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Nazm (Urdu: نظم) is a major part of Urdu and Sindhi poetry that is normally written in rhymed verse and also in modern prose-style poems. Nazm is a significant genre of Urdu and Sindhi poetry; the other one is known as ghazal.

Nazm is significantly written by controlling one’s thoughts and feelings, which are constructively discussed as well as developed and finally, concluded, according to the poetic laws. The title of the nazm itself holds the central theme as a whole. While writing nazm, it is not important to follow any rules as it depends on the writer. A nazm can be long or short and there are no restrictions on size or rhyme scheme. All the verses written in a nazm are interlinked.[1]

Forms of nazm

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The following are the different forms of nazm:[2][3]

Urdu nazm poets

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Notable nazm poets include:[4]

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Nazm

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Nazm (Urdu: نظم, lit. 'order' or 'arrangement', derived from Persian poetic traditions) is a prominent form of characterized by a structured composition that develops a single, unified theme through logically connected verses, often in rhymed or unrhymed meter, contrasting with the independent couplets of the . Originating in the 16th and 17th centuries in the Deccan region under Muslim courts, where poets like (1565–1612) composed over 50,000 verses in Dakhini blending Persian and local elements, nazm evolved from early Sufi-influenced narratives to more refined expressions during the 18th century in the and schools. Key figures such as Wali of Aurangabad (1667–1707), often called the "Father of ," introduced simpler styles to , while poets like , Nasikh, and Anis advanced ornate narrative and elegiac forms, including masnavis for storytelling and marsiyas for elegies. The marked a pivotal shift post-1857, with the and Western influences prompting reformers like and to use nazm for social critique and patriotism, as seen in Hali's musaddas Madd-o-Jazr-e-Islam (1879) on the ebb and flow of Islamic civilization. In the 20th century, nazm gained modern prominence through progressive writers addressing colonialism, social justice, and existential themes, with Muhammad Iqbal's philosophical works like Shikwa (1909) exemplifying its didactic potential, and later poets such as Faiz Ahmed Faiz, Josh Malihabadi, and Akhtarul Iman incorporating free verse and Marxist influences for themes of equality and resistance. Unlike the ghazal's strict qafiya (rhyme) and radeef (refrain) across 5–15 couplets, nazm allows flexibility in length, structure, and title, encompassing subgenres like qasida (panegyric), musaddas (sextet stanza), blank verse (nazm-e-mu'arra), and free verse (azad nazm), often serving narrative, descriptive, satirical, or philosophical purposes. This versatility has made nazm a vehicle for cultural identity and social commentary in Urdu literature, with centers like Delhi, Lucknow, and Rampur fostering its growth.

Definition and Characteristics

Etymology and Meaning

The term nazm derives from the root naẓm, which signifies "order," "," or "stringing together," evoking the of threading pearls into a to denote the structured composition of poetic elements. In literary theory, this concept underscores poetry as an organized assembly of verses, contrasting with the scattered or dispersed nature of . In , nazm emerged as a broad designation for all forms of rhymed, metered verse, serving as the counterpart to nathr (), which lacks such rhythmic constraints and is characterized by free-flowing expression. This , rooted in early Islamic scholarly treatises on and , highlights nazm's emphasis on harmonious arrangement to achieve aesthetic and structural integrity, as seen in classical works by poets like and from the 9th to 11th centuries. Upon its adoption into Urdu poetry during the 18th and 19th centuries, nazm evolved to specifically denote a cohesive poetic form unified by a single theme, allowing for narrative progression and logical development across the entire composition, distinct from the more episodic ghazal. This transition reflected Urdu's synthesis of Persian traditions with local vernacular influences, with early exemplars appearing in the works of poets such as Nazir Akbarabadi (c. 1735–1830), who employed nazm for didactic and descriptive purposes. By the late 19th century, the form gained further prominence through literary gatherings like the 1874 Munazama symposium in Lahore, solidifying its role in Urdu's poetic canon.

Key Features

The nazm is characterized by a unified central theme that unfolds through a logical progression across its verses, ensuring coherence and interconnectedness rather than the disjointed structure of independent couplets found in forms like the . This progression allows the poem to develop a single presiding idea, often building from introduction to culmination in a purposeful manner. In terms of form, the nazm offers significant flexibility in meter, which can follow quantitative patterns based on long and short syllables or accentual rhythms, and in rhyme schemes, encompassing rhymed verses, unrhymed , or without fixed constraints. This adaptability enables poets to prioritize thematic flow over rigid prosodic rules, with stanzas typically linked to maintain the poem's overall unity. The length of a nazm varies widely, from concise reflective pieces of a dozen lines to extended spanning hundreds of verses, always emphasizing the interconnection of stanzas to support the central motif. It often adopts an objective tone suited to or philosophical expression, employing controlled and symbolism to convey ideas with precision and depth rather than overt emotionalism.

Comparison with Ghazal

The ghazal in Urdu poetry is structured as a series of independent couplets known as sher, typically numbering between 5 and 15, each functioning as a self-contained unit while unified by a consistent meter, a recurring rhyme (qaafiya), and a refrain (radeef). The first couplet, or matla, features the rhyme in both lines, and the final couplet, or makta, often incorporates the poet's takhallus (pen name). This form emphasizes lyrical brevity and emotional intensity, frequently exploring romantic or mystical themes such as love and longing. In contrast, the nazm exhibits a continuous, cohesive flow with thematic unity across its entirety, unbound by mandatory refrains or independent couplets, allowing for varied stanzaic arrangements or even . While the ghazal's structure prioritizes discrete, evocative expressions, the nazm's integrated progression enables exploration of diverse subjects beyond romance, including , philosophical, or didactic elements, maintaining through line length and optional without rigid constraints. Thematically, the tends toward subjective lyricism, delving into personal emotions and conventionalized experiences often detached from broader social contexts, whereas the nazm adopts a more expansive scope, facilitating narrative depth, philosophical inquiry, or instructional tones that address societal or intellectual concerns. This distinction underscores the nazm's emphasis on holistic unity, where ideas interconnect progressively rather than episodically. Historically, the dominated from the 18th to 19th centuries as the primary vehicle for emotional and lyrical expression, rooted in Eastern traditions. The nazm, influenced by Western literary forms post-1857, emerged prominently in the late 19th and 20th centuries, particularly from the onward, as a medium for and modernist sensibilities, gradually challenging the ghazal's preeminence despite initial resistance.

Historical Development

Origins in Persian Literature

The concept of nazm, referring to structured verse poetry in Persian literature, emerged in the 10th century as New Persian developed as a literary medium following the Arab conquest, distinguishing itself from Arabic influences through rhymed compositions that encompassed both epic narratives and lyrical expressions. Rudaki (d. 940 CE), often hailed as the father of Persian poetry, pioneered this form at the Samanid court, producing qasidas, ghazals, and fragments of rubaiyat that exemplified nazm's rhythmic and metrical arrangement, drawing on pre-Islamic oral traditions while adapting Islamic-era prosody. His works, such as the Kalila wa Dimna preface and various odes, established nazm as a vehicle for moral, panegyric, and descriptive themes, with over 1,000 surviving verses attesting to its early versatility. A landmark in nazm's epic dimension came with Firdausi's (completed ca. 1010 CE), a vast comprising approximately 50,000 rhyming couplets that chronicled Persia's mythical and historical kings, heroes, and legends, thereby preserving pre-Islamic cultural heritage in a unified poetic structure. This form, characterized by continuous rhyme (aa, bb, cc) and quantitative meter, represented nazm's capacity for extended narrative without the constraints of monorhyme, influencing subsequent epic and didactic poetry. Firdausi's composition, dedicated to Sultan Mahmud of Ghazna, not only revitalized Persian identity but also integrated subtle Sufi undertones of divine order and moral struggle within its rhymed framework. The theoretical distinction between nazm (, literally "arrangement" or "stringing," evoking pearls on a necklace) and nathr (, "scattered") was formalized in the 13th century by Shams Qays Razi in his treatise Al-Mu'jam fi Ma'ayir Ash'ar al-'Ajam, the earliest comprehensive manual of Persian poetics, which defined nazm's core elements including the bayt (hemistich ) as the minimal semantic unit and emphasized sequential coherence in verse construction. Razi's work codified prosodic rules, rhetorical devices, and the aesthetic principles of nazm, drawing on earlier Arab models while tailoring them to Persian meters like the ramal and hazaj, thereby solidifying its status as a disciplined art form. Early nazm also incorporated Sufi themes, as seen in rhymed mystical verses by poets like (d. 1131 CE), who used the form to explore spiritual ascent and divine unity, prefiguring later developments in didactic masnavis. This Persian nazm tradition proliferated through cultural exchanges, reaching the via Timurid and Mughal patronage from the onward, where courtly poets and scholars adapted its forms amid Indo-Persian synthesis, setting the stage for vernacular evolutions.

Emergence in

The nazm form, drawing from its Persian roots as a structured poem, began to emerge in during the 16th and 17th centuries in the Deccan region under Qutb Shahi patronage, where poets like (1565–1612) composed nazms and other verses in Dakhini , blending Persian conventions with local linguistic elements. Wali Muhammad Wali, commonly known as Wali Dakhani (1667–1707), advanced this development by adapting Persian poetic conventions within the Deccani of and introducing them to northern during his visit to around 1700 CE, blending them with indigenous elements to create accessible expressions of Sufi themes and everyday sentiments and formalizing nazm as a vehicle for narrative and reflective verse across the subcontinent. By the , nazm consolidated within the distinct poetic traditions of the and schools, where it increasingly addressed ethical dilemmas and satirical critiques of society. In the school, poets employed nazm to explore moral introspection and amid the declining Mughal patronage, often using simple diction to convey philosophical and ethical insights. The school, flourishing under Nawabi support, elevated nazm through elaborate verbal artistry, incorporating satirical elements to lampoon courtly excesses and ethical lapses, as seen in forms like that extended nazm's scope for moral narrative. This period saw nazm evolve from courtly recitation to a medium for broader ethical discourse, reflecting the socio-political shifts in northern . The British colonial period further propelled nazm's growth by shifting its dissemination from oral and courtly modes to print-based formats, which facilitated longer, more complex compositions and wider accessibility. The advent of printing presses in the early enabled the publication of nazm collections in periodicals and books, democratizing beyond elite circles and allowing ethical and satirical themes to reach urban and rural audiences. This transition, influenced by colonial administrative changes and European literary models, encouraged nazm's adaptation into extended forms suitable for social critique and moral instruction. Early milestones in Urdu nazm are exemplified by (1735–1830), whose compositions on and social observations pioneered the form's focus on common human experiences, diverging from abstract toward relatable vignettes of festivals, labor, and societal roles. His nazms, such as those depicting ordinary Indian customs, established nazm as a pioneering for democratic poetic expression in , bridging 18th- and 19th-century traditions.

20th Century Evolution

In the early , the nazm underwent a romantic transformation, shifting toward an emphasis on personal , , and as a response to colonial influences and cultural . This trend marked a departure from earlier structured forms, allowing poets to explore themes of , , and human sensitivity through more fluid expressions. The romantic nazm gained prominence as absorbed elements of European romanticism, fostering a lyrical style that celebrated the inner world amid social changes. The Progressive Writers' Movement, emerging in the 1930s and peaking through the 1950s, introduced to the nazm, redirecting its focus toward anti-colonial struggles, class oppression, and Marxist-inspired critiques of societal inequities. Influenced by global leftist ideologies, this phase transformed the nazm into a vehicle for political activism, prioritizing concrete human experiences over abstract sentiment and addressing issues like and in accessible, narrative-driven verse. The movement's manifestos and gatherings solidified the nazm's role in advocating social reform during India's pre-independence era. Post-1950s, the nazm entered a modernist phase characterized by experimental , existential themes, and psychological depth, drawing from Western literary innovations while grappling with urban alienation and identity crises. This discarded traditional and meter in favor of innovative structures, enabling explorations of and personal disillusionment in a rapidly modernizing . The 1947 profoundly shaped this period, infusing nazms with motifs of loss, displacement, and fractured as writers processed the trauma of and migration. Concurrently, the rise of performances in the mid-20th century elevated the nazm's , transforming public recitations into dynamic platforms for ideological and cultural dissemination across divided communities.

Forms of Nazm

Traditional Forms

Traditional forms of Nazm in adhere to classical structures derived from Persian and influences, emphasizing fixed rhyme schemes, meters, and thematic purposes such as narration, praise, or philosophical reflection. These sub-genres, including , , Rubai, and Musaddas, maintain a disciplined form while allowing thematic depth within Nazm's broader flexibility. The is a narrative composed of rhyming s, where each follows a consistent metric pattern but features unique rhyming words, enabling extended storytelling. This form typically employs internal rhymes within lines and is structured in units of 10 or 11 syllables per half-line, though variations exist in adaptations. Traditionally used for epics, romances, or didactic tales, poems develop a single subject logically from beginning to end, often exploring romantic, religious, or moral themes. Notable characteristics include its length, which can span hundreds of s, and its suitability for detailed plots, as seen in works like Mir Hasan's Sihr-ul-Bayan. In , the form's follows an aa/bb/cc pattern, distinguishing it from stricter styles. The serves as a or , structured as a with a single throughout, typically comprising 15 to over 100 in a uniform meter. Its adheres to AA-BA-CA-DA, where the first couplet sets the rhyme that repeats in the second line of each subsequent couplet, often without a . Traditionally, Qasidas praise rulers, nobles, or patrons, or lament significant losses, maintaining a formal tone and logical progression toward a conclusion. This form's purpose is to eulogize human subjects or commemorate events, with themes encompassing battles, , or , though it avoids overt spirituality in secular variants. The Rubai, or Rubaiyat in plural, consists of self-contained quatrains that encapsulate a single idea, following a strict where the first, second, and fourth lines rhyme, and the third stands independent. Each is four lines long, with no fixed overall length for collections, and it employs a consistent meter to convey wit or profundity. Traditionally philosophical or satirical, Rubais explore themes of existence, love, or transience in a concise, standalone manner, drawing from Persian roots as exemplified in Omar Khayyam's collections. In Nazm, this form's brevity highlights epigrammatic insight without narrative extension. The Musaddas features stanzas of six lines each, known as sesta ins, with a of aaaabb ( followed by a on a new ), repeatable across units. Derived from the Arabic root "sad" meaning six, it allows for rhythmic repetition and is often metered uniformly within stanzas. Popularized in the for religious, moral, or elegiac themes—such as the of or social reform—Musaddas conveys complex emotions through its structured lamentation or exhortation. In , it gained prominence through works like Altaf Hussain Hali's Musaddas-e-Madd-o-Jazr, focusing on historical or ethical reflections.

Modern Forms

In the mid-20th century, the nazm underwent significant transformation through the adoption of , known as azad nazm, which marked a departure from traditional metrical constraints in favor of natural linguistic rhythm and thematic freedom. Emerging prominently after the , this form abandoned strict behr (meter) and schemes, allowing poets to prioritize emotional and intellectual expression through varying line lengths and internal cadences that mimic . Influenced by global poetic trends, azad nazm enabled explorations of complex social and existential themes, with early exemplars like N.M. Rashid's works in the late evolving into widespread practice post-Partition, as seen in poets such as Miraji who emphasized psychological depth over formal rigidity. Another key innovation was the integration of the form into prosody, introduced in the early by Azmatullah Khan (1887–1923), who adapted the 14-line structure of Shakespearean and Petrarchan models to suit Urdu's phonetic and rhythmic qualities. This hybrid form retained the 's volta and thematic progression—often contrasting or with philosophical reflection—while incorporating Urdu's syllabic flexibility, thus bridging European traditions with indigenous expression. Azmatullah's experiments, including advocacy for matra-based chhand (syllabic meters) from influences, paved the way for subsequent poets like Akhtar Juna Garhi, whose 1914 sonnet "Shehr-e-Khamoshan" exemplified this fusion in literary circles. The influence of English further reshaped the nazm during the 1950s to 1970s, particularly among post-Partition writers who produced shorter, imagistic compositions emphasizing fragmentation, symbolism, and urban alienation. Drawing from and , these nazms featured concise imagery to capture displacement and cultural hybridity, as evident in the works of Pakistani and Indian émigré poets published in journals like Adab-e-Latif. This period saw the nazm evolve into a vehicle for modernist ambiguity, with poets such as Majeed Amjad and Shahryar blending Eastern introspection with Western techniques to address identity crises in a divided subcontinent.

Notable Poets and Works

Early and Classical Poets

(1735–1830), born Wali Muhammad in , is widely regarded as the father of the Urdu nazm for his pioneering use of the form to depict everyday Indian life and folk themes. Unlike many contemporaries who adhered to Persianate conventions, Akbarabadi composed accessible nazms drawing from colloquial , Khari Boli, , and Awadhi dialects, focusing on subjects like seasons, festivals such as and , fruits, human society, and satirical observations of social follies. He authored over 200,000 verses, with approximately 6,000 extant, including masnavis like Laila and Majnun and works on Sufi spirituality, often blending Hindu and Muslim elements without sectarian bias. Despite offers from royal courts during the declining Mughal era and early British colonial period, he declined patronage to maintain independence, working instead as a tutor and minor official in and , reflecting the challenges of artistic integrity amid political upheaval. Altaf Hussain Hali (1837–1914), born in to a scholarly family, emerged as a key reformist poet in the late , shaping the nazm's role in social critique under British colonial rule. Educated in Persian, Arabic, and Urdu, Hali served as a pupil and biographer of and later as literary assistant to , contributing to publications like Muarif. His seminal nazm Musaddas-e-Hali (1879), commissioned by Sir Syed as a for post-1857 Muslim decline, critiques social and moral decay while advocating regeneration through and ethics, marking a shift toward didactic and patriotic expression. Hali's other nazms, such as Shikwa-e-Hind and Chup ki Dad, employ simple, sincere language to address national issues, drawing from his experiences in and courts and the constraints of colonial censorship. These early poets facilitated the nazm's transition from Persian imitation to indigenous Urdu expression, emphasizing moral, ethical, and realistic themes over ornate . Akbarabadi's folk-oriented nazms introduced native imagery and , broadening the form's appeal beyond elite circles, while Hali's reformist works promoted simplicity and social relevance, influencing the school's push for modern amid 19th-century colonial challenges. Their courtly associations—Akbarabadi's rejections and Hali's engagements—highlighted the tensions between traditional and emerging nationalist sentiments in Urdu poetry's formative phase.

Progressive and Modern Poets

Muhammad Iqbal (1877–1938), often regarded as the poet-philosopher of the Muslim world, advanced the nazm form through philosophical explorations that fused Sufi mysticism with nationalist fervor, aiming to revive Muslim consciousness. His seminal works, "Shikwa" (Complaint) and "Jawab-e-Shikwa" (Answer), presented as a dialogue with the divine, critiqued the decline of the while urging self-realization and action, drawing on the philosophy of (selfhood) to inspire revival. Faiz Ahmed Faiz (1911–1984), a leading voice of the Progressive Writers' Movement, infused nazms with social critique, focusing on themes of oppression and human suffering in the context of colonial and post-colonial turmoil. His nazm "Subh-e-Azadi" (Dawn of Freedom), written in the aftermath of the 1947 Partition, poignantly captured the trauma and disillusionment of independence, portraying it as a marred dawn amid violence and betrayal rather than liberation. Josh Malihabadi (1898–1982), known as Shayar-e-Inqilab (Poet of Revolution), brought a stormy, passionate intensity to progressive nazms, emphasizing rebellion against injustice through vivid, rhetorical imagery. His works often rallied against and social inequities, marking a shift toward politically charged expression in . Firaq Gorakhpuri (1896–1982) contributed to lyrical in nazms, blending romantic subtlety with contemporary introspection to explore human emotions and existential concerns. His style, influenced by classical traditions yet innovative, earned him recognition as a bridge between traditional and modern sensibilities in verse. Kaifi Azmi (1919–2002) integrated nazms into film and while maintaining progressive ideals, using accessible language to address labor struggles and social reform. As a member of the Progressive Writers' Association, his poetry, such as those recited in mushairas, amplified calls for equality and through dramatic, performative forms. Akhtarul Iman (1915–1996) pioneered realistic narratives in nazms, employing colloquial prose-like diction to depict everyday human conflicts and societal flaws, diverging from ornate traditions toward stark . His collections, like Yadein, portrayed the grit of urban life and personal alienation with unflinching detail. Noon Meem Rashid (1910–1975) pushed modernist experiments in nazms through (azad nazm) and abstract symbolism, challenging conventional and meter to explore psychological depths and philosophical abstraction. Works like those in Iran Mein Ajnabi introduced surreal elements and innovative structures, establishing him as a trailblazer in Urdu's evolution.

Themes and Cultural Significance

Common Themes

Nazm, as a versatile form of Urdu poetry, encompasses a wide array of philosophical and spiritual themes, particularly the quest for self-discovery, divine connection, and the essence of existence. These motifs often explore profound questions about human purpose and the , drawing from Sufi traditions that emphasize inner enlightenment and unity with the divine. For instance, the reconstruction of religious and philosophical thought serves as a central pursuit, urging and spiritual awakening across various nazms. Social and political critiques form another dominant strand, with nazms frequently addressing , socioeconomic inequality, and the trauma of partition, especially prominent during the progressive era. These works highlight resistance against , advocating for , equality, and communal amid historical upheavals like the 1947 division of , which permeated post-independence . Romantic portrayals of and human emotions also recur, capturing the of the natural world, sensations of loss, and the nuances of , particularly in earlier nazms that shifted from classical focuses. This emotional depth evokes personal longing and sensory experiences, blending with observations of seasonal changes and human vulnerability. The scope of nazm demonstrates remarkable diversity, ranging from epic tales of heroism and valor to intimate personal reflections, yet these are often unified by underlying moral undertones that impart didactic lessons on , societal , and human conduct. Over time, these themes have evolved to reflect shifting socio-political contexts while maintaining nazm's capacity for logical progression and purposeful .

Influence and Legacy

The nazm has profoundly shaped by transitioning from the ghazal's dominance, which emphasized lyrical brevity and romantic motifs, to a more expansive form capable of addressing social, political, and philosophical themes with prose-like depth and narrative coherence. This shift, accelerated in the early under progressive influences, allowed nazm to serve as a primary vehicle for , incorporating Western literary techniques while retaining indigenous structures, thereby broadening poetry's expressive range beyond the ghazal's constraints. In South Asian culture, nazm holds a central place in mushairas, where poets recite works blending emotional intensity with , fostering communal engagement across generations. Its integration into Indian cinema, particularly through Kaifi Azmi's adaptations of nazm-style verses into songs for films like (1959) and (1970), popularized poetic sensibilities among mass audiences, bridging elite literature with everyday . In , nazm features prominently in curricula at institutions across , such as university programs in and , where it exemplifies modern expression and cultural identity formation. Globally, nazm's reach extends through English translations of key works by poets like Faiz Ahmed Faiz, which have influenced diaspora communities in the UK, US, and Canada by preserving cultural heritage amid migration. These translations, featured in anthologies and academic studies, highlight nazm's thematic versatility, resonating with expatriate experiences of identity and displacement. Post-1950s, nazm's evolution toward free verse—termed azad nazm—draws parallels with Western modernist movements like Imagism, sharing emphases on fragmented imagery and unrhymed structures, though rooted in Eastern traditions. In the , nazm has experienced a revival via digital platforms, with sites like .org hosting vast archives that democratize access and encourage new compositions shared on . Feminist nazms, prominent since the 2000s through poets like and emerging voices, address gender inequities and patriarchal norms, gaining traction in online forums and publications that amplify women's perspectives in .

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