Gajendra Thakur · Ghazals with musical forms · 1200 PDF pages
The book and its concerns
Khand 2 now stands as the full second volume beside Khand 1: it opens with an alphabetical Devanagari index for ghazals 592–1181, then three formal essays on ghazal structure, metre and minimum qualifications for calling a poem a ghazal. The main body continues the diwan through 590 numbered ghazals.
Its distinctive feature is the paired musical-form companion for each ghazal. The page therefore treats every ghazal as a double unit: literary text plus performance-facing musical note. Khand 2 is not only a numerical continuation of Khand 1; it is a more navigable and more performative volume, with index, scansion discipline and musical presentation held together.
INDIVIDUAL READINGS
594 unit discussions
These discussions include endings where the source unit has one. Each entry separates narrative or lyric gist from editorial interpretation and cites its place in the supplied Word edition. English headings are descriptive translations.
Reference locations count non-empty Word paragraphs in document order, including table text; these are not printed page numbers. These are AI-assisted editorial discussions; no named human review is recorded.
Alphabetical Devanagari index — Ghazals 592–1181
वर्णक्रमानुसार अनुक्रमणिका — गजल ५९२–११८१
This opening unit records the book’s alphabetical Devanagari index for ghazals 592–1181. Its presence changes Khand 2 from a simple continuation volume into a navigable diwan: title, number and alphabetic access are made part of the reading apparatus.
The gist is bibliographic rather than lyrical. Readers can approach the volume by sequence or by Devanagari title-order, a useful feature for citation, teaching and returning to a particular ghazal after listening or reading.
“मे बहर, वजन आ समान मिसरा” is treated here as a source-bounded unit within Diwan-e-Videha Khand 2. The discussion follows the supplied document’s sequence and reads the unit through its visible title, immediate source position and recurring vocabulary, without adding external plot claims.
As a gist, the entry marks how this unit advances the book’s formal ghazal poetics: a local image or episode becomes part of the larger architecture of memory, form and social observation. The cited paragraph range lets the reader return to the exact source span.
“छन्द-विधान” is treated here as a source-bounded unit within Diwan-e-Videha Khand 2. The discussion follows the supplied document’s sequence and reads the unit through its visible title, immediate source position and recurring vocabulary, without adding external plot claims.
As a gist, the entry marks how this unit advances the book’s formal ghazal poetics: a local image or episode becomes part of the larger architecture of memory, form and social observation. The cited paragraph range lets the reader return to the exact source span.
“पद्य केँ गजल कहल जाएबाक न्यूनतम औपचारिक योग्यता” is treated here as a source-bounded unit within Diwan-e-Videha Khand 2. The discussion follows the supplied document’s sequence and reads the unit through its visible title, immediate source position and recurring vocabulary, without adding external plot claims.
As a gist, the entry marks how this unit advances the book’s formal ghazal poetics: a local image or episode becomes part of the larger architecture of memory, form and social observation. The cited paragraph range lets the reader return to the exact source span.
Ghazal 592, “साँचक मान,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 593, “ओकर नाम नोर छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 594, “मोन बीच रात रहल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 595, “मीत मोन प्राण छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 596, “नेहक अन्तिम छोर,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 597, “अहाँ बिनु रहल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 598, “जे मोनसँ नै गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 599, “अहाँ मोनमे रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 600, “जे नोर मोनमे जागल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 601, “जे हमर संग रहैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 602, “ओ नोर हमरा मोन पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 603, “ओ भोर हमरा मोन पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 604, “प्रीत हमरा भीतर अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 605, “दाग मोनसँ नहि जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 606, “मीत फेर नहि भेटल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 607, “नोर मोनमे बसल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 608, “नोर अहाँ बिनु रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 609, “मीत मोनमे रहि जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 610, “भूल मोनसँ नहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 611, “नेह एखनो बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 612, “ओ ठोर फेरो मोन पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 613, “जे नोर हमरा छोड़ि नहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 614, “नेहक गान बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 615, “ओ नाम एखनो मोनमे अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 616, “आस भीतर रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 617, “आस संग चलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 618, “आस अहाँक पाछाँ रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 619, “जे नोर आबो मोनमे अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 620, “नेह राति भरि जागैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 621, “आस आबो संग रहैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 622, “जे नोर अहाँक पाछाँ रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 623, “ओ भोर मोनमे रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 624, “ओ गान हमरा संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 625, “ओ नोर हमरा मोन पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 626, “ओ नेह मोनमे बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 627, “ओ नाम आबो संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 628, “ओ नेह राति भरि जागैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 629, “ओ नेह हमरा भीतर रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 630, “मीत फेर नहि भेटल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 631, “ओ नोर मोनसँ नहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 632, “ओ नोर मोनमे बसल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 633, “नोर हमरा संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 634, “नाम मोनमे रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 635, “मीत आबो संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 636, “नेह मोनमे बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 637, “दाग हमरा भीतर रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 638, “नोर मोनसँ नहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 639, “नाम हमरा मोन पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 640, “प्रीत हमरा संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 641, “नेह मोनमे रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 642, “नोर मोनमे बसल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 643, “नोर फेरो आयल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 644, “नाम मोनमे राखू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 645, “प्रीत फेरो जागल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 646, “ध्यान मोनमे राखू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 647, “मीत मोनमे खोजू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 648, “गाम मोनमे देखू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 649, “नोर मोनमे राखू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 650, “ज्ञान फेरो जागल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 651, “प्रीत मोनमे राखू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 652, “नोर मोनमे खोजू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 653, “नोर मोन संग छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 654, “नाम मोन बीच छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 655, “मीत फेर दूर गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 656, “नाम मोन संग छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 657, “प्रीत मोन बीच छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 658, “गाम फेर दूर गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 659, “नोर फेर मोन आय,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 660, “मान मोन बीच छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 661, “नाम फेर लग छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 662, “मीत साँझ संग आय,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 663, “ओ नाम मोन संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 664, “ओ डोर मोन पास अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 665, “ओ नेह मोन बीच अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 666, “अहाँक नाम, निन्न दूर अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 667, “ई सोर नोर संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 668, “नोर मौन, नेह गाढ़ अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 669, “नेह एखनो मोन संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 670, “पुरन सोर घर बीच अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 671, “अहाँक नाम आबो पास अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 672, “पुरन दुआरि फेर मोन पड़ल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 673, “बुझल दीपक उजियार,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 674, “मौनक सोर भीतर जागल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 675, “दूर गेलहुँ तऽ नेह बुझलहुँ,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 676, “मौनक तान भीतर बजैत रहल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 677, “अन्हारक भोर ककरो नहि देखायल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 678, “मेटल नाम हमरा घर आयल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 679, “अन्हार हमरा मोन बुझायल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 680, “जे गेल से भीतर रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 681, “पानि अपन पिआस कहैत रहल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 682, “सून्न दुआरि एतबे कहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 683, “नेहक बाति रहि जाइत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 684, “अन्हार हमरासँ गप करैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 685, “नोर हमरा संग जागैत रहल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 686, “साँझक बादो घर नहि सुतल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 687, “नाम मेटल, सोर नहि मेटल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 688, “चान डूबल, नेह नहि डूबल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 689, “पार भेटल, मझधार बाँचल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 690, “सून्न गामक एकटा साँझ,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 691, “ठोर गुम्म, भीतर गीत,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 692, “भोर आयल, राति नहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 693, “जे भोर मोन पड़ैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 694, “जीवनक सार कहू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 695, “मोनक भीतर राह रहू,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 696, “केवल ई मान नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 697, “जीवन आस जकाँ,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 698, “जीवनमे गाम बिनु,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 699, “ई केवल काल छल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 700, “मोनक भीतर पीर कतए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 701, “एतेक फेर किएक,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 702, “जीवनमे फूल रहैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 703, “एखनो चाह मोनमे अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 704, “ओकर सोर रहि गेल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 705, “मौन एक गीत लगैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 706, “नाम मोन पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 707, “हमर मोन रुवैए किएक?,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 708, “चाह आबो बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 709, “मोन राति नाम फेर कहैत रहल,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 710, “मीत आब दूर गेल; मोनमे भार शेष अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 711, “मोनमे साँचक सार एखनो अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 712, “भोर मोनमे अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 713, “नेहक नाम आब अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 714, “नम्र मोन मान संग अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 715, “मोनमे सार बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 716, “भोर रहि जाइत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 717, “मान बचैए एखनो,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 718, “आन बाट दिसैए फेर,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 719, “मोन फेर बाट बदलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 720, “साँच लेल कोन माप अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 721, “दिस आन साँच देख,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 722, “साँच एक बेर भेल नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 723, “नेहक सार होइत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 724, “साँचक नव ढंग रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 725, “नेह मूल सार अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 726, “मोन बीच एक नाव अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 727, “जग मान जागैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 728, “एक राह सार नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 729, “मुक्त राह सार अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 730, “झट ज्ञान नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 731, “आन पीर नोर मात्र नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 732, “भाव मूल थाह अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 733, “प्रश्न बीच गीत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 734, “साँचक सोर अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 735, “भीतर आस रहै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 736, “प्रश्न उठि गेलै, द्वार खुलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 737, “अपन मत जाँचै छी, सार दिसै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 738, “छूटल स्वर उठै छै, हाल बदलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 739, “अंक सभ बोलै छै, सार खोजै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 740, “नदी रूप बदलै छै, सार बचै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 741, “ज्ञान फेर बदलै छै, आधार जाँचै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 742, “मान जखन बढ़ै छै, विश्वास रहै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 743, “घाव जखन देखै छी, दाग बुझै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 744, “गौरव जखन बढ़ै छै, प्रमाण माँगै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 745, “दोषो देखलै मोन, सार रहि जाइ छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 746, “रूप जखन मिललै, मेल तखन विचार भेलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 747, “काल्हिक आधार पूछै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 748, “भाग्येँ साँच भेलै, कोन आधार मिलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 749, “साँच फेर मिलै छै, सार खुलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 750, “प्रश्न जखन उठै छै, सार बुझै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 751, “भाग्य फेर जाँचै छी, आधार खोजै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 752, “रूप फेर जाँचै छी, आकार खुलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 753, “साँच जखन कहै छी, डोर रहै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 754, “रूप फेर बदलै छै, सार बचै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 755, “छूटल स्वर उठै छै, मान बदलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 756, “प्रश्न फेर उठै छै, राह दिसै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 757, “अंक मात्र कहै छै, विचार जगै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 758, “नोर-सोर बुझै छी, हाल खुलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 759, “काल पार सोचै छी, भोर देखै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 760, “सत्ता फेर जाँचै छी, ध्यान रखै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 761, “ज्ञान जखन बदलै छै, उपाय मिलै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 762, “दाबी फेर जाँचै छी, विश्वास बचै छै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 763, “मत जखन सुनै छी, प्रभाव बुझै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 764, “काल जखन मुड़ै छै, ढंग परखै छी,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 765, “माप जखन लगै, ज्ञान मोनमे उतरैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 766, “मान जखन बचै, आस रूप धरैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 767, “घाव जखन दुखै, उपचार द्वार खोलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 768, “साँच फेर खुलै, नोर सँ जुड़ैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 769, “मोन फेर जागै, प्रीत संग चलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 770, “न्याय फेर बढ़ै, माप बनि रहैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 771, “पीरक मूल खुलै, निदान दिशा दैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 772, “याद फेर उठै, नोर मोन फेरबैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 773, “प्रश्न जखन उठै, विचार केँ खोजैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 774, “पीर जखन घटै छै, आस जागि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 775, “घर पाछाँ छुटै छै, सार मोनमे बसैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 776, “कूल दूर सरै छै, तरंग संगे बहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 777, “बीज माटि फोड़ै छै, प्रीत माटिमे अँकुरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 778, “प्रश्न माथ उठै छै, ज्ञान ऊपर चढ़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 779, “पीर नोर कहै छै, नेह नोरमे भीजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 780, “राति पाछाँ सरै छै, आस भोरमे फूटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 781, “शब्द पवन चढ़ै छै, संवाद पवनमे उड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 782, “घाव बात कहै छै, भाव नोरमे चमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 783, “रोष देह चढ़ै छै, क्रोध भीतर धधकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 784, “सोर दूर रहै छै, राग मौनमे गमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 785, “पएर रोक घेरै छै, आकाश पार निकलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 786, “पुरना बीज बचै छै, मूल जड़ि धरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 787, “पीर देह कहै छै, ताप देहमे सिहरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 788, “पन्ना फेर खुलै छै, नाम कालमे डोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 789, “दाबी जोर करै छै, बात साँचमे टिकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 790, “दीप राति जरै छै, नेह मोनमे उजरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 791, “राख छाँह धरै छै, गीत राखसँ फूलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 792, “रेखा नाम बनै छै, पहचान सीमा गलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 793, “रूप नाम बदलै छै, स्वरूप नामसँ छूटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 794, “नदी याद बहै छै, धार स्मृतिमे घुरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 795, “लोक सोर जुड़ै छै, रंग लोकमे बजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 796, “पएर माटि छुबै छै, देश माटिसँ जनमैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 797, “दूर घर रहै छै, प्रीत दूरि घटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 798, “डगमग मोन रहै छै, विश्वास डोर सम्हरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 799, “पएर मोड़ पड़ै छै, उपाय दिशा मुड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 800, “गीत काल लाँघै छै, गीत अन्त लाँघैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 801, “दाम रोज बदलै छै, सार बाजार जँचैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 802, “मेह राति बढ़ै छै, धार कूल बनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 803, “रस्सी हाथ उतरै छै, प्यास कुआँ बोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 804, “सीटी दूर बजै छै, राह रेल चलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 805, “दीप कोन जरै छै, ज्ञान पन्ना खुलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 806, “डाक पएर चलै छै, सार चिट्ठी पहुँचैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 807, “जड़ि माटि पकड़ै छै, मूल छाँह रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 808, “माटि हाथ नमै छै, रूप चाक घुमैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 809, “पर्दा धीरे उठै छै, रंग मंच धड़कैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 810, “आँखि गोल चमकै छै, नोर बालक पूछैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 811, “केश धीर बदलै छै, श्वास उमिर ढलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 812, “नाव नीर उतरै छै, धार सीमा काटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 813, “काठ रेखा जागै छै, छाप हाथ गढ़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 814, “मेह राति पड़ै छै, नेह छप्पर बजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 815, “रोटी हाथ बाँटै छै, स्वाद थारी जुड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 816 — गवाही स्वर उठै छै, प्रमाण न्याय तौलैए
गजल ८१६ — गवाही स्वर उठै छै, प्रमाण न्याय तौलैए
Ghazal 816, “गवाही स्वर उठै छै, प्रमाण न्याय तौलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 817, “स्वप्न रूप बदलै छै, रूप भोर जगबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 818, “बत्ती राति जरै छै, सोर नगर जागैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 819, “आखर पात सजै छै, बोल लिपि बचैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 820, “चिता शान्त पड़ै छै, फूल राख बोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 821, “दू हाथ मिलै छै, नेह बंधन जँचैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 822, “ट्रेन गाम छोड़ै छै, द्वार पएर घुरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 823, “घंटी भोर बजै छै, ज्ञान कक्षा जागैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 824, “पीर धीरे कहै छै, भेद देह सुनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 825, “पएर माथ रुकै छै, पार आकाश खुलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 826, “घड़ी भोर बजै छै, काल फेर सरकै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 827, “धान बीज सुकै छै, अगिला ऋतु टिकै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 828, “दर्पण भोर चमकै छै, चेहरा रेखा उभरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 829, “तान सूता तनै छै, बाना रंग जुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 830, “ढोल दूर बजै छै, रंग झण्डा लहरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 831, “पएर ढलान चढ़ै छै, कुहरा दूर सरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 832, “मधुमाछि भोर उड़ै छै, फूल गन्ध खोजै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 833, “चन्द्र राति चमकै छै, छाँह धीरे चढ़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 834, “पुल नदी लाँघै छै, दू कूल जुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 835, “सीसा टाइप सजै छै, स्याही रोल चढ़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 836, “रेडियो भोर बजै छै, दूर स्वर अबै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 837, “पुरना फोटो खुलै छै, चेहरा मुस्की रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 838, “ताला द्वार लटकै छै, हाथ धातु घुमै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 839, “सूखल पात सरसरै छै, चिनगी छोट उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 840, “नहर खेत मुड़ै छै, नीर रेखा चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 841, “पत्थर रेखा रहै छै, आखर धीरे घिसै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 842, “बाँस हवा डोलै छै, जड़ि माटि थामै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 843, “पतंग छत उठै छै, डोर हाथ तनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 844, “चूल्हा भोर जरै छै, दालि गन्ध फैलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 845, “राति आकाश खुलै छै, तारा झिलमिल करै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 846, “पाखी झुण्ड उड़ै छै, आकाश रेखा बनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 847, “पैडल पएर घुमै छै, चक्का राह धरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 848, “नमक दाना पड़ै छै, दालि स्वाद बदलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 849, “भोर अजान उठै छै, घण्टा दूर बजै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 850, “लहर भोर उठै छै, क्षितिज रंग बदलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 851, “भोर कूप जागै छै, नीर तल चमकै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 852, “पोथी पन्ना खुलै छै, छोट टिप्पणी जगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 853, “सीटी दूर बजै छै, लोहा ताल धरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 854, “माटि हाथ नमै छै, रूप बीच उगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 855, “मेह काँच पड़ै छै, बूँद रेखा बनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 856, “कलम डारि जुड़ै छै, नव फूल खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 857, “न्याय कक्ष खुलै छै, प्रश्न क्रम धरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 858, “राति नदी बहै छै, मचान दीप जरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 859, “भोर विद्यालय खुलै छै, आँगन हँसी भरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 860, “बाढ़ नीर उतरै छै, खेत माटि दिसै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 861, “झोरा काँध चढ़ै छै, माय नोर धरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 862, “पुरना बक्सा खुलै छै, कागज गन्ध उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 863, “भोर बाड़ी खुलै छै, पात ओस चमकै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 864, “दुपहर सूरज चढ़ै छै, गाछ छाह सिमटै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 865, “मेह छत पड़ै छै, नाली नीर बहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 866, “बोर्ड बीच सजै छै, पहिल चाल खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 867, “बाजार भोर खुलै छै, दाना पलड़ा धरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 868, “नाव घाट लगै छै, नीर तेज बहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 869, “साँझ आँगन सजै छै, पहिल लौ उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 870, “कागज सफेद रहै छै, स्याही रेखा उतरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 871, “देहरी भोर चमकै छै, घर बाहर मिलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 872, “ढोल थाप पड़ै छै, बीच मौन रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 873, “छत गमला रहै छै, बीज माटि धरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 874, “पुरना टीला रहै छै, गाछ छाह पड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 875, “राति झंझा बहै छै, दूर रेखा उगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 876, “पुरान रेखा खुलै, राह नक्शा बतबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 877, “लोहारक श्वास उठै, आग भट्ठी धधकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 878, “नीर बहै, भोर जाल पसारैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 879, “कचहरी सोझाँ छाह पसारैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 880, “दीप मन्द जरै, राति सम्हारैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 881, “धान डोलै, बिजुका तकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 882, “छोट कोन रहै, टिकट पहुँचबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 883, “धूलि बीच अंक रहै, पत्थर गनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 884, “ताल नीर झलकै, कुमुद खिलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 885, “गन्ध उठै, मसाला पिसैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 886, “काँच हँसै, लहठी खनकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 887, “पएर उठै, सीढ़ी चढ़बैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 888, “आँगन थाप धरै, ढेंकी कुटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 889, “ओस काँपै, पाला जमैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 890, “समुद्र बीच सूइ बतबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 891, “जंगल साँस ले, पगडंडी मुड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 892, “तिनका जुड़ै, घोंसला बसैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 893, “कपड़ा भीजै, रंगरेज रँगैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 894, “गाम गोल बैसै, सभा सुनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 895, “धूलि हटै, अलमारी खुलबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 896, “लहर चढ़ै, पदचिह्न मिटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 897, “धूलि उठै, घोड़ा दौड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 898, “रेखा बोलै, चित्र उभरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 899, “श्वास उठै, शंख गुँजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 900, “नीर पार खुलै, क्षितिज पसारैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 901, “पोखर नीर चमकै, आस मखान खिलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 902, “ओस पात चमकै, नेह पात महकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 903, “सूत जुड़ै, चाव सुजनी सजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 904, “रेशा तनै, मान सिक्की जुड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 905, “पाखी खेल उठै, गीत सामा गबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 906, “व्रत कथा खुलै, स्वर कथा गुँजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 907, “आँगन रेखा खुलै, चाव अरिपन खिलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 908, “भोर गन्ध उठै, आस मंजर महकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 909, “पीयर खेत डोलै, प्रीत सरसों हँसैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 910, “गरमी घटै, श्वास पंखा डोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 911, “माटि पकै, ताल घड़ा झनकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 912, “कपड़ा फाटै, नेह सुई सिअैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 913, “डारि हिलै, चाव झूला डोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 914, “पुरान नीर चमकै, भोर कुण्ड चमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 915, “माथ सजै, मान पाग दमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 916, “भोर थारी सजै, प्रीत भोज सजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 917, “कागज देह जरै, आस लालटेन जरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 918, “अन्हार घनै, आस जुगनू चमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 919, “फूल झरै, नोर मौलश्री झरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 920, “पाथर बाट बजै, ताल खड़ाऊँ बजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 921, “ओस पड़ै, भोर जाल चमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 922, “धान रोपै, गीत रोपनी गबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 923, “घाट पएर चलै, नोर गगरी छलकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 924, “मेघ हटै, रंग इन्द्रधनुष उभरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 925, “गाछ डोलै, पार पछिया बहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 926, “सूत तनै, सार चर्खा घूमैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 927, “धान जुटै, मान बखार भरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 928, “माटि कटै, ज्ञान फाल चमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 929, “नीर हटै, भोर चर उभरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 930, “पोखर गहिरै, आस कमलबीज पकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 931, “पाथर टकरै, नोर चकमक झिलमिलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 932, “रेशा जुड़ै, प्रीत पाटी बुनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 933, “तार काँपै, गीत सारंगी रुवैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 934, “पात लहरै, भोर तिलकोर लहरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 935, “लोक जुटै, मान सभा जुटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 936, “पात खुलै, ज्ञान पंजी बोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 937, “रस्सी तनै, चाव डोल उतरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 938, “आग धधकै, आस ईंट पकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 939, “फूल खुलै, प्रीत चंपा महकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 940, “दाना जुटै, मान कोठी भरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 941, “नील फूल डोलै, चाव अलसी हँसैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 942, “श्वास मिलै, गीत बाँसुरी सुसकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 943, “पाथर भीजै, भोर झरना गबैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 944, “भोर खुलै, आस कुहासा हटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 945, “राति ढलै, नोर चाँद झुकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 946, “लहर हटै, आस सीपी खुलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 947, “धूलि उठै, भोर गोधूलि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 948, “खेत बँटै, मान मेड़ बोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 949, “छत गरमै, चाव धूप उतरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 950, “दूर रेखा खुलै, पार क्षितिज फैलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 951, “राख अँगार खुलै, अँगार बचैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 952, “बीज अँकुर खुलै, मान फेर उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 953, “ओखरि मूसर खुलै, ताल धुनि बजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 954, “कनेर फूल खुलै, आस फुलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 955, “छप्पर बरखा खुलै, नोर टपकि खसैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 956, “भूसी पवन खुलै, राह दूर उड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 957, “कछार कटान खुलै, मूल कटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 958, “बिचड़ा खेत खुलै, रंग फेर हरियैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 959, “काई पोखर खुलै, नाम जल तिरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 960, “बाती दीप खुलै, पीर जरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 961, “सूत तकली खुलै, बात सूत तनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 962, “माटिक सोंध खुलै, रूप महकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 963, “बबूल काँट खुलै, मेल भीतर चुभैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 964, “ओसार साँझ खुलै, अँगार फेर जगैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 965, “बान्ह जल खुलै, मान टिकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 966, “कुट्टी खलिहान खुलै, ताल धूरि उड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 967, “काँच चूड़ी खुलै, आस मृदु खनकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 968, “बेल लता खुलै, नोर लहरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 969, “नाल जल खुलै, राह नीचाँ बहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 970, “चन्द्र ज्योति खुलै, मूल दूर पसरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 971, “पीतल लोटा खुलै, रंग चमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 972, “पोथीक पन्ना खुलै, नाम धीरे सरकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 973, “रुई सूत खुलै, पीर ऊपर उड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 974, “धूरिक बाट खुलै, बात उड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 975, “साँकल द्वार खुलै, रूप राति खनकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 976, “सिलौट लोढ़ा बजै, सोर धीमे थिरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 977, “बाँस दउरा जुड़ै, मान सँचि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 978, “तराजू पल्ला झुकै, विचार तोलि देखैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 979, “हँसुआ धार चमकै, सार फेर दमकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 980, “जाँता दाना पिसै, गान मृदु बजैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 981, “कोदो बालि डोलै, उमंग साँझ धरि डोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 982, “छत्ता मधु भरै, आस मधु सँ भरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 983, “तितली रंग उड़ै, रंग पाँख पसारैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 984, “घोंघा पथ सरकै, पहिचान पाछाँ रहि जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 985, “कछुआ नीर काटै, राह नीरमे बहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 986, “सनई फूल डोलै, रंग पवनमे लहरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 987, “कनकौआ ऊपर उठै, डोर अकास चढ़ि जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 988, “सूप दाना छाँटै, धान सूपमे छँटैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 989, “झाँपी भीतर सजै, नाम भीतर बचि रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 990, “ताड़पात आखर खुलै, ज्ञान पातमे बोलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 991, “पीपर छाँह पसरै, राह छाँहमे टिकि रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 992, “खजूर रस टपकै, आस रस टपकैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 993, “बकुल फूल झरै, सुवास भोरमे महकि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 994, “ओल माटि फोड़ै, मूल माटि फोड़ि निकलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 995, “अरुई पात डोलै, बात पवनमे झूमैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 996, “मड़ुआ बालि झुकै, बाल नमि जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 997, “कुरथी दालि पकै, दाल भानसमे महकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 998, “तिल घानी घुमै, हाथ घानी संग चलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 999, “मकई भुट्टा खुलै, धान दाना झरि पड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1000 — हजारम गजल खुलै, गीत आगाँ गुँजैत रहैए
गजल १००० — हजारम गजल खुलै, गीत आगाँ गुँजैत रहैए
Ghazal 1000, “हजारम गजल खुलै, गीत आगाँ गुँजैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1001 — दीप बाती जरै, विश्वास मन्दे मन्दे जरैए
गजल १००१ — दीप बाती जरै, विश्वास मन्दे मन्दे जरैए
Ghazal 1001, “दीप बाती जरै, विश्वास मन्दे मन्दे जरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1002 — चरखा सूत कातै, मान सूतमे गाँठि जुड़ैए
गजल १००२ — चरखा सूत कातै, मान सूतमे गाँठि जुड़ैए
Ghazal 1002, “चरखा सूत कातै, मान सूतमे गाँठि जुड़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1003, “मखान पोखर जागै, थाह नीर तलसँ उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1004, “पान पात भीजै, रंग ओस संग चमकि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1005 — सुपारी कटरनी चलै, विचार फाँक बनि खुलैए
गजल १००५ — सुपारी कटरनी चलै, विचार फाँक बनि खुलैए
Ghazal 1005, “सुपारी कटरनी चलै, विचार फाँक बनि खुलैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1006 — सिकी डलिया बुनै, प्रीत बुनाइमे रूप धरैए
गजल १००६ — सिकी डलिया बुनै, प्रीत बुनाइमे रूप धरैए
Ghazal 1006, “सिकी डलिया बुनै, प्रीत बुनाइमे रूप धरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1007 — कुम्हारक चाक घुमै, आधार माटिसँ देह गढ़ैए
गजल १००७ — कुम्हारक चाक घुमै, आधार माटिसँ देह गढ़ैए
Ghazal 1007, “कुम्हारक चाक घुमै, आधार माटिसँ देह गढ़ैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1008, “घैला नीर भरै, श्वास शीतल नेह भरैत जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1009 — लाठी बाट चलै, साथ पएर संग टिकैत रहैए
गजल १००९ — लाठी बाट चलै, साथ पएर संग टिकैत रहैए
Ghazal 1009, “लाठी बाट चलै, साथ पएर संग टिकैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1010 — रोपनी धान झुकै, मान पाँतिमे हरियैत जाइए
गजल १०१० — रोपनी धान झुकै, मान पाँतिमे हरियैत जाइए
Ghazal 1010, “रोपनी धान झुकै, मान पाँतिमे हरियैत जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1011, “कदली पात बजै, पात बरखा संग थिरकैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1012, “आम मंजर फुलै, आस गाछ भरि गमकि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1013 — लीची गुच्छा पाकै, रंग डारि संग झूलैत रहैए
गजल १०१३ — लीची गुच्छा पाकै, रंग डारि संग झूलैत रहैए
Ghazal 1013, “लीची गुच्छा पाकै, रंग डारि संग झूलैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1014 — सिन्नुर डिबिया खुलै, मान माँगमे रँग भरैए
गजल १०१४ — सिन्नुर डिबिया खुलै, मान माँगमे रँग भरैए
Ghazal 1014, “सिन्नुर डिबिया खुलै, मान माँगमे रँग भरैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1015, “कमल पोखर जागै, आस भोर संग खुलि उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1016, “चापाकल चलै, धार धरतीसँ नीर उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1017, “ढेकी धान कुटै, ताल धपधप सोर उठैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1018 — बेलना लोइ फैलै, आधार गोलाइमे फैलैत जाइए
गजल १०१८ — बेलना लोइ फैलै, आधार गोलाइमे फैलैत जाइए
Ghazal 1018, “बेलना लोइ फैलै, आधार गोलाइमे फैलैत जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1019, “खपड़ा छान्ह टिकै, राह बरखा रोकैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1020, “भूसा दउनी चलै, सोर पवन संग उड़ि जाइए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1021 — बेंत पीढ़ी बुनै, मान बैसबाक आसन बनैए
गजल १०२१ — बेंत पीढ़ी बुनै, मान बैसबाक आसन बनैए
Ghazal 1021, “बेंत पीढ़ी बुनै, मान बैसबाक आसन बनैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1022, “माटिक चूल्हि जरै, रात आँच भीतर जगैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1023, “दूब आँगन भीजै, राह पएर तले हरियैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1024, “झूला आमगाछ हिलै, उमंग पवन संग डोलैत रहैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1025, “कोसी धार बहै, इतिहास नकसा फेर लिखैए,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1026, “पगडंडी धूर — आस एतबे साँच नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1027, “नाव पतवार — मान तखन अर्थ खुलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1028, “सनक रस्सी — राह मोन फेर पूछैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1029 — सरकंडा चटाई — रंग नाम कतहु हराइत नहि
गजल १०२९ — सरकंडा चटाई — रंग नाम कतहु हराइत नहि
Ghazal 1029, “सरकंडा चटाई — रंग नाम कतहु हराइत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1030, “तसर कोया — सार रेशमक छुअन बचल रहत,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1031, “दही मथानी — गीत अपन बाट बनबैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1032, “धानक कोठी — हाथ फेर घर दिस अबैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1033, “खोंइछा अन्न — बात कथा एतय थमैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1034, “पोखर घाट — सोर पएर आगाँ बढ़ैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1035 — अरिपन रेखा — ताल रेखा घर सँ जुड़ैत अछि
गजल १०३५ — अरिपन रेखा — ताल रेखा घर सँ जुड़ैत अछि
Ghazal 1035, “अरिपन रेखा — ताल रेखा घर सँ जुड़ैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1036, “बाँसुरी स्वर — आस भीतर साँस लैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1037, “गोरस मथनी — मान रस हाथे बदलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1038, “मिथिला चित्रक कूची — सोर रंग मौनहुँ बोलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1039, “माछक जाल — सार नीर जाल परखैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1040, “पोथीक जिल्द — गीत आखर देह धरैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1041, “नीम पात — राह ओहि घड़ी भेद खुलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1042 — कांस फूल — रंग चिन्ह पवनोमे बचैत अछि
गजल १०४२ — कांस फूल — रंग चिन्ह पवनोमे बचैत अछि
Ghazal 1042, “कांस फूल — रंग चिन्ह पवनोमे बचैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1043, “बरगद जटा — हाथ काल फेर घुरि अबैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1044, “पुआल गादी — मान घाम पुआलमे बचैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1045 — तिलकोर पात — बात लता आँगन जोड़ैत अछि
गजल १०४५ — तिलकोर पात — बात लता आँगन जोड़ैत अछि
Ghazal 1045, “तिलकोर पात — बात लता आँगन जोड़ैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1046 — सिंघाड़ा पोखर — गीत नीर तले फल पाकैत अछि
गजल १०४६ — सिंघाड़ा पोखर — गीत नीर तले फल पाकैत अछि
Ghazal 1046, “सिंघाड़ा पोखर — गीत नीर तले फल पाकैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1047, “कमला धार — सार नीर सभ गप कहैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1048, “चिरई घोंसला — सोर मौनहुँ उत्तर दैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1049 — धानक लावा — ताल रूप बदलियो मूल रहैत अछि
गजल १०४९ — धानक लावा — ताल रूप बदलियो मूल रहैत अछि
Ghazal 1049, “धानक लावा — ताल रूप बदलियो मूल रहैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1050, “आखरक यात्रा — आस अन्त एतय होइत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1051, “लोहारक धौंकनी — आस कथन एतेक पर थिर नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1052, “करघाक ताना — मान सूत भीतर चिन्ह बचल अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1053 — अलसी फूल — राह धुनि पवनक संग मुड़ैत रहै
गजल १०५३ — अलसी फूल — राह धुनि पवनक संग मुड़ैत रहै
Ghazal 1053, “अलसी फूल — राह धुनि पवनक संग मुड़ैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1054 — सरिसो खेत — रंग नेह बिना रंग पूरा नहि
गजल १०५४ — सरिसो खेत — रंग नेह बिना रंग पूरा नहि
Ghazal 1054, “सरिसो खेत — रंग नेह बिना रंग पूरा नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1055, “पगहा गाँठि — सार बंधन अपन राह चुनैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1056 — जूटक बोरा — गीत बीज चुप्पे उत्तर धरैत अछि
गजल १०५६ — जूटक बोरा — गीत बीज चुप्पे उत्तर धरैत अछि
Ghazal 1056, “जूटक बोरा — गीत बीज चुप्पे उत्तर धरैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1057, “कुशक आसन — हाथ छाह बदललहुँ मूल नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1058, “सोनारक हथौड़ी — बात थाप देहक भेद गनैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1059, “जुगनू राति — सोर राति भीतर भोर पलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1060 — ओसक बूँद — ताल घाम बिना चमक खुलैत नहि
गजल १०६० — ओसक बूँद — ताल घाम बिना चमक खुलैत नहि
Ghazal 1060, “ओसक बूँद — ताल घाम बिना चमक खुलैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1061, “कमलनाल — आस नोरक अर्थ एक्के नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1062 — माटिक पुतरी — मान साँस संग लय बदलैत अछि
गजल १०६२ — माटिक पुतरी — मान साँस संग लय बदलैत अछि
Ghazal 1062, “माटिक पुतरी — मान साँस संग लय बदलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1063, “बढ़ईक रन्दा — सोर हाथक छाप मेटैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1064, “पानक बारी — सार नीर नीचे जीवन जगैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1065 — पोखरक पाँक — गीत मौनक सीमा एतय टूटैत अछि
गजल १०६५ — पोखरक पाँक — गीत मौनक सीमा एतय टूटैत अछि
Ghazal 1065, “पोखरक पाँक — गीत मौनक सीमा एतय टूटैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1066, “आम्रपल्लव तोरण — राह समय अपन गाँठि खोलैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1067 — कुटजक छाल — रंग पवन संग देह झुकैत अछि
गजल १०६७ — कुटजक छाल — रंग पवन संग देह झुकैत अछि
Ghazal 1067, “कुटजक छाल — रंग पवन संग देह झुकैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1068, “मसूरक फूल — हाथ दूरिक राह मोन नापैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1069, “चनाक फली — मान दाना भीतर ऋतु बसैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1070 — मूँजक चटाई — बात आँगन सभ कथा सुनैत अछि
गजल १०७० — मूँजक चटाई — बात आँगन सभ कथा सुनैत अछि
Ghazal 1070, “मूँजक चटाई — बात आँगन सभ कथा सुनैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1071, “ताँतक गाँठि — गीत प्रश्नक डोर टूटैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1072 — पलाशक फूल — सार धूपक रंग साँझ धरि रहैत अछि
गजल १०७२ — पलाशक फूल — सार धूपक रंग साँझ धरि रहैत अछि
Ghazal 1072, “पलाशक फूल — सार धूपक रंग साँझ धरि रहैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1073, “बकाइन छाह — सोर गंध पुरान घर चिन्हैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1074, “चकरी पवन — ताल धारक मोड़ स्थिर रहैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1075, “सुईक टाँका — आस आखर पाछाँ अर्थ चलैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1076, “बाँसक सूप — आस दाना छनितहुँ भेद मेटैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1077 — काँसक डलिया — मान बुनावट भीतर हाथक मान अछि
गजल १०७७ — काँसक डलिया — मान बुनावट भीतर हाथक मान अछि
Ghazal 1077, “काँसक डलिया — मान बुनावट भीतर हाथक मान अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1078 — घोंघाक खोल — राह खोल बदलि जीवन थमैत नहि
गजल १०७८ — घोंघाक खोल — राह खोल बदलि जीवन थमैत नहि
Ghazal 1078, “घोंघाक खोल — राह खोल बदलि जीवन थमैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1079 — सखुआ पात — रंग पात झरलहुँ गंध बचल रहै
गजल १०७९ — सखुआ पात — रंग पात झरलहुँ गंध बचल रहै
Ghazal 1079, “सखुआ पात — रंग पात झरलहुँ गंध बचल रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1080 — कदंबक फूल — सार फूलक छाह समय धरि रहत
गजल १०८० — कदंबक फूल — सार फूलक छाह समय धरि रहत
Ghazal 1080, “कदंबक फूल — सार फूलक छाह समय धरि रहत,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1081 — बेंतक मोढ़ा — गीत बेंत नमितहुँ मूल टूटैत नहि
गजल १०८१ — बेंतक मोढ़ा — गीत बेंत नमितहुँ मूल टूटैत नहि
Ghazal 1081, “बेंतक मोढ़ा — गीत बेंत नमितहुँ मूल टूटैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1082, “मृदंगक चमड़ा — हाथ थाप पाछाँ मौन सेहो बजैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1083 — मटरक फूल — बात पछिया संग पीयर रंग बहैत रहै
गजल १०८३ — मटरक फूल — बात पछिया संग पीयर रंग बहैत रहै
Ghazal 1083, “मटरक फूल — बात पछिया संग पीयर रंग बहैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1084 — तिलक फली — सोर दाना छोटो हो, कथा पैघ अछि
गजल १०८४ — तिलक फली — सोर दाना छोटो हो, कथा पैघ अछि
Ghazal 1084, “तिलक फली — सोर दाना छोटो हो, कथा पैघ अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1085 — भदई धान — ताल धानक गंध घर चिन्हैत रहै
गजल १०८५ — भदई धान — ताल धानक गंध घर चिन्हैत रहै
Ghazal 1085, “भदई धान — ताल धानक गंध घर चिन्हैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1086, “हंसुलीक चमक — आस चमक देहक मान बनैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1087 — कनैल फूल — मान रंग विषक छाह ढाकैत नहि
गजल १०८७ — कनैल फूल — मान रंग विषक छाह ढाकैत नहि
Ghazal 1087, “कनैल फूल — मान रंग विषक छाह ढाकैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1088, “खपरैल छानि — सोर वर्षा बीतलहुँ छानि बोलैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1089, “ताड़क पंखा — सार हवा हाथक संगति मानैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1090, “घैलाक मुँह — गीत मुँह छोट, नीरक राह पैघ अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1091, “सिलौटक धार — राह घिसाइ पाछाँ धार उघड़ैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1092, “लहठीक खनक — रंग खनक स्मृति केर डोर कसैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1093, “चूल्हिक राख — हाथ राख भीतर आँच मरैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1094 — कचनार पात — मान पात मोड़लहुँ हरियर नस चलैत अछि
गजल १०९४ — कचनार पात — मान पात मोड़लहुँ हरियर नस चलैत अछि
Ghazal 1094, “कचनार पात — मान पात मोड़लहुँ हरियर नस चलैत अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1095, “कपासक रूई — बात रूई हलुक, श्रमक भार हलुक नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1096 — बेलनक घुमाव — गीत घुमाव बीच केन्द्र छुटैत नहि
गजल १०९६ — बेलनक घुमाव — गीत घुमाव बीच केन्द्र छुटैत नहि
Ghazal 1096, “बेलनक घुमाव — गीत घुमाव बीच केन्द्र छुटैत नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1097, “धानक भूसी — सार भूसी उडलहुँ दाना थिर रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1098, “मधुक छत्ता — सोर मधु सँ पैघ श्रमक सार अछि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1099 — रुद्राक्षक दाना — ताल दाना गनितहुँ जप पूरा नहि
गजल १०९९ — रुद्राक्षक दाना — ताल दाना गनितहुँ जप पूरा नहि
Ghazal 1099, “रुद्राक्षक दाना — ताल दाना गनितहुँ जप पूरा नहि,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1100 — घंटीक अनुनाद — आस अनुनाद दूर धरि बाट खोलैत रहै
गजल ११०० — घंटीक अनुनाद — आस अनुनाद दूर धरि बाट खोलैत रहै
Ghazal 1100, “घंटीक अनुनाद — आस अनुनाद दूर धरि बाट खोलैत रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1101, “हँसियाक धार — मान पर राह खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1102, “इनारक डोल — सोर संग नेह रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1103, “घूरक आँच — राह पर गप खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1104, “ईखक गाँठि — गीत बीच राह चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1105, “गुड़क भेली — ताल कात धुन उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1106, “झाड़ूक सींक — आस बीच रूप खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1107, “कोंहड़ाक बेल — सार पर भोर खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1108, “जामुनक गाछ — मान पर डोर तनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1109, “बेलक फल — सोर संग ताल बजै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1110, “कौड़ीक चाल — राह बीच रंग झरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1111, “खाटक पाट — गीत कात भोर खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1112, “ढिबरीक काँच — ताल संग काज चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1113, “घुँघरूक नाद — आस पर थाह मिलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1114, “झाँझक थाप — सार संग मान रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1115, “खुरपीक धार — मान पर साँच खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1116, “बथानक खूँटा — राह संग गीत उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1117, “दूधक फेन — गीत बीच नेह रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1118, “लाहक चूड़ी — ताल संग धूप ढलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1119, “बटखराक तोल — आस बीच छाह सरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1120, “पालकीक डाँड़ — सार संग बीज उगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1121, “माछक शल्क — मान मे आँच जगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1122, “माटिक सुराही — सोर पर मोन नमै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1123, “कुल्हड़क गंध — राह कात सोर उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1124, “तुरहीक नाद — गीत संग राह बनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1125, “डमरूक ताल — ताल मे नेह जगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1126, “गोइठाक राख — सार पर अर्थ बचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1127, “लौकीक बेल — मान संग मोन घुरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1128, “कदम्बक फूल — राह बीच गप जुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1129, “करघाक सूत — रंग कात साँच रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1130, “फूसक छानि — गीत मे नेह चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1131, “बेरक काँट — बात पर छाप बचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1132, “बाँसक फाँक — सोर संग भेद खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1133, “पोखरिक घाट — ताल बीच सोर पहुँचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1134, “गाछक खोह — आस कात मान जगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1135, “पीपलक जड़ि — सार मे राह चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1136, “चकईक पाँख — मान पर स्वर फूटै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1137, “कागक ठोर — राह संग प्रश्न उठै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1138, “मेघक बूँद — रंग बीच रूप बसै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1139, “बिजुरीक रेख — गीत कात रंग मुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1140, “पूसक धुंध — बात मे धुन बदलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1141, “जेठक धूल — सोर पर साँस बढ़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1142, “सावनक टपक — ताल संग काल बचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1143, “भादोक पाँक — आस बीच बीज चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1144, “अगहनक बाली — सार कात पात पहुँचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1145, “फागुनक अबीर — मान मे भोर जुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1146, “चैतिक पछिया — राह पर थाह रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1147, “कार्तिकक दीप — रंग संग छाह ठहरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1148, “माघक धूप — गीत बीच नाद उड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1149, “नदीक बालू — बात कात गंध पलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1150, “शंखक सोर — सोर मे फूल उघड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1151, “बेलपत्रक डारि — सार पर नेह जगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1152, “खेसारीक दाना — मान संग राह खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1153, “कुर्थीक दालि — राह बीच मान चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1154, “जाँतक पाट — रंग कात रूप रहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1155, “सिलौटक लीक — गीत मे गप बनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1156, “चूल्हिक धूर — बात पर बीज उगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1157, “कूपक घेरा — सोर संग काल बहै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1158, “नाँदक जल — ताल बीच छाप बचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1159, “भीतक लेप — आस कात डोर तनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1160, “खपराक छत — सार मे थाह खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1161, “काठक छील — मान पर स्वर बजै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1162, “ताड़क रस — राह संग साँच जनै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1163, “पनसक बीआ — रंग बीच नेह बचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1164, “मखानक खोल — गीत कात राह मुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1165, “सनक रेसा — बात मे रूप बदलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1166, “चूनक ढेरी — सोर पर गंध पलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1167, “घीक वास — ताल संग सोर फूटै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1168, “मधुक मकरंद — आस बीच मान ठहरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1169, “कोठीक अन्न — सार कात डोर जुड़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1170, “ढोलकक थाप — मान मे छाह सरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1171, “काँसक थाल — राह पर भोर उगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1172, “जोतक लीक — रंग संग तर्क जँचै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1173, “शालक छाल — गीत बीच अर्थ खुलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1174, “कुम्हारक भट्ठी — बात कात नाद बजै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1175, “धानक खील — सोर मे साँच मिलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1176, “चानक डाकघर — पर पत्र जगै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1177, “समयक खाली जेब — संग घड़ी चलै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1178, “बादलक पोथीघर — बीच अक्षर तिरै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1179, “सपनक रेल — कात सीटी बजै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1180, “छाहक सोपान — पर पाँति चढ़ै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Ghazal 1181, “शून्यक पतंग — संग डोर हँसै,” is presented in the full Khand 2 as a verified ghazal unit rather than an isolated lyric. Its entry carries metre, rhyme-return, refrain and source-position information, so the poem is read through both meaning and formal discipline.
The paired musical-form companion is integral here. It supplies mood, tempo or performance guidance beside the text, making Khand 2 different from Khand 1: each ghazal becomes a literary and musical object, available for close reading and for sung or sounded realization.
Supplied PDF: Diwan-e-Videha_Khand_2.pdf. Consulted alongside the companion Word file: Diwan-e-Videha_Khand_2_592-1181_FINAL_2COL_ANUKRAMANIKA.docx.
Reference: Gajendra Thakur, दीवान-ए-विदेह खण्ड २, Videha, supplied edition bearing 2026 copyright. This does not establish first publication.
Introduction reading basis: title and copyright material, contents where present, and selected middle and ending passages. Reproducible Word text locations (non-empty paragraphs in document order, including table text): 15–16; 17–98; 99–126; 16856–16884. Extraction count: 16884.
PDF fingerprint726618d29b3d754502176c9028bc1464aa91d29e0921f03b0d86d5d3a8211914