Editing Ghazal (section)

== Poetic form ==
The ghazal is a short poem consisting of rhyming couplets, called ''bayt'' or ''sher''. Most ghazals have between seven and twelve ''bayts''. For a poem to be considered a true ghazal, it must have no fewer than five couplets. Almost all ghazals confine themselves to less than fifteen couplets (poems that exceed this length are more accurately considered as ''[[qasida]]s''). Ghazal couplets end with the same rhyming pattern and are expected to have the same meter. The ghazal's uniqueness arises from its rhyme and refrain rules, referred to as the {{'}}''[[qafiya]]''{{'}} and {{'}}''[[radif]]''{{'}} respectively. A ghazal's [[rhyming pattern]] may be described as AA BA CA DA, and so on.<ref name="Kanda">{{Cite book|url=https://books.google.com/books?id=fUKKvNDYyUEC&pg=PA2|title=Masterpieces of Urdu Ghazal from the 17th to the 20th Century|last=Kanda|first=K.C.|publisher=Sterling Publishing|year=1992|isbn=978-81-207-1195-2|pages=2}}</ref>
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In its strictest form, a ghazal must follow a number of rules:

# '''''[[Matla']]''''': The first ''sher'' in a ghazal is called the {{'}}''matla{{'}}''{{'}}. Both lines of the ''matla{{'}}'' must contain the ''qafiya'' and ''radif''. The ''matla{{'}}'' sets the tone of the ghazal, as well as its rhyming and refrain pattern. 
# '''''[[Radif]]''''': The refrain word or phrase. Both lines of the ''matla{{'}}'' and the second lines of all subsequent ''shers'' must end in the same refrain word called the ''radif''. 
# '''''[[Qafiya]]''''': The rhyming pattern. The ''radif'' is immediately preceded by words or phrases with the same end rhyme pattern, called the ''qafiya''. 
# '''''[[Maqta']]''''': The last couplet of the ghazal is called the ''maqta{{'}}''. It is common in ghazals for the poet's ''nom de plume'', known as ''[[takhallus]]'' to be featured in the ''maqta{{'}}''. The ''maqta{{'}}'' is typically more personal than the other couplets in a ghazal. The creativity with which a poet incorporates homonymous meanings of their ''takhallus'' to offer additional layers of meaning to the couplet is an indicator of their skill.
# '''''[[Bahr (poetry)|Bahr]]''''': Each line of a ghazal must follow the same metrical pattern and syllabic (or [[Mora (linguistics)|morae]]) count.

Other optional rules include:

# [https://www.rekhtadictionary.com/meaning-of-misra-e-uulaa '''''Misra-e-uulaa''''']: The first line of each verse must be a statement.
# [https://www.rekhtadictionary.com/meaning-of-misra-e-saanii '''''Misra-e-sani''''']: The second line of each verse must be the proof of statement given in the first line.

Unlike in a ''[[nazm]]'', a ghazal's couplets do not need a common theme or continuity. Each sher is self-contained and independent from the others, containing the complete expression of an idea. However, the ''shers'' all contain a thematic or tonal connection to each other, which may be highly allusive.<ref name="Kanda" /> A common conceit that traces its history to the origins of the ghazal form is that the poem is addressed to a beloved by the narrator.<ref>{{cite book |last1=Sells |first1=Michael |title=Early Islamic Mysticism |date=1996 |publisher=Paulist Press |location=New York |isbn=9780809136193 |pages=56–61}}</ref>
[[Abdolhamid Ziaei]] considers the content of old Persian ghazal to include four elements: love, mysticism, education or excellence, and Qalandari.<ref>{{Cite web |title= Neoclassical ghazal|url=https://www.mehrnews.com/news/5353920/جرأت-نگریستن-در-آیینه-نگاهی-به-کتاب-غزل-در-سایه-نیما/}}</ref>