The Book of the Thousand Nights and a Night, vol 10, Sir Richard Francis Burton [ebook audio reader TXT] 📗

6. Al-Mujtass, twice

Mustaf’i.lun F�.’�l�tun Mustaf’ i.lun (ii. 10.7.10) = - - U - | - U - - | - - U - |

E. D�irat 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 M�talif.

Al-Khalil the inventor of the ”Ilm al-‘Ar�z, assigns to it only one metre:

1. Al-Mutak�rib, twice

Fa’�lun Fa’�lun Fa’�lun Fa’�lun (ii. 1) = U - - | U - - | U - - |

Later Prosodists added:

2. Al-Mutad�rak, twice

F�‘ilun F�‘ilun F�‘ilun F�‘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 (Kas�dah, 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 ‘Ar�z (fem. in contradistinction of Ar�z in the sense of Prosody which is masc.), pl. A’�iriz, 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: Zuh�f (deviation) and ‘Illah (defect). Zuh�f 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 sak�l. 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 Maf�‘ilun (U - U -), or Musta’ilun, by substitution, Mufta’ilun (- U U -), or Muta’ilun, by substitution Fa’ilatun (U

U U -).[FN#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 Muf�‘alatun (ii. 3. = U - U U -) and Mutaf�‘ilun (ii. 8. = U U - U -), again, the Sabab ‘ala and mute may become khaf�f by suppression of their final Harakah and thus turn into Muf�‘altun, by substitution Maf�’�lun (ii. 2. = U - - -), and Mutf�‘ilun, by substitution Mustaf’ilun (ii 6.= - - U U as above). In other words the two feet correspond to the schemes U_U-U_ and U-U-U-, where a Spondee can take the place of the Anapaest after or before the Iambus respectively.

‘Illah, the second way of modifying the primitive or normal feet, applies to both Sabab and Watad, but only in the ‘Aruz and Zarb of a couplet, being at the same time constant and obligatory.

Besides the changes already mentioned, it consists in adding one or two letters to a Sabab or Watad, or curtailing them more or less, even to cutting them off altogether. We cannot here exhaust this matter any more than those touched upon until now, but must be satisfied with an example or two, to show the proceeding in general and indicate its object.

We have seen that the metre Bas�t consists of the two lines: Mustaf.‘ilun F�.‘ilun Mustaf’ilun F�‘ilun Mustaf’ilun F�‘ilun Mustaf’ilun F�‘ilun.

This complete form, however, is not in use amongst Arab poets. If by the Zuh�f Khabn, here acting as ‘Illah, the Alif in the final F�‘ilun is suppressed, changing it into Fa’ilun (U U -), it becomes the first ‘Aruz, called makhb�nah, of the Bas�t, the first Zarb of which is obtained by submitting the final F�‘ilun of the second line to the same process. A second Zarb results, if in F�‘ilun the final n of the ‘Watad ‘ilun is cut off and the preceding l made quiescent by the ‘Illah Kat’ thus giving F�‘il and by substitution Fa’lun (- -). Thus the formula becomes:—

Mustaf’ilun F�‘ilun Mustaf’ilun Fa’ilun Mustaf’ilun F�‘ilun Mustaf’ilun{Fa’ilun {Fa’lun As in the Hashw, i.e. the first three feet of each line, the Khabn can likewise be applied to the medial F�‘ilun, and for Mustaf’ilun the poetical licences, explained above, may be introduced, this first ‘Ar�z or Class of the Bas�t with its two Zarb or subdivisions will be represented by the scheme U U | U | U U |

- - U - | - U - | - - U U | U U -

U U | U { U U -

- - U - | - U - { - -

that is to say in the first subdivision of this form of the Bas�t both lines of each couplet end with an Anapaest and every second line of the other subdivision terminates in a Spondee.

The Bas�t has four more A’�riz, three called majz�ah, because each line is shortened by a Juz or foot, one called masht�rah (halved), because the number of feet is reduced from four to two, and we may here notice that the former kind of lessening the number of feet is frequent with the hexametrical circles (B. C.

D.), while the latter kind can naturally only occur in those circles whose couplet forms an octameter (A. E.). Besides being majz�ah, the second ‘Aruz is sah�hah (perfect) consisting of the normal foot Mustaf’ilun. It has three Azrub: 1. Mustaf’il�n (- -

U -�, with an overlong final syllable, see supra p. 238), produced by the ‘Illah Tazy�l, i.e. addition of a quiescent letter at the end (Mustaf’ilunn, by substitution Mustaf’il�n); 2.

Mustaf’ilun, like the ‘Aruz; 3. Maf’�lun (- - -), produced by the ‘Illah Kat’ (see the preceding page; Mustaf’ilun, by dropping the final n and making the l quiescent becomes Mustaf’il and by substitution Maf’�lun). Hence the formula is: Mustaf’ilun F�‘ilun Mustaf’ilun { Mustaf’il n Mustaf’ilun F�‘ilun{ Mustaf’ilun { Maf’�ulun, which, with its allowable licenses, may be represented by the scheme:

U U | U |

- - U - | - U - | - - U -

{ U U

U U | U { - - U -

- - U - | - U - { - - U -

{ U

{ - - -

The above will suffice to illustrate the general method of the Prosodists, and we must refer the reader for the remaining classes and subdivisions of the Bas�t as well as the other metres to more special treatises on the subject, to which this Essay is intended merely as an introduction, with a view to facilitate the first steps of the student in an important, but I fear somewhat neglected, field of Arabic learning.

If we now turn to the poetical pieces contained in The Nights, we find that out of the fifteen metres, known to al-Khalil, or the sixteen of later Prosodists, instances of thirteen occur in the Mac. N. edition, but in vastly different proportions. The total number amounts to 1,385 pieces (some, however, repeated several times), out of which 1,128 belong to the first two circles, leaving only 257 for the remaining three. The same disproportionality obtains with regard to the metres of each circle. The Mukhtalif is represented by 331 instances of Taw�l and 330 of Bas�t against 3 of Mad�d; the Mutalif by 321 instances of K�mil against 143 of Waf�r; the Mujtalab by 32 instances of Ramal and 30 of Rajaz against 1 of Hazaj; the Mushtabih by 72

instances of Khaf�f and 52 of Sar�’ against 18 of Munsarih and 15

of Mujtass; and lastly the Muttafik by 37 instances of Mutak�rib.

Neither the Mutad�rak (E. 2), nor the Muz�ri’ and Muktazib (D.

4.5) are met with.

Finally it remains for me to quote a couplet of each metre, showing how to scan them, and what relation they bear to the theoretical formulas exhibited on p. 242 to p. 247.

It is characteristic for the preponderance of the Taw�l over all the other metres, that the first four lines, with which my alphabetical list begins, are written in it. One of these belongs to a poem which has for its author Bah� al-Din Zuhayr (born A.D.

1186 at Mekkah or in its vicinity, ob. 1249 at Cairo), and is to be found in full in Professor Palmer’s edition of his works, p.

164. Sir Richard Burton translates the first Bayt (vol. i. 290): An I quit Cairo and her pleasances * Where can I hope to find so gladsome ways?

Professor Palmer renders it:

Must I leave Egypt where such joys abound?

What place can ever charm me so again ?

In Arabic it scans:

U - U | U - - - | U - U | U - U - |

A-arhalu’en Misrin wa t�bi na’�mihil[FN#455]

U - U | U - - - | U - U | U - U - |

Fa-ayyu mak�nin ba’dah� li-ya sh�iku.

In referring to iii. A. I. p. 242, it will be seen that in the Hashw Fa’�lun (U - -) has become Fa’�lu (U - U) by a Zuh�f called Kabz (suppression of the fifth letter of a foot if it is quiescent) and that in the ‘Ar�z and Zarb Maf�’�lun (U - - -) has changed into Maf�‘ilun (U - U -) by the same Zuh�f acting as ‘Illah. The latter alteration shows the couplet to be of the second Zarb of the first ‘Ar�z of the Taw�l. If the second line did terminate in Maf�’�lun, as in the original scheme, it would be the first Zarb of the same ‘Ar�z; if it did end in Fa’�lun (U

- -) or Maf�’�l (U - -) it would represent the third or fourth subdivision of this first class respectively. The Taw�l has one other ‘Ar�z, Fa’�lun, with a twofold Zarb, either Fa’�lun also, or Maf�‘ilun.

The first instance of the Bas�t occurring in The Nights are the lines translated vol. i. p. 25:

Containeth Time a twain of days, this of blessing, that of bane *

And holdeth Life a twain of halves, this of pleasure, that of pain.

In Arabic (Mac. N. i. II):

- - U - | - U - | - - U - | U U - |

Al-Dahru yaum�ni z� amnun wa z� hazaru - - U - | - U - | - - U - | U U - |

Wa’l-‘Ayshu shatr�ni z� safwun wa z� kadaru.

Turning back to p. 243, where the A’�r�z and Azrub of the Bas�t are shown, the student will have no difficulty to recognise the Bayt as one belonging to the first Zarb of the first ‘Ar�z.

As an example of the Madid we quote the original of the lines (vol. v. 131):—

I had a heart, and with it lived my life * ‘Twas seared with fire and burnt with loving-lowe.

They read in Arabic:—

- U - - | - U - | U U - |

K�na l� kalbun a’�shu bihi -