The ghazal is a short poem consisting of rhyming couplets, called bayt or sher.

Most ghazals have

between seven and twelve bayts. For a poem to be considered a true ghazal, it must have no fewer than
five couplets. Almost all ghazals confine themselves to less than fifteen couplets (poems that exceed this
length are more accurately considered as qasidas). Ghazal couplets end with the same rhyming pattern
and are expected to have the same meter. The ghazal's uniqueness arises from its rhyme and refrain
rules, referred to as the 'qaafiyaa' and 'radif' respectively. A ghazal's rhyming pattern may be described
as AA BA CA DA, and so on.[8]

In its strictest form, a ghazal must follow five rules:

Matla'a: The first sher in a ghazal is called the 'matlaa'. Both lines of the matla must contain the qaafiyaa
and radif. The matlaa sets the tone of the ghazal, as well as its rhyming and refrain pattern. .

Radif: The refrain word or phrase. Both lines of the matlaa and the second lines of all subsequent shers
must end in the same refrain word called the radif.

Qaafiyaa: The rhyming pattern. The radif is immediately preceded by words or phrases with the same
end rhyme pattern, called the qaafiyaa.

Maqta'a/Maktaa: The last couplet of the ghazal is called the maqtaa. It is common in ghazals for the
poet's nom de plume, known as takhallus to be featured in the maqtaa. The maqtaa is typically more
personal than the other couplets in a ghazal. The creativity with which a poet incorporates homonymous
meanings of their takhallus to offer additional layers of meaning to the couplet is an indicator of their
skill.

Bah'r/Behr: Each line of a ghazal must follow the same metrical pattern and syllabic (or morae) count.

Misra-e-uulaa: The first line of each verse must be a statement.

Misra-e-sani: The second line of each verse must be the proof of statement given in the first line.

Unlike in a nazm, a ghazal's couplets do not need a common theme or continuity. Each sher is self-
contained and independent from the others, containing the complete expression of an idea. However,
the shers all contain a thematic or tonal connection to each other, which may be highly allusive.[8] A
common conceit that traces its history to the origins of the ghazal form is that the poem is addressed to
a beloved by the narrator.[11]