Rhyming Forms: Ghazal

Ghazal

A Ghazal appears similar to a poem created of couplets. However, it is much more complex than that.

Each couplet in a Ghazal is a poem all by itself and yet, is an intricate part of a larger poem as well.

The Ghazal has a refrain of one to three words that repeat as well as an internal mono-rhyme that comes directly before the refrain in the first two and every second line thereafter. So, if there are 8 couplets, there will be 9 rhymes used in the mono-rhyme scheme (lines 1,2,4,6 and 8).

Every line in a Ghazal has the same number of syllables. The number of syllables per line is up to the author. Keep in mind when deciding on line length that you must maintain a 1 to 3 word refrain phrase and that will consume 1 to 3 syllables in over half of the lines.

The last couplet in a Ghazal should make a reference to the author’s 'Maqta' (pen name) while adhering to the context and integrity of the entire poem.

The rhyme scheme of a Ghazal goes like this:

Line 1: A (use 1 to 3 of the ending words as your refrain, start your mono-rhyme directly before the refrain phrase)
Line 2: A (mono-rhyme directly before 1 to 3 word refrain)

Line 3: b (no rhyme or refrain required)
Line 4: A (mono-rhyme directly before 1 to 3 word refrain)

Line 5: c (no rhyme or refrain required)
Line 6: A (mono-rhyme directly before 1 to 3 word refrain)

Line 7: d (no rhyme or refrain required)
Line 8: A (mono-rhyme directly before 1 to 3 word refrain)

Line 9: e (no rhyme or refrain required)
Line 10: A (mono-rhyme directly before 1 to 3 word refrain)

The author’s 'Maqta' (pen name) would be inserted in lines nine or ten for this sample rhyme scheme. The number of couplets can go on but there are typically 5 to 15 couplets in a Ghazal.

NOTE: Example 1 has an every-line, internal, mono-rhyme as well as an end of the line mono-rhyme.
A Ghazal only requires an internal mono-rhyme to be present in lines 1, 2, 4, 6, 8, 10, 12…and every even numbered line after but does not restrict the use of additional rhyme and sound techniques.
Though there is no rule against using end rhyme in a Ghazal, it does not cancel the required internal, mono-rhyme scheme that precedes the refrain phrase.


EXAMPLE 1:

Nature of Love By JM Kenyon

With earnest, passion raindrops pummel earth and seep within her soul;
I wonder if I cried for her if I could creep within her soul.

With sunlit breath the earth is burned and fire leaps beyond control;
I wonder if my breath on her could light love deep within her soul.

The gentle moon collected light to sweep from pole to distant pole;
I wonder if I touched her so, if I could sleep within her soul.

The dewdrop tears of earth await the dawn to peep and to console;
I wonder if I bowed my head if I could weep within her soul.

The seeds I’ve never tried to nourish can’t be reaped for there’re not whole,
without that tenderness I’m but a hurting heap within her soul.

My heartbeat leads me like a sheep unto a sacrificial knoll,
it’s where she shears the wool of love that I made cheap within her soul.

Oh, storms have stole all hope that I could steep myself in pitch and coal,
the ‘jinni’ spells grow weaker while love falls asleep within her soul.

Example 1 breakdown:

1. refrain: within her soul
2. each couplet can stand alone
3. 16 syllables per line
4. Maqta in last couplet (Jinni)
5. iambic octameter (not required)
6. mono-rhyme preceding refrains
7. additional end-of-the-line mono-rhyme (not required)
8. additional internal mono-rhyme in lines 3,5,7,9, 11 and 13 (not required)




NOTE: Example 2 carries a mono-rhyme at the end of every line and a medial mono-rhyme in lines 3,5,7,9 and 11 as well as the required internal mono-rhyme before each refrain.
A Ghazal only requires an internal mono-rhyme to be present in lines 2, 4, 6, 8, 10, 12…and every even numbered line after but does not restrict the use of additional rhyme and sound techniques.
Though there is no rule against using end rhyme in a Ghazal, it does not cancel the required internal, mono-rhyme scheme that precedes the refrain phrase.

EXAMPLE 2:

Dreams of You by JM Kenyon

I walked upon a golden shore and I collected dreams of you
and everything that I encountered there connected dreams of you.

Your motive I had not suspected as I followed where you blew,
my will became a passing thing, and it reflected dreams of you.

Your love I could not have rejected as it took up wings and flew
but sunrise lit reality and it dissected dreams of you.

My heart and soul were unprotected from the one I thought I knew,
you led me on into the night and resurrected dreams of you.

I searched the shores for more than your pall, unaffected heart untrue;
I waited and I wept while lost in my dejected dreams of you.

Your song and dance you had perfected to precision through and through,
but ‘Jinni’ dances there no more in misdirected dreams of you.

Example 2 breakdown:

1. refrain: dreams of you
2. each couplet can stand alone
3. 16 syllables per line
4. Maqta in last couplet (jinni)
5. iambic octameter (not required)
6. mono-rhyme preceding refrains
7. additional end-of-the-line mono-rhyme (not required)
8. additional internal mono-rhyme in lines 3,5,7,9, and 11 (not required)