One Thousand and One Nights, page 972
If the conjunctive Hamzah is preceded by a quiescent letter, this takes generally Kasrah: “Tálat al-Laylah,” the night was longsome, would become Tálati ‘l-Laylah. If, however, the quiescent letter is one of prolongation, it mostly drops out altogether, and the Harakah of the next preceding letter becomes {he connecting vowel between the two words, which in our parlance would mean that the end vowel of the first word is shortened before the elided initial of the second. Thus “fí al-bayti,” in the house, which in Arabic is written f(i)y h(a)l-b(a)yt(i) and which we transliterate fí ‘l-bayti, is in poetry read fil-bayti, where we must remember that the syllable fil, in spite of its short vowel, represents a long quantity, because it consists of a moved letter followed by a quiescent one. Fíl would be overlong and could, according to Arabic prosody, stand only in certain cases at the end of a verse, i.e. in pause, where a natural tendency prevails to prolong a sound.
The attentive reader will now be able to fix the prosodical value of the line quoted above with unerring security. For metrical purposes it syllabifies into: A-ká-mul-vaj-da fí kal-bí wa sá-rú, containing three short and eight long quantities. The initial unaccented a is short, for the same reason why the syllables da and wa are so, that is, because it corresponds to an Arabic letter, the Hamzah or silent h, moved by Fathah. The syllables ká, fí, bí, sá, rú are long for the same reason why the syllables mul, waj, kal are so, that is, because the accent in the transliteration corresponds to a quiescent Arabic letter, following a moved one. The same simple criterion applies to the whole list, in which I give in alphabetical order the first lines and the metre of all the poetical pieces contained in the Mac. edition, and which will be found at the end of this volume. {This appendix is not included in the electronic text}
The prosodical unities, then, in Arabic are the moved and the quiescent letter, and we are now going to show how they combine into metrical elements, feet, and metres.
i. The metrical elements (Usúl) are:
1. The Sabab,450 which consists of two letters and is either khafíf (light) or sakíl (heavy). A moved letter followed by a quiescent, i.e. a closed syllable, like the afore-mentioned taf, fun, mus, to which we may now add fá=fah, ‘í=‘iy, ‘ú=‘uw, form a Sabab khafíf, corresponding to the classical long quantity (-). Two moved letters in succession, like mute, ‘ala, constitute a Sabab sakíl, for which the classical name would be Pyrrhic (U U). As in Latin and Greek, they are equal in weight and can frequently interchange, that is to say, the Sabab khafíf can be evolved into a sakíl by moving its second Harf, or the latter contracted into the former, by making its second letter quiescent.
2. The Watad, consisting of three letters, one of which is quiescent. If the quiescent follows the two moved ones, the Watad is called majmú’ (collected or joined), as fa’ú (=fa’uw), mafá (=mafah), ‘ilun, and it corresponds to the classical Iambus (U - ). If, on the contrary, the quiescent intervenes or separates between the two moved letters, as in fá’i ( = fah’i), látu (=lahtu), taf’i, the Watad is called mafrúk (separated), and has its classical equivalent in the Trochee (- U)
3. The Fásilah,451 containing four letters, i.e. three moved ones followed by a quiescent, and which, in fact, is only a shorter name for a Sabab sakíl followed by a Sabab khafíf, as mute + fá, or ‘ala + tun, both of the measure of the classical Anapaest (U U -)
ii. These three elements, the Sabab, Watad and Fásilah, combine further into feet Arkáan, pl. of Rukn, or Ajzáa, pl. of Juz, two words explained supra . The technical terms by which the feet are named are derivatives of the root fa’l, to do, which, as the student will remember, serves in Arabic Grammar to form the Auzán or weights, in accordance with which words are derived from roots. It consists of the three letters Fá (f), ‘Ayn (‘), Lám (l), and, like any other Arabic root, cannot strictly speaking be pronounced, for the introduction of any vowel-sound would make it cease to be a root and change it into an individual word. The above fa’l, for instance, where the initial Fá is moved by Fathah (a), is the Infinitive or verbal noun, “to do,” “doing.” If the ‘Ayn also is moved by Fathah, we obtain fa’al, meaning in colloquial Arabic “he did” (the classical or literary form would be fa’ala). Pronouncing the first letter with Zammah (u), the second with Kasrah (i), i.e., fu’il, we say “it was done” (classically fu’ila). Many more forms are derived by prefixing, inserting or subjoining certain additional letters called Hurúf al-Ziyádah (letters of increase) to the original radicals: fá’il, for instance, with an Alif of prolongation in the first syllable, means “doer”; maf’úl (=maf’uwl), where the quiescent Fá is preceded by a fathated Mím (m), and the zammated ‘Ayn followed by a lengthening Waw, means “done”; Mufá’alah, where, in addition to a prefixed and inserted letter, the feminine termination ah is subjoined after the Lám, means “to do a thing reciprocally.” Since these and similar changes are with unvarying regularity applicable to all roots, the grammarians use the derivatives of Fa’l as model-forms for the corresponding derivations of any other root, whose letters are in this case called its Fá, ‘Ayn and Lám. From a root, e.g., which has Káf (k) for its first letter or Fá, Tá (t) for its second letter or ‘Aye, and Bá (b) for its third letter or Lám
fa’l would be katb =to write, writing;
fa’al would be katab =he wrote;
fu’il would be kutib =it was written;
fa’il would be katib =writer, scribe;
maf’úl would be maktúb=written, letter;
mufá’alah would be mukátabah = to write reciprocally,
correspondence.
The advantage of this system is evident. It enables the student, who has once grasped the original meaning of a root, to form scores of words himself, and in his readings, to understand hundreds, nay thousands, of words, without recourse to the Dictionary, as soon as he has learned to distinguish their radical letters from the letters of increase, and recognises in them a familiar root. We cannot wonder, therefore, that the inventor of Arabic Prosody readily availed himself of the same plan for his own ends. The Taf’íl, as it is here called, that is, the representation of the metrical feet by current derivatives of fa’l, has in this case, of course, nothing to do with the etymological meaning of those typical forms. But it proves none the less useful in another direction: in simply naming a particular foot it shows at the same time its prosodical measure and character, as will now be explained in detail.
We have seen supra that the word Akámú consists of a short syllable followed by two long ones (U - -), and consequently forms a foot, which the classics would call Bacchíus. In Latin there is no connection between this name and the metrical value of the foot: we must learn both by heart. But if we are told that its Taf’íl in Arabic is Fa’úlun, we understand at once that it is composed of the Watad majmú’ fa’ú (U -) and the Sabab khafíf lun (-), and as the Watad contains three, the Sabab two letters, it forms a quinqueliteral foot or Juz khamásí.
In combining into feet, the Watad has the precedence over the Sabab and the Fásilah, and again the Watad majmú’ over the Watad mafrúk. Hence the Prosodists distinguish between Ajzá aslíyah or primary feet (from Asl, root), in which this precedence is observed, and Ájzá far’íyah or secondary feet (from Far’= branch), in which it is reversed. The former are four in number:- -
1. Fa’ú.lun, consisting,as we have just seen, of a Watad majmú’ followed by a Sabab khafíf = the Latin Bacchíus (U - -).
2. Mafá.’í.lun, i.e. Watad majmú’ followed by two Sabab khafíf = the Latin Epitritus primus (U - - -).
3. Mufá.’alatun, i.e. Watad majmú’ followed by Fásilah = the Latin Iambus followed by Anapaest (U - UU -).
4. Fá’i.lá.tun, i.e. Watad mafrúk followed by two Sabab khafíf = the Latin Epitritus secundus (-U- -).
The number of the secondary feet increases to six, for as Nos. 2 and 4 contain two Sabab, they “branch out” into two derived feet each, according to both Sabab or only one changing place with regard to the Watad. They are:
5. Fá.’ilun, i.e. Sabab khafíf followed by Watad majmú’= the Latin Creticus (-U-). The primary Fa’ú.lun becomes by transposition Lun.fa’ú. To bring this into conformity with a current derivative of fa’l, the initial Sabab must be made to contain the first letter of the root, and the Watad the two remaining ones in their proper order. Fá is therefore substituted for lun, and ‘ilun for fa’ú, forming together the above Fá.’ilun. By similar substitutions, which it would be tedious to specify in each separate case, Mafá.’í.lun becomes:
6. Mus.taf.’ilun, for ‘Í.lun.mafá, i.e. two Sabab khafíf, followed by Watad majmú’ = the Latin Epitritus tertius (- -U-), or:
7. Fá.’ilá.tun, for Lun.mafá.’í, i.e. Watad majmú’ between two Sabab khafíf = the Latin Epitritus secundus (-U- -).
8. Mutafá.’ilun (for ‘Alatun.mufá, the reversed Mufá.’alatun), i.e. Fásilah followed by Watad majmú’=the Latin Anapaest succeeded by Iambus (UU-U-). The last two secondary feet are transpositions of No. 4, Fá’i.lá.tun, namely:
9. Maf.’ú.látu, for Lá.tun.fá’i, i.e. two Sabab khafíf, followed by Watad mafrúk = the Latin Epitritus quartus (- - -U).
10. Mus.taf’i.lun, for Tun.fá’i.lá, i.e. Watad mafrúk between two Sabab khafíf=the Latin Epitritus tertius (- -U-).452
The “branch”-foot Fá.’ilun (No. 5), like its “root” Fa’ú.lun (No. 1), is quinqueliteral. All other feet, primary or secondary, consist necessarily of seven letters, as they contain a triliteral Watad (see supra i. 2) with either two biliteral Sabab khafíf (i. 1) or a quadriliteral Fásilah (i. 3). They are, therefore, called Sabá’í = seven lettered.
iii. The same principle of the Watad taking precedence over Sabab and Fásilah, rules the arrangement of the Arabic metres, which are divided into five circles (Dawáir, pl. of Dáirah), so called for reasons presently to be explained. The first is named:
A. Dáirat al-Mukhtalif, circle of “the varied” metre, because it is composed of feet of various length, the five-lettered Fa’úlun (supra ii. 1) and the seven-lettered Mafá’ílun (ii. 2) with their secondaries Fá’ilun, Mustaf.’ilun and Fá.’ilátun (ii. 5-7), and it comprises three Buhúr or metres (pi. of Bahr, sea), the Tawíl, Madíd and Basít.
1. Al-Tawil, consisting of twice
Fa’ú.lun Mafá.’ílun Fa’ú.lun Mafá.’ílun,
the classical scheme for which would be
U - - | U - - - | U - - | U - - - |
If we transfer the Watad Fa’ú from the beginning of the line to the end, it would read:
Lun.mafá’í Lun.fa’ú Lun.mafá’í Lun.fa’ú which, after the
substitutions indicated above (ii. 7 and 5), becomes:
2. Al-Madíd, consisting of twice
Fá.’ilátun Fá.’ilun Fá.’ilátun Fá.’ilun.
which may be represented by the classical scheme
- U - - | - U - | - U - - | - U - |
If again, returning to the Tawíl, we make the break after the
Watad of the second foot we obtain the line:
‘Ílun.fa’ú. Lum.mafá ‘Ílun.fa’u Lun.mafá, and as metrically
‘Ílun.fa’ú (two Sabab followed by Watad) and Lun.mafá (one Sabab followed by Watad) are=‘Ílun.mafá and Lun.fa’ú respectively, their Taf’il is effected by the same substitutions as in ii. 5 and 6, and they become:
3. Basít, consisting of twice
Mustaf.’ilun Fá.’ilun Mustaf.’ilun Fá.’ilun,
in conformity with the classical scheme:
- - U - | - U - | - - U - | - U - |
Thus one metre evolves from another by a kind of rotation, which suggested to the Prosodists an ingenious device of representing them by circles (hence the name Dáirah), round the circumference of which on the outside the complete Taf’íl of the original metre is written, while each moved letter is faced by a small loop, each quiescent by a small vertical stroke453 inside the circle. Then, in the case of this present Dáirat al-Mukhtalif for instance, the loop corresponding to the initial f of the first Fa’úlun is marked as the beginning of the Tawíl, that corresponding to its l (of the Sabab fun) as the beginning of the Madid, and that corresponding to the ‘Ayn of the next Mafá’ílun as the beginning of the Basít. The same process applies to all the following circles, but our limited space compels us simply to enumerate them, together with their Buhúr, without further reference to the mode of their evolution.
B. Dáirat al-Mútalif, circle of “the agreeing” metre, so called because all its feet agree in length, consisting of seven letters each. It contains:
1. Al-Wáfir, composed of twice
Mufá.’alatun Mufá.’alatun Mufá.’alatun (ii. 3)
= U - U U - | U - U U - | U - U U - |
where the Iambus in each foot precedes the Anapaest, and its reversal:
2. Al-Kámil, consisting of twice
Mutafá.’ilun Mutafá.’ilun Mutafá.’ilun (ii. 8)
= U U - U - | U U - U - | U U - U - |
where the Anapaest takes the first place in every foot.
C. Dáirat al-Mujtalab, circle of “the brought on” metre, so called because its seven-lettered feet are brought on from the first circle.
1. Al-Hazaj, consisting of twice
Mafá.’ílun Mafá.’ílun Mafá.’ílun (ii. 2)
= U - - - | U - - - | U - - - | U - - - |
2. Al-Rajaz, consisting of twice
Mustaf.’ilun Mustaf.’ilun Mustaf.’ilun,
and, in this full form, almost identical with the Iambic Trimeter of the Greek Drama:
- - U - | - - U - | - - U - |
3. Al-Ramal, consisting of twice
Fá.’ilátun Fá.’ilátun Fá.’ilátun,
the trochaic counterpart of the preceding metre
= - U - - | - U - - | - U - - |
D. Dáirat al-Mushtabih, circle of “the intricate” metre, so called from its intricate nature, primary mingling with secondary feet, and one foot of the same verse containing a Watad majmú’, another a Watad mafrúk, i.e. the iambic rhythm alternating with the trochaic and vice versa. Its Buhúr are:
1. Al-Sarí’, twice
Mustaf.’ilun Mustaf.’ilun Maf’ú.látu (ii. 6 and 9)
= - - U - | - - U - | - - - U |
2. Al-Munsarih, twice
Mustaf.’ilun Mafú.látu Mustaf.’ilun (ii. 6. 9. 6)
= - - U - | - - - U | - - U - |
3. Al-Khafíf, twice
Fá.’ílátun Mustaf’i.lun Fá.’ílátun (ii. 7.10.7)
= - U - - | - - U - | - U - - |
4. Al-Muzári’, twice
Mafá.’ílun Fá’í.látun Mafá.’ílun (ii. 2.4.2)
= U - - - | - U - - | U - - - |
5. Al-Muktazib, twice
Maf’ú.látu Mustaf.’ilun Maf’ú.látu (ii. 9.6.9)
= - - - U | - - U - | - - - U |
6. Al-Mujtass, twice
Mustaf’i.lun Fá.’ílátun Mustaf’ i.lun (ii. 10.7.10)
= - - U - | - U - - | - - U - |
E. Dáirat al-Muttafik, circle of “the concordant” metre, so called for the same reason why circle B is called “the agreeing,” i.e. because the feet all harmonise in length, being here, however, quinqueliteral, not seven-lettered as in the Mátalif. Al-Khalil the inventor of the ‘‘Ilm al-’Arúz, assigns to it only one metre:
1. Al-Mutakárib, twice
Fa’úlun Fa’úlun Fa’úlun Fa’úlun (ii. 1)
= U - - | U - - | U - - |
Later Prosodists added:
2. Al-Mutadárak, twice
Fá’ilun Fá’ilun Fá’ilun Fá’ilun (ii. 5)
= - U - | - U - | - U - |
The feet and metres as given above are, however, to a certain extent merely theoretical; in practice the former admit of numerous licenses and the latter of variations brought about by modification or partial suppression of the feet final in a verse. An Arabic poem (Kasídah, or if numbering less than ten couplets, Kat’ah) consists of Bayts or couplets, bound together by a continuous rhyme, which connects the first two lines and is repeated at the end of every second line throughout the poem. The last foot of every odd line is called ‘Arúz (fem. in contradistinction of Arúz in the sense of Prosody which is masc.), pl. A’áiriz, that of every even line is called Zarb, pl. Azrub, and the remaining feet may be termed Hashw (stuffing), although in stricter parlance a further distinction is made between the first foot of every odd and even line as well.
Now with regard to the Hashw on the one hand, and the ‘Aruz and Zarb on the other, the changes which the normal feet undergo are of two kinds: Zuháf (deviation) and ‘Illah (defect). Zuháf applies, as a rule, occasionally and optionally to the second letter of a Sabab in those feet which compose the Hashw or body- part of a verse, making a long syllable short by suppressing its quiescent final, or contracting two short quantities in a long one, by rendering quiescent a moved letter which stands second in a Sabab sakíl. In Mustaf’ilun (ii. 6. = - - U -), for instance, the s of the first syllable, or the f of the second, or both may be dropped and it will become accordingly Mutaf’ilun, by substitution Mafá’ilun (U - U -), or Musta’ilun, by substitution, Mufta’ilun (- U U -), or Muta’ilun, by substitution Fa’ilatun (U U U -).454 This means that wherever the foot Mustaf.’ilun occurs in the Hashw of a poem, we can represent it by the scheme U U U - i.e. the Epitritus tertius can, by poetical licence, change into Diiambus, Choriambus or Paeon quartus. In Mufá’alatun (ii. 3. = U - U U -) and Mutafá’ilun (ii. 8. = U U - U -), again, the Sabab ‘ala and mute may become khafíf by suppression of their final Harakah and thus turn into Mufá’altun, by substitution Mafá’ílun (ii. 2. = U - - -), and Mutfá’ilun, by substitution Mustaf’ilun (ii 6.= - - U U as above). In other words the two feet correspond to the schemes UU-U and U-U-U-, where a Spondee can take the place of the Anapaest after or before the Iambus respectively.
