elegies VI

maybe this one isn't so much an elegy, but it's self-indulgent, so let's roll with it.

i've been packing up all of my stuff recently, sorting out my own possessions from borrowed ones, practicing non-attachment as i wrench myself away from that old pair of torn black leggings that are practically indecent to wear. i came across a book that a friend loaned me a while back, a translation of mirza ghalib. among other things, ghalib was a master of the ghazal, a highly prescribed poetic form originating in the arab world and traveling to south asia in the 12th century.

for the first time in my life, i started going all insomniac this year. it's anti-fun. on the bright side, i got through an awful lot of books on tape. one night, after i finished reading some ghalib, i also got to toying with one phrase in my head, and decided to try writing a ghazal. it's, um, not easy.  from wikipedia:

Details of the form

• A ghazal is composed of five or more couplets.
• The second line of each couplet (or sher) in a ghazal usually ends with the repetition of a refrain of one or a few words, known as a radif, preceded by a rhyme known as the qaafiyaa. In Arabic, Persian and Turkic the couplet is termed a bayt and the line within the bayt is called a misra. In the first couplet, both lines end in the rhyme and refrain so that the ghazal's rhyme scheme is AA BA CA etc.
• Enjambment across lines or between couplets is not permitted in a strict ghazal; each couplet must be a complete sentence (or several sentences) in itself.
• All the couplets, and each line of each couplet, must share the same meter.
• Ghazal is simply the name of a form, and is not language-specific. Ghazals exist, for example, in Arabic, Bengali, Persian, Urdu, Turkish, Kashmiri, Gujarati, Malayalam, Punjabi, Kurdish and Pashtu and many other languages.
• In languages of Indian sub-continent ghazals occasionally contain no radif. Such ghazals are termed "ġair-muraddaf" ghazal. The pre-Islamic Arabian qasida was in monorhyme; like the rest of the qasida, the ghazal itself did not have a radif.
• Although every sher may be an independent poem in itself, the shers may share the same theme or even display continuity of thought. This is called a musalsal ghazal, or "continuous ghazal". The ghazal "chupke chupke raat din aasUU bahaanaa yaad hai" is a famous example of a musalsal ghazal.
• In modern Urdu poetry, there are a few ghazals which do not follow the restriction that the same beher must be used in both the lines of a sher. But even in these ghazals, qaafiyaa and, usually, radif are present.
• By placing his or her takhallus (pen name) in the maqta or final sher, the poet traditionally attempted to secure credit for his or her work. Poets often made elegant use of their takhallus in the maqta.

anyway, i just found it stuck in the ghalib book when i went to put it aside to return it. it's a work in progress (not that i'll ever finish it), but insofar as it's my blog and i'm doing the transitional emotional rollercoaster, i figure i can indulge myself and post a poem i wrote about nepal, on the theme of beginnings and ending. it's after the jump.

morning broke, huddled close to the flames, no one spoke
eyes watering from dissipating smoke

gone down the path, eyes turned away from peaks of thatched
rooves, chimneys, below dissipating smoke

hands low, eyes closed, two swaying slow to no beat but
the empty room, in dissipating smoke

eyes wry and dark with the mileage on his heart, stood
up and walked out through dissipating smoke

fragrant sticks, metal thick with colored rice; the sun's
eye opens behind dissipating smoke.