Zafar Iqbal is the name of a poet who reject's classical poetics of Urdu Ghazal and create new literary sensiblity. The diction of his ghazal is entirely different from traditional urdu poets. He creates his own poetic language by using new words, metaphers and smilies that make himself prominent trend-setter poet of 20th century. He is the man who makes explicit use of native language in his poetry. The diction of his ghazal is totaly different from traditional Urdu Ghazal. Many critics have already argued that the canvas made by Zafar Iqbal is not relivent to our classical traditions. Zafar iqbal is a man who creates a new world of poetry where instead of relying on traditional poetic techniques, language poets invite reader to analyze the text and participate in constructing meaning. In contrasr to classical urdu poetry. Zafar Iqbals ghzal composed of entirely modren scheme of rhymes that influence reader in a new way. The language and technique of Zafar Iqbals ghazal emphasizes the reader to participate in making meaning of poetry, simply its challenges the natural structure of poetic language. This article analyze the different moods of Zafar Iqbal ghazal by close text reading or in the frame of the movement Lisaani Tashkelat. Zafar Iqbal was also part of that particular group of poets and writters. They people feels to explore new language for Poetry and Fiction. Our article tries to calculate the collective impact of Zafar Iqbals ghazal among urdu poetry. It also analyses the poetic diction and socio cultural effects of that particular poetry by using qualitative research methodology. 

1.    Dada Azam, Beesween Sadi Ke Ibtidai Ashron Mein Manzar-e-Aam Par Aanay Wali Maghribi Adab Ki Numainda Tehreek Hai Jiska Daerah-e-Kar New York, Colon, Aur Paris Tak Phaila Hua Tha. Dada Azam Ki Bunyad Inkar Aur Riwayat Shikni Ke Tehat Paida Hone Wali Bizarri Par Thi, Jabke Surrealism Ke Mannay Walon Ne Dadaist Adab Nghawat Jabke Surrealism Tehat Al-Shor Ke Mutafaq Alnasir Ke Baat Karta Hai Jiskay Mutabiq Riwayat Se Baghawat Ka Amal Tehat Alshuor Mein Doob Kar Hi Fun Ki Takhliqi Peshkash Mumkin Hai Jismein Khayal Apni Haqiqi Haalat Mein Mojud Hai. Urdu Mein Is Ke Hawalay Se Dr. Anwar Sadeed Ne Apni Kitaab "Urdu Adab Ki Tehreekon Mein" Likha Hai.

2.    Muhammad Saleem ur Rahman, "Dibacha," Mushmoolah: Aab-e-Rawan (Ab Tak, Kulliyat, Jild Awal) (Lahore: Multi Media Affairs, 2005), 61.

3.    Atiq Ullah, "Jadeed Nazm: Hiat Aur Tajurbe," in: Urdu Nazm 1960 Ke Baad, Mutabba: Zubair Rizvi (Delhi: Urdu Academy, 1995), p. 103.

4.    Akhtar Ahsan, "Nai Shairi Ka Manshoor," Mushmoolah: Nai Shairi, Mutabba: Iftikhar Jalib (Lahore: Nai Matboaat, 1966), p. 38.

5.    Saleem Ahmed, Biyaz (Karachi: Adabi Academy, 1966), p. 10.

6.    Waris Alvi, Muntakhib Mazameen (Karachi: Fazli Sons, April 2000), p. 71.

7.    Lailpur Faisalabad Se Talluq Rakhne Wale Ek Shayar Fayyaz Ahmed Faidi Ne Zafar Iqbal Ki Ghazal Goi Par Phabeti Kisi Aur Apne Dosto Ke Sath Shart Bandh Kar Tehriqa Huznan Ke Naam Se Ek Shairi Tasneef Teen Din Mein Mukamal Ki. Is Kitaab Ka Maqsad Zafar Iqbal Ki Shairi Ko Kamtar Aur Be Waqaiyat Sabit Karna Tha, Jis Ke Liye Fayyaz Ahmed Faidi Ne Is Ke Naam Mein Huzian Ka Lafz Bala Ehtamaam Istemaal Kiya Kyunki Is Se Woh Zafar Iqbal Ki Shairi Ka Mazaq Uraana Chahta Tha. Fayyaz Ahmed Faidi Ki Ek Aur Kitaab Ba Naam "Lapti Hui Umar" Saal 2002 Mein Shaya Hui. Yeh Bhi Ek Shairi Majmua Hai.

8.    Zafar Iqbal, "Shairi Mein Kamaq Relief Ka Muamla," in: Sahih Mahini Adabiyaat, Jild 18, Shumar 76, July to September 2007, p. 97.

9.    "Mukalima," Mushmoolah: Adabiyaat, Jild 17, Shumar 72, Islamabad, 2006, p. 109.

10.    Wazeer Agha, "Tanqeed Aur Jadeed Tanqeed" (Karachi: Anjuman Taraqqi Urdu, Third Edition, 2017), p. 84.

11.    Samee Ahoja, "Filip," Mushmoolah: Ab Tak, Jild Daim (Lahore: Multi Media Affairs, 2005).

12.    Firaq Gorakhpuri, "Urdu Ghazal Goi" (Lucknow: Nusrat Publishers, 1998), p. 40.

13.    Nasir Abbas Nayyar, "Shairiyat Zafar: Chand Baatein," Mushmoolah: Ab Tak, Jild Chaharum (Lahore: Multi Media Affairs, 2012), p. 2361.

14.    Anees Nagi, "Dibacha," Mushmoolah: Ab Tak, Kulliyat, 290.