Shayari is the favorite genre of Poetry in the Urdu language and literature. And this is one of those actions where one feels at ease showing joy or sorrow. When it comes to the present, you will find that some of the people you encounter rely on the poetry of their own poets or those of other poets to support their arguments. A sher can only be enjoyed when it is recited in its original form, which calls for maintaining the poet’s rhythm and cadence. People with rhythmic personalities frequently read the sher in a way that its modulation evokes a sense of freshness even though they are unaware of the Beher meter.

However, there are also those who appreciate the sher’s beauty and indomitability of thought, and they can be discovered. Because of this quality, they comprehend it as well, but because of their nature, they are unable to keep up with the rhythm of the sher, turning all of its fun into grit. Or you could claim that only the sher is damaged. The important point to remember is that you need to understand the meter and beher in order to appreciate the beauty of sher and to understand it technically.

A suitable mood must exist in order to poetize a sher; otherwise, it is impossible to interpret the sher accurately. The sole purpose of this article is to demonstrate how crucial beher knowledge is for writing poems and comprehending its rhythm, as well as how crucial prosody knowledge is for avoiding beher’s errors.

Now the question comes, what is the purpose of prosody, and how does it assist in poetizing and correctly reading a sher? In order to determine whether a sher is in the meter or not, prosody, also known as meter, is a type of poetic science that tests a sher’s vocal harmony.

After reading our classic poets to the poets up until this point, it is possible to determine the types of shers that have been written in various behers and weights as well as the degree of beauty and eloquence in their poetry.

Why write poems in Beher is a common question. Since the game of poetry is only about how to arrange the words so that the thought does not appear only in the words and rhythm, the thought dies due to beher, but when the thought is cast in sher, it blossoms due to the weight. Why can it be termed restrained poetry if one does not know how to put a thought into words in a way that the thought shines through and has a meter in it? The concept is not killed by beher or meter, but is given life and magic instead. Yes, it goes without saying that in order to accomplish this, one must possess linguistic prowess, be knowledgeable about effective word usage, and take care to maintain the integrity of the weight.

Without beher, one cannot conceive restrained poetry. It is a well-known fact that poetry differs from prose due to the presence of cadence, rhythm, and weight. It should be noted, however, that many authors maintain the composition masjah and maqfi even when writing prose, but there is a unique difference of weight and appearance in both.

An inappropriate phrase cannot be referred to as poetry, just as we cannot name an appropriate phrase prose. Only if poetry is expressed with weight and beauty can one connect to its soul. Says Zulfiqar Ahmad Tabish:

“The shers with the least compatible descriptions are found throughout the entire poetic history of the human race.” Poetry and prose have traditionally been divided under the pretense of intentionality. The specifics of the literary world, however, determine whether the poet is excellent or bad. Unfortunately, or luckily, everything written in prose is referred to as prose. However, even though everything written in prose cannot be called sher, the first identity or condition of prose is that it is not written in vazn.

(Sawaal yeh nahi, by Zulfiqar Ahmad Tabish)

The aforementioned comments have made it obvious what separates nazm and nasr. What exactly are nazm and nasr? This will be further supported by the following quote from Shamsur Rehman Faruqi:

“Whatever the case, determining whether the kalaam is a suitable sher or an inappropriate sher is the simplest, most reliable, and most important distinction to comprehend.”

Shamsur Rahman Faruqi’s “Sher, Ghair-Sher, aur Nasr”

To narrate or say poetry in the form of poetry, the presence of beher and vazn is the basic condition, and every kalaam is considered poetry when the kalaam is in beher and vazn. Why beher for poetry? The answer to this is its difference from the prose, and to be a great sher, where there are many conditions of poetry, there is a mandatory condition for it to be in Beher.

Rekhta has created the largest website in Urdu to test and check propositions and tunes, called Rekhta’s Taqti Project, where you can register your misras and ghazals and get the results. This is a matter of great joy in this advanced and digital age. The taqti of the misr, the name of the beher, its arqaan, and samples of verses said in that beher are also displayed. This website may contain errors; if you find any flaws or mistakes related to incorrectly desired results or the taqti of the vazn on the website, please let the Rekhta editorial team know through the comment box so that this website can be regularly updated and enhanced with the help of insightful suggestions.

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