phir nikale hum

Aawargi ko basane  phir chale hum

Gardishone kaha ab koi raah nahin

Apnihi god mein phir so gaye hum

Or

Koi samjhe meri betaabi, ashayar pahelehi keh dale

Wo pahunche nahin hai mehfil, khwab bhi pure kar dale

Rawayt-e-khas shayari

Ghazal is not just a reality of experience but it is also realization of an experience through imagination. Hence many traditions & etiquettes find an easy way into the ghazal.

Hum bhi jaga kiye tere sone tak …

…therefore, needs a freedom of mind to appreciate the plot rather than having to actually justify this kind of an experience.

Husne bayan-shayari

Wo alat palat rahe hai aaftab-e-noor achha hai

Wo angdae le rahe Zid khayal-e-katil achha hai

Or

Yeh gesu hai bikhre ya meri nazren hai bebak

Ham bhi jaga kiye har roz zid tere sone tak

Or

Abr-angdae zameene utar aaye to bark hai

Ise bazm-e-aara kahe ke Zid kayamat kahe

Nigahi-e- shayari

Mai pe kya lagate ho aaj to bin piye hi mast hai

Ho sake to kuch kijiye in aankhoka ilaaz

Jin aankhonse mai khud tapakati hai

Or

Mai teri mast nigahika bharam rakh lunga

Hosh aaya bhi to kehdunga muzhe hosh nahin

Ishkiya shayari

Ibaadat hoti hai sarre-aam hathon se 

Aur ye purjor bhakht cheez nigahon mein chipai jati hai

Or

Waqt guzrte der nahi lagti safina-e-safar der nahi lagti

Khair aaj koi khalk nahin aaj wo hangame wafa yaad aaya

Muhobbati Shayari

Muhobbat ruhani husn ki numaish hai

Zid ye aisi shiddat jo khas soorateon mein girvida hoti jati  hai

Or

Bada-e-safi kaun pa gaya hai insa

Mehfile zid roz phir kyun sajti rahi

Insaniyat ki shayari

Zindgi tune kya kya sataya hai insaan ko koi bedaag chehra nahin milta

But to kitne ban baithe hai zamane mein par zid jaisa koi kafir nahi milta

Or

Waqt-b-waqt har shaks ko ilm bhi nahin hota

Zid bhi kya cheez hai ek aah guzar jane ko

Or

Ukda nahin e-o-aa thodi kashmakash hai

Insa samaze gar insa to zid har dil aziz hai

Or

Mai guftgu-e-wasl sochu wo shauk-e-arram kare

Jism jalta rahe yahan zid wo khayal purjor Karen

Or

Kabhi aasu, kabhi aahe sab namkin banakar betalkh pee gaye

Zid bekalf hai, nigar nisar hun ye paitronki zaroorat kya hai

Or

Hairat-e-gum se ghabaraye ho zid to ye sun lo

Lije kuch aisi bhi dawa jo ke khaye na bane

Or

Aaj aayeho milne jab zid jane ki fikr mein hai

Log puch rahein ‘kiska kaun’ aur aapka bhi jikr hai

Or

Junoon ke charche hai zid kya kya hidayat di jaati hai

ruh ki pehchan ke liye khud hi jal janeka paigam diye jati hai
Or

Mai ek nek banda hun khudaka nawazo

Par na pucho muzhse ke khuda kya hai

Taqdeer-e-mizaz shayari

Taqdeer ek bar jiska daman choo le wo khilona hai insan nahin milta

Ye wo falsafae band lifafe hai jis khat ka kisiko pata nahin milta

Or

Ab wo bhi aaye mahatab, ashiyane par nikhar aaye

Taqdeer palatte der hai, mizaz mein bahar aaye

Or

Tege dodam bakkaf tejotund takrarkar laut jati hai lillah teri zidse 

Dast andaaz hai koi taqdeer-e-khuda bas yahan paigam nahin milta

Apne nashemanse kaise Zidko muntakil karne aaye

Parwar-digar muzhe jannat-e-khwab dikhane aaye

Or

Huwe marke hum jo ruswa huye kyun na garke dariya

Na kabhi janaza uthata na kahi mazaar hota

Or

Aap to Zid pehlelhi mar gaye the

Tareekh dekh kafan sara jala dala

Or

Aise wajud bhi kaha milta hai zid kisko ek zindgi jinepar

Tajwiz-e-bakshish pasand aayi, ab bekhauf jiye ja raha huun

Or

Taaheer-e-nafaz to ud gaya khak abhi baaki hai

Kaunsi zid saath le gaya uska pata abhi baaki hai

Taseer

All human emotions revolve around some fixed component. Without the existence of that it would be impossible to remember a subject. Poetry is a response to human emotion & hence it is likely to follow one recipe or one type of dote.

Ba-Taseer

There is continuity of the environment. There is a persistsence on a subject. This is more like a traditional English poetry.

Is mehfil mein ek parivash hai apni nazar se kaise dikhau

Mere zhakmi haalat-e-aalam aapse kaise na chupau

Yeh inqalab-e-muhobbat hai aatish hai aag kaise buzau

Koi yakayak sinese lipat jaye hai hasrat-e-mudam kaise na jatau

Mutmaen lamhe guzre aaram hai elahi-e-khidmat kaise na batau

Bada-e-gulfam dube hai zamana is shisha-e-aafat ko kaise na tod du

Bada-e-gusar ka markaj jo hai us dimag ko kaise na badal dun

Badiya-e-gard kimar bane hai Is shart ko kaise na tod du

Zindgi wada hai waqt-e-shareerka is miyad ko kaise na suljha du

Akl wais-e-shauk batain hai is fasad ko zid kaise na luta du

Be-taseer

Dard minnat-kash-e-dawa na huwa mai na achha huwa bura na huwa

does not maintain the poetic chemistry in the following verses;

Jama karte hokyun trakibo ko yeh tamasha huwa gila na huwa

Kuch to kahiye ke log kehte hai aaj Ghalib gazhal sar na huwa

Hai khabar garm unke aaneki aaj hi gharmein boriya na huwa…

Or

Yeh hasrat kehkasha mein kaise ghume hai, jo ban gaye sitarein unse huzzat kare hai

does not have he same chemistry as;

Nikal do in sabko meri aakhri tamanna hai, akela hi rahu waha sab muzhpe nazar karen hai

Or

Jis thokar pe zamane guzre ishq-e-latif ke usi ravishse nikle zid muhobbat-e-julus apni

Does not have the same chemistry as;

Kuch kam nahi ye masarrat bhi badi hai kaun mahi-e-beab bane hai khushi apni

Ghazal is minor subject if it considered as a part of the generalized notion of poetry; all languages included. However, ghazal is one of the most intricate & challenging subject know how when considered as a tool of expression. It is these complexities that make ghazal such a passionate subject for people who live more in after-thought than in thought per say. That is possibly a reason that steadily ghazal is losing favors with mass thinking & is getting elevated to being subject matter of connoisseurs. Zid ki Shayari is a sincere attempt to make that connoisseur class multiply by creating that taste and understanding. There is more to follow.

Khawateen-o-hazrat,

Ek zamana tha Zid shayar bahara karte tarhtush

Dekhe aaj adib kaisa ummodo-khair giraftar hai

I often wonder whether poetry is a text written in rhythmic form or it is something very subtle that cannot be expressed literally in words.  

कहनेको किस किस मौजू पर क्या क्या कहते हम बा-इखलाख

If I was required to say something I have many issues that could be handled with care & sanity…

हम  सुखनवर कम नहीं मगर देखिये तारीफ़ किसकी होने लगी

I am no ordinary speaker but it seems people are getting lost in my imagination of my beloved’s beauty more than my poetry.

I remember once Faiz sahab talked about Kacchi shayari & Pucci shayari. 

Kacchi shayari is the one which bears the same meaning as the words are. These expressions are common expressions because the content itself is common. However, when there is a transit of subjects that boils down to confusing ideas including the confusions of the mind of the poet himself,  the poetry invariable goes into digging out expressions & metaphors that are increasingly complex. This is where a novice to the world of literature gives up because he wants to hear what he has already heard. More evolved listeners what to hear what they have never heard. To bring people out of this naivety poet's own intervention is required.

I am trying to put a parallel thought in a parallel language that could help many relate the poetry better. 

I hope you will not mind it!

ऐसे बज़्म-ऐ -खिराद क्यूँ  न  रह जाऊ आज  यारा  मुहर  बलब 

बे-अल्फ़ाज़े मेरी लगी उनकी दिलकशी साज़-ऐ-सरमदी  होने लगी

Seeing the company of such wise people who understand me beyond the words, should I not keep my lips closed?

Without me saying a word my pains have become my audience’s sensitive treasure that is turning into an immortal song.

उधर  निगाही -ऐ -बदरफ्तार  इधर  खवाइश  नीयत -ऐ -परवाज़

कभी  जहाँ -ऐ -मुतमइन  कभी  रंजो-गिरफ्त तबाही होने  लगी

She is putting her eyes on me & I am being swept off my feet. Then I have my own set of desires that are as always airborne with wings…

I see a world of deep happiness & contentment on one side & the melancholy that has imprisoned me that is beginning to destroy me on the other side.

Peace is a great virtue; for it embodies the possibility of vision of life at rest. That is period of detailing. Moving through life is an experience, the faster one moves, the lesser the recall. That experience is only of an academic value; because it does not go to enough to our senses. Peace brings more nerves to purpose of disintegrating substance. That is why we do not run immediately after food. The digestive juices will into be active. Understanding poetry is very similar. The deep inner peace is the virtue that will convert even a rank outsider to poetry into a poetic mind set little by little. Let this change be subtle because poetry itself is very subtle.

The ‘adab’ and the ‘taukif’ of the musical assemblies is nothing but the setting for this ideology. A noisy part of the poetry recitation is the melodrama. What can be understood by everyone is not the real meaning but the apparent meaning. The real meaning takes time to understand. It is rare that a new poetry worth its salt is understood right in the first go. It is when you are somewhere else in some other sphere that the meaning gets decoded. There is nothing direct and fast about the meaning. The sheer entertainment value of the musical assemblies is on account of the apparent meaning. Many time people like the expressions or the way it is said rather than understand the direction of the words. Conception of meaning will come only later. It is so much like nature.

That is the reason precisely that gazals are meant for royals’ royal nature, royal life style and people generally not stuck with basics; either they do not have those or they have decided to take up thoughts of beauty, faith and religion as much more urgent.

Meter

All good verses are written from the point of view of narration. A text could be read with uneven syntaxes but poetry is something that must have regular syntaxes.

Humse aaya na gaya (Galib)

Tumse bulaya na gaya

The list of word used are Tumse, humse, bulaya, aaya, gaya.  This is simplest example of how a simplistic approach could still create an attention. But short meter will need not a couple but a quadruplet to make it deliver the content.

Fasla pyar mein

Dono se mitaya na gaya

Another example

Taqat-e-insaan ko zid

Gurur bahot hai

Sunte hai apnihi

Ashyar bahot hai

Shorter the meter lesser the dramatics & longer the meter the scope for dramatics becomes exponential.

Meer ke dino majhab ko aab puchte kya ho inne to

Kashka khencha dair mein baitha kabka tarq islam kiya

Or

Roz peshani-e-hayat-e-bal durust karun; apni taqdeer sawaroo,

Yeh kainat ashiqee hai teri to muzhe tasavvur ki zaroorat kya hai

Or

Insa gar mukhlisi insa bane rahe to insaniyat ki alag zarrorat kya hai

Sang-e-marmar aur kam aayenge numaish-e-but ki zarrorat kya hai

In the rhythmic form Gazals become a challenge for the intellect. Shorter behers is simple to understand’

Wo na aayenge paltakar;

unke lakho hum bhulaye

Meri hasratonse jekdo,

key eh khwab bhul jaaye

Setting up longer meters in tune is generally avoided because the gazal may be misunderstood. It is normal for a singer to do a selective intonation and many nouns and verbs have to be handled very carefully and dedicatedly. More expressive poetries have also an adjective, a reinforced noun and an adverb too. Handling five expressions in the musical rhythm is an extreme challenge. A reinforced noun is used few times in other languages too but it is hall mark of urdu poetry.

vo taqadeer-talab aaye to i.nsaan ko jagaane aaye

Khud muztarib jaan-e-Zid nibhaane dostaane aaye

Mark the expressions: taqdeer-talab, jaan-ae-Zid here.

Or

aagaah keejiye aise ki adeebo.n-qismat badalee jaayegee

tabaah keejiye asar  gaah-e-mahanat badalee jaayegee

Mark the expressions; adib-o kismet and asar gaah-ae-mehnat

Often in the longer meter the Gazal has more than one subject, more than one noun and more than one adjective that qualify two different nouns. A textual work follows more close knit grammar patterns whereas grammar is not a necessary thing in gazals. Less objective the gazal is the more freedom a poetry displays to defy grammar. Many times even the link with the gender is missing because the kafiya has a better tune with the requirement than otherwise.

One from the classic poetry of Meer-taq-Meer always intrigues me;

Meer ke dino-mazhab ko ab puchtekya ho inne to

Meer is anoun and mazhab is noum. Who do we ask the mazhab or Meer? The noun mazhab is alos decorated with din-o-mazhab that adds to the weight of the noun. Although din means much the same as the Mazhab, the jointers make the effect poetically and musically more lasting.

Kashka khencha dair me baitha kab ka tark islaam kiya

Kashka, dair and islaam are nouns. Khencha, baitha, kiya are the verbs. Tarq is a adverb. The extent of complexities could be imagined.

Music Therapy-FAQ

What is therapy?

Therapy is treatment aimed at healing the ailment. Whereas medicine is used for a temporary relief, therapy is generally long run and more comprehensive in approach so as to find a solution to the present and the future problem.

What is Music Therapy?

Unlike many other therapies, Music Therapy is much more generic and much less concentrated. And unlike other therapies that are applied only when there is a problem, music therapy could be used as pre-emptive method also.

What is a difference between music and music therapy?

Music is listened to more as background activity whereas Music Therapy is more conscious interception at highly discernible state of mind.

What is the most demanding function that makes music such a difficult thing to follow?

Interception of music needs extremely high listening skills. Otherwise the changes in the frequency of sounds generated may not get intercepted.

What is central idea behind using music as a therapy?

Music is sound and sounds are vibrations. These touch the skin, the muscles, the cilia, the ears and transmit subtle strokes. These strokes or messages normally get lost in the melee of the other sounds. These need to be preserved.

What are the primary and the secondary effects of Music Therapy?

A good therapy is something that not only worked as a physiological level but is also works at a mental level.  The psychological changes occur in a relatively short term and the physiological changes occur in the second phase.

What is the preserved or secured environment for Music?

Quest for music drives people to select channels of living that are able to consolidate their taste for living. However, just in case the person is trapped in cacophony, music therapy trains people to switch off the left brain and awaken the right brain to help listen to the sounds and music of their choice.

What is internalized music?

Music therapy helps read and run those files that are most comforting for you at will. That helps internalize music.

Music Therapy-Frequently Asked Questions

Why are musical memories so sharp?

Music just like food is a matter of environmental consumption. Such memories are therefore well structured and well woven. The chances of musical memories getting lost are fewer than losing a house key.

What is the most basic form of music?

By far the most important and the most profound as well as most refined form of music is the sound of Shadaj, Sa.

What are the musical waves and what is its significance?

The most musical wave is the one that swings between sa and Pa. The effect of the taanpura that swings between Sa and Pa, is that it creates a complete canvass of musical ideas and possibilities.

What is the most distinguishing feature of musical ideas?

Unlike other forms of ideas, musical ideas are very subtle and they are very private. So there is no dearth of possibilities. That is a reason why musical ideas keep us engaged well through.

Why is soothing or so called! What is logical part of the same?

Music is a sound wave. That keeps striking our bodies softly. There is meaningful content of the music that goes through our ears to mind, and there is a physical content of the music that makes a direct contact with our physique. The earlier one offers us the escape and the later one offers us a relief like a massage.

What make music such a rewarding experience of aloofness?

Aloofness is normally an acquired state of being out of defensive state of mind. But music helps us enjoy the feeling so distinctively and so privately that it becomes a very good positive departure from the crowd.

What is the esoteric part of music?

Anything that cannot be stored as visual information is difficult thing to transact. Look no further than contracts and agreements. Nothing is left to imagination. If someone tries to make the musical notification of the maestro it will be very awkwardly musical. The finer nuances cannot be decoded. Those who try to copy them, look trite and hackneyed. But then music is not a pedestrian genre. Would you like your doctors to make very obvious interpretations and give a very general medicine? There comes the abstruse part of music. The abstruse and the un understood part is essential. However, the more the legibility of the musical expressions the more the mind engagement and greater the result.

What is the core issue related to musical interception?

Before we look into interception we will look at perception; a lower form of intellectual challenge. Sound cannot be perceived. It moves at 330m/sec. As you try to know what is delivered, the next wave strikes you. In general you keep chasing it hopelessly. The list of our favorite numbers is restricted. Listening to them the second time or the time after time makes it less taxing. Nut music is not about the memory alone. Memory suits perception but interaction begins where apperception reaches a firmer identity. Interception is the dynamic part that has enormous applications for ongoing treatment. Over a period of time the interception could be used severally in conjunction with the ailment iteratively to create a second generation effect.

What are the generations of treatments?

There is method of treating the symptom and there is a method of treating the cause and there is a method of treating the idea. A muscle pull gets a magic spray and the player starts walking.  That is a rudimentary approach. Suppose somebody decides to check the landing of the player and finds fault with it, he might offer a different training that eliminates the cause and the prospect of recurrence. A noble man accepts the problem as signal of the climax and lives with it. That is the third generation treatment.

What is the generation of treatment in Music Therapy?

Music Therapy is not a first generation treatment. It is treatment with cascading generations. In the generation II, it works as method of suggestive correction in the glandular activities of the body, similar to Yoga. In level III music is an enormous inspiration to live in the mind than a matter. Unlike operative intelligence that is reactive to the situation and challenges, It facilitates the active mind so very pro-active that one seeks newer destination.

How does Music Therapy compare with Yoga?

Yoga is more a picture of face and eyes and body. But there is also a deeply spiritual and gravitating constituent of Yoga because it deals with respiratory orders that are principally driven by one of the most violent and interactive constituent called AIR. Music, especially vocal is more to do with air and the buoyancy effects of music are more advanced than Yoga.  Yoga is looked at combination of asana and meditation but music is pure meditation. It is easier to reach meditative state through music than Yoga.

Why is music considered so inspiring?

Music is a free space. It is quickest and most generous form of achieving buoyancy. Gravity pulls to the earth that gives you a bonded feeling; that we mistake as a security.  A simplest exercise in music is tana. The holding of your swar at one level helps you reach the height of the mountain. Alaps is another beauty; it makes you go through the valley. The imaginative element in music is not just God but is also people and your near and dear ones and beloved. But you deal with them in a different order. A vocalist sings and takes you along. He is not there were he was, neither are you. Correspondence of love remains more stable because the walls are none and the bridges are many.

Why is Music Therapy required and not Music per say?

Music has a huge esoteric element. It is very complex recipe. It is very demanding intellectual challenge to understand music. Even among the avid music lovers, the he listening alone comes in a highly diluted form that could be as high as 90 pc. Hence the medicinal value is wasted the opportunities are wasted. Then comes the hidden meaning. One rarely comes to the point of arriving at the stage where the meaning could be discussed. Meaning activates the right brain and the more it does, the larger grows the human persona. Left brain activities are mostly for the mundane and there are several pitfalls of over-chasing and over exhibiting Arrogance, ego, pride are some of the biggest killers. Music as a therapy is therefor far more efficient than music because it has the translator of those ideas for the user. All religious sanctum sanctorum like Bhagvat Gita and Quran cannot be understood and applied by normal readers and it requires a mentor. Music is nothing but a sanctum sanctorum of religion of beauty, meaning and ideas.

What is the hidden benefit of Music Therapy

Music is an environment by itself. The potency of that environment is either misunderstood or is not developed faithfully. But the effect of music is mesmerizing and there is much to it than a mere entertainment. The engagement value of music is unknown and its therapeutic application is matter of great exploration. Music is free space and like the possibilities of different constellations, music offers a wonderful scope for self-research, an ideal high quality engagement of mind. Imagine the personality constitution of dominion of hilly region vs Manahattan. Imagine you affecting that shift.

What is difference between Music and Sounds

A refreshing sound makes music, need to know what you are buying a trash.