This kind of Arabic is very rare and is almost never scanned at all even if it does appear; see Section 4. The two together, as aa , called alif madd [alif madd], always form one syllable. The appearance of madd thus always signals the beginning of a new syllable. The syllable consisting of aa is the only all-vowel syllable which may appear medially, within a word.
But this is rare; almost always it occurs at the beginning of a word. Much of the time the syllable division will be obvious, even in the case of unknown words. In some cases, however, it will be necessary to ascertain the exact pronunciation. Unfortunately, many Urdu dictionaries don't give sufficiently detailed information on pronunciation to be helpful in scanning. For most words, it's sufficient to ask an educated native speaker and listen carefully to his or her pronunciation.
Or you might want to consult the very helpful book. Or you could look in your trusty Platts dictionary , or else consult the online Platts version. Most such words are Arabic in origin. The great majority of these are divided into first a two-letter syllable, then a one-letter syllable, as in qism [qis-m], mulk [mul-k], vaqt [vaq-t], farq [far-q]. This tendency is particularly marked in those words which end in ;h or , such as shar;h [shar-;h], sa:t;h [sa:t-;h], jam a [jam- a], qa:t a [qa:t- a].
This division, inherited from Arabic, persists in poetry, even though in many cases colloquial pronunciation has changed. There are only a few exceptions: :tama [:ta-ma ], qada;h [qa-da;h], and the convenient :tar;h which can be broken into either [:tar-;h] or [:ta-ra;h] at the poet's pleasure.
Note that words that contain any of the letters ;s , ;h , ;z ,. Words that contain p , ch , zh , g [p , ch , zh , g], or aspirated or retroflex consonants, are definitely not. A minority of three-letter three-consonant words, including both Arabic and non-Arabic ones, are divided into first a one-letter syllable, then a two-letter one, as in varaq [va-raq], qasam [qa-sam], magar [ma-gar], ;Gazal [;Ga-zal], nikal [ni-kal].
Words of this minority group normally change their syllable division when normal grammatical transformations change their pronunciation. For example: nikalnaa [ni-kal-naa] gives rise to nikal [ni-kal], but also to niklaa [nik-laa] and niklo [nik-lo]; na:zar [na-:zar] gives rise to na:zre;N [na:z-re;N] and na:zro;N [na:z-ro;N].
One common exception to this pattern of change: ;Gala:t [;Ga-la:t] goes to ;Gala:tii [;Ga-la-:tii]. Such words as these do not, however, usually change their syllable division when endings from Arabic and Persian grammar are applied: na:zar [na-:zar] goes to na:zariyah [na-:za-ri-yah], :tarab [:ta-rab] goes to :tarabiyah [:ta-ra-bi-yah].
But there are occasional exceptions to this tendency too: qasam [qa-sam] goes to qasmiyah [qas-mi-yah]. The difference in pronunciation is basically quantitative: a long syllable ideally takes twice as long to say as a short one. It will be shown as x. A list of the verses chosen from divan ghazals contained in this book is provided here ; of the verses chosen from unpublished ghazals, here. The whole book is online through the rekhta. Online through the rekhta. Bhopal: Saifiyah College, ; on this site.
Lahore: Majlis Taraqqi-e Adab, ; on this site. An edition from the Majlis Taraqqi-e Adab, Lahore, on the rekhta. The early Anwar ul-Haq edition is available on the rekhta. Karachi: Anjuman Taraqqi-e Urdu, [first published ]. Here are its Urdu ghazals: on this site. The whole text of the Urdu and Persian intikhab is available, in an edition by Malik Ram , on the rekhta.
A commentary on the unpublished ghazals; on this site. Also: on the rekhta. HALI The full text is available on this site. HAMID , ed. Text images from this edition are also linked through the index pages of each divan ghazal. JOSH These volumes are available online through rekhta. There are reprints too, but as far as I can tell they have the same contents and pagination.
MIHR MIR The complete ghazal texts from this edition are available through rekhta. See also ' A Garden of Kashmir '. Available on this site with thanks to Mehr Farooqi. Also on the rekhta. NATIQ NAZM This commentary title pages is provided on this site, thanks to the generous help of Sean Pue. Each verse is linked to the relevant page s of the commentary.
Here are Nazm's concluding pages about other genres. Here's the whole work together: on the rekhta. Another edition:on the rekhta. A third edition: on the rekhta. After 76 pages of extensive introductory material including reproduced separate introductory notes to all five previous editions , the commentary itself begins on a second p.
Available on this site. Thanks to Satya Hegde, this text is available on this site. RAZA , Page images from this earlier edition are provided for all unpublished ghazals, linked from each one. There is now a revised, augmented, annotated final edition, diivaan-e ;Gaalib kaamil, nus;xah-e guptaa ra. With much appreciation for the good work of the Ghalib Academy and with many thanks to Satyanarayana Hegde for making the pdf , this reprint edition is available on this site. Delhi: Delhi University Department of Urdu, The tazkirah was composed from to It contains an entry on the young Ghalib: pp.
Classical ghazal poetry is an astonishing delight. The rewards are so rich that you won't exhaust them in a lifetime. Fran Pritchett New York, July This handbook is designed to be of use to English-speaking students of Urdu poetry. Above all it will be helpful to those students for whom English is a native language. One of the authors is such a student, while the other has been teaching such students for years.
We have written the kind of book we can best use ourselves, for our own work; other students and teachers have also found our approach helpful. Our method does not assume a native speaker's instinct, an intuitive perception, or an "ear" for poetry. Even a completely tone-deaf and unintuitive student can learn to scan Urdu poetry with great accuracy.
And a student who does have an "ear" can also learn to hear, recite, and enjoy the oral rhythms of the poetry as immediately as any native speaker. A determined student can even compose metrically correct verse himself; a number of Westerners have done so.
We do, however, assume the student's ability to understand the words of a poem in their normal prose sense, and to pronounce them carefully and correctly. This does not mean that only advanced students should study poetry. On the contrary: we feel strongly that even beginning students can enjoy poetry, and can profit by exposure to it. But the poetry chosen for study should be suited to the student's background. The student who cannot recognize and pronounce most of the words of a poem, and cannot generally understand their grammar, cannot properly scan that poem.
No method can enable him to do so, and certainly not ours.
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