Although the genre and form of Ghazal has been the subject of debate, the fundamental identification of its form has irrevocably been the presence of end-rhyme in every second verse throughout the Ghazal, except for the first pair of verse, a couplet and a pair of end-rhyming verse. In the sixties, the experimental use or lack of it in meter, rhyme, stress and other essentials of Ghazal was named rhyme-less or free Ghazal. Mazhar Imam from India claimed to be its originator and initiator, but MeeابraJee had already made such experiments. This experimentation did not significantly increase the possibilities in Ghazal, but in response, the form of Ghazal further strengthened its importance.