Structure of Urdu She’r

Let’s explore the Structure of Urdu She’r today. The Urdu She’r is a compact and rhythmic poetic form, a significant part of Urdu Ghazal, that embodies intricate ideas and emotions within a succinct two-line structure. Each She’r is a self-contained unit, making it a distinctive and versatile mode of expression. Below are the primary elements and structure of an Urdu She’r:

Couplet Structure:

A She’r consists of two lines, called misra (مصرع):

• Misra-e-Ula (مصرعِ اولیٰ): The first line of the couplet.
• Misra-e-Sani (مصرعِ ثانی): The second line of the couplet.

Each line complements the other in thought, rhythm, and meaning, often culminating in a profound statement in the second line.

Example:

Misra-e-Ula: دل کے خوش رکھنے کو غالب یہ خیال اچھا ہے
(Dil ke khush rakhne ko Ghalib yeh khayaal achha hai)

Misra-e-Sani: ہم بھی تسلیم کریں گے، کوئی حال اچھا ہے
(Hum bhi tasleem karenge, koi haal achha hai)

 

Rhyme and Rhythm:

Qaafiya (قافیہ):

Qaafiya is the rhyming pattern or word(s) that appear before the Radif in a couplet. It provides the rhyme scheme for the poem and is a mandatory element of the Ghazal.

• Role: Ensures a rhythmic consistency across the couplets.
• Placement: Found at the end of the first line (Misra-e-Ula) and repeated before the Radif in the second line (Misra-e-Sani) of each couplet.

Radif (ردیف):

Radif is a word or phrase that is repeated exactly at the end of both lines of every couplet in the poem. It is a fixed refrain that follows the Qaafiya.

• Role: Adds harmony and thematic unity to the Ghazal.
• Placement: Comes immediately after the Qaafiya.

 

Example of Qaafiya and Radif:

A classic couplet by Mirza Ghalib:

Misra-e-Ula: دل ہی تو ہے نہ سنگ و خشت، درد سے بھر نہ آئے کیوں
(Dil hi to hai na sang o khisht, dard se bhar na aaye kyun)

Misra-e-Sani: روئیں گے ہم ہزار بار، کوئی ہمیں ستائے کیوں
(Royenge hum hazaar baar, koi humein sataye kyun)

 

Breakdown:

• Radif (ردیف): “نہ آئے کیوں” (na aaye kyun)
  • Repeated exactly in both lines.
• Qaafiya (قافیہ): “خشت” (khisht), “بار” (baar)
  • Rhyming words that appear before the Radif.

 

Key Characteristics of Qaafiya and Radif:

1. The Qaafiya must rhyme consistently in all couplets.
2. The Radif must be repeated without any variation in every couplet.
3. Together, they create a rhythmic and melodic effect, enhancing the musicality of the Ghazal.

This combination of Qaafiya and Radif is one of the defining features of Urdu poetry, giving it both structure and charm.

 

Meter (وزن):

Urdu poetry is deeply rooted in precise rhythmic and metrical structures. Meter (وزن) and Behr (بحر) are foundational concepts that govern the rhythm and flow of a poem or Ghazal.

Meter (وزن):

• Definition:
  Meter (وزن) refers to the rhythmic structure of a verse. It is the arrangement of syllables in terms of their length (short or long sounds). Urdu poetry uses the rules of ‘Arūḍ (عروض), which is the science of metrical composition, to define the meter.
• Key Features:
  • Urdu poetry categorizes syllables into short (ہلکا) and long (بھاری) sounds.
  • A metrical pattern is followed in both lines of a couplet to maintain balance and musicality.
• Example of Meter:
  The couplet by Allama Iqbal:

خودی کو کر بلند اتنا کہ ہر تقدیر سے پہلے
خدا بندے سے خود پوچھے، بتا تیری رضا کیا ہے

In this couplet, the syllables follow a consistent meter that aligns with the rules of Urdu prosody.

 

Behr (بحر):

• Definition:
  Behr (بحر) refers to the complete metrical framework or pattern used in a poem. It is a specific arrangement of syllables and is categorized based on the length and rhythm of the poetic lines. Each Ghazal or Nazm adheres to a single Behr throughout.
• Types of Behr:
  Urdu poetry has 19 classical Behrs, each with further subdivisions. Some popular ones include:
  • Behr-e-Kamil (بحرِ کامل): Full meter
  • Behr-e-Hazaj (بحرِ ہزج): Undulating meter
  • Behr-e-Ramal (بحرِ رمل): Tapestry-like meter
  • Behr-e-Mutaqarib (بحرِ متقارب): Converging meter
• Example of Behr:
  The Ghazal by Mirza Ghalib adheres to a specific Behr:

دل ہی تو ہے نہ سنگ و خشت، درد سے بھر نہ آئے کیوں
روئیں گے ہم ہزار بار، کوئی ہمیں ستائے کیوں

This Ghazal follows Behr-e-Hazaj, maintaining the same rhythmic structure in all couplets.

 

Difference Between Meter and Behr:

Aspect	Meter (وزن)	Behr (بحر)
Scope	The specific syllabic pattern of a line.	The overarching metrical framework.
Focus	Deals with the arrangement of short and long syllables in a single line.	Defines the structural pattern for the entire poem.
Role	Affects individual lines of poetry.	Governs the consistency of the entire poem.

 

Example:

Let’s analyze the first line of Ghalib’s couplet:

دل ہی تو ہے نہ سنگ و خشت، درد سے بھر نہ آئے کیوں

• Meter: Consistent pattern of syllables, e.g., short-long-short-long.
• Behr: The poem follows a specific Behr (e.g., Behr-e-Hazaj), where all couplets maintain the same rhythmic structure.

 

By following the principles of Meter (وزن) and Behr (بحر), poets ensure that their compositions have a harmonious flow and a melodious impact.

 

Themes and Style:

Urdu She’r, the foundation of Urdu poetry, is known for its rich thematic variety and stylistic elegance. Each She’r (couplet) is a self-contained unit that conveys profound thoughts or emotions in a few words, often blending multiple layers of meaning.

 

Themes in Urdu She’r:

The themes in Urdu She’r are diverse and encompass a wide range of human experiences, emotions, and philosophical ideas. Some of the most prominent themes include:

1. Love (عشق)

• Theme: Explores the beauty, pain, and spiritual transcendence of love. Love can be both earthly (for a beloved) and divine (for God).
• Example:
  غالب
  دل ہی تو ہے نہ سنگ و خشت، درد سے بھر نہ آئے کیوں
  (Dil hi to hai na sang o khisht, dard se bhar na aaye kyun)
  (The heart is not stone or brick, so why shouldn’t it be overwhelmed with pain?)

2. Mysticism (تصوف)

• Theme: Deals with spiritual longing, unity with the divine, and Sufi philosophy.
• Example:
  بیدل
  دل چراغِ عشق کی لَو سے منور ہو گیا
  (Dil charagh-e-ishq ki lau se munawwar ho gaya)
  (The heart became illuminated by the flame of love.)

3. Philosophy and Life (فلسفہ و حیات)

• Theme: Reflects on the mysteries of life, death, and the universe.
• Example:
  اقبال
  خودی کو کر بلند اتنا کہ ہر تقدیر سے پہلے
  خدا بندے سے خود پوچھے، بتا تیری رضا کیا ہے
  (Khudi ko kar buland itna ke har taqdeer se pehle, Khuda bande se khud pooche, bata teri raza kya hai)
  (Elevate your selfhood to such heights that God Himself asks you what your will is.)

4. Human Emotions (انسانی جذبات)

• Theme: Captures the spectrum of emotions like joy, sorrow, hope, despair, and longing.
• Example:
  میر
  دیکھ تو دل کہ جاں سے اٹھتا ہے
  یہ دھواں سا کہاں سے اٹھتا ہے
  (Dekho to dil ke jaan se uthta hai, Yeh dhuwan sa kahan se uthta hai)
  (See how this smoke rises from my heart and soul—where does it come from?)

5. Social and Political Commentary (سماجی و سیاسی تبصرہ)

• Theme: Addresses social injustices, political issues, and human rights.
• Example:
  فیض احمد فیض
  متاعِ لوح و قلم چھین لی گئی ہم سے
  جو چاہے آپ کا حسنِ کرشمہ ساز کرے
  (Mata-e-loh-o-qalam cheen li gayi hum se, Jo chahe aap ka husn-e-karishma saaz kare)
  (Our pen and writing board were taken away from us; now your wondrous magic may do what it pleases.)

 

Style in Urdu She’r:

Urdu She’r is renowned for its stylistic elegance, marked by rhetorical devices, musicality, and precision.

1. Symbolism (علامت)

• Poets use symbols like gul (flower), shama (lamp), parwana (moth), and saaqi (cupbearer) to express complex ideas.
• Example:
  فراق گورکھپوری
  شمع ہر رنگ میں جلتی ہے سحر ہونے تک
  (Shama har rang mein jalti hai sehr hone tak)
  (The lamp burns in every color until dawn breaks.)

2. Ambiguity and Double Meaning (ابہام)

• Urdu She’r often contains layers of meaning, allowing multiple interpretations.
• Example:
  غالب
  ہزاروں خواہشیں ایسی کہ ہر خواہش پہ دم نکلے
  (Hazaroon khwahishein aisi ke har khwahish pe dam nikle)
  (Thousands of desires, each worth dying for.)

3. Conciseness and Compactness (اختصار)

• Each couplet is brief but loaded with meaning, allowing poets to convey profound thoughts in minimal words.

4. Musicality (نغمگی)

• The rhythmic and rhyming structure (Qaafiya and Radif) makes She’r melodious.
• Example:
  امیر مینائی
  زندگی کی حقیقت کوہکن کے دل سے پوچھ
  جوئے شیر و تیشہ و سنگِ گراں ہے زندگی
  (Zindagi ki haqeeqat Kohkan ke dil se pooch, Joo-e-sheer-o-teesha-o-sang-e-giran hai zindagi)
  (Ask the heart of a mountain-breaker about life; it is the struggle of the stream, the axe, and the heavy stone.)

5. Hyperbole (مبالغہ)

• Exaggeration is often used to intensify emotions or ideas.
• Example:
  میر
  ہم کو شاعر نہ کہو، میر کہ صاحب ہم نے
  درد و غم کتنے کیے جمع تو دیوان کیا
  (Hum ko shayar na kaho, Mir ke sahib hum ne, Dard-o-gham kitne kiye jama to deewan kiya)
  (Don’t call me a poet, Mir; I merely compiled my sorrows into a book.)

 

Urdu She’r blends diverse themes—ranging from love and mysticism to social justice—with a sophisticated style that appeals to both intellect and emotions. Its use of symbolism, ambiguity, and rhythm ensures that each couplet is not only a work of art but also an enduring treasure of meaning and beauty.

 

Example of a She’r:

Here’s a classic She’r by Mirza Ghalib:
دل ہی تو ہے نہ سنگ و خشت، درد سے بھر نہ آئے کیوں
روئیں گے ہم ہزار بار، کوئی ہمیں ستائے کیوں

Translation:
It’s only a heart, not stone or brick; why shouldn’t it overflow with pain?
We’ll cry a thousand times; why should someone torment us?

The Urdu She’r is a timeless poetic form that continues to inspire poets and readers with its brevity, elegance, and philosophical depth.

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