Communication is not primarily mindless because it was never primarily mindful; rather, communicationisprimarily implicit while being inherently strategic.” (Kellermann 295)

The ghazal is a popular poetic form characterized by its profound emotional resonance and complex structure. Commonly exploring themes of love—both spiritual and romantic—loss or separation from a loved one, and the human condition in these situations, the ghazal’s power lies in its ability to evoke deep connection through skillfully crafted imagery and metaphors. Silence, often employed through omission, suggestive language, and strategic pauses, serves as a potent tool within this poetic form. 

The city as a theme intensifies the silence within the ghazal. Poets often juxtapose the city’s vibrant exterior—its bustling streets mirroring societal complexities, towering structures symbolizing human ambition and anxiety, and superficiality embodied in neon lights—with the internal silence of its inhabitants. However, the city also presents a contrasting face: a realm of challenges and disparities. The poet’s exploration of this contradiction often manifests in silence. This silence may stem from various factors, including the individual’s struggle to reconcile personal experiences with the urban milieu. 

Silence might be chosen by some when unable to express strong emotions, , while others use it intentionally to maintain status quo in arguments. Silence is often seen as a lack of communication or the absence of words, but its meaning varies by context—depending on the situation or discipline. In language, it breaks sentences; in religion, it is ritualistic; for ascetics, it fosters spiritual growth; socially, it can indicate acceptance or guilt; and politically, it hides or avoids messages.

Artists use silence as  space in paintings and designs, where blank areas can convey meaning just as shapes and colours do. Art critic Graham Clucas notes that artist Lucy Lippard introduced the concept of “silent paintings.” These works, though appearing empty and distant, possess a powerful presence. Black and white paintings exemplify this concept: white space suggests potential and emptiness, while black represents a deliberate act of silencing as if something has been obscured or destroyed (Clucas 9). Similarly, musicians use pauses to heighten listeners’ expectations and experiences. Here, silence is not just the absence of sound but the presence of meaning. John Cage’s ‘4’33”’ revolutionised the understanding of sound and silence, arguing that pure silence does not exist. Cage believed that silence is about abandoning pre-conceived intentions, allowing us to experience sound anew (Bindeman 14). His work emphasised the significance of silence in enhancing the overall impact of a composition. 

In poetry, elements like commas, full stops, and line breaks function as silences, distinguishing it from prose. Poets also use spacing between words, lines, and stanzas for clarity and impact. Stéphane Mallarmé highlighted the importance of space between lines, viewing a poem as a complete work of art, where both words and blank spaces contribute to its overall meaning and impact (Bindeman 14). The space between words and lines can be seen as silence, altering the poem’s meaning with each break. 

Silence, thus, has varied uses and interpretations across disciplines. When a specific purpose  comes into play, moreover , it also becomes an effective rhetorical practice. This paper concerns silence from the perspective of communication. Taking Dimitrov’s concept of silence as strategic communication, it highlights the functions of explicit and implicit silences within communication. It explores silence in poetry, particularly in ghazals, with focus on the city as a theme. It examines how poets use explicit and implicit silence in Gujarati ghazals about Surat City, showing how contemporary ghazal poets strategically use silence to amplify or conceal aspects of the city, offering either dystopian or utopian visualisations. Thus, this paper argues that poets use both explicit and implicit silence in ghazals to highlight or obscure specific elements of the city. 

In communication, silence often goes under appreciated despite being a widely utilised tool. Roumen Dimitrov, in Strategic Silence: Public Relations and Indirect Communication, criticises conventional public relations strategies for prioritising loudness over clarity and meaning (ii). While communication practitioners have employed silence, it is typically viewed negatively, leading to a lack of discussion about its benefits. Western culture traditionally values speech as a sign of civilization, overlooking the significance of silence until later stages. This raises questions about why silence is stigmatised, why its significance is overlooked, and whether communication’s essence lies more in speech or silence.

Modern communication emphasises the power of the unsaid, making silence strategic. Dimitrov provides an instance of the same in the field of Public Relations and journalism, where it functions as a tool. The field communicates ‘through silence’ rather than discussing directly (Dimitrov 95). While a communicator shares a story, journalists often stay silent to maintain authority, and vice versa. Sometimes, less important issues are highlighted to divert attention from crucial matters. 

Dimitrov delineates two types of strategic silences: explicit and implicit. Explicit silence, deemed ‘notable,’ occurs when one refrains from speaking in situations where speech is expected, leading the listener to interpret its significance. Conversely, implicit silence is more ambiguous, offering multiple interpretations and proving challenging for the listener to recognize. Dimitrov distinguishes between the two, stating that explicit silence conveys meanings beyond words, whereas implicit silence conveys one message while implying another (Dimitrov 119).

Regardless of intentionality, silence serves as a potent literary device, conveying nuanced meanings and offering insights into human experiences that verbal communication may not capture. In fiction, silencing characters intensifies their emotions, amplifying the impact of the narrative. The dramatic employment of silence, such as pauses and speechlessness within acts, enhances its effectiveness in conveying meaning. Meanwhile, poetry occupies a distinct realm where silence assumes aesthetic significance. Poet Waheed Uzzafar Khan underscores the importance of silence in poetry and its role in evoking sensory and emotional responses: 

It is a miracle of great poetry that it speaks in words but explains itself in silence. Actually, silence in poetic frame assumes a profound status in which words dilute in meaning and acquire an infinite span of interpretation. They unfold multiple layers of implications refurbishing aesthetic pleasure and culminating into metaphysical insight. (1)

Poetry is a unique form of communication that uses expressive language to convey emotions and ideas. However, it also often relies on the interpretation of silence between words, as some poems are ambiguous and require deeper reflection. Poets employ silence for various purposes, often intentionally creating pauses in the narrative to allow readers to reflect on unfolding events. At times, silence is used to accentuate contrasts, with positive aspects left unspoken to highlight the negative, and vice versa. For instance, London is portrayed as a stark contrast between Blake and Wordsworth. While Blake emphasises the city’s oppressive nature in London (1794) – 

In every cry of every Man,  
In every Infant’s cry of fear, 
In every voice: in every ban, 
The mind-forg’d manacles I hear
How the Chimney-sweeper’s cry
Every blackning Church appalls;

Wordsworth presents a more harmonious vision in Composed Upon Westminster Bridge, September 3, 1803 – 

This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky; 
All bright and glittering in the smokeless air. 

Both poets, however, selectively focus on specific aspects of urban life, leaving other facets unexplored. Yet, there are instances where silence transcends words, articulating what language alone cannot convey due to its profound expressive power. 

Silence is prominently featured in the ghazal form of poetry, its role akin to that in other poetic forms. In ghazals, the space between couplets functions as a form of silence, separating and enhancing the impact of each couplet. This pause encourages contemplation, heightening anticipation for the subsequent couplet while maintaining the gravity of the theme. For instance, when Manoj Khanderia writes – pakado kalam ane koi pale em pan bane / aa hath aakhe aakho bale em pan bane (Hold the pen, and it might happen that at some moment / This entire hand might burn, it might happen.) The pause between the two lines creates curiosity while reading about an upcoming line. The reader gets time to sympathize with the poet’s sentiments and to interpret the hidden meanings. Moreover, this silence between couplets delineates each couplet’s individuality, allowing them to stand alone as distinct expressions. To illustrate, let us look at the ghazal discussed earlier – 

Pakado kalam ne koi pale em pan bane
Aa hath aakho bale em pan bane
Jya phochvani jhankhana varsothi hoy tya
Pan phochta j pachhu vale em pan bane
Evu chhe thodu chhetare rasta ke bhomiya?
Ek pag bija pagne chhale em pan bane 
(Hold the pen, and at some moment, it might happen,
This entire hand gets burned, might happen.
Where there has been a longing to reach for years.
The mind might turn back as it reaches, might happen.
Is it the roads that deceive a little or the guide?
One foot might deceive the other foot, might happen.)

In the above ghazal, each couplet is separated by a pause or silence so that it can be quoted separately. Each couplet works as an independent poem having a separate idea or theme, while simultaneously fitting in the theme of the entire ghazal. Additionally, it contributes to the structural rhythm of the poem, creating a poetic landscape. Following a foundational pattern, the previously cited ghazal rhymes AA, BA, CA, DA, and so forth, using kafiya (a rhyming word at the end of the second line of each couplet) and radif (The constant word or phrase following the rhyme in each couplet). It differs from other poetic forms such as sonnets, ballads, haikus, and free verse. Mallarmé underscores the significance of space in poetry, drawing attention to its role in shaping the poetic experience: 

The intellectual framework of the poem conceals itself but is present—is located—in the space that separates the stanzas and in the white of the paper: a significant silence, no less beautiful to compose than the lines themselves. (Bindeman 12)

The Ghazal, originating from Persia and later embraced in the Indian subcontinent with adaptations, is a poetic form characterised by lyrical couplets (sher) sharing a single rhyme scheme. Traditionally, it delves into themes of melancholia, love, separation, and metaphysical inquiries, often featuring repetition of words or phrases at the end of each couplet. The final couplet (maqta) typically bears the poet’s pen name (takhallus). Evolving from the Arabic qasidah, a form of ode, the Ghazal gained popularity in India during Islamic rule and flourished further with influences from Persian and Arabic languages.

In Gujarati literature, the Ghazal found fertile ground with its inception at the hands of Balashankar Kanthariya in 1887, following which the trend was embraced by subsequent poets. Madhurita Choudhary, citing Bhagawatikumar Sharma, discerns two predominant themes in the history of Gujarati Ghazals: ishqemizazi (human love) and ishqehaqiqi (divine love). Sharma observes a gradual shift in Gujarati Ghazals away from Urdu and Persian influences, towards a greater integration of Gujarati cultural elements across different phases of evolution. However, he notes a tendency towards limited experimentation with themes during these periods. In contrast, contemporary Gujarati Ghazals exhibit a more expansive approach, welcoming exploration of new themes (215).

The city has emerged as a central theme in modernist literature, explored through various literary forms such as novels, plays, and poems. Scholars delve into the complexities of urban life, expressing sentiments of love, nostalgia, alienation, and ambivalence towards rapidly expanding cities. Contemporary Ghazal poets have also embraced this trend, using the Ghazal form to articulate their experiences and perceptions of the city. In Ghazals, poets have the freedom to voice their perspectives on a particular city, prompting readers to inquire about the identity of the speaker. While some poets celebrate the city’s virtues, others lament its shortcomings, reflecting on its historical development and impact on their lives. The evolution of cities from optimistic symbols of progress to chaotic urban metropolises is a recurring theme in their works.

Kashyap Gajjar expands on poets’ concerns about cities, noting a shift from optimism to disillusionment as cities undergo rapid expansion. Urban dwellers grapple with the dichotomy of dreams versus reality, navigating through a concrete jungle that fosters alienation and undermines community connections. As cities grow in population and infrastructure, residents struggle to maintain their sense of identity amidst societal upheaval, shedding light on the failures and inadequacies of modern urban life (121). 

Numerous Ghazals have been composed by poets expressing their affection and anguish for the transformed cities of Gujarat, including Ahmedabad, Baroda, Bhavnagar, and Surat. Surat, the second-largest city in Gujarat, holds a significant place in the western region of India. Renowned for its textile and diamond industries, Surat boasts a rich historical and cultural heritage. Beyond its commercial prowess, the city has also constituted a focal point for literary endeavours. Nestled on the banks of the Tapi River, Surat’s allure is both celebrated and critiqued by poets who employ literature, particularly the Ghazal form, to depict its charm and comment on its expansion. 

Silence, as a strategic tool, adapts to the situation at hand, and poets like Bhagwatikumar Sharma illustrate this adaptability in their Ghazals. Sharma’s compositions present both optimistic and pessimistic portrayals of Surat, a city close to his heart. In Naam Surat (Name is Surat), he lauds the city’s virtues, likening himself to a bee drawn to the beauty of the lotus, symbolizing Surat – Radhika sho hun bhramar chhu, muj kamal nu naam Surat (Just like Radha, I am a bee, and my lotus is named Surat. Conversely, in Pur Ghazal (Flood Ghazal), Sharma uses the same metaphors to convey a starkly different sentiment, highlighting the city’s plight during floods – Bhamaro puray jem kamal ni turang ma (Just like a bee is submerged in the stalk of a lotus). By strategically omitting praise for the city’s beauty, Sharma accentuates its current condition, showcasing the power of silence in poetic expression.

In Jal ma Surat (Surat in Water), Bhagwatikumar Sharma profoundly perceives Surat’s pervasive presence. The city is omnipresent, encompassing both physical and metaphysical realms, ultimately reflecting a profound connection between the poet and the urban entity. He writes – Surat is in the place, Surat is in the water / Surat is in my heart. / Surat is in the mud / Surat is in the lotus feet of the Tapi River. / Surat is like dew on the petals of the heart lotus. The poet establishes Surat as a ubiquitous entity, permeating every facet of existence. While this expansive portrayal of the city is prominent in this ghazal, it is notably absent in his other ghazal. In Flat Ma (In a Flat), he portrays a sense of confinement within a narrow flat, contrasting Surat’s vastness. The balcony, adorned with sterile creepers, reflects a barrenness akin to autumn. Even common expressions feel hollow in this constrained environment. The poet strategically omits references to the city’s pervasive presence and rapid development, symbolizing the character’s sense of detachment and entrapment. Once an integral part of Surat, he now finds himself reduced to the interior of a small apartment, reflecting the diminishment of his world. He declares,   

T.V., phone, decor, sofa-cover;
Banyo chhu hun interior flat ma.
(TV, phone, decor, sofa cover; / I have become an interior object of this flat.)

In his interrogative poem Aa Shaher ma? (In this city?), Bakulesh Desai paints a dystopian picture, employing explicit silence by posing questions such as: Open doors, in this city? Energetic and healthy people in this city? Humanity in this city? The poet refrains from directly stating that none of these elements exist in the city, leaving it to the reader to ponder and answer. He further questions: Aatmiyata lagar? ane aa shaher ma? / Humfali saravar? ane aa shaher ma? (Some intimacy… In this city? Warm treatment… In this city?)

In his ghazal Hu Surat Chhu (I am Surat), Bakulesh Desai creates ambiguity regarding his stance on the city, portraying Surat as a speaker – ‘I am Surat.’ The city is depicted as allowing its citizens to commit robbery and arson, yet it possesses the resilience to endure any challenge. It encourages emotional investment, promising rewards in return. Desai employs implicit silence, leaving the interpretation open-ended for readers. Whether the poet critiques or praises the city is open to interpretation. He writes – 

Rob me with malice! I am Surat! 
Burn me with courage! I am Surat! 
I stumble and fall lazily, I am Surat! 
Get angry and pleased like a human, I am Surat!

…….

Why fear two, three, or four-wheeled vehicles? 
Cross over carelessly! I am Surat! 
This sweet memory’s glow is fading! 
Come, explore me like Columbus! I am Surat! 
Here, you invest in emotions, Bakulesh! 
I will return with a bonus, I am Surat!

Similarly, his ghazal Surat Muj Ran Samu (Surat is like my battlefield) showcases both explicit and implicit silence. Set during the Plague epidemic of 1994, the poem conspicuously avoids any direct mention of the disease. Instead, it explores people’s emotions, consistently ending each couplet with the phrase ‘Surat Muj Ran Samu’ (Surat is like my battlefield). Only those familiar with the context can fully grasp its meaning, while others may get confused. As the poet says – ‘I will not flee, Surat is my battlefield / Even if I give up my, Surat is my battlefield / What is the Fact? What is the rumour? in this constant quest, I will stay awake all night, Surat is my battlefield. Words, insults, and accusations / only sky is the witness, Surat is my battlefield.’ This ghazal makes no specific reference to any event. The lack of specificity in the reference prioritizes emotional expression over concrete details of the urban setting. The poet’s focus remains solely on reactions rather than providing details of the situation. 

Poets craft narratives of urban experience through ghazals, ranging from euphoric celebration to disillusioned critique, frequently addressing a lover. Asim Randeri, a prominent poet, expresses his love for the imaginary beloved ‘Leela’ and Surat by addressing the river ‘Tapi’ and ‘Rander,’ a suburb in Surat where he grew up. He purposely emphasizes the beauty of the city as his memories are tied with Surat. In Janmabhoomi ne (To the Motherland), he salutes Rander, describing its beauty and confessing his affection for the land using metaphors. In the concluding couplet, he asks the homeland to return his ‘Leela’ – Vatan! ej ‘Leela’ fari aap mujne, / Araj etali chhe aa ‘Asim’ ni tujne (O Homeland! Bring back that ‘Leela,’ it is Asim’s request to you). 

The poem Albeli Nagari (A Beautiful City) evokes a nostalgic sentiment as the speaker reminisces about Surat while in Mumbai. Maintaining the same reverential tone as before, the speaker’s silence regarding Mumbai is as notable as his effusive praise for Surat. Surat holds a special place in his heart, being the city of love, youth, and divinity. His life and poetry are deeply intertwined with Surat, and in his expressions, he deliberately omits any mention of negative aspects.

In Nagar Tara Vagar (City without You), Dilip Modi contrasts the desolate state of the city with the absence of his beloved. The city appears bleak and deserted without her presence. Alone in his room, he listens to the walls echoing discussions about the city without her. The ghazal revolves around this theme of emptiness and longing. Unlike the previous example, Modi remains silent on the city’s charm and overlooks its progress, focusing instead on its melancholic atmosphere. In the opening couplet, he poignantly expresses how the city seems deserted and stays awake daily without his beloved. In the opening couplet, Dilip Modi laments, Sunu bhase chhe nagar tara vagar / Roj jage chhe nagar tara vagar (The city seems deserted without you; every day, the city wakes up without you).

By strategically employing silence, either implicitly or explicitly, poets invite readers to actively participate in interpreting their ghazals. A reader can connect with the poet’s emotions and try to impart meaning based on his/her personal experience. This vagueness allows for a greater emotional connection between the reader and the poem, transcending mere physical descriptions of the city. Specifically, the pause between each couplet offers readers a moment to connect deeply with the poet. This interlude allows for reflection on the previous couplet and preparation for the next. Readers can process the poet’s emotions, thoughts, and imagery, fostering a deeper emotional engagement and a more personal connection to the poem.

Conclusion

Dimitrov’s exploration of explicit and implicit silence as communication strategies is evident in various functions. Explicit silence brings attention to silence itself, while implicit silence allows for interpretation. Through examples from ghazals, poets focusing on Surat strategically employ explicit silence to highlight specific aspects of the city, leaving readers to deduce their implications. Some poets also utilize implicit silence, leaving interpretation open to readers. For instance, Bakulesh Desai’s celebration of Surat’s resilience may evoke memories of past challenges like the Plague, though this context is not explicitly stated. Readers are thus encouraged to interpret the poet’s implicit silence. Ultimately, poets use both forms of silence to engage readers, fostering connections between readers, poets, and the city they portray.