Ilm E Arooz In Urdu

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IlmE Aroozmeaning in Urdu to English isProsodyIlm E Arooz.Ilm E Aroozsynonym word isInflection. Similar words ofIlm E Aroozare also commonly used in daily talks like Insaniat, Qadeem cheezon ka mutaliq, Ilm e khala noor di, and Ilm e jarasimi.

Ilm E Arooz is a roman term that finds extensive usage in various sentences and different contexts. In English, the ilm e arooz is referred to as "Prosody" and it is driven by the English language. This page provides a comprehensive description of ilm e arooz meaning in English and Urdu both, making it an excellent resource for anyone looking to learn more about the term.

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The reason is that prosodic knowledge was borrowed from Arabic by Persian and Urdu and terminology was taken verbatim. Khalil Ibn-i-Ahmed, an Arab linguist and lexicographer, had formulated the rules dealing with arooz or prosody in the 8th century AD. Later on, Akhfash, an Arab grammarian, expanded those rules. A vast body of works dealing with prosody and related issues exists in Arabic and Persian and they inevitably influenced Urdu, as Urdu borrowed all the rules as well as terms.

In Arabic, there are 19 metres, but in Urdu mostly 12 or 13 are used though some of Urdu poets intentionally compose poetry in less-used metre, too, to prove their mastery over prosody. Some scholars believe that many poets have a special knack for some specific metres as their inner rhythm dictates the patterns of sounds in their verses. But these 19 metres, or 13, as the case may be, are the basic forms and their variant forms with some changes may be numbered in hundreds, or even more. Such changes --- which may occur in the feet of the verses --- are called zihafaat, or catalexis, and they allow replacing certain syllables in a poetic line with longer or shorter syllables.

Poet Aftab Mutzhar, a PhD in pronunciation, said poetry comes first when discussing unnecessary and necessary ropositions. He said that the meaning of arooz is the name of spreading poetry like a canvas of painting.

Those who know me are well aware of my OCD-like obsession for the sanctity of meter (bahr) in poetry, especially urdu ghazals and nazms with rhyme. This obsession, however, is not very old though. As I have written earlier, I had spent years writing poetry (or at least what I thought was poetry) with no understanding of meters. But once I learnt more about it, it became an obsession. Whenever I come across a ghazal or a nazm following a particular rhyming pattern, I first have to read a few lines to catch the rhythm of the meter before I can really dive into the words and their meaning. This is not to say that I have mastered the art and technique of prosody, Far from it, there is still a lot more to be learned. I still do not understand the technicalities behind the metrical feet in Urdu prosody and depend wholly on the rhythm, I still stumble on some finer nuances of scansion and end up making mistakes while writing (some have carried over to my published book), and there are still some meters that I cannot grasp easily. But that only strengthens my resolve to learn more.

Someone once asked me the number of different meters in which I have composed my ghazals and nazms. I was taken aback by this question, as I had never consciously counted or even felt the need to count the number. So I decided to do some mathematical analysis of my meter-based poems to check how frequently a particular meter appeared in my poetry. It was quite a revelation: in the 491 couplets of 71 ghazals and meter-based nazms that I have written, I have used 23 different meters (or 19 if you do not count the pairs that can coexist within a poem as separate). What was not surprising was that almost two thirds of my poems were written in just seven meters. These are meters towards whose rhythm I have natural affinity. Three out of these seven meters have been listed by both Shamsur Rahman Faruqi1 and G. D Pybus2 as being the among the most popular meters in all of Urdu poetry.

I am listing down the various meters I have employed in my poetry along with their technical names, metrical feet, syllable pattern(s) and examples, one from a poem or a song by a known poet/lyricist, and another from mine. I have used the standard symbols that many people use i.e = for a long syllable and - for a short one, with / denoting the end of a metrical foot and // representing a mid-point break or caesura in some meters.

Technical Name: No specific technical name, simply called Behr-e-Mir as Mir Taqi Mir was the one who experimented most with this meter, which otherwise is not present in Persian or Arabic prosody.

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