THE TRANSFORMATION OF PLOT IN THE COUPLET OF THE URDU GHAZAL: AN EXAMINATION OF NARRATIVE By PAUL ADREEN LIBOIRON BA. The University of Regina, 1974 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER'S DEGREE in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA December 1989 © Paul Adrien Liboiron, 1989 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives, it is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Asian Studies The University of British Columbia Vancouver, Canada Date December 18th, 1989 DE-6 (2/88) ii ABSTRACT This thesis examines a selection of verses taken from the Urdu divan of Mirza Asadullah Khan Ghalib. Ghalib is considered by many to be the preeminent writer of the classical Urdu ghazal (circa 1750-1850). Although the examination is restricted to Ghalib's verse, the problem it investigates is broader in nature and involves questions which some aspects of the ghazal raise with respect to the reader's involvement. An essential feature of the ghazal form is the fact that, although the ghazal poem consists of a set of couplets, each couplet of a ghazal is itself a complete text with respect to its content The question, then, is "how does the reader become involved in a form limited to two lines of text?" This thesis discusses the question from a narratological perspective: the couplet involves the reader by telling a story. The narrative of the couplet differs from what one normally thinks of as narrative in that the significance of its plot is derived, not from a series of episodes arranged in chronological order, but from a thematic continuity which links couplet to couplet within the tradition as a whole. The world of the ghazal is inhabited by a few characters, the principal being the lover and the beloved, whose behaviour and attitudes are determined largely by a set of well-defined conventions. The characters who appear in the individual couplet are already familiar from the dramas to which these characters have been subjected in previous readings of other couplets. However, unlike the characters in a traditional novel whose histories connect a great variety of events within a chronological framework, the couplet is extremely limited in term of the number of chronological connections it can establish. The depiction of time in the ghazal is radically different from the often elaborate histories presented in forms such as the novel. The world of the ghazal is merely suggested. Consequently, the reader's role in reconstructing the world of the text is of particular importance in compact forms such as that of the ghazal. The contention of this thesis is that the restrictions imposed by the couplet on plot structure has been compensated for by the cultivation of a narrative style in the ghazal text which often forces the reader to become aware of the process of discovering the drama of the text. ill The first chapter begins with an introduction to the thesis, and is followed by an introduction to the formal features of the ghazal text and some of the important themes of the tradition. The second chapter presents a review of critical writings in English on the Urdu ghazal. The third chapter presents a discussion of methodology. In this chapter I use Peter Rabinowitz' analysis of the reader's beliefs in my attempt to define what I mean by the reader's involvement in the world of the text. According to Rabinowitz, a fictional work invites its reader to pretend that its plot is a historical account, even though the reader knows that the world of the text is imaginary. To account for the reader's dual role, Rabinowitz divides the reader's beliefs into what he calls the "authorial audience" and the narrative audience." Briefly, the authorial audience can be viewed as the competent reader, the one who possesses the required knowledge to understand the text, to decipher its allusions, but who knows the world of the text is a fiction. The narrative audience sees the fictional text as a description of events that "really" happened. My investigation of the reader's attempt to discover the world of the text is from the point of view of the narrative audience. The third chapter attempts to apply Rabinowitz' views to some general features of the plot structure in the ghazal text. The fourth and final chapter examines the ways in which the ghazal text forces the reader to become aware of the process of discovering the world of the text. iv TABLE OF CONTENTS ABSTRACT ii DEDICATION v±± ACKNOWLEDGEMENTS .vii CHAPTER I: The Implied Narrative of Thematic Convention 1 1. Introduction 1 2 Unity Within the Formal Unit of the Ghazal , 6 3. Unity of Couplet and Tradition 13 CHAPTER H Realism vs. Convention: A Review.. 30 CHAPTER IH The Many Audiences of the Text 56 1. The Four Audiences: The Reader According to Peter Rabinowitz 57 2. Narrative as Imitation: Similarities and Differences 73 3. Fiction as Pretended Ignorance of the External World 79 4. Restrictions of Plot 81 CHAPTER IV: The Elusive World of the Text 83 1. Deceptive Syntax 84 2. Unreliable Narration and Irony 86 3. Metaphor 95 4. Ambiguity '. 103 5. Conclusion 122 Bibliography 124 V TABLE OF FIGURES Figure 3.1 72 Figure 4.1 100 Figure 4.2 Ill Figure 4.3 112 Figure 4.4 '. 113 vi DEDICATION This thesis is dedicated to my Mother for her constant support and encouragement throughout its writing, and for the love she has shown me always. vii ACKNOWLEDGEMENTS I am grateful for the time, patience, and support of my supervisor, Dr. Kenneth Bryant Without his constant reminders, this thesis would not have achieved its final form. I would like to also thank Dr. Ashok Aklujkar, Dr. Fritz Lehmann, and Dr. Robert Kramer for their help and encouragement in the completion of my thesis. 1 CHAPTER I The Implied Narrative of Thematic Convention: Character as Examples of the Ideals of Romantic Love 1. Introduction This paper focuses on the classical period of the Urdu ghazal (circa 1750-1850). From the classical period to the present, the ghazal has been viewed as the highest form of literary expression in the Urdu language. The ghazal is preeminent in both India and Pakistan, and its popularity extends well beyond the sectarian limits of Islam and includes the Hindu, and Hindi-speaking, segment of the population as well. An essential feature of the ghazal form is the fact that, although the ghazal poem consists of a set of couplets, each couplet of a ghazal is itself a complete text with respect to its content. Two lines of text might seem hardly enough space for a writer to say anything exciting or of significance, yet the couplet has proven adequate space for generations of poets to voice their thoughts and feelings, not only in the Urdu ghazal but in its predecessor, the Persian ghazal, as well. The compact style of the poetry is possible because the ideas and events expressed in the verse belong to a thematic universe sustained by the tradition as a whole1. Each couplet also participates in what we might call a larger implied narrative nurtured by the literary tradition. Much of what the reader knows about 1 The classical Urdu ghazal has borrowed many of its themes wholesale from the Persian literary tradition. The documented history of the ghazal begins at the end of the sixth century AJD. in the nasib, the amatory elegiac prelude to the Arabic qaslda. This paper does not examine the historical influences on the Urdu ghazal. For a discussion of the origins of the ghazal in Arabic poetry, its subsequent refinement by the Persian tradition, and a brief history of the Urdu ghazal and discussion the relationship of the Urdu ghazal to the Persian ghazal, see R. Blachere, A. Bausani, "Ghazal." Encylopedia of Islam, (Vol II 1965), pp. 1028- 36. 2 the events described by a couplet depends on his or her readings of other couplets. The central theme of the ghazal is gam-e- 'ishq, or unrequited love, and the story of love is enacted by a set of characters, each with their own recognizable peculiarities, and whose relationships to each other have been more or less defined by the tradition. The continuity of events throughout the ghazal tradition as a whole invites comparison with longer narrative forms such as the novel. One might characterize the ghazal tradition as being the collective creation of generations of poets, but there is one very important difference between the "text" of the tradition and texts such as those of the novel. Although the tradition enriches the significance of the couplet, the thematic conventions of the ghazal cannot be organized into a plot structure in the same way that much of the detail of a novel is organized into a coherent history. The problem is that since each couplet is a complete text, the statements of one couplet are not logically connected to the statements of other couplets within the tradition. Consequently, the significance of an event is derived not so much from its location within a chronological order created by a single text, but from readings of similar events in other couplets.