TERE SAATH CHAL KE DEKHENGE | MERE ZIKR MEIN TU | By RUKHSANA JABEEN | ROMANTIC GHAZAL 2017

Album TERE SAATH CHAL KE DEKHENGE
Music RAFIQ RAJA
Singer RUKHSANA JABEEN & RAFIQ RAJA
Lyrics SHAKEEL AZMI
Song MERE ZIKR MEIN TU
Label AUDIO CURRY

Facebook Link https://www.facebook.com/audiocurry

TERE SAATH CHAL KE DEKHENGE The album released from Audio Curry upheld some modern musical genius of contemporary music. Rukhsana Jabeen & Rafiq Raja “Tribute to legends, Like Jagjit Singh, Hari Haran, Nusrat Fteh Ali Khan, Rahat Fateh Ali Khan Gulam Ali, and Roopkumar Rathod Etc. have released in 2017 from Audio Curry under the auspices of the legendary Manna Dey himself. “Tribute to legend” relived some priceless nostalgias of Bengal, and has earned rave reviews.

ABOUT GHAZAL
The ghazal not only has a specific form but also traditionally deals with variety of subjects and has encountered revolutions over the ages, especially after 1947, when there was a drastic change in the subjects of ghazal opted by the Poets.[4] The most prominent subject of ghazal even after the end of romantic era of Urdu literature has been love, specifically an unconditional and superior love. Ghazals from the Indian subcontinent have an influence of Islamic mysticism and the subject of love can usually be interpreted for a higher being or for a mortal beloved. Love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise, or will bring satisfaction to the soul of the poet. Traditional ghazal law may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman.

The ghazal is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable. Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of the lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take, for example, the following couplets from Amir Khusro's Persian ghazal Nami danam chi manzil buud shab:

nemidanam che manzel bood shab jayi ke man boodam;
be har soo raghse besmel bood shab jayi ke man boodam.
pari peykar negari sarv ghadi laleh rokhsari;
sarapa afat-e del bood shab jayi ke man boodam.

I wonder what was the place where I was last night,
All around me were half-slaughtered victims of love, tossing about in agony.
There was a nymph-like beloved with cypress-like form and tulip-like face,
Ruthlessly playing havoc with the hearts of the lovers.