Ghazal

The Ghazal (pronounced "ghuzzle") originated in Arabia in the 7th century, evolving from the Qasida, another, much longer, Arabic form. It gained prominence in the 13th and 14th centuries thanks to the Persian poets Rumi and Hafiz. In the eighteenth-century, the ghazal was used by poets writing in Urdu, and was often sung by Iranian, Indian, and Pakistani musicians.

To truly understand the Ghazal, there are a few terms you need to know:
Sher is a rhyming couplet that can stand alone as a poem itself.
Matla’a is the first Sher.
Radif is a repeating word or phrase.
Qaafiyaa is the rhyme scheme.
Maqtaa is the final couplet.
Beher is the syllable count and length of each line.

A traditional Ghazal consists of a collection of Shers, usually seven but you can have anywhere between five and fifteen. The rhyme scheme, or Qaafiyaa is AA BA CA DA, EA, and so forth. The Matla’a sets the tone of the Ghazal, as well as the Radif and Qaafiyaa. The Radif must be included in both lines of the Matla’a. The Maqtaa may contain the poet’s name or signature, but this is left to their discretion. The Beher should be the same throughout.

I found it odd, and a little disappointing, that in the course of my research I found many well-known poets have written what they called Ghazals, but they did not follow the rules. I hope I’ve done a better job of it.


My example:

Wind whispers softly in the trees,
listen, hear the sighing trees.

Autumn changes all the leaves
a forest filled with crying trees.

A slender birch is bent to dance
a wood nymph glorifying trees.

A secret is not safe at all
when told beneath the spying trees.

I see a thousand shades of green
when I look upon the sighing trees.

A sunset paints the mountainside
liming rocks and dyeing trees.

The loggers come and cut their swath
and all around are dying trees.

Note: this Ghazal does not contain a signature in the Maqtaa. :-)