I do not have vast knowledge about poetry, but I am trying to answer your question in a simple way.
Whats are differeneces between behr, Nazm, Ghazal, kavita, rachna....???
to know the differences between all this, first we shuuld know what is beh’r, Nazm, Ghazal, Kavita & Rachana.
1) Ancient Indian Poetry (indo-Aryan languages)
Geet & Kavita,
Geet is a word in several Indo-Aryan languages, deriving from the Sanskrit word gita, which means a song or a poem. It is a genre of poetry in most contemporary Indo-Aryan languages like Hindi, Punjabi, Guajarati, etc. It is commonly used as song or hymn.
Kavita: Kavi(poet) +ta(imagination) = Creation/imagination of a poet, the whole poetic work of a poet(KAVI) may be called a kavita. It is just like Nazm. (But Nazm basically consist of urdu words, but Kavita basically consist of Hindi words. ) Just like the difference between a Shayar and a kavi...: D Nazm & kavita is almost same...
An example of Kavita, by Sri Gopal Das Neeraj
chhup chhup ashru bahaane waaloN,
Moti byarth lutaane waaloN,
Kuchh sapno ke mar jaane se jeevan nahiiN mara karta hai.
Sapna kya hai, nayan sej par,
soya huaa aaNkh ka paani
aur TooTna hai us ka jyoN,
Jaage kachchhi niNd jawaani,
Gili umar banaane waalon, Doobe bina nahaane waaloN,
Kuchh paani ke bah jaane se saawan nahiiN mara karta hai
Mala bikhar gayee to kya hai,
Khud hi hal ho gaii samshya,
aaNSuu gar niilaam huye to
samjho puri huii tapashya
RooThe deevas manaane waaloN, Phatee kameez silaane waaloN,
Kuchh deepoN ke bujh jaane se, aaNgan nahiIN mara karta hai.
Khota nahiiN kuchh bhi yahaan par,
keval jild badli thee pothii,
Jaise raat utaar chaaNdanii,
pahne subah dhoop ki dhotii,
Vastra badal kar aane waalon, chaal badal kar jaane waaloN,
Chand khilone ke khone se bachpan nahiiN mara karta hai..
Laakh baar gagariyaaN phooti,
shikan na aayee panghat par,
Laakh baar kishtiyaaN duubi,
Chahal-pahal wahiihai taT par,
Tam ki umr baRhaane waalON, lo ki aayu Ghataane waaloN,
Laakh kar patjhaR koShiSh par upban nahiiN mara karta hai..
LooT liya maali ne upban,
LooTi na lekin gaNdh phool kii,
ToofaanoN tak ne CheRha par,
Khirki baNd na huyii dhuul kii,
Nafrat gale lagaane waaloN, sab par dhuul uRaane waalon,
Kuchh mukhroN naarazgii se darpan nahiiN mara karta hai..
(GOPAL DAS NIIRAJ)
Rachana: it means creation. It may be a prose, poetry or any thing else... e.g. we are creation of god. Creations stand here for rachana.
2) Urdu poetry (Arabic and Persian languages)
Urdu poetry (Urdu Shayari) is one of the greatest and finest poetries of the world. It has many different colours & types and some those unique traditions which are nowhere in any poetry. It has generated its root from Arabic and mainly from Persian. Urdu Poetry has two main types i.e. Ghazal and Nazm
Ghazal: In poetry (and as the lyrics in songs), the Ghazal is a poetic form consisting of couplets which share a rhyme and a refrain.
A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qaafiyaa, Radif, Khayaal and Wazan. The traditional complete Ghazal has a matla, a maqta, and atleast three other shers in between. The first two shers of a Ghazal can have the form of a qatha (a specific variation of which is a ruba'ee; most familiar to modern readers from Khayyám's Rubayyat).
Details of the Form
* The second line of each couplet in a Ghazal ends with the repetition of a refrain of one or a few words, known as a Radif, preceded by a rhyme (though in a less strict Ghazal the rhyme does not need to precede the refrain immediately), known as a Kaafiyaa. In the first couplet, this introduces the theme, both lines end in the rhyme and refrain. I.e. AA BA CA etc
* There can be no enjambment across the couplets in a strict Ghazal; each couplet must be a complete sentence (or several sentences) in itself.
* All the couplets, and each line of each couplet, must share the same meter.
* Some Ghazals do not have any Radif. This is, however, rare. Such Ghazals are called "gair-muraddaf" Ghazal.
* Although every Sher, should be an independent poem in itself, it is possible for all the Shers to be on the same theme. Alternatively, even have continuity of thought. This is called a musalsal Ghazal, or "continuous Ghazal". The Ghazal "Chupke chupke raat din aasun bahaanaa yaad hai" is a famous example of this.
* In modern Urdu poetry, there are many Ghazals, which do not follow the restriction of same Beher on both the lines of Sher. However, even in these Ghazals, Kaafiyaa and Radif are present.
* The restriction of Maqta has become rather loose in modern times. The Maqta was used historically as a way for the poet to secure credit for his or her work and poets often make elegant use of their takhallus in the maqta. However, many modern Ghazals do not have a Maqta or, many Ghazals have a Maqta just for the sake of conforming to the structure or tradition. The name of the Shayar is sometimes placed unnaturally in the last Sher of the Ghazal.
In the Context of Sufism, Ghazal by Amir Khusru: (sufiism)
Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Nazm:
A Nazm is an Urdu poetic form that is normally written in rhymed verse. The Ghazal in Urdu represents the most popular form of subjective poetry, while the Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Example of Nazm:
YAAD: By Fazil Jamili
Tum hanstee thee jaisey saawan gaa'ye malhaar
Tum rotee thee jaisey baarish, woh bhi moosla dhaar
Tum chaltee thee subah saweray jaisey chaley hawa
Tum ruktee thee maang raha ho jaisey koi dua
Tum sotee thee toot rahi ho jaisey koi angrraayee
Mein ney jitney mosam dekhhey yaad tumhaaree aayee
Beher:
behar in Urdu poetry is the meter of a sher (a form of poetry in Urdu, essentially a couplet). It may be considered as the length of the sher. Both the lines in the sher, the couplet, must be of same beher. Moreover, all the shers in one Ghazal (a poetic form consisting of couplets, which share a rhyme and a refrain) must be of the same beher. There are 19 kinds of beher. However, generally beher is categorized in three classes:
Short, medium, long, depending upon the length of the misra (first line of the sher)
For a Ghazal, all the shers in the Ghazal should be of the same of beher. The example of this is this Ghazal of Faiz Ahmed Faiz. Notice the length and meter of the a’shaars in this Ghazal: it is same throughout.
shaiKh saahab se rasm-o-raah na kii
shukr hai zindagii tabaah na kii
tujh ko dekhaa to ser-e-chashm hue
tujh ko chaahaa to aur chaah na kii
tere dast-e-sitam kaa ajz nahii.n
dil hii kaafir thaa jis ne aah na kii
the shab-e-hijr kaam aur bahut
ham ne fikr-e-dil-e-tabaah na kii
kaun qaatil bachaa hai shahar me.n 'Faiz'
jis se yaaro.n ne rasm-o-raah na kii
So, the differences between Behar, Nazm, kavita, rachna, Ghazal
Except, Behr all others are the either expressive or poetic creation by a person. Behr is pattern in which we arrange words of Ghazal/Nazm/Kavita/ geet etc etc in a musical way.
Ghazal
i) Followed the rule of matla/maqta, raadiif, qaafiye, Khayaal, wazn , rhyme etc.
ii) Every couplet of a Ghazal may be called as Nazm coz; every couplet is complete in itself.
iii) Every couplets is complete in it’s self. Ghazal may not be a centralization of a thought,
iv) The Ghazal in Urdu represents the most popular form of subjective poetry,
Nazm
i) Here is only the rule of Khayaal, rhyme, & somewhere behr too.
ii) The entire poetical work is called as Nazm.
iii) The complete poetical work is a centralization of a thought; we cannot write a part Nazm. It will be just like an incomplete story.
iv) The Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Hope you people understand, (uff! kasam se bohat mehnat karwayaa hai,
)
source : http://www.shayri.com/forums/showthread.php?t=54153
Whats are differeneces between behr, Nazm, Ghazal, kavita, rachna....???
to know the differences between all this, first we shuuld know what is beh’r, Nazm, Ghazal, Kavita & Rachana.
1) Ancient Indian Poetry (indo-Aryan languages)
Geet & Kavita,
Geet is a word in several Indo-Aryan languages, deriving from the Sanskrit word gita, which means a song or a poem. It is a genre of poetry in most contemporary Indo-Aryan languages like Hindi, Punjabi, Guajarati, etc. It is commonly used as song or hymn.
Kavita: Kavi(poet) +ta(imagination) = Creation/imagination of a poet, the whole poetic work of a poet(KAVI) may be called a kavita. It is just like Nazm. (But Nazm basically consist of urdu words, but Kavita basically consist of Hindi words. ) Just like the difference between a Shayar and a kavi...: D Nazm & kavita is almost same...
An example of Kavita, by Sri Gopal Das Neeraj
chhup chhup ashru bahaane waaloN,
Moti byarth lutaane waaloN,
Kuchh sapno ke mar jaane se jeevan nahiiN mara karta hai.
Sapna kya hai, nayan sej par,
soya huaa aaNkh ka paani
aur TooTna hai us ka jyoN,
Jaage kachchhi niNd jawaani,
Gili umar banaane waalon, Doobe bina nahaane waaloN,
Kuchh paani ke bah jaane se saawan nahiiN mara karta hai
Mala bikhar gayee to kya hai,
Khud hi hal ho gaii samshya,
aaNSuu gar niilaam huye to
samjho puri huii tapashya
RooThe deevas manaane waaloN, Phatee kameez silaane waaloN,
Kuchh deepoN ke bujh jaane se, aaNgan nahiIN mara karta hai.
Khota nahiiN kuchh bhi yahaan par,
keval jild badli thee pothii,
Jaise raat utaar chaaNdanii,
pahne subah dhoop ki dhotii,
Vastra badal kar aane waalon, chaal badal kar jaane waaloN,
Chand khilone ke khone se bachpan nahiiN mara karta hai..
Laakh baar gagariyaaN phooti,
shikan na aayee panghat par,
Laakh baar kishtiyaaN duubi,
Chahal-pahal wahiihai taT par,
Tam ki umr baRhaane waalON, lo ki aayu Ghataane waaloN,
Laakh kar patjhaR koShiSh par upban nahiiN mara karta hai..
LooT liya maali ne upban,
LooTi na lekin gaNdh phool kii,
ToofaanoN tak ne CheRha par,
Khirki baNd na huyii dhuul kii,
Nafrat gale lagaane waaloN, sab par dhuul uRaane waalon,
Kuchh mukhroN naarazgii se darpan nahiiN mara karta hai..
(GOPAL DAS NIIRAJ)
Rachana: it means creation. It may be a prose, poetry or any thing else... e.g. we are creation of god. Creations stand here for rachana.
2) Urdu poetry (Arabic and Persian languages)
Urdu poetry (Urdu Shayari) is one of the greatest and finest poetries of the world. It has many different colours & types and some those unique traditions which are nowhere in any poetry. It has generated its root from Arabic and mainly from Persian. Urdu Poetry has two main types i.e. Ghazal and Nazm
Ghazal: In poetry (and as the lyrics in songs), the Ghazal is a poetic form consisting of couplets which share a rhyme and a refrain.
A Ghazal, in short, is a collection of couplets (called sher) which follow the rules of Matla, Maqta, Beher, Qaafiyaa, Radif, Khayaal and Wazan. The traditional complete Ghazal has a matla, a maqta, and atleast three other shers in between. The first two shers of a Ghazal can have the form of a qatha (a specific variation of which is a ruba'ee; most familiar to modern readers from Khayyám's Rubayyat).
Details of the Form
* The second line of each couplet in a Ghazal ends with the repetition of a refrain of one or a few words, known as a Radif, preceded by a rhyme (though in a less strict Ghazal the rhyme does not need to precede the refrain immediately), known as a Kaafiyaa. In the first couplet, this introduces the theme, both lines end in the rhyme and refrain. I.e. AA BA CA etc
* There can be no enjambment across the couplets in a strict Ghazal; each couplet must be a complete sentence (or several sentences) in itself.
* All the couplets, and each line of each couplet, must share the same meter.
* Some Ghazals do not have any Radif. This is, however, rare. Such Ghazals are called "gair-muraddaf" Ghazal.
* Although every Sher, should be an independent poem in itself, it is possible for all the Shers to be on the same theme. Alternatively, even have continuity of thought. This is called a musalsal Ghazal, or "continuous Ghazal". The Ghazal "Chupke chupke raat din aasun bahaanaa yaad hai" is a famous example of this.
* In modern Urdu poetry, there are many Ghazals, which do not follow the restriction of same Beher on both the lines of Sher. However, even in these Ghazals, Kaafiyaa and Radif are present.
* The restriction of Maqta has become rather loose in modern times. The Maqta was used historically as a way for the poet to secure credit for his or her work and poets often make elegant use of their takhallus in the maqta. However, many modern Ghazals do not have a Maqta or, many Ghazals have a Maqta just for the sake of conforming to the structure or tradition. The name of the Shayar is sometimes placed unnaturally in the last Sher of the Ghazal.
In the Context of Sufism, Ghazal by Amir Khusru: (sufiism)
Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Nazm:
A Nazm is an Urdu poetic form that is normally written in rhymed verse. The Ghazal in Urdu represents the most popular form of subjective poetry, while the Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Example of Nazm:
YAAD: By Fazil Jamili
Tum hanstee thee jaisey saawan gaa'ye malhaar
Tum rotee thee jaisey baarish, woh bhi moosla dhaar
Tum chaltee thee subah saweray jaisey chaley hawa
Tum ruktee thee maang raha ho jaisey koi dua
Tum sotee thee toot rahi ho jaisey koi angrraayee
Mein ney jitney mosam dekhhey yaad tumhaaree aayee
Beher:
behar in Urdu poetry is the meter of a sher (a form of poetry in Urdu, essentially a couplet). It may be considered as the length of the sher. Both the lines in the sher, the couplet, must be of same beher. Moreover, all the shers in one Ghazal (a poetic form consisting of couplets, which share a rhyme and a refrain) must be of the same beher. There are 19 kinds of beher. However, generally beher is categorized in three classes:
Short, medium, long, depending upon the length of the misra (first line of the sher)
For a Ghazal, all the shers in the Ghazal should be of the same of beher. The example of this is this Ghazal of Faiz Ahmed Faiz. Notice the length and meter of the a’shaars in this Ghazal: it is same throughout.
shaiKh saahab se rasm-o-raah na kii
shukr hai zindagii tabaah na kii
tujh ko dekhaa to ser-e-chashm hue
tujh ko chaahaa to aur chaah na kii
tere dast-e-sitam kaa ajz nahii.n
dil hii kaafir thaa jis ne aah na kii
the shab-e-hijr kaam aur bahut
ham ne fikr-e-dil-e-tabaah na kii
kaun qaatil bachaa hai shahar me.n 'Faiz'
jis se yaaro.n ne rasm-o-raah na kii
So, the differences between Behar, Nazm, kavita, rachna, Ghazal
Except, Behr all others are the either expressive or poetic creation by a person. Behr is pattern in which we arrange words of Ghazal/Nazm/Kavita/ geet etc etc in a musical way.
Ghazal
i) Followed the rule of matla/maqta, raadiif, qaafiye, Khayaal, wazn , rhyme etc.
ii) Every couplet of a Ghazal may be called as Nazm coz; every couplet is complete in itself.
iii) Every couplets is complete in it’s self. Ghazal may not be a centralization of a thought,
iv) The Ghazal in Urdu represents the most popular form of subjective poetry,
Nazm
i) Here is only the rule of Khayaal, rhyme, & somewhere behr too.
ii) The entire poetical work is called as Nazm.
iii) The complete poetical work is a centralization of a thought; we cannot write a part Nazm. It will be just like an incomplete story.
iv) The Nazm exemplifies the objective kind, often reserved for narrative, descriptive, didactic or satirical purposes.
Hope you people understand, (uff! kasam se bohat mehnat karwayaa hai,
)source : http://www.shayri.com/forums/showthread.php?t=54153
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