Chitti

 Ghazal = a form of Urdu poetry (shayari) in which the poem contains a series of couplets one after the other. Each of the couplets, or sher, has a separate idea that is generally related to the central theme. The couplets rhyme with each other, i.e. the last lines of all couplets rhyme with one another. The topics generally covered include love, longing, heartbreak, etc. and are often addressed to or refer to a beloved, generally male, form. The general rhyming patterm is AABACADA

Nazm - Practically the second most prominent genre of Urdu poetry, nazms are poems that are similar to English and Hindi poems. They often have couplets one after the other, but it is not necessary as nazms may also have paragraphs of four sentences or more (typically referred to by other names, like musaddas). Couplets are generally a part of a larger paragraph, and the size of paragraphs is not necessarily constant. Nazms are more often than not a single story or idea and every couplet or paragraph serves that central theme. The rhyming pattern is different from a ghazal, since even though couplets following each other rhyme within a paragraph, they may vary across paragraphs. Most nazm writers use their own preferred rhyming patterns.

The differences between nazms and ghazals are because nazms are typically read out or recited, whereas ghazals are sung. One will find a large number of great ghazal writers (Ghalib, Mir, Zauq), but nazm was adopted by fewer greats, prominently Iqbal and Faiz.

Sher - a two line couplet; part of a ghzal or a sher. In fact, the building block of both.

Rekhti - A form of poetry in which the poet writes from a women's perspective, adopting her voice, on topics that are generally promiscuous in nature. A historical form perhaps dead by now, it was mostly composed by male poets and patronised by nautch girls mostly in Lucknow.

Marsiya - a special form of poetry generally popular among Shia muslims with poems that depict incidents of the battle of Karbala and eulogise Imam Hussain (RaDHiiAllaahuAnhu), his family and his companions (RaDHiiAllaahuAnhumAjmaiin). The topics are diverse, ranging from literal depictions to the praise of the Imam's horse to the state of the waters of Euphrates that were denied to his family. Dabeer and Anis are the most famous exponents. It is very often read during Muharram.

Rubaai - Hardly found in Urdu poetry, this is more popular in Persian. A quatrain (four liner) is a rubai, generally composed of a single idea. They often follow each other and may compose a broader theme or story. However, rubais can also be standalones. The rhyming pattern is AAAA or AABA. Ghalib's deewan has a few rubais, but the most popular ones I can think of right now are all Persian. Omar Khayyam's Persian rubaiyat (plural of rubai) is very famous.

Doha - a couplet (two lines) complete in itself and not related to anything else; so basically a two-line poem very popular is braj or apabhramsa. Urdu and Hindi don't have many dohas as I think these languages are not simple enough for Dohas. Generally used as a moral lesson, these were popularised by Kabir, Rahim, Raskhan, and other bhakti kaal poets.

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