Uruzi analysis of ala hazrat' kalaam

Discussion in 'Poetry' started by Noori, Jan 5, 2014.

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  1. Noori

    Noori Senior Moderator

    I just noticed that naat sharif in my signature is also in behr ramal wazn is same fāy'lātun fāy'lātun fāy'lātun fāy'lun (فاعِلاتن فاعِلاتن فاعِلاتن فاعِلن). Will check other asha'ār later inshaAllah.
  2. Noori

    Noori Senior Moderator

    Another naat in behr ramal with wazn fāy'lātun fāy'lātun fāy'lātun fāy'lun (فاعِلاتن فاعِلاتن فاعِلاتن فاعِلن)

    I am only doing taqtiy' of first shair.
    Aariz e shams o qamar say bhi haiN anwar aiRiyaaN
    Arsh ki aankhon kay taaray haiN woh khoshtaf aiRiyaaN

    Aa rize sham/ so qamar say /bhi haiNan war / ai RiyaaN
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Ar shki aaN /khon kaytaa ray /haiN wohkhosh tar / ai RiyaaN
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Waw ma'dulah is not counted like in khud, khush khoshtar etc. i highlighted only a couple of places, rest can be figured out from my above posts.

    Only in a couple of verses first line doesn't fit, probably there are rules that i don't know yet, it is also possible that the naat sharif is in some other behr but also fits in the above mentioned wazn of behr ramal, but i'm almost certain about it that naat sharif is in behr ramal. One of the lines (misra') that doesn't fit is

    Naj mgar dooN / to nazar aa / tay haiNcho tay / aw rwoh paa / oN
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun
    Last edited: Jan 5, 2014
  3. Noori

    Noori Senior Moderator

    Another naat sharif in behar ramal

    fāy'lātun fāy'lātun fāy'lun (فاعِلاتن فاعِلاتن فاعِلن)

    Lutf Unka Aam Ho Hi Jayega
    Shaad Har Nakaam Ho Hi Jayega

    Lut fUn ka / Aa mHo Hi / Jaa yega
    fā y'lā tun / fā y'lā tun / fā y'lun

    Shaa dHar Naa / kaa mHo Hi / Jaa yega
    fā y'lā tun / fā y'lā tun / fā y'lun

    Jaan De Do Wa'ada E Deedar Par
    Naqd Apna Daam Ho Hi Jayega

    Jaa nDe Do / Wa'a daey Dee / daa rPar
    fā y'lā tun / fā y'lā tun / fā y'lun

    Naq dAp na / Daa mHo Hi / Jaa yega
    fā y'lā tun / fā y'lā tun / fā y'lun

    Ay Raza Har Kaam Ka Ik Waqt Hai
    Dil Ko Bhi Aaram Ho Hi Jayega

    Ay Raza Har / Kaa mKa Ik / Waq tHai
    fā y'lā tun / fā y'lā tun / fā y'lun

    Dil KoBhi Aa / raa mHo Hi / Jaa yega
    fā y'lā tun / fā y'lā tun / fā y'lun
  4. Noori

    Noori Senior Moderator

    now taqtiy' of ala hazrat's (alaihi rahmah wa raiDwan) na'at sharif. i have copied it from http://www.islamiclyrics.net/owais-raza-qadri/subha-taiba-mein-hui/ with minor corrections

    Subha Taiba meiN hui bat’ta hai bara noor ka
    Sadqa laynay noor ka aaya hai tara noor ka

    letters in red are dropped, and in green are made mutaharrik and combined to make watad of the rukn, explanation is given below.
    sub hatay bah / maiN hoi baT / ta haybaa Raa / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Sad qalay nay / noo rka aa / ya haytaa ra / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    if there are two sakin letters at the end of a word then last can be treated as mutaharrik and used with other part of the rukn (sabab or watad) or another rukn. in first line ha of subh(صبح) is combined with first syllable of taybah (tay+bah)., then in second runk (fāy'lātun) of the line NuN ghunnah of maiN is dropped as it is never counted, hoi (ھوئی) is the watad part but waw is dropped because only paish on ha is enough to make that sound, therefore letters counted are ha, hamzah and yaa. first two are mutaharrik and last is sakin. baTta has two syllables (baT+ta), first syllable was counted in second rukn (fāy'lātun), and second part becomes the fā part of third rukn (fāy'lātun). again yaa of hay (ہے) is dropped to make the watad of the rukn. in the last rukn (fāy'lun) again there are two sakin at the end of noor, therefore ray of noor is made mutaharrak and combined with kaa to make watad of the this rukn.

    second line takes the same explanation for all such places.

    Jo gadaa dekho liye jata hai tora noor ka
    Noor ki sarkar hai kiya is mein tora noor ka

    Jo gadaa de / kho liye jaa / taa hayto raa / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Noo rki sar / kaa rhay kiya / is meiNto Ra / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    in first line second syllable of dekho (de+kho) will be counted as ko because do-chasmi hay is never counted (it is part of the sound). in second line ray of noor is combined with ki to make it watad as it is perfectly allowed and explained above. sarkaar is divided into three parts, first part (sar) goes in the last sabab of first rukn, second part (kaa) becomes the sabab of second rukn, and ray is made mutaharrik and combined with hay to make the watad. as i explained that NuN ghunnah is always dropped therefore it is not counted in meiNto, but still there is one yaa and it is also dropped as the sound combines with first part of toRa (i.e. to). rest is same as explained earlier.

    Mein gada tu badshah bhar day piyala noor ka
    Noor din duna tera day daal sadqa noor ka

    MeiN gada tu / baa dshah bhar / day piyaa laa / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Noo rdin du / na tera day / daa lsad qa / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Aie raza yeh ahmaday noori ka faize noor hai
    Ho gayi meri ghazal bhar ker qasida noor ka

    Aie raza yeh / ah maday noo / ri kafay zay / noo rhay
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    Ho gayi me / ri ghazal baRh/ ker qasee da / noo rka
    fā y'lā tun / fā y'lā tun / fā y'lā tun / fā y'lun

    in first line ahmaday is broken in two parts ah is faa (sabab) part of the rukn and maday with kasrah on daal is the watad.
    Last edited: Jan 3, 2014
  5. Noori

    Noori Senior Moderator

    disclaimer: i am not an expert, just learning and using ala hazrat's kalam as a guide. if anybody finds anything incorrect, he is most welcome to help me correct it.
  6. Noori

    Noori Senior Moderator

    to understand meters first we need to understand syllables , in urdu poetry three types of syllables are used sabab (سبب), watad (وتد), and faaslah (فاصلہ), but only the first two are important and will do. each of these syllables are further divided into two, i will explain them in below;

    sabab khafeef (سبب خفیف): it is a two letter syllable with first letter mutaharrik (short wovels zair, zabar, paish) and second sakin (silent). for example tum (تم), ham (ھم), bas (بس), jab (جب), hay (ہے), kaa (کا), ki (کی), kay (کے), gum (گم) etc.

    sabab saqeel (سبب ثقیل): two letter syllable where both the letters are mutahrrik, but in urdu there is no word because in urdu all words end with sukun

    watad majmu' (وتد مجموع): three letter syllable, first two letters are mutaharrik, and third is sakin like sanam (صنم), agar (اگر), nagar (نگر), kahaa (کہا), sunaa (سنا) etc

    watad mafruq (وتد مفروق): three letter syllable, first and third are mutaharrik, and second is silent, it only happens in izafat (اضافت) like shehr-e-nabi (شہر نبی)، there is a kasrah (zair) on last letter of shehar.

    faaslah sughra (فاصلہ صغریٰ): four letter syllable, first three letters are mutaharrik, and last letter is sakin for example mutawaatar(متواتر), here mutawaa (متوا) is faaslah, but alternatively it can also be decomposed in sabab saqeel (muta) + sabab khafif (waa), that is why i said that usually sabab and watad will do.

    faaslah kubra (فاصلہ کبریٰ): five letter syllable, first four are mutaharrik, and last one is sakin, but again in urdu it doesn't occur except in izafat، therefore it is not important.

    having explained that now let us take the meter of ala hazrat's naat sharif which is fāy'lātun fāy'lātun fāy'lātun fāy'lun (فاعِلاتن فاعِلاتن فاعِلاتن فاعِلن), that is fāy'lātun three times and fāy'lun one time, these are called rukn. now let us analyse it for syllables

    fāy'lātun= fā + y'lā + tun = sabab + watad+ sabab
    fāy'lun = fā + y'lun = sabab + watad

    it should be noted that though in both arkan fāy'lātun or fāy'lun or in any rukn of buhur the only requirement is that letter should be mutaharrik or sakin, not that they should take exact harakat as in the rukn. for example in fāy'lātun ayn is maksur (with kasarah), but in shair letter can take any of the three harakaat (zabar, zair, and paish).

    some letters are never counted in wazn for example nuN ghunnah in kahaaN (کہاں), and do chashmi hay in khaana(کھانا), and combined ya (ya'ay makhlutah) as in kia (کیا)، therefore;

    kahaan (کہاں) = kahaa (کہا)= watad
    khaanaa (کھانا) = kaa naa (کانا) = sabab + sabab
    kiya (کیا) = ka (کا) = sabab
    Last edited: Jan 3, 2014
  7. Noori

    Noori Senior Moderator

    Behr ramal is very famous meter among urdu poets, and number one in rank for its use in poetry. Its original form is fāy'lātun fāy'lātun fāy'lātun fāy'lātun, four times in each line of verse, but many variants are in use for example ala hazzrat's alaihi rahmah wa riDwan following naat sharif in behr ramal muzāhaf (variant). There are many muzāhaf (variants) of behr ramal, will explain in detail some other time as i am myslef learning yet.

    Subha taibah maiN hoi baTta hay baaRah noor ka
    Sadqah lainay noor ka aayaa hay taara noor ka

    The meter used is fāy'lātun fāy'lātun fāy'lātun fāy'lun, the last rukn ends with ayn, lām, and nūn.

    Taqtīy' of shair

    Subha tay bah / main hoi baT / ta hay bāRah / noor ka
    fāy'lātun / fāy'lātun / fāy'lātun / fāy'lun

    Some letters are mandatorily and some are optionally dropped, will explain it in next post.

    I thought explaining meters and their rules through ala hazrat' kalam would be useful to learn and teach and encourage others to do poetry on his footsteps.

    Those interested should try to do decomposition (taqtīy') of other asha'ār in this naat, they will quickly realize what letters are being dropped.
    Last edited: Jan 3, 2014

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