When it comes to couplets of love, Urdu poetry abounds with verses of Sham’a and Parvanah, the lamp and moth.
parvaano.n kaa to hashr jo honaa thaa ho chukaa
guzrii hai raat sham.a pe kyaa dekhte chale.n
SHAD AZIMABADI

But in Urdu, there is yet another Parvana, that has nothing to do with a moth. This Parvana means an approval, a warrant, or a government or royal order. Now, what does this legal term has to do with poetry?
Well, Akbar Allahabadi, while sarcastically needling at Sir Sayyad's educational mission and the revelry of Englishmen, ropes in this “legal-Parvana” into Urdu poetry, along with two other English words, loyalty and honor:
Dila de ham ko bhi sahib se loyalty ka parvana
Qayamat tak rahe Sayyad tire honor ka fasaana

Additionally, Urdu dictionaries also tell that Parvana is a small animal famous for walking ahead of a lion and raising a scream so that other animals would become aware of the lion’s presence and hide. Let’s see, maybe one day some poet would write a couplet on this Parvana as well.

Ever wondered how the act of making counterfeit notes and the word ‘Qalb’, or heart, are related? Sounding much like medical lingo, counterfeiting notes is known as ‘Qalb-Saazi’, which is made from the Arabic ‘Qalb’ and the Persian ‘Saazi’, meaning, making, or creating. Although Qalb is commonly used for the heart, it also means to inverse, turn upside down, or transform completely. The term ‘Qalb-Saazi’ can be best understood with respect to these other meanings of the word Qalb.
Miyan Dad Khan ‘Sayyaah’ (1829/30 - 1907), a famous and playful Urdu poet with a thing for traveling, was tried under ‘Muqaddama-e-Qalb-Saazi’ for printing counterfeit currency notes and was sentenced to 14 years in prison. On the occasion of Queen Victoria's Silver Jubilee, he wrote and sent an ode in Her honor, as a result of which his sentence was shortened by several years.

In the Iranian romantic tale of Shereen and Farhad, Farhad, who digs a mountain with his ax to draw a canal of milk, is called "Koh-Kan", meaning the one who digs a mountain.
kaam aa.ii kohkan kii mashaqqat na ishq me.n
patthar se juu-e-shiir ke laane ne kyaa kiyaa
Mirza Rafi Sauda 

This construction has made its way into Urdu from Persian. The word ‘Kan’ means a digger, and thus, a laborer digging in mine (Kaan) is called ‘Kaan-Kan’ or mine-digger. Likewise, the act of carving impressions into stone, wood, and metal is called ‘Kananda Karna’, or to engrave.
Kan also means ajar or edge. Like the idiom ‘Kan Ankhon se Dekhna’, meaning to look at from the corner of the eye.
Wo go kuchh na sunti na kahtii use
Kan aankhon se par dekh rehti use
(Meer Hasan- Masnavi Sehr-ul-Bayan)

Another Persian construction is ‘Kaar-Kun’, which is created by bringing together Kaar, meaning work in Persian, and Kun, meaning a doer, which together means one who carries out a work. Similarly, there are other such constructions like ‘Hairan-Kun’- that which astonishes, ‘Parishan-Kun’- that which disturbs or scatters, and many others.

Poetry that’s recited without a Tarannum (tune) is known as ‘Taht-ul-Lafz’, or differently, ‘Taht Mein Padhna’. If read in Tarannum, the reciter’s tone and voice largely draw the attention of the audiences. However, in Taht-ul-Lafz, one enjoys the full effect of poetry with the grandeur of words and the crescendo of the rise and fall of the reciter’s voice. Although Taht-ul Lafz recitation is common in Mushairas, but those who recited Marsiyas (elegies) in this manner in mourning assemblies, turned it into a dramatic artform. A contemporary of famous Marsiya-reciter Meer Anis, and who didn’t find favor with Anis’s Marsiya composition, wrote:
“Ek martaba Ittefaqan Anis Ki Majlis mein shirkat hui. Marsiye Ke doosre hi band ki Bait…
Saato.n Jahannum Atish-e-Furqat mein jalte hain
Sho’le tirii talaash mein baahar nikalte hain
… Anis ne is andaz se paDhi ki mujhe sho’le bhadakte hue dikhai dene lage aur main un ka padhna-sunna mein aisa mahv hua ki tan-badan kaa hosh na rahaa.”
When new poetry appeared in the form Azad Nazm, it found no takers as no one seemed willing to listen to it. Then, Famous actor and broadcaster Zia Mohiuddin experimented with reciting Noon Meem Rashid's poems at various events. He recited some of these poems in such a way that the listeners, for whom these poems were ambiguous, meaningless and far from poetry, they too became enchanted by them; even managing to discover in those poems a bit of poetry.