• Source: Rekhta

Rekhta (Urdu: ریختہ [ˈreːxtaː]; Hindi: रेख़्ता [ˈreːxtaː]) was an early form of the Hindustani language. This style evolved in both the Perso-Arabic and Devanagari scripts and is considered an early form of Modern Standard Urdu and Modern Standard Hindi. According to the Pakistani linguist and historian Tariq Rehman, Rekhta was a highly Persianized register of Hindustani, exclusively used by poets. It was not only the vocabulary that was Persianized, but also the poetic metaphors, inspired by Indian landscapes and seasons, were abandoned in favor of the Persian ones i.e. bahaar (spring) replacing barsaat (rainy season).
The 13th century Indo-Persian Muslim poet Amir Khusrau used the term "Hindavi" (Persian: ھندوی, lit. 'of Hind or India') for the 'Rekhta' dialect (the ancestor of Modern Urdu), the Persianized offshoot of the Apabharamsa vernacular Old Hindi, towards its emergence during the era of Delhi Sultanate, and gave shape to it in the Islamic literature, thus called "the father of Urdu literature". Other early Muslim poets, includes Baba Farid, who contributed in the development of the language. Later from the 18th century, the dialect became the literary language and was further developed by the poets Mir and Ghalib in the late Mughal period, and the term eventually fallen out and came to be known as "Urdu", by the end of the century.




Etymology


Rekhtā (from Persian verb ریختن [ɾeːxˈtan]) means "scattered" but also "mixed". The name was given to an early form of courtly literature in Delhi, where poems were made by combining Persian and early Hindustani (referred to as Hindavi or Dehlavi). Sometimes this was done by writing some lines of the poem in Persian, and others in Hindavi. Alternatively, both Persian and Hindavi could feature in a single line.




Origin and usage



As Hindavi began to evolve into a literary language in the 18th century, the new term Rekhta carried over to describe this language. It denoted the Persianized, "high" form of Hindavi used in poetry, as opposed to the speech of the common population. The word was used alongside names like Urdu and Hindi. Its usage in this sense lasted into the 19th century, as evidenced by a sher of Mirza Ghalib:
ريختہ کے تُم ہی اُستاد نہیں ہو غالِبؔ کہتے ہیں اگلے زمانے میں کوئی مِیرؔ بھی تھا

[ɾeːxt̪eː keː t̪ʊm hiː ʊst̪aːd nəɦĩː ɦoː ɣaːlɪb]
[kɛht̪eː hɛ̃ː əɡleː zəmaneː mẽː koiː miːɾ bʰiː t̪ʰaː]
By the eighteenth century however, the term Rekhta had largely fallen out of use and terms like Hindi, Hindustani and Urdu were favored.




= Zehal-e-Miskin

=

Zehal-e-Miskin is the first ghazal in Urdu literature, written by Amir Khusrau, through combining the Old Hindi language Braj Bhasha (Hindavi) and Persian. This Persianised combination was later known as Rekhta (the ancestor of Modern Standard Urdu). The poem effectively conveys the agony experienced due to the distance from the beloved. This sentiment is skillfully portrayed through a remarkable fusion of both languages, resulting in a harmonious blend that enhances the overall impact of the poem.




See also


Dobhashi
Persian and Urdu
Rekhti
Urdu poetry




References

Kata Kunci Pencarian:

• Bahasa Urdu
• Bahasa Hindi
• Shamsur Rahman Faruqi
• Stadion Nasional Dhyan Chand
• Bahasa Hindustan
• Daftar dialek bahasa Persia
• Rumpun bahasa Hindi Barat
• Hinglish
• Bahasa Persia Pertengahan
• Rumpun bahasa Iran
• Rekhta
• Jashn-e-Rekhta
• Rekhta (website)
• Sanjiv Saraf
• Urdu
• Shayar (poet)
• Hindi
• Jaun Elia
• Aashiq Elahi Meerthi
• Ilyas Sitapuri