Ghazal

In the book titled Exaltation of Forms by Annie Finch, the chartered titled “Ghazal: To be Teased Into Disunity” by Agha Shahid is centered around the history of ghazals. The ghazal is made up of thematically independent couplets held. These couplets can be different things and can include comics, romantic and even religious. The ghazali’s built upon association and memory and expectation. Ghazals can also appear to have rhymes and appear to have the same number of syllabus because of the quantitative meters of Perisna and Urdu. To sum up, a ghazal has an opening couplet (matla), a rhyme (qafia) and refrain (radif) that occur in both lines.

Ghazals are poems/ songs that are used in a plethora of cultures to describe pain or loss or separation and the beauty of love that still comes through pain. For example, the author states, “However some rules of the ghazal are clear and classically stringent”. This connects to how ghazals are written can better help the reader understand what is being interpreted.

The poem includes many ghazals that show the thesis of the structures of ghazals. One example can be seen on page 214, “ In Kashmir, half asleep, Mother lies to the rain. In another country,I feel her presence in the rain” (Jewel House Ghazal). This can be described as the qafia or rhyme that ghazia includes. ANother example can be seen in this same ghazal with the repetitive rhyme that the author includes. The author includes the word “rain” multiple times to show that even though the authors not with her mother the rain is a symbol that reminds her of her mother. She can be anywhere and when it rains she feels like she always has her mother.

Finch, A. R. C., & Varnes, K. L. (2002). An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art (1st ed.). University of Michigan Press.

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Delenny De La Cruz

I enjoy reading and writing about very important matters that occur on a day to day basis. I also enjoy looking into others opinions and learning more from them