Gajendra Thakur · Ghazals with musical forms · 827 PDF pages
The book and its concerns
The second volume stands beside Khand 1 as a continuation of the Diwan-e-Videha sequence. It opens with three formal essays on ghazal structure, scansion and minimum qualifications, then presents the ghazals with verified metre and a paired musical-form note for each poem.
Each ghazal unit below is treated as a combined textual and musical entry: title, rhyme/refrain, metre check and the facing musical guidance are read together. The gists preserve that dual structure without reproducing the poems or turning scansion into a substitute for literary reading.
INDIVIDUAL READINGS
412 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.
Essay 1 — गजलमे बहर, वजन आ समान मिसरा
लेख १ — गजलमे बहर, वजन आ समान मिसरा
लेख १ - गजलमे बहर, वजन आ समान मिसरा establishes the formal frame through which Khand 2 asks to be read. It defines ghazal discipline through structure, metre, scansion, rhyme and refrain rather than through subject-matter alone.
The essay matters because the later poems do not appear as lyric text alone: they arrive with declared formal checks and musical treatment. This note treats the essay as the volume’s poetics and editorial method, not as a detachable preface.
लेख २ - छन्द-विधान establishes the formal frame through which Khand 2 asks to be read. It defines ghazal discipline through structure, metre, scansion, rhyme and refrain rather than through subject-matter alone.
The essay matters because the later poems do not appear as lyric text alone: they arrive with declared formal checks and musical treatment. This note treats the essay as the volume’s poetics and editorial method, not as a detachable preface.
लेख ३ — पद्य केँ गजल कहल जाएबाक न्यूनतम औपचारिक योग्यता
लेख ३ - पद्य केँ गजल कहल जाएबाक न्यूनतम औपचारिक योग्यता establishes the formal frame through which Khand 2 asks to be read. It defines ghazal discipline through structure, metre, scansion, rhyme and refrain rather than through subject-matter alone.
The essay matters because the later poems do not appear as lyric text alone: they arrive with declared formal checks and musical treatment. This note treats the essay as the volume’s poetics and editorial method, not as a detachable preface.
Ghazal ५९२, “साँचक मान”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँचक, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९३, “ओकर नाम नोर छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९४, “मोन बीच रात रहल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९५, “मीत मोन प्राण छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्राण, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९६, “नेहक अन्तिम छोर”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नेहक, अन्तिम, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९७, “अहाँ बिनु रहल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँ, बिनु, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९८, “जे मोनसँ नै गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनसँ, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ५९९, “अहाँ मोनमे रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँ, मोनमे, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६००, “जे नोर मोनमे जागल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, जागल, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०१, “जे हमर संग रहैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रहैत, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०२, “ओ नोर हमरा मोन पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, पड़ैए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०३, “ओ भोर हमरा मोन पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, पड़ैए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०४, “प्रीत हमरा भीतर अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रीत, हमरा, भीतर, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०५, “दाग मोनसँ नहि जाइए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनसँ, जाइए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०६, “मीत फेर नहि भेटल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भेटल, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०७, “नोर मोनमे बसल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०८, “नोर अहाँ बिनु रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँ, बिनु, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६०९, “मीत मोनमे रहि जाइए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, जाइए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१०, “भूल मोनसँ नहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनसँ, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६११, “नेह एखनो बचल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: एखनो, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१२, “ओ ठोर फेरो मोन पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: फेरो, पड़ैए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१३, “जे नोर हमरा छोड़ि नहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, छोड़ि, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१४, “नेहक गान बचल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नेहक, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१५, “ओ नाम एखनो मोनमे अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: एखनो, मोनमे, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१६, “आस भीतर रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भीतर, रहैए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१७, “आस संग चलैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चलैत, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१८, “आस अहाँक पाछाँ रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँक, पाछाँ, रहैए, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६१९, “जे नोर आबो मोनमे अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२०, “नेह राति भरि जागैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, जागैत, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२१, “आस आबो संग रहैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रहैत, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२२, “जे नोर अहाँक पाछाँ रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँक, पाछाँ, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२३, “ओ भोर मोनमे रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२४, “ओ गान हमरा संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२५, “ओ नोर हमरा मोन पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, पड़ैए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२६, “ओ नेह मोनमे बचल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२७, “ओ नाम आबो संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२८, “ओ नेह राति भरि जागैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, जागैत, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६२९, “ओ नेह हमरा भीतर रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, भीतर, रहैए, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३०, “मीत फेर नहि भेटल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भेटल, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३१, “ओ नोर मोनसँ नहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनसँ, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३२, “ओ नोर मोनमे बसल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३३, “नोर हमरा संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३४, “नाम मोनमे रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३५, “मीत आबो संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३६, “नेह मोनमे बचल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३७, “दाग हमरा भीतर रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, भीतर, रहैए, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३८, “नोर मोनसँ नहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनसँ, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६३९, “नाम हमरा मोन पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, पड़ैए, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४०, “प्रीत हमरा संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रीत, हमरा, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४१, “नेह मोनमे रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४२, “नोर मोनमे बसल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४३, “नोर फेरो आयल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: फेरो, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४४, “नाम मोनमे राखू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, राखू, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४५, “प्रीत फेरो जागल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रीत, फेरो, जागल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४६, “ध्यान मोनमे राखू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ध्यान, मोनमे, राखू, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४७, “मीत मोनमे खोजू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, खोजू, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४८, “गाम मोनमे देखू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, देखू, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६४९, “नोर मोनमे राखू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, राखू, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५०, “ज्ञान फेरो जागल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ज्ञान, फेरो, जागल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५१, “प्रीत मोनमे राखू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रीत, मोनमे, राखू, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५२, “नोर मोनमे खोजू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, खोजू, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५३, “नोर मोन संग छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५४, “नाम मोन बीच छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५५, “मीत फेर दूर गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५६, “नाम मोन संग छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५७, “प्रीत मोन बीच छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रीत, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५८, “गाम फेर दूर गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६५९, “नोर फेर मोन आय”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६०, “मान मोन बीच छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६१, “नाम फेर लग छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६२, “मीत साँझ संग आय”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँझ, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६३, “ओ नाम मोन संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६४, “ओ डोर मोन पास अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६५, “ओ नेह मोन बीच अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६६, “अहाँक नाम, निन्न दूर अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँक, निन्न, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६७, “ई सोर नोर संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्रिक, छन्द, पारम्परिक, अरूज़ी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६८, “नोर मौन, नेह गाढ़ अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गाढ़, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६६९, “नेह एखनो मोन संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: एखनो, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७०, “पुरन सोर घर बीच अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरन, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७१, “अहाँक नाम आबो पास अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अहाँक, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७२, “पुरन दुआरि फेर मोन पड़ल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरन, दुआरि, पड़ल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७३, “बुझल दीपक उजियार”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बुझल, दीपक, उजियार, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७४, “मौनक सोर भीतर जागल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मौनक, भीतर, जागल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७५, “दूर गेलहुँ तऽ नेह बुझलहुँ”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गेलहुँ, बुझलहुँ, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७६, “मौनक तान भीतर बजैत रहल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मौनक, भीतर, बजैत, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७७, “अन्हारक भोर ककरो नहि देखायल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अन्हारक, ककरो, देखायल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७८, “मेटल नाम हमरा घर आयल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मेटल, हमरा, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६७९, “अन्हार हमरा मोन बुझायल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अन्हार, हमरा, बुझायल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८०, “जे गेल से भीतर रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भीतर, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८१, “पानि अपन पिआस कहैत रहल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पानि, पिआस, कहैत, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८२, “सून्न दुआरि एतबे कहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सून्न, दुआरि, एतबे, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८३, “नेहक बाति रहि जाइत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नेहक, बाति, जाइत, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८४, “अन्हार हमरासँ गप करैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अन्हार, हमरासँ, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८५, “नोर हमरा संग जागैत रहल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हमरा, जागैत, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८६, “साँझक बादो घर नहि सुतल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँझक, बादो, सुतल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८७, “नाम मेटल, सोर नहि मेटल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मेटल, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८८, “चान डूबल, नेह नहि डूबल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डूबल, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६८९, “पार भेटल, मझधार बाँचल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भेटल, मझधार, बाँचल, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९०, “सून्न गामक एकटा साँझ”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सून्न, गामक, साँझ, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९१, “ठोर गुम्म, भीतर गीत”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गुम्म, भीतर, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९२, “भोर आयल, राति नहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९३, “जे भोर मोन पड़ैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पड़ैत, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९४, “जीवनक सार कहू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जीवनक, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९५, “मोनक भीतर राह रहू”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनक, भीतर, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९६, “केवल ई मान नहि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: केवल, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९७, “जीवन आस जकाँ”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जीवन, जकाँ, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९८, “जीवनमे गाम बिनु”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जीवनमे, बिनु, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ६९९, “ई केवल काल छल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: केवल, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७००, “मोनक भीतर पीर कतए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनक, भीतर, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०१, “एतेक फेर किएक”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: एतेक, किएक, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०२, “जीवनमे फूल रहैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जीवनमे, रहैत, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०३, “एखनो चाह मोनमे अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: एखनो, मोनमे, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०४, “ओकर सोर रहि गेल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०५, “मौन एक गीत लगैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: लगैत, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०६, “नाम मोन पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पड़ैए, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०७, “हमर मोन रुवैए किएक?”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रुवैए, किएक, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०८, “चाह आबो बचल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७०९, “मोन राति नाम फेर कहैत रहल”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, कहैत, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१०, “मीत आब दूर गेल; मोनमे भार शेष अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७११, “मोनमे साँचक सार एखनो अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, साँचक, एखनो, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१२, “भोर मोनमे अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१३, “नेहक नाम आब अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नेहक, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१४, “नम्र मोन मान संग अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नम्र, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१५, “मोनमे सार बचल अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोनमे, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१६, “भोर रहि जाइत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जाइत, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१७, “मान बचैए एखनो”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बचैए, एखनो, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१८, “आन बाट दिसैए फेर”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दिसैए, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७१९, “मोन फेर बाट बदलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बदलैए, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२०, “साँच लेल कोन माप अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँच, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२१, “दिस आन साँच देख”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँच, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२२, “साँच एक बेर भेल नहि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँच, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२३, “नेहक सार होइत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नेहक, होइत, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२४, “साँचक नव ढंग रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँचक, रहैए, उच्चारणाधारित, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२५, “नेह मूल सार अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२६, “मोन बीच एक नाव अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२७, “जग मान जागैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जागैए, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२८, “एक राह सार नहि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, मात्रिक, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७२९, “मुक्त राह सार अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मुक्त, उच्चारणाधारित, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३०, “झट ज्ञान नहि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ज्ञान, उच्चारणाधारित, दीर्घ, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३१, “आन पीर नोर मात्र नहि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्र, उच्चारणाधारित, दीर्घ, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३२, “भाव मूल थाह अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, दीर्घ, मात्रिक, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३३, “प्रश्न बीच गीत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रश्न, उच्चारणाधारित, दीर्घ, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३४, “साँचक सोर अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँचक, उच्चारणाधारित, दीर्घ, मात्रिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३५, “भीतर आस रहै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भीतर, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३६, “प्रश्न उठि गेलै, द्वार खुलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रश्न, गेलै, द्वार, खुलै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३७, “अपन मत जाँचै छी, सार दिसै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जाँचै, दिसै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३८, “छूटल स्वर उठै छै, हाल बदलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: छूटल, स्वर, बदलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७३९, “अंक सभ बोलै छै, सार खोजै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बोलै, खोजै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४०, “नदी रूप बदलै छै, सार बचै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बदलै, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४१, “ज्ञान फेर बदलै छै, आधार जाँचै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ज्ञान, बदलै, आधार, जाँचै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४२, “मान जखन बढ़ै छै, विश्वास रहै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बढ़ै, विश्वास, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४३, “घाव जखन देखै छी, दाग बुझै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: देखै, बुझै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४४, “गौरव जखन बढ़ै छै, प्रमाण माँगै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गौरव, बढ़ै, प्रमाण, माँगै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४५, “दोषो देखलै मोन, सार रहि जाइ छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दोषो, देखलै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४६, “रूप जखन मिललै, मेल तखन विचार भेलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मिललै, विचार, भेलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४७, “काल्हिक आधार पूछै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: काल्हिक, आधार, पूछै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४८, “भाग्येँ साँच भेलै, कोन आधार मिलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भाग्येँ, साँच, भेलै, आधार. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७४९, “साँच फेर मिलै छै, सार खुलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँच, मिलै, खुलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५०, “प्रश्न जखन उठै छै, सार बुझै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रश्न, बुझै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५१, “भाग्य फेर जाँचै छी, आधार खोजै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भाग्य, जाँचै, आधार, खोजै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५२, “रूप फेर जाँचै छी, आकार खुलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जाँचै, आकार, खुलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५३, “साँच जखन कहै छी, डोर रहै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँच, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५४, “रूप फेर बदलै छै, सार बचै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बदलै, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५५, “छूटल स्वर उठै छै, मान बदलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: छूटल, स्वर, बदलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५६, “प्रश्न फेर उठै छै, राह दिसै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रश्न, दिसै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५७, “अंक मात्र कहै छै, विचार जगै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मात्र, विचार, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५८, “नोर-सोर बुझै छी, हाल खुलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बुझै, खुलै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७५९, “काल पार सोचै छी, भोर देखै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सोचै, देखै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६०, “सत्ता फेर जाँचै छी, ध्यान रखै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सत्ता, जाँचै, ध्यान, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६१, “ज्ञान जखन बदलै छै, उपाय मिलै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ज्ञान, बदलै, उपाय, मिलै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६२, “दाबी फेर जाँचै छी, विश्वास बचै छै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दाबी, जाँचै, विश्वास, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६३, “मत जखन सुनै छी, प्रभाव बुझै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सुनै, प्रभाव, बुझै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६४, “काल जखन मुड़ै छै, ढंग परखै छी”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मुड़ै, परखै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६५, “माप जखन लगै, ज्ञान मोनमे उतरैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ज्ञान, मोनमे, उतरैत, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६६, “मान जखन बचै, आस रूप धरैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धरैत, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६७, “घाव जखन दुखै, उपचार द्वार खोलैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दुखै, उपचार, द्वार, खोलैत. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६८, “साँच फेर खुलै, नोर सँ जुड़ैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँच, खुलै, जुड़ैत, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७६९, “मोन फेर जागै, प्रीत संग चलैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जागै, प्रीत, चलैत, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७०, “न्याय फेर बढ़ै, माप बनि रहैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: न्याय, बढ़ै, रहैत, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७१, “पीरक मूल खुलै, निदान दिशा दैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पीरक, खुलै, निदान, दिशा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७२, “याद फेर उठै, नोर मोन फेरबैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: फेरबैत, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७३, “प्रश्न जखन उठै, विचार केँ खोजैत अछि”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रश्न, विचार, खोजैत, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७४, “पीर जखन घटै छै, आस जागि उठैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जागि, उठैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७५, “घर पाछाँ छुटै छै, सार मोनमे बसैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पाछाँ, छुटै, मोनमे, बसैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७६, “कूल दूर सरै छै, तरंग संगे बहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: तरंग, संगे, बहैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७७, “बीज माटि फोड़ै छै, प्रीत माटिमे अँकुरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, फोड़ै, प्रीत, माटिमे. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७८, “प्रश्न माथ उठै छै, ज्ञान ऊपर चढ़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रश्न, ज्ञान, चढ़ैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७७९, “पीर नोर कहै छै, नेह नोरमे भीजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नोरमे, भीजैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८०, “राति पाछाँ सरै छै, आस भोरमे फूटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, पाछाँ, भोरमे, फूटैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८१, “शब्द पवन चढ़ै छै, संवाद पवनमे उड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: शब्द, चढ़ै, संवाद, पवनमे. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८२, “घाव बात कहै छै, भाव नोरमे चमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: नोरमे, चमकैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८३, “रोष देह चढ़ै छै, क्रोध भीतर धधकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चढ़ै, क्रोध, भीतर, धधकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८४, “सोर दूर रहै छै, राग मौनमे गमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मौनमे, गमकैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८५, “पएर रोक घेरै छै, आकाश पार निकलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: घेरै, आकाश, निकलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८६, “पुरना बीज बचै छै, मूल जड़ि धरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरना, जड़ि, धरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८७, “पीर देह कहै छै, ताप देहमे सिहरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: देहमे, सिहरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८८, “पन्ना फेर खुलै छै, नाम कालमे डोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पन्ना, खुलै, कालमे, डोलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७८९, “दाबी जोर करै छै, बात साँचमे टिकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दाबी, साँचमे, टिकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९०, “दीप राति जरै छै, नेह मोनमे उजरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, मोनमे, उजरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९१, “राख छाँह धरै छै, गीत राखसँ फूलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: छाँह, राखसँ, फूलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९२, “रेखा नाम बनै छै, पहचान सीमा गलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेखा, पहचान, सीमा, गलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९३, “रूप नाम बदलै छै, स्वरूप नामसँ छूटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बदलै, स्वरूप, नामसँ, छूटैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९४, “नदी याद बहै छै, धार स्मृतिमे घुरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: स्मृतिमे, घुरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९५, “लोक सोर जुड़ै छै, रंग लोकमे बजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जुड़ै, लोकमे, बजैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९६, “पएर माटि छुबै छै, देश माटिसँ जनमैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, छुबै, माटिसँ, जनमैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९७, “दूर घर रहै छै, प्रीत दूरि घटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: प्रीत, दूरि, घटैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९८, “डगमग मोन रहै छै, विश्वास डोर सम्हरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डगमग, विश्वास, सम्हरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ७९९, “पएर मोड़ पड़ै छै, उपाय दिशा मुड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मोड़, पड़ै, उपाय, दिशा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८००, “गीत काल लाँघै छै, गीत अन्त लाँघैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: लाँघै, अन्त, लाँघैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०१, “दाम रोज बदलै छै, सार बाजार जँचैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बदलै, बाजार, जँचैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०२, “मेह राति बढ़ै छै, धार कूल बनैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, बढ़ै, बनैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०३, “रस्सी हाथ उतरै छै, प्यास कुआँ बोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रस्सी, उतरै, प्यास, कुआँ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०४, “सीटी दूर बजै छै, राह रेल चलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सीटी, चलैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०५, “दीप कोन जरै छै, ज्ञान पन्ना खुलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ज्ञान, पन्ना, खुलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०६, “डाक पएर चलै छै, सार चिट्ठी पहुँचैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चिट्ठी, पहुँचैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०७, “जड़ि माटि पकड़ै छै, मूल छाँह रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जड़ि, माटि, पकड़ै, छाँह. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०८, “माटि हाथ नमै छै, रूप चाक घुमैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, घुमैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८०९, “पर्दा धीरे उठै छै, रंग मंच धड़कैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पर्दा, धीरे, धड़कैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१०, “आँखि गोल चमकै छै, नोर बालक पूछैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: आँखि, चमकै, बालक, पूछैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८११, “केश धीर बदलै छै, श्वास उमिर ढलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बदलै, श्वास, उमिर, ढलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१२, “नाव नीर उतरै छै, धार सीमा काटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उतरै, सीमा, काटैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१३, “काठ रेखा जागै छै, छाप हाथ गढ़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेखा, जागै, गढ़ैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१४, “मेह राति पड़ै छै, नेह छप्पर बजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, पड़ै, छप्पर, बजैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१५, “रोटी हाथ बाँटै छै, स्वाद थारी जुड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रोटी, बाँटै, स्वाद, थारी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal 816 — गवाही स्वर उठै छै, प्रमाण न्याय तौलैए
गजल ८१६ — गवाही स्वर उठै छै, प्रमाण न्याय तौलैए
Ghazal ८१६, “गवाही स्वर उठै छै, प्रमाण न्याय तौलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गवाही, स्वर, प्रमाण, न्याय. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१७, “स्वप्न रूप बदलै छै, रूप भोर जगबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: स्वप्न, बदलै, जगबैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१८, “बत्ती राति जरै छै, सोर नगर जागैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बत्ती, राति, जागैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८१९, “आखर पात सजै छै, बोल लिपि बचैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: लिपि, बचैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२०, “चिता शान्त पड़ै छै, फूल राख बोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चिता, शान्त, पड़ै, बोलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२१, “दू हाथ मिलै छै, नेह बंधन जँचैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मिलै, बंधन, जँचैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२२, “ट्रेन गाम छोड़ै छै, द्वार पएर घुरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ट्रेन, छोड़ै, द्वार, घुरैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२३, “घंटी भोर बजै छै, ज्ञान कक्षा जागैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: घंटी, ज्ञान, कक्षा, जागैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२४, “पीर धीरे कहै छै, भेद देह सुनैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धीरे, सुनैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२५, “पएर माथ रुकै छै, पार आकाश खुलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रुकै, आकाश, खुलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२६, “घड़ी भोर बजै छै, काल फेर सरकै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: घड़ी, सरकै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२७, “धान बीज सुकै छै, अगिला ऋतु टिकै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सुकै, अगिला, टिकै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२८, “दर्पण भोर चमकै छै, चेहरा रेखा उभरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दर्पण, चमकै, चेहरा, रेखा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८२९, “तान सूता तनै छै, बाना रंग जुड़ै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सूता, बाना, जुड़ै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३०, “ढोल दूर बजै छै, रंग झण्डा लहरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: झण्डा, लहरै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३१, “पएर ढलान चढ़ै छै, कुहरा दूर सरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ढलान, चढ़ै, कुहरा, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३२, “मधुमाछि भोर उड़ै छै, फूल गन्ध खोजै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मधुमाछि, उड़ै, गन्ध, खोजै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३३, “चन्द्र राति चमकै छै, छाँह धीरे चढ़ै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चन्द्र, राति, चमकै, छाँह. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३४, “पुल नदी लाँघै छै, दू कूल जुड़ै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: लाँघै, जुड़ै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३५, “सीसा टाइप सजै छै, स्याही रोल चढ़ै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सीसा, टाइप, स्याही, चढ़ै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३६, “रेडियो भोर बजै छै, दूर स्वर अबै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेडियो, स्वर, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३७, “पुरना फोटो खुलै छै, चेहरा मुस्की रहै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरना, फोटो, खुलै, चेहरा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३८, “ताला द्वार लटकै छै, हाथ धातु घुमै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ताला, द्वार, लटकै, धातु. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८३९, “सूखल पात सरसरै छै, चिनगी छोट उठै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सूखल, सरसरै, चिनगी, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४०, “नहर खेत मुड़ै छै, नीर रेखा चलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मुड़ै, रेखा, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४१, “पत्थर रेखा रहै छै, आखर धीरे घिसै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पत्थर, रेखा, धीरे, घिसै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४२, “बाँस हवा डोलै छै, जड़ि माटि थामै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बाँस, डोलै, जड़ि, माटि. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४३, “पतंग छत उठै छै, डोर हाथ तनै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पतंग, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४४, “चूल्हा भोर जरै छै, दालि गन्ध फैलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चूल्हा, दालि, गन्ध, फैलै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४५, “राति आकाश खुलै छै, तारा झिलमिल करै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, आकाश, खुलै, तारा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४६, “पाखी झुण्ड उड़ै छै, आकाश रेखा बनै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पाखी, झुण्ड, उड़ै, आकाश. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४७, “पैडल पएर घुमै छै, चक्का राह धरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पैडल, घुमै, चक्का, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४८, “नमक दाना पड़ै छै, दालि स्वाद बदलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दाना, पड़ै, दालि, स्वाद. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८४९, “भोर अजान उठै छै, घण्टा दूर बजै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अजान, घण्टा, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५०, “लहर भोर उठै छै, क्षितिज रंग बदलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: क्षितिज, बदलै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५१, “भोर कूप जागै छै, नीर तल चमकै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जागै, चमकै, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५२, “पोथी पन्ना खुलै छै, छोट टिप्पणी जगै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पोथी, पन्ना, खुलै, टिप्पणी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५३, “सीटी दूर बजै छै, लोहा ताल धरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सीटी, लोहा, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५४, “माटि हाथ नमै छै, रूप बीच उगै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५५, “मेह काँच पड़ै छै, बूँद रेखा बनै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: काँच, पड़ै, बूँद, रेखा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५६, “कलम डारि जुड़ै छै, नव फूल खुलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डारि, जुड़ै, खुलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५७, “न्याय कक्ष खुलै छै, प्रश्न क्रम धरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: न्याय, कक्ष, खुलै, प्रश्न. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५८, “राति नदी बहै छै, मचान दीप जरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, मचान, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८५९, “भोर विद्यालय खुलै छै, आँगन हँसी भरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: विद्यालय, खुलै, आँगन, हँसी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६०, “बाढ़ नीर उतरै छै, खेत माटि दिसै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बाढ़, उतरै, माटि, दिसै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६१, “झोरा काँध चढ़ै छै, माय नोर धरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: झोरा, काँध, चढ़ै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६२, “पुरना बक्सा खुलै छै, कागज गन्ध उठै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरना, बक्सा, खुलै, कागज. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६३, “भोर बाड़ी खुलै छै, पात ओस चमकै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बाड़ी, खुलै, चमकै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६४, “दुपहर सूरज चढ़ै छै, गाछ छाह सिमटै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दुपहर, सूरज, चढ़ै, सिमटै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६५, “मेह छत पड़ै छै, नाली नीर बहै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पड़ै, नाली, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६६, “बोर्ड बीच सजै छै, पहिल चाल खुलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बोर्ड, पहिल, खुलै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६७, “बाजार भोर खुलै छै, दाना पलड़ा धरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बाजार, खुलै, दाना, पलड़ा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६८, “नाव घाट लगै छै, नीर तेज बहै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उच्चारणाधारित, दीर्घ, छन्द, पारम्परिक. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८६९, “साँझ आँगन सजै छै, पहिल लौ उठै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँझ, आँगन, पहिल, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७०, “कागज सफेद रहै छै, स्याही रेखा उतरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कागज, सफेद, स्याही, रेखा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७१, “देहरी भोर चमकै छै, घर बाहर मिलै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: देहरी, चमकै, बाहर, मिलै. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७२, “ढोल थाप पड़ै छै, बीच मौन रहै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पड़ै, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७३, “छत गमला रहै छै, बीज माटि धरै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गमला, माटि, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७४, “पुरना टीला रहै छै, गाछ छाह पड़ै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरना, टीला, पड़ै, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७५, “राति झंझा बहै छै, दूर रेखा उगै”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, झंझा, रेखा, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७६, “पुरान रेखा खुलै, राह नक्शा बतबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरान, रेखा, खुलै, नक्शा. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७७, “लोहारक श्वास उठै, आग भट्ठी धधकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: लोहारक, श्वास, भट्ठी, धधकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७८, “नीर बहै, भोर जाल पसारैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पसारैए, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८७९, “कचहरी सोझाँ छाह पसारैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कचहरी, सोझाँ, पसारैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८०, “दीप मन्द जरै, राति सम्हारैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मन्द, राति, सम्हारैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८१, “धान डोलै, बिजुका तकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डोलै, बिजुका, तकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८२, “छोट कोन रहै, टिकट पहुँचबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: टिकट, पहुँचबैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८३, “धूलि बीच अंक रहै, पत्थर गनैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धूलि, पत्थर, गनैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८४, “ताल नीर झलकै, कुमुद खिलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: झलकै, कुमुद, खिलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८५, “गन्ध उठै, मसाला पिसैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गन्ध, मसाला, पिसैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८६, “काँच हँसै, लहठी खनकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: काँच, हँसै, लहठी, खनकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८७, “पएर उठै, सीढ़ी चढ़बैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सीढ़ी, चढ़बैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८८, “आँगन थाप धरै, ढेंकी कुटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: आँगन, ढेंकी, कुटैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८८९, “ओस काँपै, पाला जमैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: काँपै, पाला, जमैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९०, “समुद्र बीच सूइ बतबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: समुद्र, बतबैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९१, “जंगल साँस ले, पगडंडी मुड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जंगल, साँस, पगडंडी, मुड़ैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९२, “तिनका जुड़ै, घोंसला बसैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: तिनका, जुड़ै, घोंसला, बसैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९३, “कपड़ा भीजै, रंगरेज रँगैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कपड़ा, भीजै, रंगरेज, रँगैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९४, “गाम गोल बैसै, सभा सुनैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बैसै, सुनैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९५, “धूलि हटै, अलमारी खुलबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धूलि, अलमारी, खुलबैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९६, “लहर चढ़ै, पदचिह्न मिटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चढ़ै, पदचिह्न, मिटैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९७, “धूलि उठै, घोड़ा दौड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धूलि, घोड़ा, दौड़ैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९८, “रेखा बोलै, चित्र उभरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेखा, बोलै, चित्र, उभरैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ८९९, “श्वास उठै, शंख गुँजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: श्वास, गुँजैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९००, “नीर पार खुलै, क्षितिज पसारैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, क्षितिज, पसारैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०१, “पोखर नीर चमकै, आस मखान खिलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पोखर, चमकै, मखान, खिलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०२, “ओस पात चमकै, नेह पात महकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चमकै, महकैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०३, “सूत जुड़ै, चाव सुजनी सजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जुड़ै, सुजनी, सजैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०४, “रेशा तनै, मान सिक्की जुड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेशा, सिक्की, जुड़ैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०५, “पाखी खेल उठै, गीत सामा गबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पाखी, सामा, गबैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०६, “व्रत कथा खुलै, स्वर कथा गुँजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: व्रत, खुलै, स्वर, गुँजैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०७, “आँगन रेखा खुलै, चाव अरिपन खिलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: आँगन, रेखा, खुलै, अरिपन. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०८, “भोर गन्ध उठै, आस मंजर महकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गन्ध, मंजर, महकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९०९, “पीयर खेत डोलै, प्रीत सरसों हँसैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पीयर, डोलै, प्रीत, सरसों. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१०, “गरमी घटै, श्वास पंखा डोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गरमी, श्वास, पंखा, डोलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९११, “माटि पकै, ताल घड़ा झनकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, घड़ा, झनकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१२, “कपड़ा फाटै, नेह सुई सिअैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कपड़ा, फाटै, सिअैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१३, “डारि हिलै, चाव झूला डोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डारि, हिलै, झूला, डोलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१४, “पुरान नीर चमकै, भोर कुण्ड चमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पुरान, चमकै, कुण्ड, चमकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१५, “माथ सजै, मान पाग दमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दमकैए, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१६, “भोर थारी सजै, प्रीत भोज सजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: थारी, प्रीत, सजैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१७, “कागज देह जरै, आस लालटेन जरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कागज, लालटेन, जरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१८, “अन्हार घनै, आस जुगनू चमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अन्हार, जुगनू, चमकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९१९, “फूल झरै, नोर मौलश्री झरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मौलश्री, झरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२०, “पाथर बाट बजै, ताल खड़ाऊँ बजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पाथर, खड़ाऊँ, बजैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२१, “ओस पड़ै, भोर जाल चमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पड़ै, चमकैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२२, “धान रोपै, गीत रोपनी गबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रोपै, रोपनी, गबैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२३, “घाट पएर चलै, नोर गगरी छलकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गगरी, छलकैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२४, “मेघ हटै, रंग इन्द्रधनुष उभरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: इन्द्रधनुष, उभरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२५, “गाछ डोलै, पार पछिया बहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डोलै, पछिया, बहैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२६, “सूत तनै, सार चर्खा घूमैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चर्खा, घूमैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२७, “धान जुटै, मान बखार भरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जुटै, बखार, भरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२८, “माटि कटै, ज्ञान फाल चमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, ज्ञान, चमकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९२९, “नीर हटै, भोर चर उभरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: उभरैए, उच्चारणाधारित, दीर्घ, छन्द. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३०, “पोखर गहिरै, आस कमलबीज पकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पोखर, गहिरै, कमलबीज, पकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३१, “पाथर टकरै, नोर चकमक झिलमिलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पाथर, टकरै, चकमक, झिलमिलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३२, “रेशा जुड़ै, प्रीत पाटी बुनैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेशा, जुड़ै, प्रीत, पाटी. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३३, “तार काँपै, गीत सारंगी रुवैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: काँपै, सारंगी, रुवैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३४, “पात लहरै, भोर तिलकोर लहरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: लहरै, तिलकोर, लहरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३५, “लोक जुटै, मान सभा जुटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जुटै, जुटैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३६, “पात खुलै, ज्ञान पंजी बोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, ज्ञान, पंजी, बोलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३७, “रस्सी तनै, चाव डोल उतरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रस्सी, उतरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३८, “आग धधकै, आस ईंट पकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धधकै, पकैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९३९, “फूल खुलै, प्रीत चंपा महकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, प्रीत, चंपा, महकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४०, “दाना जुटै, मान कोठी भरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दाना, जुटै, कोठी, भरैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४१, “नील फूल डोलै, चाव अलसी हँसैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डोलै, अलसी, हँसैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४२, “श्वास मिलै, गीत बाँसुरी सुसकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: श्वास, मिलै, बाँसुरी, सुसकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४३, “पाथर भीजै, भोर झरना गबैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पाथर, भीजै, झरना, गबैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४४, “भोर खुलै, आस कुहासा हटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, कुहासा, हटैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४५, “राति ढलै, नोर चाँद झुकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: राति, चाँद, झुकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४६, “लहर हटै, आस सीपी खुलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सीपी, खुलैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४७, “धूलि उठै, भोर गोधूलि उठैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धूलि, गोधूलि, उठैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४८, “खेत बँटै, मान मेड़ बोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बँटै, मेड़, बोलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९४९, “छत गरमै, चाव धूप उतरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: गरमै, उतरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५०, “दूर रेखा खुलै, पार क्षितिज फैलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: रेखा, खुलै, क्षितिज, फैलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५१, “राख अँगार खुलै, अँगार बचैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अँगार, खुलै, बचैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५२, “बीज अँकुर खुलै, मान फेर उठैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अँकुर, खुलै, उठैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५३, “ओखरि मूसर खुलै, ताल धुनि बजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ओखरि, मूसर, खुलै, धुनि. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५४, “कनेर फूल खुलै, आस फुलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कनेर, खुलै, फुलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५५, “छप्पर बरखा खुलै, नोर टपकि खसैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: छप्पर, बरखा, खुलै, टपकि. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५६, “भूसी पवन खुलै, राह दूर उड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भूसी, खुलै, उड़ैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५७, “कछार कटान खुलै, मूल कटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कछार, कटान, खुलै, कटैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५८, “बिचड़ा खेत खुलै, रंग फेर हरियैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बिचड़ा, खुलै, हरियैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९५९, “काई पोखर खुलै, नाम जल तिरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पोखर, खुलै, तिरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६०, “बाती दीप खुलै, पीर जरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बाती, खुलै, जरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६१, “सूत तकली खुलै, बात सूत तनैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: तकली, खुलै, तनैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६२, “माटिक सोंध खुलै, रूप महकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटिक, सोंध, खुलै, महकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६३, “बबूल काँट खुलै, मेल भीतर चुभैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बबूल, काँट, खुलै, भीतर. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६४, “ओसार साँझ खुलै, अँगार फेर जगैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ओसार, साँझ, खुलै, अँगार. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६५, “बान्ह जल खुलै, मान टिकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बान्ह, खुलै, टिकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६६, “कुट्टी खलिहान खुलै, ताल धूरि उड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कुट्टी, खलिहान, खुलै, धूरि. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६७, “काँच चूड़ी खुलै, आस मृदु खनकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: काँच, चूड़ी, खुलै, मृदु. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६८, “बेल लता खुलै, नोर लहरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, लहरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९६९, “नाल जल खुलै, राह नीचाँ बहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, नीचाँ, बहैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७०, “चन्द्र ज्योति खुलै, मूल दूर पसरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: चन्द्र, ज्योति, खुलै, पसरैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७१, “पीतल लोटा खुलै, रंग चमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पीतल, लोटा, खुलै, चमकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७२, “पोथीक पन्ना खुलै, नाम धीरे सरकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पोथीक, पन्ना, खुलै, धीरे. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७३, “रुई सूत खुलै, पीर ऊपर उड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खुलै, उड़ैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७४, “धूरिक बाट खुलै, बात उड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: धूरिक, खुलै, उड़ैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७५, “साँकल द्वार खुलै, रूप राति खनकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: साँकल, द्वार, खुलै, राति. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७६, “सिलौट लोढ़ा बजै, सोर धीमे थिरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: सिलौट, लोढ़ा, धीमे, थिरैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७७, “बाँस दउरा जुड़ै, मान सँचि उठैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बाँस, दउरा, जुड़ै, सँचि. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७८, “तराजू पल्ला झुकै, विचार तोलि देखैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: तराजू, पल्ला, झुकै, विचार. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९७९, “हँसुआ धार चमकै, सार फेर दमकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हँसुआ, चमकै, दमकैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८०, “जाँता दाना पिसै, गान मृदु बजैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: जाँता, दाना, पिसै, मृदु. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८१, “कोदो बालि डोलै, उमंग साँझ धरि डोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कोदो, बालि, डोलै, उमंग. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८२, “छत्ता मधु भरै, आस मधु सँ भरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: छत्ता, भरैए, उच्चारणाधारित, दीर्घ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८३, “तितली रंग उड़ै, रंग पाँख पसारैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: तितली, उड़ै, पाँख, पसारैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८४, “घोंघा पथ सरकै, पहिचान पाछाँ रहि जाइए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: घोंघा, सरकै, पहिचान, पाछाँ. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८५, “कछुआ नीर काटै, राह नीरमे बहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कछुआ, काटै, नीरमे, बहैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८६, “सनई फूल डोलै, रंग पवनमे लहरैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: डोलै, पवनमे, लहरैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८७, “कनकौआ ऊपर उठै, डोर अकास चढ़ि जाइए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कनकौआ, अकास, चढ़ि, जाइए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८८, “सूप दाना छाँटै, धान सूपमे छँटैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: दाना, छाँटै, सूपमे, छँटैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९८९, “झाँपी भीतर सजै, नाम भीतर बचि रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: झाँपी, भीतर, रहैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९०, “ताड़पात आखर खुलै, ज्ञान पातमे बोलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: ताड़पात, खुलै, ज्ञान, पातमे. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९१, “पीपर छाँह पसरै, राह छाँहमे टिकि रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: पीपर, छाँह, पसरै, छाँहमे. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९२, “खजूर रस टपकै, आस रस टपकैत रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: खजूर, टपकै, टपकैत, रहैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९३, “बकुल फूल झरै, सुवास भोरमे महकि उठैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: बकुल, सुवास, भोरमे, महकि. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९४, “ओल माटि फोड़ै, मूल माटि फोड़ि निकलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: माटि, फोड़ै, फोड़ि, निकलैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९५, “अरुई पात डोलै, बात पवनमे झूमैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: अरुई, डोलै, पवनमे, झूमैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९६, “मड़ुआ बालि झुकै, बाल नमि जाइए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: मड़ुआ, बालि, झुकै, जाइए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९७, “कुरथी दालि पकै, दाल भानसमे महकैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: कुरथी, दालि, भानसमे, महकैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९८, “तिल घानी घुमै, हाथ घानी संग चलैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: घानी, घुमै, चलैए, उच्चारणाधारित. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal ९९९, “मकई भुट्टा खुलै, धान दाना झरि पड़ैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: भुट्टा, खुलै, दाना, पड़ैए. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Ghazal 1000 — हजारम गजल खुलै, गीत आगाँ गुँजैत रहैए
गजल १००० — हजारम गजल खुलै, गीत आगाँ गुँजैत रहैए
Ghazal १०००, “हजारम गजल खुलै, गीत आगाँ गुँजैत रहैए”, is presented as a paired literary and musical unit. Its source block gives the poem, metre/scansion data and a musical-form companion, so the entry is read through sound, cadence and formal discipline together.
The gist centres on the unit’s declared title-field and its formal apparatus: हजारम, खुलै, आगाँ, गुँजैत. The opposite-side musical treatment makes Khand 2 distinct from Khand 1, because performance mood, tempo, instrumentation or verse-wise guidance becomes part of the citable unit.
Supplied PDF: Diwan-e-Videha_Khand_2.pdf. Consulted alongside the companion Word file: Diwan-e-Videha_Khand_2_592-1000_Actual_Scansion_Certified_6x9.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): 15–36; 99–124; 11605–11633. Extraction count: 11633.
PDF fingerprint45470a19ab0f50ab25d340884fb38348f6067f3a21baccb591cc78e8ffe272ea