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DISSERTATIONS
ON THE
RHEToRIC, PRosody AND RITYME
OF
THE PERSIANS.
By FRANCIS GLAD WIN, Esquire.
Caſtutta, printch:
Reprinted, in London, at the ORIENTAL PREss, by Wilson & Co.
FOR. J. DEBRETT, OPPOSITE BURLINGTON HousP, PICCADILLY.
1801.
34




.
º
:



AIDVIERTISTEMIENT.

THE following pages are eactracted and compiled from
the Muj-má us Su-ny-eh of Nizām eddeen Ahmed, the Arooz of
Syfee, and the Cá-fe-yeh of Shums-ed-deen, works of distinguished
merit in the Persian Language; although the style is in many
places somewhat obscure and perpleased, and the rules in general

too proliac and diffuse.—To remedy these inconveniences, by
combining perspicuity with conciseness, is the present intention,
in order to render the Publication more useful and agreeable
to the English Reader.
|-
|-
















PART I.
co M Pos IT I o N.
Of the different Kinds of Composition.
Elm bu-de-a & Cº. * is the art of arranging the words of a
discourse with elegance and precision.
A composition is either in prose or inverse. Prose is of three kinds:
1. Meh-ruj-juz j-r-, or poetical prose, having measure without
rhyme: 2. Meh-suj-jeh &=", having rhyme without any mea-
sure: 3. Aa-ree Cºle, simple prose, devoid both of rhyme and of
measure. Neither rhyme without measure, nor measure without
rhyme, is poetry; it being necessary that both should be combined
to form verse.
Poetical composition is of ten kinds: 1. Ghuz-el U#: 2. Ka-
see-deh sº.23; 3. Tush-beeb -ºj ; 4. Ke-tº-d &xas; 5. Ru-
bat-ee Çs="J; 6. Fird e; ; 7 Mus-ne-wee cº- 8. Tir-
jee-a < 0. Mo-sum-mut a.....; 10. Mos-ta-ºdd ejº.
B





2 COMPOSITION.
1. The word U}= Ghuz-el (or Ode) literally signifies taking de-
light in the conversation of the fair sex; and is used technically for
several couplets composed in one measure. The first coupletis called
Mo-sur-reh &yers, being a pair of rhyming hemistichs, and which
couplet is now more commonly called Mutla &\la. It is a general
rule, that the Ghuzel do not contain more than twelve distichs—
although some Poets formerly made Ghuzels of greater length; but
now the rule is never transgressed. The common subjects of a
Ghuzel are, the beauty of a mistress, and the sufferings of a lover,
and the praise of love and friendship, under various circumstances.
Sometimes it may treat of other matters, such as the mystical doc-
trines of the Soofees, the commendation of wine or hilarity. It is
addressed, either to a mistress, or some other person, as the topic
may require. It is thought best for the Poet to conceal his name
until the last couplet; although few paid regard to this rule before
the time of Sady, since which period it has generally been observed.
2. The Ka-see-deh scº.23 (or Idyllium) resembles the Ghuzel,
excepting that the Ka-see-deh must consist of more than twelve
distichs. The subject may be either praise or satire, morality, or
other matters. It is usual, in the Ka-see-deh, to have two or three
of the distichs composed of rhyming hemistichs, which is the same as
Mutla already described; although, according to some, the description
of Mutla is confined to the first distich : but, in all cases when the
Poet wishes to introduce into the Ka-see-deh a second Mutla, it is
proper for him to intimate his intention in the preceding line. The
--



COMPOSITION. 3
Du-a-ta-beed cºlj Cºlco, signifying, “ as long as such a thing
endures, may you exist!” is proper at the conclusion of a Ka-see-
deh, whose subject is praise. With the Arabians the Ka-see-deh
hath no determinate number of lines, insomuch that they sometimes
make it exceed five hundred distichs. The most eminent amongst
the Persians have fixed the greatest extent of the Ka-see-deh at one
hundred and twenty distichs.
3. Tush-beeb -ºj signifies a representation of the season of
youth and beauty, being a description of one's own feelings in love;
but, in common use, it implies that praise which is bestowed on any
thing, and the relation of circumstances, whether in celebration of
love, or any other subject. The distichs, from the commencement
of the Ka-see-deh, until the eulogium or Me-dah alºs, including
every thing that the Poet wishes to describe, and which they call
Tush-beeb, is a species of Ghuzel. But, in the Ka-see-deh, it is
necessary that the descriptive distichs be followed by a Te-khu-lus
U2k=', which is a transition from the description to the eulogium
in a proper manner. A Ka-see-deh not having such a transition, is
called Muk-te-zel exº~ ; and when it is devoid of description,
being an eulogium from the beginning to end, it is named Mo-jud-dud
cycºsº.'
4. Ke-ta-a Axla; literally signifies a payment of any thing; but
in poetry it means some distichs corresponding in measure and
rhyme, but without a Mutla.

4 COMPOSITION.
5. Ru-ba-ee ( scu ) (tetrastich) consists of two distichs corre-
sponding in cadence, and composed in a measure peculiar to itself:
but for the third hemistich, it is not necessary that it should rhyme
with the fourth ; however there is no rule to the contrary.
6. Fird cyº is a single distich, or Biet cº, whose hemistichs
may rhyme or not as the Poet pleases.
7. Mus-ne-wee Cºx's is composed of distichs corresponding in
measure, each consisting of a pair of rhymes; and besides which the
distichs have distinct poetical endings. This species of poetry is also
called Mooz-de-wuj C jers (or wedded).
The explanation of Mo-sum-mut, Tir-jee-e, and Mos-ta-zad,
will be given in the proper place.
Of the Construction of Words.
To those skilled in the construction of language, it is well known
that the rules which have been laid down for the management there-
of, by men of skill and learning, are very numerous; but, in this



COMPOSITION. 5
humble attempt, the author has collected together such only as are
of general use, and most worthy of consideration.
The art of Tir-see-a coming most properly under the head of
Mutla, and being the most conspicuous part of a composition, I shal!
therefore commence with it.
Tir-see-a &^*}} is an Arabic word, signifying, setting jewels in
any thing: and, in composition, is when the author, in prose or in
verse, divides his sentence into distinct parts, and assigns to each
word another corresponding with it in measure and in rhyme. As-
an example, I shall quote a distich from Ab-dul Wa-sa-e Je-be-lee.
2 GS Uſe; Jºsy eº, Lºſ Cº., LT
23 sºlº Juleſe 2% *lºs Cºlºſſ
“Thy cheek, the ornament of the banquet, embellished the universe:
the lovers were comforted by thy soul-enlivening presence.”
Tir-see-a mat-ul Tuj-nees Cºº" &c &ey. Tir-see-a,
in itself, is a great beauty; but when united with Tuj-nees, or re-
semblance in the form of the words, the effect is greatly heightened.
Thus: -
Çyl Jºly' 29' jº Q: 5-0 tº
“I shall not be distressed, if you do not distress me:
I shall be wishful, if you are sportive.”



6 COMPOSITION.
Tuj-nees cºs' literally signifies similarity, and, in rhetoric,
is when the author uses two or more words resembling each other
in writing or in speech, but having different significations: and of
these there are seven kinds: 1. Tuj-nee-set&m ; 2. Tuj-nee-send-
kus; 3. Tuj-nee-se za-yed; 4. Tuj-nee-se mo-ruck-kub ; 5. Tuj-
nee-se mo-kur-rur; 6. Tuj-nee-se mo-tur-ruf'; 7. Tuj-nee-se-khut.
1. Tuj-nee-se tam -Uoºs' is when two words are the same
in Sound and in form, but have different significations, without any
variation in the vowel points.
-e, -º-ey! Je ºly ºl
*Las ºeua-º-y ºrº
“If I compared your cheek to the rose, I committed a mistake: and
if I called your hair Musk of Tartary, I uttered an impropriety.”
- - º,
2. Tuj-nee-se na-kus U23U Oºr=' is when the different sig-
nifications depend solely upon the vowel points. -
º º e; e; e; &= & 3)
** ***! Je 3 or j<2**)
*** j| jº º *****
Q34 º _2= ºr jº jºjº º jº-
“Last night, when the sheet of frigidity was upon my back; my
knees, like those of a new bride, were drawn up to my ears.
I had no covering excepting for mine eyes: the only things
which I could place under my head, were my ears.”
4
-



COMPOSITION. 7.
The foregoing example is used for the sake of the first hemistich,
wherein ey. Boord signifies a sheet, and e; Bird is frigidity
3. Tuj-nee-se zá-yed Jºly oºs' is when two words occur
together, one of which has a letter more than the other, as_ylº and
Jºe — yº and JLJ – os- and als.
4. Tuj-nee-se ino-ruk-kub ~~~~ cºs' is when two words of
the same form occur together, one in its simple primitive state, and
the other as a compound. Examples: scºli Tà-bun-deh, or as
long as the servant, and scºli Ta-bin-deh, or shining ; cyl_jlsº
Ne-ya-za-rud, or hurt him not, and ojjaj Ne-ya-a-rud, Of
he will supplicate; <!";' Tir-sa-ee, or an infidel, and
º'Cº'Cº' Bey-tirs-á-ee, or come without fear; çºj-J
Lub-e tir-sa-ee, or wipe the moist lip.
5. Tuj-nee-se mo-kur-rur yº Gºrs' is when, at the close of
a period or verse, two words of the same form occur immediately
one after the other.
L';*_j';* G-23- !, cºke cºº &- *=
“ Although you have given others, as well as myself, a thousand
thousand (or a thousand nightingales).”
In such case, it is allowable to prefix an additional letter to either
of the words; for example, J S and Jºe - jū and jº.

§ - CoMPOSITION.
It may happen, that, for the sake of the measure, an extraneous
word or letter is introduced. Thus:
jle ºf Jes Uetº r cy Us!
* It so happened that I had a concern with your deceitful heart."
---
-
6. Tuj-nee-se mo-tur-ruf —ja. O-ºs is when two words
are used, differing only in the final letter, such as º!;: and 99% -
-3Us! and e-Gſ.
7. Tuj-nee-se khut las- oº::= is when the linear forms of words
- - are the same, the different significations depending upon either the
diacritical or the vowel points, or on both, as exº~~ Miskeen, or
- - poor, and cº- Mooshkeen, or musky, Jºe Parsimony, Jºs:
a date tree, Jºe' a bee. -
- -
- Nº
Ish-te-kak – sº, literally signifies to split, and, in the lan-
guage of Rhetoricians, is when words are brought together whose
letters approximate in sound; and it is desirable that they should be
t
derived from the same primitive. Some of the most elegant Persian
writers do not consider this as a separate art, but reckon it only a
species of Tujnees. --
- - -- - Cº y Q: 5-zº ºrs Jº
- |ys e; º; &: CŞy j| ºve
“If an atom of the Sun of your approbation is imparted unto me,
its riches will elevate me from the earth to the pleiades.”






COMPOSITION. 9
Suj-4 &" literally signifies the cooing of doves, and is used
technically, in three ways. 1. Suj-4-e mo-te-wa-zee (gjLºs &
when at the end of two periods of prose, or at the close of two he-
mistichs in verse, there are used two words agreeing in measure, in
rhyme, and in the final letter, and the number of letters in each
being equal.
ople Ǻr sjū <= jºys cº
ºle Gº!, Jº Jº Jº Jºº
* The flower garden to-day hath a wonderful freshness of spring:
the nightingale and the rose form their engagements in the
-
flower bed.”
Here the words CGJºr and < j} are Suj-d or responsive.
2. Suj-á mo-tur-ruf -3, as &=* is when two hemistichs, or
in two periods of prose, some words correspond with others in the
final letter, but differ in measure, as well as in the number of the
letters, such as Jº- and U- – jº, and pºleſ.
3. Suj-á mo-wa-ze-neh Ajj,” &" is when, throughout
two hemistichs, words are used that correspond in measure, but dif-
fer in the final letters.
Lºs V Jºl, cº-" ej cº-, jº ºve
C
---

1 O COMPOSITION.
“ The envy of my verses devours the liver of Hussan Sabit: the
arm of my prose Smiteth the neck of Seh-ban-e Wa-yel.” -
Muck-loob -º- (or anagram) literally signifies inverted, and
tehnically is when a change is made in order of some or of all the
words composing a sentence. The most common species are the
four following : 1. Muck-loob-e baz U2-, -º-; when in a sen-
tence, the order of some of the letters are transposed, thus: exº, J
- transposed intoji=3, and agſ, el- into Ajl Sºls-
2. Muck-loob-e kool Jºſ º-s, when some words in a sen-
tence are anagrams of one another, thus:
e're J& 33 sº exº~ *-*X-23 23
y’s _3- 3 3- a
“ i. Your wisdom is a meritorious friend, your justice is friendship
in extreme; your victory is the death of the envious man, your
being host gratifies desire.”
3. Muck-loob-e Mo-je-neh 2= º, is when, in the same
distich or hemistich, words occur at the beginning and at the end,
-
which are anagrams of each other.
* Two rival authors.
+ In the translation nothing more can be attempted than giving the sense of the words.
The anagrams are QS L and Jº-gº and • *X---º and U23





COMPOSITION. - 1. i
p;| < & Je et 29
* The heart is obedient to that deceitful idol; her lips are enchan-
ters, and her locks are snakes.”
4. Muck-loob-e Moos-te-wee Gººs ºjºs is when a sen-
tence may be read forwards and backwards, with one signification;
and that is the most difficult species of anagram.
UL, Slo 2LT— He gave me rest.
Rud-dool wi-ze a-luss sud-re Jova'ſ G^* ;="ley. Ujz
properly signifies the last, and Sudr the first word of a hemistich:

but here the sense is not so restricted; this art consisting in using
the same word in any two parts of the distich, and which may be

done in six ways. s
1. When the same word both begins and ends the distich :
sº Q sº j- º scº |ONº.
|CXº, cºs jº JJ _29 jº-j
“Since I am become a madman—why cast you not the chain of
those two locks upon me, a madman º'
s -
&l=4 alº L. oº exº

C 2
i 2 COMPOSITION.
“You had been the unique of the age; but that time hath been no
one's friend.”
In this example, the word &LX3 signifies “unique,” and also “a
friend.”
2. When the word used in the middle of the first hemistich, also
concludes the distich : -
&t=| * ove &= |y Lo
“Who will consider us perfect in that place, where the sun is not
(deemed) perfect?”
JUL. L. ess Je ºs- a 2- 3 ºly
“Our Joseph, in the market-place of Canaan, displays his worth:
O hermit, bring back your heart to the cell of retirement "
Here the word J.U.L. signifies “market-place,” and also “bring
back.”
3. When the words so used are derived from the same verb, but
have different inflections:— -
ox;3|2|- Cº-ye Qº jºyos º-' Cºº
**** Cº- jº º Q_s^ j” © 54–) cº- Q: 5-9.
“By exertion in the presence of his mistress, every one increases




COMPOSITION. 13
his value; but I, hapless wretch! am worse the more I exert
myself.”
4. When two words are used that somewhat resemble each other,
but are of different derivations and significations:
yº- 25jº & Cº.3 6&- &- ;=
“He will not quit your service, although you were to split his head
with a spear, as you would serve a pomegranate.”
5. When the same word concludes both hemistichs:
exº~ * Uetº rºle ex-la- Ue eſſ
« O camel-driver, proceed slowly, seeing that the comfort of my
life is departing; that heart which I had kept for myself, ac-
companies the mistress of my affections.”
6. When the last hemistich begins and ends with the same word:
a" 㺠ye & CŞjº º ve a
“Neither was there on the plain any verdure, nor in the garden a
branch : the locusts devoured the garden, and the men de-
voured the locusts.”


14 COMPOSITION.
Ay-nāt G-UK-1 is when the author labours to effect a point that
is not necessary, the sense being complete without it: For example,
when, at the end of a cadence or rhyme, he foists in a letter be-
fore the final letter, or before the Ridf = 3cy, which is the quies-
cent before the last letter of the rhyme. Thus, 3 in the words
*9 and * ; whereas º might rhyme with *: However, uni-
formity is certainly an ornament. This art is called Il-te-zám wul
lit-zoome má-lā yel-zum 25% XL- º 2% -
Eacample.
}}< * <!3e sº-23 CŞ
pºsºvºy Jºesley &
<= j <= s.svºjº
_l,+3= -- Cºyº
“He who wisheth you prosperity, is esteemed; he who wisheth
you evil, is despised. Whosoever seeketh refuge in your time,
deliver him not up to the blood-thirsty world.”
In this example, if the rhyme to _ylº= had been 93, it would
also have been correct.
Lu-zoom º is when the Poet imposes any task upon himself,
such as when Syfee of Nishapoor resolved to introduce the words
* and Cº. into every hemistich of a Kā-see-deh, of which the
following lines are a specimen:
J Cº- Qºrº” exº~! GS: Ue sºle- C&
\




COMPOSITION. is
“O flinty-hearted mistress, a puppet with silver cheeks; my af-
fection for you is fast fixed in my heart, like silver in the
* >
OI’e.
Another Eacample from Catebi.
Q: 5-0 -s;= 2 L-º- ** º ge jº,
“I have camel-loads of cares in the chamber of my body: I am not
camel-hearted; where then will care find a place in my body?”
Tuz-meen ul-mooz-de-wuj Ç 29j." Gºº is when the author,
in verse or in prose, after forming the cadence and the rhyme, in-
troduces two or more words which are termed Mooz-de-wuj, cor-
responding in final letter with the rhyme, thus:
Jºë jºs “s aſ aſ _j' Jºe
Je; see JU 39_2, x_1; e.
Cºſe-Jezeye ****_jø
Jºsé º'e J J'ſ cº-ly") cº-
“Separated from the happy countenance of my inconstant mistress,
light and gladness were removed from my eyes and heart; the
cheek pallid, the breast oppressed with pain, and the soul on
fire. I am in this woful plight, whilst she is regardless of my
condition.”
Moo-telu-vun gº or various, is when the Poet composes





4
COMPOSITION.
- --
- -
a distich which may be read in two or more measures, by a little
--
variation of the accent, thus:
--> cºljºsº co- ~~
* Yes, you have taken up your residence in the mansion of my
soul: the mansion of my soul hath obtained dignity thereby.”
This distich may be read in the measure of Gº- O'Cº-o Jº0)
and also of —º Ǻla's &y.
There is another species of Moo-te loo-wun, when, upon some
words being rejected, the distich assumes another measure, without
injuring the sense. For example, in the two following distichs, the
words which are scored may be struck out, when the measure will
be changed, but the sense continue the same.
ev.3. UL3|_j * -- ow- Çs & Cº. $, a
-3) exts jºls J2– _º jº's &
º _5– G&L _º Cº-c _% s|<= Jo ser
U3 T. J33 2 ºve jº- ji=” zº so J.
“ Nuss–rut-ed-deen, thou who art the bestower of life, (through your
auspices.) Your sword, the conqueror of the world (in the
day of victory), is the sovereign of necks. The veil of thy pa-
lace and (the reflected splendour of) thy enlightened mind, are
the curtain of the (early) dawn, and the light of the sun.”






COMPOSITION, 1,
Zoo-ka-fe-ye-tyn Jººls 33 is when the Poet places two
rhymes close together, thus: -
_r= cº-ve 8& 53 eyes j| CŞſ
2. C.T., evº. J. sexes -
“Yes, the fame of your benevolence is spread throughout the
world; your government disarms the sky.”
And if he uses more than two such rhymes in a distich, it is
termed Zool-ke-wa-fee c 232*];3 , thus:
--
“If the star of your nativity is your friend, Darius may obey you,
and your house be filled with gold.”
Mo-wush sheh a’.ºs (or the acrostic). This word is derived
from a" 23, which literally signifies, putting round the neck a
collar inlaid with precious stones: but here it means, when the Poet
makes such arrangement of his verses, that the initials of each line,
being put together, form some word or verse.
- les-º-; * =&sa= --
4 ×4= -º- U_* <!
cle-L, JºJT, wººl e-
* : * j, et -- ~~~
º a yº &=" Gºl Cº. se;=
* -- ~54° -34' _ye &-
D

18 COMPOSITION.
The initials of the above lines are an acrostic of the Poet's name
-jº- ; and the numerical value of the letters, forming the title of -
the book, give the date when it was written, viz. A. H. 1053, or
A. D. 1643. It is impossible to render the lines into English in the
form of an acrostic; but the following is a literal translation:
“I declare the Unity of God; may it be acceptable at the Divine
threshold ! Ahmed and his companions and family for ever!
May the mercy of God, I pray, be upon them, and peace
The title of this book expresses also the date when it was
written.”
Mo-suj-ja &=" is when the Poet divides a distich into four
equal parts, and, after preserving the same rhyme for three of them,
makes the fourth in the rhyme which is the burden of the poem.
“Smitten with heart-felt woe, I have remained separated from her;
you might say, in her absence a sting invades my bones. Re-
turn, and set yourself in my eyes, O charming ravisher of my
heart! for my lamentations and cries reach from earth to
heaven.”
Huxfº-) is when the Author labours to prevent the intro-



COMPOSITION. 19
duction of some particular letter or letters, like Sulmán, who has
composed an elegy, throughout which the letter Alif never occurs.
The two most ingenious kinds of Huzf are Ta-teel Jalaxy and
Mun-koot Lººs. The first is when the Author rejects all letters
that have diacritical points. The book intitled Se-wa-ta-ul il-ham.
º &l=|º, a commentary on the Koran by Sheikh Fizee, the
brother of Abulfäzel, is written in conformity to this rule, from be-
ginning to end, without a single letter that has a diacritical point.
On the contrary, Munkoot is a composition, in which all the letters
have diacritical points. The last kind is more difficult than the
other. Ameer Khusro, in the Ai-jaz Khusro-wee, (Çsys- jlis-ºſ)
has several excellent letters written in both these ways.
Mo-rud-duf (Ge j's) is when the Poet composes in the Redeef
form. Re-deef -ºſey is the reiteration of one or several words
after the rhyme is complete. The Morud-duf form is very usual
in Persian poetry, but has never been used by any good Arabian
Poet. The following example is from Jami:
exº~'s cº - cº-> * > -s cº-
“The two eyes of my mistress, which are wanton and languishing,
‘ both of them ;' overpower wisdom, and destroy life, both
of them.” Between you and I, excepting Soul and body, there




D 2
20 COMPOSITION.
-
is no partition. Come, since your absence hath severed soul
and body, both of them— ”
Some, instead of Re-deef, call it Hà-jib -->[-, and Morud-duf
verse they term Meh-joob G-2--". But, according to some, Hajib
is the word immediately preceding the rhyme of a distich, as in the
following verses the word Ggyle precedes the rhymes ce’ and
ce" and es' and cº-
<= <!e elſe, Gºſſex." ~~
“Oking of the earth! your throne is seated in heaven: weak is your
enemy, since you have a strong bow : you make a slight at-
tack, and commit great havock : you are old in wisdom, whilst
your fortune enjoys the vigour of youth.”
Re-deef Cºey j in the common acceptation of the word, is a
person riding behind another on the same horse.
Te-ra-fuc –ºsſy; are verses composed in such a manner that any
two hemistichs thereof may be taken indifferently, and yet form a
complete distich, without the Poem suffering injury either in signi-
fication, in rhyme, or in measure.




COMPOSITION. - 21
*
º, ºbj= cº- Qo 57% Cº.) j's
25% + ºr jº' Gºrº -- 3:
cº º-'ºs-ji=l Q2 º' --ye
º -T = ÇSjay 25% “e J
“ Reject me from your locks, if I be a ringlet; suffer me not to
touch your lips, if I be pure wine; bring me not to your eyes,
if I be sleep; pour me from your hands, if I be water.”
Mo-sum-mut L.… is when the Poet composes some hemistichs
of the same measure and rhyme, and closes the last hemistich with
the prevailing rhyme of the Poem.
Eacamples of Triplets.
“I am a lover, and this is my custom ; I am of such sort, and my
occupation is this; the boast of my time is this.”
º, ji= , Jºj ae e. Yº
“ For years past, I have been afflicted and distressed with pallid
cheeks and rose-coloured tears; for such is my autumn and my
spring.”




2
2
COMPOSITION.
-->
GeºT 9-5- Jej" rº-
--
evº Le JG C޺ &:
“Every moment that I am absent from the cheek of my mistress, I
utter a sigh from my afflicted heart: this is the candle of my
dark night.”
cººl L. Jººls. Cº. tº
* Her, whose cheek the bloom of the rose cannot equal; when she
beheld Hi-ruttee, said, laughingly, This is my humble lover.”
Eacample of Tretrasticks.
** agº et & 5-Jºyeº
cº-o-; e, sº ºvs. Jº
“From the arrival of spring, the garden resembles an idol temple;
the cheek of the rose represents the candle; and the wind may
be compared to the moth ; the business of the nightingale is
now to relate tales; the rose bursts the vestments of its body
through joy.”





COMPOSITION. 23
Eacample of Pentasticks.
* --~~ GS' 33 -º-ye
- * * > LL * < jº
** ls- J';* Cºo evºcy >
“Such is my affection for thee, idol of my soul! that I even doubt
my own existence: however I may be distressed and weak,
if you bestow your hand, I possess a thousand lives, which I
would devote at your happy feet.”
Eacample of Heatasticks.
e-Jº &l=> J| &= *: olº * Jºe
*Jºe 5' ºs- a y → cºlº sº, lºg
ex-L23 cowo Jo _º GL2 2 cº-sle Çs'
“ Yes, the affection which I have for you in my soul, was formed
from the first interview. Your presence purifies the heart, and
your absence disturbs it. The imagination cannot conceive
how the pen of fate could create a countenance so beautiful as
thine : imagination cannot conceive your perfections; neither.
can eloquence reach the skirt of your excellencies.”
4.



24 COMPOSITION.
Another of Heacasticks.
* Qºl L cle; Jºe: J &
-vº cº cº jets-Je; eº-
“scº º- cºe
* Gºº -*]; J. : J J' gº-yº
•-vºj Qºsº" Q sº Je &sº Ú-o eº
<!;=} cº-> © 2 J Cºſſy j| • 39
* Besides the desire of your compauy, my heart hath no wish :
besides the contemplation of yourself, my sorrowful heart hath
11O enjoyment. In the region of beauty, there are no ruby
lips to be compared to thine. No night is darker than the day
when you are absent. The complaint of my burning heart
is not without cause: Smoke issues from flame, and blood
from a wound.”
Mos-ta-zad e';* is when a line of Prose is introduced after a
hemistich or a distich, the sense of which prose line must be con-
nected with the poetry, but the verse must be so constructed as to
be complete without it:
Cºlºs ºjºſe Gºo Gº!, J & JG
Cº- ºr cº-º-º-º: sel, º
cº- Jºe JC)






COMPOSITION. 25
clas- fºlve
* Quit not the pure and rosy wine,
Like dreg–drinkers:
Be not without wine and melodious III instrels,
In the house of the vintners:
Take the cup resembling the tulip, and smile thou like the rose,
In the garden of time;
That is, let not your heart be contracted like a rose-bud,
In the garden of the world.”
Another Eacample.
-º-, jeºeſe-º-º-º:
ºleº ºr Çyle -º- ;-
evº_53 -ºs-
* I went to the physician, and said to him, I am sick,
I lie awake from night until morning;
- What is my remedy ? -
E
26 COMPOSITION.
When the physician felt my pulse, he kindly said,
-
-
I think you have no disorder but love;
Who is your mistress *”
Another. Eacample.
º ele * * * > = _5 Jº jº - */
cyle Jº Jº _2? < *śc * Gººle
- Cº- * QSeº’s eye Cleº Cºe
r_le Jº *_je 35 J 3- ºlc CX-2
£& I went to my beloved, and said to her, O my heart!
I carry in my breast a wound caused by the grief of love.
She stared at me.
She asked, who and what art thou, who thus complain
I hold a hundred such lovers in my chains.
Say what is your name *
Ukhs Cºac (Inversion) is when the same words which com-
mence a sentence are reversed to conclude it. This form is also
called Tub-deel Jºcº or interchange.
reº, ºr * Qºlaſ ree 5 swº-Le
reely sº Je Peº ºr a cºal
-- -
--

COMPOSITION. 27
* In your countenance I beheld that beauty of which I had heard.
That beauty of which I had heard, in your countenance I be-
held.” -
Amongst the variety of Ukhs, is when the same words are read
both backwards and forwards, in the manner of the anagram,
excepting that there letters, and here whole words, are transposed.
sº- CŞyle _5 Gºle ºss Je
Q-sye CŞyle _5 G.S J'e cºs;–
* You possess money, and you possess liberality: liberality you
possess, and money you possess.”
Gºº Gº colºr. “ —“ſcº co-ºº:
* In liberality you are Hatem, in dignity you are Caesar; in com-
mand you are Asof, in argument you are Jesus.”
Reversed.
olº cº -ºſ oº & Gº Gº-
“You are Jesus in argument, you are Asof in command; you are
Caesar in dignity, you are Hatem in liberality.”
Mo-kur-ur J;=s, or reiteration, is when a word is repeated in
the same distich as hemistich. -

E 2 -
as - coMPOSITION. ----->
-U3 &=* * > &=** **** * GS3–9
—º -52 & Jºº-º-º-º-º-º- o!,
-G : gº & Jºº exº~ *k}=&\-cly
“ Your cheeks resemble two leaves, and each leaf is the sun.
Your hair hangs in ringlets, and each ringlet is a cord (to bind
your lovers). From envy of those leaves, the leaves of the
rose are expanded. From envy of those ringlets, the spike-
nard becomes twisted.”
Ruk-ta U3) is the name of a species of sheep of a grey colour;
and this term is used by Rhetoricians, for a species of composition
wherein the letters are with and without diacritical points alter-
nately.
es 22° & 2 × jºs -ºje=
Rhyºfa Lººs is a horse, one of whose eyes is black, and the
other blue; and this term is applied to a composition wherein the
words are with and without diacritical points alternately.
ye Jº exºe Cº. *
'A' cº cºe Cº- z_2~
Tus-gheer ºvaj is the letter ey added at the end of a word
when it is called Kaf-tusgheer jºa; -38 or the diminutive Kaf.






COMPOSITION, 29
Sometimes it is used to express kindness and affection; but generally
to denote contempt, as in the following lines:
* A little idol with a glass in her hand, her little cheeks tinged with
rosy wine. My little heart was captivated in an instant, by
two little rubies full of enchantment.”
Mo-kutta &lax-s, or disjoined, is when the Author uses words
composed of letters written separately, without any joinings:
Lt. GS 29 Je JU iſ role
The sense of which is,
“ I utter many sighs in her absence; my heart being entirely bent
upon beholding that face.”
Moo-sul J.222s, or joined, is the reverse of Mokutta, all the let-
ters being joined together.
“If thou, my beloved, art my friend, there is nothing to dread but
poverty.”



30 COMPOSITION.
Tir-je-à &5, or involving, is the name given to a species of
poem formed of distinct parts, each part consisting of an equal
number of distichs, never less than five, nor more than eleven. The
rhyme of each stanza is different, each has a distinct mutla ; and at
the end of each stanza is an extraneous distich, connected in sense
with the stanza, although the stanza is complete in itself. When
the same extraneous distich is added to every stanza, it is called
Tir-je-d-bund (exº~9) ; but if these final distichs are various,
they are called Tir-keeb-bund (ex Cº-º).
Tir-jee-a-bund, from Hafiz.
º & Jºs- 23 Jºy's J. cles Q = jº jº QS
zº- -- º º ~. 3S ~.
elſ 2 y; Ǻ Je }| °; -jl-ºl-3- &=QSD tº
2'-'9". Cºl J Lºs: * @ 9- L; cº-> ~!; ** 2 *
24 J's --~~~ 29 J" Jºe “lººſe-ºs-
rºle GS' 33-y Pe * ºrs exº~ := c <! -
** a 9 ×ej & = & © T
** Ue e're &= cºlº
º j? _º **) Ue Cºro ejº ; ºr Cº-ºpe
ejº º gº sjº J
cºe exº ex's gº e
~ &= j <= 8 Åle
#3 & J º 3–0
ſy
* > r, ele & _*:
Jº Jºj ej= 0}=
º *_ jº &= & © T
** Ue ors A cººl,



COMPOSITION, si
*
* O silver-bosomed cypress, a form delicate as the rose, the beauty
of whose charms surpasseth the moon in her brightest splendor!
return, for your absence melts my soul, and deprives my heart
of ease and rest. Here are my body and my soul lamenting
your absence: under such circumstances, how is it possible for
me to exist? You would say, that, excepting grief and pain,
destiny had bereft me of every thing in your absence. Seeing
that I cannot now obtain the desire of my heart from you,
the comfort of my life,
* It is best not to turn away my face from patience ; perhaps I
may yet obtain my heart's desire.”
“ Were 1 sure of dying under the pangs of love; nevertheless, my
heart should not cease to grieve for you. Thy eyebrow, like
a bow, smiteth incessantly with the arrows of amorus glances.
The pen could not describe my longing desire, even although
Mercury were to be my secretary. I am old in the sufferings
of love, although but an infant; an infant in the paths of love,
yet old in years. Seeing that, during your absence, tyrannic
fortune holds me in the fetters of sorrow,
“ It is best not to turn away my face from patience; perhaps I may
-
yet obtain my heart's desire.”
Mo-lum-ma &\ is when the Poet composes his hemistichs or
6


*
32 composition.
distichs in Persian and Arabic alternately, and which is allowable
as far as ten distichs in each language.
(* Jº- 4:3 º' Jºe J's sº cº-
“ I weep after the city where I had an interview with the beautiful
Selima; who will bring me from that country the glad tidings
of her kindness towards me *"
Mo-se-huf –ºrs” is when words are used, which, upon the
changing the diacritical or the vowel-points, have meanings diame-
trically opposite. Thus the lines:
rejº y;” ſy ºvels
Qºro X| o 3-9 ©2- Q-J-X4
may be read thus:
*
* I gave you a thousand kisses; there was no one at your door
excepting myself.”
º
Or thus:
“ I gave your mother a thousand kisses; you had no father but
myself.”
Te-zul-zool U}}} is when there is a word, of which, upon chan-
ging the vowel-point of one letter only, the sense is altered entirely.
Thus :



€OMPOSITION. 33
_ylo=13 & 4.9 cºlº “j” G
“ Day and night I am incessantly imploring God, that your head
22
may ever be crowned.
If the letter Ç in J'os-U is made quiescent, taj-dār, it signifies
“crowned ;” but when it is accented, ta-je-dar, it means, “ to, or
upon the wall.”
Tuz-meen cº is when the Poet applies to his purpose some
lines from another author; but in case the author so quoted be not
well known, it is incumbent on him to mention the name, in order
to obviate the imputation of plagiarism.
Tat-reekh 295 (or date) is when, upon the occurrence of any
remarkable event, a word or a verse is made up of letters forming
the date thereof in the Hijera style. The beauty of this species of
composition consists in the words of the date being also applicable
to the circumstances of the event. Thus, when Sumbha, the Mah-
ratta chief, with his wife and children were taken prisoners by the
troops of Aurungzeeb, somebody expressed the date thereof in the
following hemistich :
jº e º ºxy cºlº
* Sumbha was made prisoner with his wife and children, or—
A. H. 1104.”







34 COMPOSITION.
Of Style and Sentiment.
Bud-e-ea má-no-wee & Sºx's &le; or style and sentiment, on
which the beauty of composition depends.
Ey-ham º (or enigma), and which is also called Tew-re-yut
& 25 according to the Arabian rhetoricians, is when a sentence
or a word is used with a doubtful meaning, so that the hearer may
mistake the intention of the speaker; as in the following lines of
Sady: -
<= Lºs -ºse j <= y;” (Sexº,
&lºg Q'º 23 J çº Jirº ex,
Mehr-bd-nee is the name of a kind of garment, and also signifies
kindness; so that this distich may be taken in two senses:
“ On your account Sady hath torn a thousand garments; whilst,
in the course of a year, he hath not obtained of you one kind-
ness, or one garment.”
But the Persian Poets define By-ham to be using a word having
several meanings, all equally applicable to the subject.
Eacample from Amed.
Cºo oly -Tye 25 -3- a – oº: Ue




COMPOSITION. 35
“My heart saw, in a running stream, the reflection of thy face;
enraptured, I exclaimed, Is it the moon
The word Māhee has four meanings, equally applicable in this
place–1, the moon—2. water—3. a fish—4. what thing
It is said, that Ameer Abool-burkät wrote and sent the following
distich to Meer Aly Sheir :
* > . * e; as , eº- evº * -ºs-
cºlº colº G 5-0 -º-2 Jo (; ** o:30
* The field of hope is parched up ; there is a scarcity of the seed of
faithfulness. The fire of grief has totally exhausted the rain,
from the clouds of my eyes.”
The diacritical points having been misplaced, or omitted, Meer-
Aly Sheir instead of U read tº, and objected that the verse had no
meaning. When this was told to Abool-burkát, he sent the fol-
lowing verses:
y
cº–3 as cºllas ol.<=
exo as exº cºlºs- <ſº
exei lak: G cººl 3- tº
20 _5 - Jºjº cº-e tylax,
ºlºe Jº e; & eſſ & jº
* Whatever cometh before men of upright intention, they do not
mark it with a line as faulty, merely upon conjecture of its being





F 2
36 . … COMPOSITION.
erroneous: whatever they read, they well consider; or else
they read it not, that they may not be mistaken. Admitting
that the dots are misplaced, the sense does not depend upon
dots.”
Moh-te-me-looz zid-deen cº-cº!! J.X=~ is when a sentence
is introduced in such a manner that it will bear two constructions
diametrically opposite to each other; such as praise, and satire. It
is also called Zoo-je-he-tain exº~23
* > ÇSºuj e º 'º -> <!
- L. 94- 2, … evºle tº
“ Indeed, sir, your countenance converteth darkness into light: at
your presence, mourning is changed into joy.”
Or thus:
“ Indeed, sir, light by your presence is turned into darkness: at
your presence, joy is turned into sorrow.”
There is a story, that a Sunnee and a Shee-ah being in a large
company, asked a great personage, whom he esteemed to be the
most excellent of mankind, next to the Prophet he answered,
& Csº & Cºre
“ That person whose daughter is in his house.”



COMPOSITION. 37.
Which being applied to the daughter of Mohammed, is in favour
of Aly ; but, if applied to the daughter of Abubecre, gives the pre-
ference to him.
There is also a story of Akeel, that, being displeased with his
brother Aly the Khalif, he went over to Moa-wi-yeh, who received
him with great kindness and respect: but desired him to curse Aly;
and, as he would not admit of any refusal, Akeel thus addressed
the congregation:
&\c & J -ºxºs &J'ſ ol ºx-
“O people you know that Aly, the son of Aboo-tá-leb, is my
brother; now Moa-wi-yeh hath ordered me to curse him, there-
fore may the curse of God be upon him 1"
So that the curse would apply either to Aly or to Moa-wi-yeh.
Tush-beeh &J (or simile) is fo compare the quality of any
thing to that of something else :
*L* Jº 3’ ex-x_G := }ºls, cº-
exº~~~}} tº eº-Gº &º
* Your anger is violent, like fire; your liberality flows, like water;
your mind is pure, like air; your clemency is immoveable, like
the earth.”







38 - COMPOSITION.
º
|
º
|
Tuf-seer D
some subject summarily, and then enters into explanation and de-
Assº, or paraphrase, is when the Author writes first
tail. Of Tufseer there are two species, 1. Je-lee Cº- and 2.
- -
Khe-fee Q = *-
1. Tufseer Jelee, is when the Poet in an hemistich or distich
uses words of doubtful meaning, requiring explanation; and there-
fore in another hemistich or distich, he explains the sense in repeat-
ing the same words :
cºelº Cººs & cº- tº ecº & 4
Jº el cººl U sº es' C޺ 3 oly- G
&lºs. cxº~\º &= _5 º _5 cºlº &=
Jºa- e.gº &= - cº-ºe C޺ ecº &= -
“Either he will bind, or he will conquer; either he will take, or he
will grant. As long as the world shall endure, may the king
perform these exploits: take kingdoms, grant desires, bind the
feet of his enemies, or conquer fortresses.”
2. Tufseer Khefee, is when the Poet at first is concise and ob-
scure, and then becomes diffusive and clear, but without repeating
the words of the text in the commentary :
...º. º. º. º.º.
cle,” 3- Jº jeº, 3 L'-Jº lº _99_ſ_ſo


COMPOSITION. - 39.
“ They produce incessantly for your delight; they yield constantly
without labour, for your banquet; the palm tree, fresh dates,
bees honey, worms silk, deer musk, the sea pearls, the stone
gold, the cane sugar, the mines precious stones.”
Tākeed ul mu-deh be ma-yesh be hooz zum-me
C
º &ºt, is when the Author, celebrating a mistress, or some
great personage, after recounting their virtues in general, and wish-
ing to add other excellencies, proceeds with such a word that the
hearer may suspect he is going to satirize and expose faults; so
that when he expatiates on their additional perfections, it excites
surprize :
- • . 2^ * . . . . . . ~ : -
-Lal Gºles Jº Je a “* Jeº
“Your majesty's justice and equity are in perfection, excepting that
your liberality is so excessive that it hath no bounds.”
Takeed uz zum-me b6 ma-yesh be kul mu-deh º cºli.
zº." &\, , is the reverse of the foregoing:
LU e <!-- je - J -º- eyloº
Jº Jºj’ſ j \ple sº
“ Mankind partake not of his riches; but they are obliged to him.
for many injuries.”
-
Hoos-nul ta-leel JºAxx)|| Gº- or exaggeration, is when, in-
o,' cº U


4
AO - COMPOSITION.
order to extol any excellency, for the sake of a witticism, a com-
parison is used suitable thereto, but rather far fetched:
evil sets! ~~~4 Ue a= <!-- ~~D eſſ
evs' solºs' cº, CŞl- J| <= y;-->
“That delightful ringlet of thine, which charms the heart, has fal-
len like a noose from your cypress form. I asked, why is it
thus twisted from head to foot It answered, because it has
fallen from a lofty place.”
So-wal 6.jé-wab -3-_3 Jºº. dialogue, called also mo-'ra-ja-ut
~y. or return, is when the Poet asks a question, and answers it
in the same hemistich, or makes one hemistich or one distich a que-
stion, and another the answer:
*** * jºyº co-e QS ºr coºl- ºve
* – 9 ° 2 º' - < \ . . . . . .
“My beloved said, come to me upon your head; I answered, with
my eyes, (i. e. I consent;) she said, bid adieu to life, I replied,
with my eyes.”
*Toº Jºe: “ºe
ofſ ox=~ jo _3= &.9° &=3| L
- ºvel.” * c & colºo & J & U3.5



COMPOSITION. 41
* I asked, Why are your words thus broken, whilst they all come
forth like bright pearls She said, From this little mouth of
mine, unless I break them, how can I utter them *
The dialogue is frequently carried on without saying, I asked, .
and she replied.
jº- ev of ºe; rele 24
|
-º-, jº Je cº, &Lºe & ©le -lº-
jº-j ji=> L. ºlº evº, or
* I sent a message to that Cashmerian idol, Why is my heart held
captive under the curl of your ringlets She answered, Be-
cause your heart is distracted with love; and the madman is
not suffered to appear abroad without a chain.”
Another Eacample.
*;as glºse & * G' ºs'
*H cºe *::: *; GSelº J
* At your banquet that minstrel strikes her hands together, in order
that she may drive away the bird of sorrow from the garden
of delight. No, no, I am mistaken, for the hands of the min-
strel, rejoicing at the feast, are kissing each other.”
G.





4. COMPOSITION.
Teja-he-lool a-rif – yºu Jºlsº is when the speaker is ac-
quainted with a subject, but, pretending ignorance, sets forth that it
is thus or thus, and relates other matters of a similar nature :
e-Jes! Je (; ~Jºe L. K.- Jó
“Which is most disordered, your ringlets or my mind Which
is smallest, your mouth or my afflicted heart 2"
Another Eacample from Jami.
coºl ºvel J.- a 34 r.s (4 & evº! Jºy's
cººl ºve! Lº!e &T tº cº, sº tº
cººl ºve! \º oº::=; 4 *s Cleº _2< ..
ey, Jºs' 4 jº º – '' 4 & “"“”
wº evºl J'ſ cº- 㺠"axºlove ;- [...
cºs Cº- tº jº tº º q +º])
cºl ev, Llº Jºe tº cº-rºjº jº Jºe
co- ºvel's slº §§2): [.. CNºc U23 tº
clºs- ºf a cº- j” tº evºl J.-J &=
º, sº tº evºlº exº~ & wº
-


COMPOSITION. - 43
cº- šº CŞjº º colº wº, sºlº
-
“This is a face, or the moon, or a beautiful tulip; or else the beams
of the sun, or a mirror of hearts. Your eyes are enchantments,
or a deer, or a hunter of mankind; or else two black almonds,
or two beautiful narcissuses. This is a human form, or an
alif, or a cypress, or the tree of desire ; or perhaps a nosegay,
an ornament of the garden of Eden. It is a ringlet, or a hook,
or a chain, or else musk of Tartary; fresh spikenard bent upon
a lily, or ambergris of Sana. Wonderful it is an arch, or an
altar, or the rainbow ; or the festival new moon, or the eye-
brow of my mistress. It is a casket of rubies, or the source of
the fountain of immortality; it is either a mouth, or a meem,
or a sugar-pecking parrot. Astonishment this is either the
glorious sun, or the full moon; or an angel, or a fairy, or else
it is my blithsome mistress. The street where thou dwellest
is Caaba, or Paradise, or Eden, or the bower of Irem, or the
mansions of the Blessed; whilst Jami may be compared to a
sweet-tongued parrot, or a dove of the garden of Paradise, or
a wandering nightingale.”
Mo-ba-le-géh &JL-s or hyperbole, is when the author exceeds
the bounds of probability. Of this there are three species.
1. Tub-leegh & when the thing is possible both to reason
and experience:



G 2


44 - COMPOSITION.

* * @ 9 º' ( := **
º 8 CNACN: rº- Cºlº eſſes _j
“ Should I behold you but one day in private with my rival,

such a sight would deprive my eyes of rest for many nights.”
2. Igh-rak G| ;: when the thing is possible, but not probable:
r"; Gºe 9-4 e-jº Fº Jºly Le
- *L- sº 202' egº –vº. _º j| __3°
“ In the day that you are absent, should they drench me ever so

much with wine, being distant from you, sleep would not
visit my eyes for an instant.”
~
3. Ghoo-loo _2^* when the assertion is absolutely impossible:
Jºy cº e T cºe;= e;--
Jº ever ey ee>=
Çsº tº Jºly se;= G|39.
C - 13:31 , 's Jºe cºlº &=
“When that swift courser undertakes his journey, he revolves round
the sphere like a pair of compasses; and so rapid is his way,


that the air cannot unite again before he has completed his
circuit.”

Luff-6-nusher jº _5 -3.J in Arabic signifying twisting and un-
folding, is when some properties are described, and then others in-
troduced ; but it is left to the discernment of the hearer to connect
them properly together.

COMPOSITION. - 45
Eacample from the Shahnameh.
* = 2 J. CT. ex: Jºjº
oº ſº. 2 jº
*** * > * ><!ye 2 ºr
ºve 2 tº 2 * >> 1 o'
“ In the day of battle, that noble warrior, with sword, dagger,
club, and noose; cut, tore, broke, and bound that hero's head,
breast, feet, and hands.” º
Another Eacample, where no Arrangement is observed.
- - -- 3.
Prº Jº Gº 3 × <s; º'
“ In comparison with your stature, your cheeks and your ringlets,
there cannot be found in the garden, either fresh rose leaves,
or a straight cypress, or fresh spikenard.”
Muz-he be-ké-lá mee Cºle -º-, is when the Poet brings
proof of his assertion :
ev. oGs- Užº aeza, eu eſſ.
evºlcº Gºjº Ǻre Je e;
GT ºils- eye ex a- + 3
*" o!º eye ex ae lsº
“That wilderness, wherein is situated the dwelling of my mistress,
in my estimation, is preferable to a garden; because there is


46 COMPOSITION.
-
-
the wish of my heart, and that place is most desirable on
which the affections are fixed.”
Cowl-ba mu-jet exº~ L. U23 is when there occur in conversa-
tion, words which the hearer comprehends differently from the in-
tention of the speaker, and which words will bear a double inter-
pretation :
Lley re - sets se Cºx= º
eye; e-les- *= 2 rej- Cºlco
“My rival said, I have fallen, lift me up ; I blessed him, and said,
May God lift you up (or take you to himself!)"
Sy-ak-ool-d-dād cyloc X| –3UA... is when the Author uses several
subjects, each of which has a distinct signification, but to which one
property will apply generally, as in the last hemistich of the follow-
ing distich of Ameer Khusro : -
2=x -ºſ) = < e < \s, ºya.
“Oh minstrell where are your exertions in the garden, during the
season of the rose Where are your notes, your song, your
harp, and your lute 2"
Tun-seek us-se-fººt cºal' s ºf is when he uses contrary
properties, as they occur, without any order or regularity:
4.


COMPOSITION, 4?
“ The mine of art, the seat of order, the mine of munificence; the
sea of modesty, the world of liberality, the centre of dignity.”
Ir-sal ul me-sul J.K.) JºJ" is when the Poet introduces one
example into each distich :
evºl -\le_yoºl rejº *}” Jºe _5
<!-Jeºis-Jº evº
“ Notwithstanding so many interviews, my heart is still desirous
of more ; as the flagon, however full it may be of water, has
nevertheless dry lips.”
Ir-sal ul me-se-layn Cºx, 'ſ JºJſ is when the Poet introduces
two similes into every distich :
“ Advice from all the world, is like wind in a cage. In the ear of
the ignorant, it is like water in a sieve.”
Te-dà-rook Cºlº is when the Poet commences with words
that the hearer imagines to be satirical ; but when he listens to the
remainder of the sentence, he perceives the whole to be praise :
cº- & Y * = , cºke, 53 zº-



48 COMPOSITION:
-
“ They speak in your praise; but I do not wish them to speak,
because your praise is beyond measure.”
Ta-uj-joob Case" is when the Poet introduces or expresses him-
self with amazement: -
tº gº º ox! sº º
cº exº~ ess & eje ºbj; gº
“You are not a madman, why will you roll upon fire You are
not a moth, why do you flutter round the candle *"
Jum-ma 6 tuf-reek 6 tuk-seem * > —ºº &=
1. Jum-ma is when the Poet brings together several subjects,
having one general property:
cle “T sº- 2 UL, errº
* Know that poverty, retirement, and obscurity, are comforts;
whilst fame, riches, and dignities, are to be considered as mis-
fortunes.”
2. Tuf-reek when the Poet separates two subjects which ex-
plain one another, although there is no connection between them.
Eacample from Hafez.
e- & cy &= jº |; ºu CŞ
"s; as ejº & Tº evº. 994 oyº cº-




COMPOSITION. 49
“Who can compare your head to the clouds, since this showers
bags of money, whilst the other gives only drop by drop "
Tuk-seem is when the Poet, in a hemistich or distich, recites
several particulars; and afterwards, in another hemistich or distich,
introduces some others in connection with them, and assigns each
to each regularly :
Lºſſeº &J cº - Lººey! *U
“I am pleased with love and wine, because they are not friends:
neither love with the libidinous, nor wine with the lips of the
pious man.”
Jumma ma tuf-reek -*** & &= is when the Author unites
several particulars in one comparison, and then separates them with
contrary epithets:
“ The station of your enemy is as exalted as yours: yours is a
throne, and his is a gibbet.”
Jumma ma tuk-seem **) &&.- is when the Poet, in a
hemistich or a distich, first uses words collectively, and again se-
parately in another hemistich or distich :
H




50. COMPOSITION.
_j(X35 Laº. 3 ºf U oege
* To two things that belonged to me, sorrow gave me two other
things; water to my eyes, and exceeding pain to my breast.”
And it may happen that he first uses them separately, and then
collectively, as in the following verses:
* You are bad to your friends, and good to your enemies: this is
your nature, and who can change nature ?”
Jum-ma ma tuf-reek 6 tuk-seem ** _5 -** &c &- is
when the Author first uses several things collectively, in one signi-
fication, and then discriminates them :
Jºº CŞ; 5% of sº gº!
* Her lips abound, like my eyes; these with tears, and those with
3>
royal pearls : but the water of these is turbid, and the water
of those is bright; mine are exhibited in weeping, her’s in
speech.”
Hoosn te-lub --Ja cºs is when the Speaker wants to say
-


COMPOSITION, 5 +
something in praise of the person, so as to give him satisfaction,
Without trespassing the bounds of decorum :
*~ ye as Jº Lys-
_º -ey! Nº, ºr *=
ey'er 23 – =;= e, as
Jº al-J - cº-s cº-e J
“O king ! I am at variance with the world, because I am always
living uncomfortably. How easy would it be for thy hand to
remove the strife that is between us r
Mud-he-mo-wuj-jeh as:-- zº- called also Is-tem-bd sº
is when the Poet exalts the character of his patron, by alluding to
other virtues besides what are directly set forth, and thereby be- .
stowing double praise : -
Jºe jº Jº-'eº ae
“ Your gallant actions have the same effect upon your enemies, as
your munificence hath upon money.”
It-te-rad el,- is praising any one along with his ancestors, in
genealogical order:
Eacample from Abool Féráj Roomee.
olo ºv : co-ſo sects 2 º -º;
el, e.a. 94- esſes" e-


H 2
52 COMPOSITION.
º
“ He governed the kingdom, regulated the empire, and distributed
justice; Abdool Mujeed, the son of Ahmed, the son of Adbus-
se-mud.”
Ké-la-méjà-ma &sl= ºis when the Poet treats on morality,
philosophy, or worldly delights:
_ſſ Jºe Le Jºe et, cºe Cº-º
evº! el; rºle ×4 --> cººl &=
ey ºvº o'-J' ey= Gºve _2="
evºl oLsley pl;” Oºjº sjºs & e-
** > /* cºse ex; }=>
* > a. solº ex: &la=',”
* - e.v Jºe Gº!! rejº
*Je © 2- &JU- _j Cºro & 2x)|
“I give a piece of advice, remember and act accordingly; since
it is a saying which I recollect to have heard from a man of
piety, Look not for the exact performance of an engagement,
from a world whose principles are relaxed ; for this widow
hath been the bride of a thousand husbands. I have never
enjoyed a moment of pleasure and satisfaction; every instant
being an increase of sorrow and distress. In short, I am
astonished at my own destiny.”
Ul-hui-o-yu-ra-do-be-hil jud-deh e= & el; Jºſ' is when
what seems to be only a stroke of humour, is really truth :






COMPOSITION, 53.
“ The people of Meshed drink a great deal of wine, said a certain
person. I answered him, in truth that is wine; but they also
drink a great deal of what has been cast up by others.”
This distich, although given as a joke, yet contains a philosophi-
cal remark; because the people of Meshed drink a great deal of 3
which is honey, or the vomit of bees.
There is a story, that an old woman came to Mohammed, and
besought him to pray to God to admit her into paradise. He told
her, that old women did not enter there ; upon which she departed
in tears and lamentation. But at length the Prophet ordered one
of his companions to tell her, that no old women enter paradise,
because God hath promised to restore them to youth, before he
removes them to the mansions of bliss.
Tail-meeh a " literally signifies using something savoury; and
is when the Author alludes to some popular story or verse:
Allusion to a Story.
c- U- ©º & eº; Jºcs tº
ej= º, Jo -jº- -J- Qsº &=
“O light of my eyes! when the garden of my condition is deprived:



54 - COMPOSITION,
of the rose of thy countenance, my state becomes like Jacob
in the house of mourning."
Allusion to Perses.
2-eº cº-e: cº- Jº-o-; Jº
23 & Cºle : * > * > &_j's
“ In my estimation, the harvest of both worlds would be equi-
valent to a barley-corn; why should I behold the field of sky,
and the sickle, the new moon "
This alludes to the following Distich of Hafiz :
_2 < o'e , rege sº jº 8_jº
* When I survey the field of azure sky, and the sickle, the new
moon; I recollect my own field, and the season of harvest.”
A-d-tra zool ke–ld-me kub-bul ul ét mam rºleſ Jºže
--- X| J-3 called also Hushoo 2:… is when the Poet commences
a subject, and, before the distich is concluded, brings in something
else, (without which the sense would be complete,) and then pro-
ceeds with the original subject. Of this there are three species.
1. Hosh-oo Khe-be-eh atº _º- when there is introduced a
superfluous word, as in the following example:
Jº ex: 2 evil -º- we >=* > -lè
4

composition. 55.
“Your understanding, like the sun, is light and bright; your tem-
per resembles a mountain, in patience and suffering.”
Here cº-ºp after jº Jºe; after rº- and are tautology.
Hush-oo me-te wasset las,ºla's _ººs is when the words, although
superfluous to the sense, do not injure the verse, so that their being
there or not is a matter of indifference; such as &rs ºf Çs'
in the following distich:
*T2: … cº y CSU --> Le
“By the side of your enlightened mind, (who equal the sun in
dignity,) the light of the sun is a borrowed light.”
Hush-oo me-leeh. 2” 2:… is when the superfluous words are
introduced to embellish the style:
“ Your sword, (may the bosom of your enemy be its scabbard').
in your hand, may it resemble Zoolfecar” in the hand of the
lion of God (Ali)"
Here the words 2 -lºg ~…~ & eº are superfluous.
w
* Name of the famous two-edged sword of Ali.

56 COMPOSITION.
Il-te-fat cºlº'ſ literally signifies looking from one side to
another; and, in poetry, means changing the personal pronouns.
Changing from the Second to the Third Person.
e's cº- 3 º'e 23 – ?) cº-
cºe -º- cºe tº “aºl.
º, cº- <!- &= *; &J Jº
* O my beloved on account of thy absence, my heart was full of
blood; and, at the remembrance of thy cheek, my tears were
red : in short, I was in the condition of her enemies, whilst
my friend did not once enquire after me.”
- -
From the Third to the Second Person.
ºvº cº-o Q Jo <!- J. j=
* Gºj <! &= lege
Ǻ y º & Jº Jºº
ºvº cºjº, clºs &JU j-
* If my friend is not my physician, alas there is no hope of life!
your patient came to you in full health, but now his garments
contain nothing but a sigh.”
From the First to the Second Person.
** Qºre:- > *
ejº colºs) e gº cle &== -



COMPOSITION. 57
're cº, *.* CŞerº 55
“ Formerly I was confident, within myself, that no mistress could
deprive me of my heart: you bereft me of all my confidence,
in such a manner as to leave no doubt with any one.”
From the First to the Third Person.
“I said to her, These cheeks are a festival, and your eyebrow is the
festival moon. She replied, Yes, this matter is very clear to
those who can see.”
From the Second to the First Person.
• 3- _l(X)= J';* = }} GS 2.0 Gs'
<< * r * * * *
“ Deprived of your countenance, if there were a thousand flower-
beds in the eyes of Atta-y, they would all resemble thorns:
I can suffer no grief equal to that occasioned by my separation
from you, although I have experienced many worldly sor-
2 3
r0WS.





58 COMPOSITION.
From the Second to the First Person.
ºv. º j=º ex rºe 2 –º's “4- Gle
ev. ex3. ; J';* Gºa. U → J
* e=* &= Gº-o º *; *-
~! exº~. oº::= _5 Jº *** a=!,”
“ The heart that can contain both love and patience, is not a heart,
but a stone; there are a thousand pharsangs distance between
love and patience: what discipline shall I adopt, what advice
shall I pursue, my eyes being fixed on the cup-bearer, and my
ears attention to the harp "
Is-te-à-reh splxx... literally signifies borrowing, and in Rhetoric
is when the Author, instead of the proper sense, borrows another
meaning : but it is requisite that the resemblance be striking, and
that the change contributes to the embellishment of the composi-
tion. The is-te-4-reh, or simile, is a species of mejaz or metaphor.

Mejaz. _j(=“ The difference between the simile and the meta-
phor is, that, when the borrowed word is not the governing noun,
it is called a metaphor; such as in the instance of valour, a man is
called a lion; and if the borrowed word governs something else in
the sentence, it is a simile; and in this case it is an expletive, because
here the governing noun, and the noun governed, are one and the
same thing, such as ey. Jºe the flower of hope; Cºsſ $º the
garden of hope; meaning in fact nothing but hope:
4


COMPOSITION. 59
jº &= “ji= -->"j Cºlegº
“ The eyes of fortune obtained light through the ink of his pen;
the garden of wisdom was refreshed by the clouds of his IIll]-
nificence.”
Mo-te-zád cylºs is when the Author uses in a sentence words
of opposite significations; as hot and cold, long and short, black
and white :
<º cº--93 e 2 º’cs, Gs'
“ Without your face, which resembles day, and your ringlets (jetty)
like night, morning appears to me like evening, light seems
fire, and the rose a thorn.”
The following hemistich of Sulman is divided into two opposite
SenSeS :
Gºvºro cºſ o_5}: 5 º_y cy Jo jº
“ Prudence went in, and Debauchery departed.”
Another Eacample from the Shulestān of Fut-tá-hee.
“Mirth rose quickly; Sorrow sat late.”



I 2
60 COMPOSITION.
There is another species of Mo-te-zád, where the four elements
are brought together.
Eacample from Abool Fé-raj Roomee.
oº::= * ~ * Q-T_e = <seº
Oºr colºs. Ue G.S Jº &= CŞy's
o° 2 oe: ol; sº *= Gºſ
o'- e.9 cºlº evºj & a =ls.
“ Thou art air, that enters my body like breath; thou art fire, that
consumes the hearts of mankind with desire; thou art water,
without which life cannot be sustained ; thou art earth, to
which all nature must return.”
Ee-ham-te-zad CyLij re: is when two words bear two meanings
that are not opposite in one acceptation, although they are so when
taken in another sense.
C 4;=9 |39 U oºoº- \e.
“ The rose laughed (or expanded), from the time that the air wept
(or produced rain).”
Mo-rat-a-tun ne-zeer Jºliº sl=y. called also te-nd-sool -os, L3
is when the Author unites things that have affinity, such as the sun
and the moon, the rose and the nightingale, bow and arrow, &c.
Another species of te-na-soob is when the beginning and the end
of a sentence have a relative meaning:
-

COMPOSITION. 61
tº sºlº as -jº-ve _º Jºe: ; **)
CŞja; _j -ºlº & Gºrº jºy: _yo &
“ In your absence and in your presence I am distracted, what re-
medy shall I procure ? You are neither before my eyes, nor
hidden from my sight.”
Of the nature of tendsoob is ei-ha-mee tendsoob -os, Lº 24
which is using a word with two significations, one of which is
suitable to the occasion, and the other not :
evas cºlº ex Jº º
“ Olascivious fawn, thrower of darts one arrow from a fawn is
equal to sixty.”
-
Here the word shust is intended to express the number sixty,
and not the thumb-stall of an archer.
Hoos-ne mut-lºt &\la's Gº-ºº- is when the Poet exerts himself in
the mutla of a ghuzel or käseedeh, so as to fix the hearer's atten-
tion, and excite his curiosity for the catastrophe.
Be-rd-ul-ć is-teh-lal U\ſº *=} is when the Poem opens
with an allusion to the subject; as Jami in the commencement of
Leila Mujnoon:
eleº y z > -t- (s



62 - COMPOSITION.
gº Jº 9 º'
“O God the dust of thy threshold is the crown of the mighty;
thy foolishness is the understanding of the wise : to those
from whom thou art hidden, day is night; whilst with them
to whom thou art revealed, Soha “ is as conspicuous as Cano-
* 3
pus.
Hoos-ne muk-td. &lax- Gºjºs- is when the Poet exerts himself
in the concluding verses, and ends with something striking, in order
that the reader may leave off with satisfaction, and be induced to
excuse any inaccuracies which may have occurred in the course of
the poem. In the ka-see-deh, the hoos-ne muk-ta is generally used
in imploring blessing:
cºla sºlº © 24 Ú _5 el, oº: Q4: Ü
cº-º ºle;494 – sº-, -, eji= elº
g
* As long as water rageth, and as long as fire burneth; as long as
wind moveth, and as long as the earth remaineth firm ; may
your good fortune continue, and your reign be happy! may
your stars be propitious, having God for your support 1"
* An obscure star in the constellation of the Greater Bear.






PART II.
|P IR (O S (O) |D) Y.












PART II.
P R O S O D Y.
Cºys
The word Sheir jº. literally signifies knowing and compre-
hending, and technically is used to express verse, or a sentence hav-
ing sense, measure, and rhyme. A sentence, without measure, is not
verse; nor is measure, without metre and sense, poetry. It is not
lawful to call either the Koran or the Hadees poetry, although
verse accidentally occurs in them.
Since Sheir signifies a measured sentence, and every measure re-
Quiring a standard for ascertaining its quantity, it follows, that who-
soever engages in the subject of poetry, either as composer or critic,
should necessarily be acquainted with the rules of prosody, or that
art by which the quality of the metre is discovered. Khaleel Ben
Ahmed Basaree was the first person who reduced prosody to rule.
K

66 PROSODY.
This art is called Arouz, U2, c, or the art of measuring or scan-
→
J
ning a sentence by one of the established scales of metre; whatever
corresponds with one of these metres, is said to be in measure.
The term for scanning is Tucktea" & laxy.
A verse is scanned by separating its component words, in such a
manner that every quantity thereof correspond in measure with the
feet of that metre in which the verse is composed. In scanning
the number of letters, the vowels and consonants are to be con-
sidered, but a similarity in letters and in accents is not required;
for example, the words Cºle2:lº and JºJº are of the measure &s.
But every letter that is "sounded is to be reckoned in scanning,
although it be not written; and, on the contrary, every written
letter that is not sounded, is not to be accounted of any value. And
because scanning is founded on the sound, and not on the writing,
the number of letters in one hemistich will often exceed those in
another hemistich, although they are both of one measure.
Eacample.
Scanned thus:
º, º, . .” _2 * > - .* * • º'
* Gºº Gººs &
* Tucktea literally signifies pulling to pieces,
4





PROSODY. 67
Scanned thus:
o'-'A' |--|-- Ust-“cy t-s:"[so
6 ºz. . . o p - 2 e Lee 2- . o 2 oz.,
• • * •
Here the first hemistich has 22, and the second 43 letters. It is
to be observed, that Prosodians write the Gºº Gº (or 9 of
nunnation) at full length, in order that the orthography may be
conformable to the pronunciation, and that there may be no doubt.
observations on the Letters and _5 and G.S.
When I and 2 have their appropriate vowels, the former is length-
ened by extending the Futteh, and the latter by extending the Zum ;
and when this is the case, the pronunciation is the same as if the
letters were doubled :
--
Thus,
cºſ cº-s! & of the measure
- - are pronounced > -
-- A- o 2 o .
- CŞ., cºſ $ of cºxs
-tº º and
ºle exºle & of the measure
are pronounced $ o o-o
The first and 2 are considered accented, and the last quiescent.


K 2
68. PROSODY.
The Çg is suppressed to supply the place of Kussir, and for the
short vowel gives a long tone, as in Jeº Q-9 where the Kussir
being extended after Go the letter GS is to be sounded long; and in
scanning this, C4 would be written in this form Jº G sº in
o 26 of ~
measure cºcº-º.
This GS is called Gºla: or hidden. And in this manner, in many
Arabic words, and, and QS are sounded without being written,
such as in 2001 and Jº and Je Jó and & &c.
Letters marked with a Tushdeed are also repeated, as cº- and
o ->e e
z ; which are in the measure (3) ×3 and, in scanning, they write
two letters, the first quiescent, and the other accented in this man-
Iner 29- and a jº.
Of the Letters and 2 and s and Qs when written but not
sounded. *
This is a conjunction occurring in the middle of an hemistich,
when it receives the accent of the preceding letter, and the is not
sounded; on which account it is called J-22 – J| or Alif con-
junctive, because it seems to unite in sound the preceding and the
subsequent letters. As for example:
In scanning this, is not sounded.
3

PROSODY. 69
** G&J T (=jº. Qºly
of 2 -ºº º o ºf . o -2°º 7:
- we
But if Alif is sounded, it is not omitted in scanning; as in the
following hemistich :
Scanned thus,
$ - - - -'- - --- - - -
GS "Pºe- Cºleº Jess”e ºfte:
o 20 or 2 o 20 oz - o Leo p 2 - a 9 o P: -
cº-lº cºlºs cºlº cºsº,
º
The letter 2 is of three kinds -ºlacsºlº being that which occurs
between two words as a conjunction; such as cots- _5 Je and
eſſ; cººl In the Persian language, it generally happens that the
letter preceding this 2 is marked with a Zum, and then the 2 is not
sounded; as in the following hemistich :
2= <u> 3 > , 'ele, Je
In scanning this, –5 is not written.
3-5-3 tlejºy le!euſe
But if the 2 is sounded, it is not omitted in scanning; thus
- Jºlee eº ºr Jº Jº


70 PROSODY.
- Scanned thus,
Jºyle ÇSo sºlº JºJº
o e > * > º, 9 º' -- e. o Loº -- e.”
ºct: ..Jº'cl: .J. Mcls
º * º (j- * 5 U- :
Another called & 2 Golsºº!, is used to express the accent and
complete the word, (because no sound can be expressed by less
than two letters;) such as 23 and 39 and 2- and 2=º
It generally happens that this 2 is not sounded; as in the fol-
lowing hemistich :
CŞ;=\e jº. 5 Q_je 3– 23 ºr
Scanned thus,
&ºe reve yes,”
a 9 o 12 - 2-2 º –º 2-2-2
exº~ [; - cºxº~
* *
But if it is sounded, it is not omitted in scanning; as for example,
2, Jº 3-lys 29 Je CŞji=e
Scanned thus,
_2% \xi, 3–yºve Jo GSj=ſe
º, 9 ºr 2 o 20. o. o 90.2 o –
Another called & .2 º 2 L is that which occurs after ac-
cented with a Futteh, but the Futteh of a.
is not pure, as it par-
takes somewhat of the Zum.


PROSODY. 71
Ishmam. º literally signifies causing to smell; and therefore
this is called Ishmam Zummeh, or smelling of Zum.
Eacample.
- º, 9 º: - o 2 zº-2 º, 2 2.2 °
cl: exº~~~ exº~~~~
The letter s, when used to express an accent, is called oº:
ca- - and occurs to shew that the letter preceding it is accented,
J
either with a Futteh, as sexº~ and *;= or else with a Kussir,
as Ae and as and & &c. Therefore, if this s occurs in the
middle of an hemistich, and is not sounded, it is omitted in scan-
ning. Thus:
CŞe;=~~ GSe;=GSj=
_2^) – º – ^ -> *).
But if it is sounded with a Kussir in its stead, they use C & . Thus,
o 2.2.2 o 2 × 2-2
exº~ Cºxº~
*
If it occurs at the end of an hemistich, it is reckoned CG as a
quiescent letter. Thus,

72 - PROSODY.
Scanned thus,
or 50.2 a -ºº e Q, e o 92.2 º e
cºxs cºxs cºsts
o LPoe
The 8 in * is equivalent to 9 in 90 x3 : and it sometimes
happens that this s, in the middle of an hemistich, corresponds
with a quiescent letter in scanning; as for example,
Scanned thus,
º, -90_2 > o 9 p : * _* o 2 2-2
co-º-º: cºs J
we
-
The letter cºtº CŞ tº or quiescent, is when it precedes an ac-
cented Alif, and is not sounded.
**
In scanning this, G4 is not written.
o 42 oz. 2 e -922 oz.
3,323 cºs (3-0 cºsts
Some consider this form as a syncope, and say that the accent of
the is transferred to the QS, the Alif being struck out.





PROSODY. - - 73
And they scan the above hemistich thus,
cº-º-º ſo->|-> Gºejº
& 3G.§ 31-[.. Öğcts
But if GS is sounded, it is not omitted in scanning; as for
example,
29 JT9+ cºee j ºr evº
Scanned thus, - -
_UU L=\; -teej cº evº
Of 9 quiescent, and of some other Letters that are written ;
with their Treatment in Scanning.
It is to be observed, that Q is quiescent when it occurs after any
letter of the class called Muddeh Cº., which are and _5 and GS
quiescent, preceded by a letter accented with their proper vowels,
Zum, Futteh, and Kussir, as in the words & 3- and cº- and cº-
when these occur in the middle of an hemistich G is omitted in
scanning, as in the following hemistich :
2:2 oz-e ’ 9-2 rºº cº-
T.




74 - PROSODY.
Scanned thus,
ºve tº cº-
^ º o 2. a 9 o e a .9 a e
And, if this 9 occurs at the end of an hemistich, it is considered
as a quiescent letter; thus:
-- J --
QX L_ jº 3- GS3- c) CN3 CŞ
99.99 yº- Jeggºs'
* *
© º e º e
This letter 9 in the word o:U corresponds with tº in G. Mcts
But if the muddeh letter is not followed by a 0 such as JU and
J53 and jºjº or if the last letter is 9 not preceded by a muddeh,
such as J-s and Q3- and ºr ; or if it is neither of these, such
aS ;=: and these two quiescents occur in the middle of an he-
mistich, in that case the second quiescent is accented; as in the
ºr following example:
2% 3-coºl ºw.
º a 9 2 e a -2 a e a -39 - º e
cºcts cºsts cºcts
_* * º
- o 2 ºn 2 -
These are all in the measure of Cºcºş because, by the rules of
Prosody, two quiescents are not allowed in the middle of an hemis-
tich, excepting and co which, both together, stand for one quies-
4



PROSODY. 75
cent, on account of the light sound of the muddeh letter (or alif)
along with the quiescent 9; but if two quiescents occur at the end
of an hemistich, they are reckoned two quiescents; as for example,
jº cº-> 0- ºr 22% ºf
o ºx.”
a •
All in the measure of cººls without reckoning the conjunc-
-
tion _5
If the muddeh letter is followed by two quiescent letters, such
as ojö and cº,º and ºin the middle of an hemistich,
and in scanning, these two quiescents correspond with an accented
letter, then the first quiescent is accented, and the second is reject-
ed; as for example,
U-vºtº º Cº. ojº
Scanned thus,
Loº JºJº Jº Jº
o -2 o, a -90.2 °C) e o -*** ?:
cºcts cºcts cºcts
* * *
But when two such quiescents correspond with two accented let-
ters in the measure, then both the quiescents become accented; as
for example,
2^*, *, * > *, *, *, *).



L 2
76 PROSODY.
Scanned thus,
**** exejº 2-ov's ºr JJ
2 < zºº o tº ºp-e o £ 22-2 o £ 22-2
exº~~e cºxº~ cº-º-o - ~
-* z
When three quiescents occur together at the end of an hemistich,
the last is omitted in scanning, because in Prosody three quies-
cents can in no place come together.
Scanned thus,
o * 2 . • 9 ºn 2- .* a 9 a. …” - a -2°C e a -
SG3 ..j)\x3 .J. M-3 .J. Mcts
oº: e--- e--- (j-
The Component Parts of Verse.
Verse, in the language of the Arabian and Persian Prosodians, is
composed of Urkan Q 6 y! and Ussool J1922 or feet and syllables.
Syllables are of three kinds, Sebub -º, Wetudo, and Fäseleh
&J 23 each divided into Khefeef -ºs and Sekeel Jºj or soft
and hard breathing.
1st kind. Soft breathing is composed of an accented and a
quiescent letter, as J In the hard breathing, both the letters are
-
accented as J.





PROSODY. 77
2d kind. Soft breathing is composed of two accented letters
followed by a quiescent, as Cº In the hard breathing, the quies-
cent letter is in the middle, as o'ſ
3d kind. Soft breathing is composed of three accented letters
and a quiescent, with the sign of nunnation, as Jºs In the hard
breathing there are four accented letters, and the last is quiescent,
- * ~ *
as &
-
Of the Ur-kan objl or Standards of Perse.
All the forms of metre are taken from the verb Ox3 and its de-
rivations; and every species of verse is comprized in the eight fol-
lowing standards :
o 1922: a e) –2. o 2-9 z
cº-3 - 1 Fá-oo-loon, cºsº- — 5 Mu-fé-a-la-toon,
- - O — O O - O
º, Lº 7: a o Lº p : z_2
Jets – 2 Fá-a-loon, Cºcº – 6 Mu-ta-fa-a-loon
- O - - - -, -, (-) O
to 20 oz. a o -*** º:
cºacL-3 – 3 Mu-fä-ee-loon, cºcº – 7 Fá-a-lá-toon,
* *
- — — o —-Q ----
o + 22, o -2 _2 e_2 o ºp 2
exº~ — 4 Moos-tuf-a-loon, ºx3x3-9 — 8 Muf-oo-lä-to.
rº- O - - - - O - - -





78 PROSODY.
- Of the Misra and its Component Parts.
It is generally allowed, that a verse cannot consist of less than a
distich formed of two hemistichs; and half the distich is called
misra 8; as because that word literally signifies a door of two
folds; and the resemblance between a distich and a door of two
folds is in this, that in the same manner as with a door of two folds
you may open or shut which you please without the other ; and
when you shut both together, it is still but one door: so also of a
distich, you may read which of the hemistichs you please without
the other, and when you read both together, they will form one
distich. The first foot, of the first hemistich, is called Sudr Jºao
and the last foot thereof Arooz vºys Of the second hemistich,
the first foot is called Ibtedd cºgſ and the last Zurb -ye The
intermediate feet of both have the general name Hushoo 33- The
meaning of Sudr is the first, and Ibteda signifies commencement;
the first beginning the distich, as the other does the second hemi-
stich. The last foot of the first hemistich is called Arooz, signify-
ing the pole of a tent; for as the pole is the support of the tent, so
is the distich founded on this prop ; for until this foot is determined,
the hemistich is not complete, nor its measure known. The last
foot of the second hemistich is called Zurb, i.e. of one kind, or
alike, it resembling the Arooz in that both are at the end of an
hemistich, and that the conclusion of verses are alike by the obser-



PROSODY. 79
vance of rhyme. Hushoo is the stuffing of a cushion, and, on ac-
count of their situation, the intermediate feet are so called.
Feet are either Salem * or Ghair salem * jº perfect Or
imperfect. The perfect foot is that in which the verse is originally
composed, without excess or diminution. The imperfect foot is
that wherein some change has happened, either by adding some-
thing to it, or taking something from it; as for example, if in the
word cº-ºclº, between J and o you introduce an Alif and read
cºcº or if from the same word you take away 9 and the
accent of the J and say JacLeº The imperfect foot is called
Mo-za-huf --> and the alteration is called Zehdf Gl-j de-
rived from Lºs Zehuf, literally signifying departing from its
original intention; as we say Sehme Záhifu is Lj zy” an arrow
that errs from the mark.
Of the Number of Bo-hoor 2- or Metres.
There are 19 Species of Metre, viz.
Jºl. 1 — Tewee, & jº 6 — He-zuj,
cº, Nº 2 – Me-deed, j=y 7– Re-juz,
Laº. 3 – Be-seet, Jºey 8 – Re-mul,
jº', 4 — Wä-fir, C jº Q — Moon-se-reh,
Jºse 5 — Ká-mil, & JLº. 10 — Mo-zá-ra,



so PROSODY.
-vºx's 11 — Mook-te-Zub, Cºlºs. 16 – Khe-feef,
cºs^* 12 — Mooj-tus, J-Lº 17 — Mu-shā-kil,
&;”, 13 – Se-ree-a, - JUCs 18 – Mu-te-ká-rib,
oves. 14 — Je-deed, -Ole- 19 — Mu-te-da-rik.
*4:3 15 – Ke-reeb,
J
Of these 19 measures, the five first are almost peculiar to the
Arabians; very few Persian or Turkish Poets have used them, be-
cause not suited to the genius of these languages. The 14th, 15th,
and 17th, are peculiar to Persian Poetry: but the other 11 species
are used both in Arabic and in Persian.
Of the Ru-ba-ie, or Tetrastick.
The measure of the Ru-ba-ie G-AJ (called also Du-by-tee
Cºe and Tir-à-neh as;) is derived from the measure He-zuj
&J
kinds of the Ru-ba-ie, which are exhibited at the conclusion of the
imperfect forms of versification.
§ It was invented by the Persians. There are twenty-four





PROSODY.
81
The Perfect Forms of every Kind of Persification.
cº- Lºs -
cºxº~~
cºcts
. Jaxx
cº-Lºs
cºxº~~
_* or o-2.0 -
ºxº~
o 23.7 ºz
cº's
o Lo 2.2. o _2
cºxº~
-
a -2–22 a.
cº- [3
cºxº~
cº-3
cº- Lºs
o 9
º, 2 e 9
- - -
o' &º
e 9a)
cº-3
Gºals
sº
cºcts
^ -e.”
-
cº-3
cºsts
o 9e o 2
cºck
o
2.
cºs
M
º
.*
o
o 9 o o, -
cºcº-
o 2 oz. o a
Gºxº~
r) -ºff f:
a 9 2:. e 2
cºxº~~
z -
o J. 2.**
- clºs
Q: 5- “,
_9 oz o.o.o.
-X > -º
o #2 * : o -2
- JRaº-o
-*
o 4 ºz. o z
-
Q_> -
ºn 9 c_2 * >
cº's Us
o oo ºz -
cº
o wo. 9 º
cº-
a 9 o'.e
cºsts
Jºsé
o Loo.2 or



82 PROSODY.
o 9 o le
cº-º-º-º-º-º-º-º:
o 9 2 : o a
_*
o -2° 22 -- -
jº',
2 < *.*
*
Imperfect Forms.
º, o 2 o –9 × 2
oº::=
z
cº-º-, cº-º-; cº-º- Gººs
a ºn 2 oz - - ->
cº-lº cºal; Gº-Gº,
eºsº Jº Gº
_9 a C ~ 2.
Jºelk's Jºelº Jºslº
o 90–92 _2 a ºn 2 -
cº 3-3 Jºe Lºs Jºe U.
a 9 o 9 ~. •
co-'3-
o o 2 - 2
Jºslºv cºcº-
cº-º-º-,
Jºslº
Jºslº
Lºcº-º-º-º-o-º-º-e
Jºel, Jºel Jºsſ.
a jº
o 20 oz. - -
& “ cº-º-
o 4 p. 2 - - - -
o -2 p < * - - -- -
º, 9 ºn 2
cºsts
z
Xº, ..
j^* Q-rºo
_o o-o º –
U_*
_2 e_2 a .
U _2^*_2^* -º~ -j- cºs
Jºº-º-º-º-º-º-o-º-
o o, 2
—º-" — sº cº-
Jºslº
_o º
Jºslº


PROSODY. 83
o º º 2-9 J. 22-9
cºcº cº-lº-e 5* Jº —;= c^*
*
o o 22.”
Jºaº cº- J* 2:… Jºs-y-lo-e-
cº-s cº-º- Jº-º-º-º-º-º-º-º-o-o-º:
ex,” Jºlº Jº-º-º-º-º-º-º-º-o-o-º-
cºcº cºals cº-3 jºl Cº.,
o o *
> 0
a 2.e - - - - - - • --> o 9 22.6 _º c º
cº-ºxº~ exº-. cºxº~ cº-º-º-e J |ON-- cº-ºre
o - .22-2
cºxº~ cº-º-, cº-º cº- CS; as cº-
-
a 9 ºn 2.9
cºcº cº-Lºs cº-lº-e Oyº-" Cº-e
2 a e © e o -øe e º 2
cºus cº-3 cºxs cºº cºs' cº-º







M 2
84 PROSODY.
&G cºsts cºsts cº-3 Jºak-e Jºe
_2 * > * -
º'cl: ºx3 º'c's ºx3 usº cº-
cºs ºs ºjºseºals & “ cº- cº-º-,
^ o . ~~
ev)\x3
o 9
cº-3
-
o fo 2.
cº-3
o og. O >
cº-3
o o 2 c 2
eXcts
º, 9 - 2
cºs
º, 9 o 2
cº-3
o º e, 2
-
e º e o 2
cº-3 Cºx; Jº (; Jºaºs ojºs” cº-º-e
cº's [3 cºcts - ~1923. O'Cºro
cº-3 - cº- [3 3º- ©y^* O'Cºro
cº-3 cºsts &º 3|ak-sº-ºoºoºº-
C jº
_2 ºn e º 2
3335- GS3|a's o-cºs
v-



PROSODY.
º, e.
^ -
& Cº., ºct; cºxº
cº-º-º-e Cººts cº-
& L'é's
cº's J.--
Cºsº Jº-
gºes Jºsº
&#94-3.
o 9 e.
cºcº Jºslº
o -2° 2 oz -2 ſo -> * >
cºx & Us J15-9
J.--
J.--
º gº
_3= <!-- e.”
C޺la's ove-,
-j- Go-rºo
—º -> cºs
exes J.--, -ya º ºſs-le-
->e's U2-, -º-º-º-º-º-o-º:
exes Jºcºs
U:--
~!1928. -º-º: cºs
—ºº ºſs ove”
cº als
CºaXX.
exº cºsts cºxº~ ºle's
cº-º-º-, ev McL3 cº-º-º- cºcts
a 9a).” e
*. X: *NO
o - ? - 2
cºcº's
CŞ;as cº-
8 yaº CŞ:la's cº-
oº::=" cº-º-




6
PROSODY.
º, e, 2 *
e - 9a).
o o 2 e >
cºxs cº-lº
c)\cts
cºsts
cºxs
cº-3
cºsts
cºs Lºs
ºxs
cºs U-
eºsº.
cºxs
cºxs
cº-3
cº-3
cºcº-
Jºslº
Jºcºs
cº-Lº-
cºx -
5
cº-Lº-
cºelº
cº-Lºs
Gºstkº
&ºs ojºs" cº-
~! 3.25- ©yº-" co-º-
& 51a*-s oxº~ cº-
cºcº & “ &_ºlak's ©yºs" co-º-
-***s-
cºxs
-º-, Cºla's
cºs^
Oyºs.”
_2^* exº~"

PROSODY. - 87
cº-ºxº cº-Lº- of Mcls &_ºlaºs &yº~~
Jºe Lºs
Jºcºs Jºcºs ºsts __2^* -ºxºes
-jºº
U2-3 o';* Gºº cº- _2^* Gºº
cº-s cº-º cº- —sº- cº-
cº-3 ->
a •º e
º, e º ze
-
U- * Cº., cº-
cº-3
cºxs cº- cºs’ cº-º-e
(-5.
&
º
cº-3
O'
Ax3
|

88
PROSODY.
ºn 2 *
-
- º, -92.2
-
Jº
Jº
a e
º, 2
&;
Forms of the Ru-ba-ie.
cº-º-º-e
cº-º-º:
cº-Lºs
Jºslº
cº-lº-e
Jº-Lºs
cºxs
Jº-Lº-
Jº-
o wo o,22
cº- º
_
cºstºs
e- "s;=*_l <--- ollº'
cº-3
-j- sº J. Q.-- 00:
o 2 p_*
º, 9 * ~ *
Jºs UK.
cº-º-
o';*
cº-º-º-,
cº-º-º-e
cº-º-º-e
cº-º-º-
cº-º-
cº-º-º-
cº-º-º-
cº-º-º-e
cº-º-º-e
_* o o o 2
Uxº~.
Jº-


PROSODY.
*D → ~
wlºs
o 9 2 o r
- 3-4-3
w|9-3-3
Jºcºs
Jºcºs
Jack's
cº-Lº-
cº U-3
Jºcºs
cºcº's
cºcº's
cºcº's
Jºzº
o 9 c. 9
Jºe 3.9
Jºaº
J.--
Usºs
Usº
U-
Jº-
Jºaº
lºak-9
Jºs
U-3-






T A B L E,
Shewing the Alterations of the Imperfect Forms from the Standards of Metre.
Eacplained in Page 77.
ALTERATION 3.
A
Names of Imperfect | Name of the Altered Original Perfect "Letter, Letters and Points Imperfect Words
Forms. Feet. Forms. added. rejected. Forms. substituted.
- -- - o po op. T -
* -- - -- - - o -
Q42^* Qºrº cºs U-9 * GS cºcº-
j^* jº, cºcº | GS- gº _9
- - ſºn- -
Q-9 - - - - -
P;= º- j- cºcº É or 94- J15-a-
- - - : £- -
Q-x- \-9ºx. cº-Lº-e ā Q) Jºslº
-- -- - o _9 º o or 2
ja- –)1928-9 (* *** Lºs C J.&= -
3 - - - - • -
CN- -º-, * >>. Lºs cº Q = ** cº-3
e- e;- cº-lºs J r cºcº cº-º-º-,




PROSODY,
91
$)-35：nºſººſiyº
sſºJººſnº[|{p/>Œœ
ºſººn35：no#<v：
szín！ 33，55：||sºsº
|-^aſsº)
ºsmºșíſº~Źſºrº| nº
！rº || （！ºp || o§sºreſ， 3 || seſº
º Kº.-3.，C„~“，}=6
sięXQ2）3，----！ 3 | <3
sisyº•■<yº6：?•••••• -=***）
Fºtº | ： || ?U！~ | ° § →
！mº | sſ | eº|s-reſ3 | reſº
sºnº|0į•！" | •=p
sºn=yº | ºyº | «O[ ！=， | <-º
ºyº | ~~~~? || ~!~eſºšº | eº
•••••••çº|sººſ^|Ç||?
CN
Ź.



92 PROSODY.
Scansion of Perfect Forms.
gº or ouls -03 cº -ø Xe
* cº-º-º cº-lºs cº-º-, cº-Lºs
ºf ea ev. eLTaº ests
Ç
|Jºe 3-9 - cº- U. cº- Lºs
Glejº 3 yes; cºs" J'
cº-Lº- -* cº- lºssº cºcº -






PROSODY.
Q3
Scansion of Perfect Forms.
tº cº-º ji-
(9,549 – 23's ve º Jers cº-º
ºljº Je eº; Cºstag 3 º' ºs-
lººſe tºls je º cy sºG
exº~ exº~ exº~ cº-
19 JLU, - —Joe'4; cºllaº Jejº-
cºxº~ cºxº~ 90-xxº~ exº~
Jº Sly eye cºe ejº gº
Jºelse peºe Cº-ºº:
Cº., Jºs cºxº~.
Jºe'ſ, G.s. tº JLº.
o”. Jº... cº-




94 PROSODY.
Scansion of Perfect Forms.
--ee-ow
UǺle ºf Cºle º ºſce; Jo Jº.
LGS-1, el-e, -, -º-Gº ->
UGSrºe Cºlºgy lºco Jºſeº
evºkels cºsts cºsts cºsts
VGsJºe -ex. º <<gº CŞeº->
cºsts º'c's cºsts cºsts
- - * cº-e Jºy - --
Gºº olyrºe & J cºlº &
Qs", os-Jº wºrk, ex-saº
cº-op º'egº Gººg
cºsts cºsts cºcts
cºsts cºcº cºsts







PROSODY.
--
Scansion of Perfect Forms,
tº erº ºvº-
ex=1 - ex-ye C޺ 3 jº jº-
exº-. XL, j" _j' cºlº erºsº
cºs o-'3-3 cºlº cº-3-3
exº-. Xtº J
cº-3 cº-3 cºxs cº-3
---
rº- c glo- e Jej
ºil- Cºle eijJ &
*** Gºle- - CŞevej
Jº-3 cº-3 cºxº
ri's ºlee cºlº





96 PROSODY.
Scansion of Perfect Forms.
-jū, e.… ejle.
tº ºt-cºs º-, }. U-2 =
Jets cºsts Jets eyes
v-ſis. Geº WJ sº-
* Gº Jººls
CŞe:43; see: Flºr LXo
cº-º cº-s cº-º-; J,23
CŞeº cºº Asºº e sº
cºsº cº-3 cº-U. º





PROSODY. 97
Scansion of Perfect Forms.
º U. cº Cºcºs
soº cºve 5% Jº Levey, Je CŞ
sº cº-º-º- Useº -44 eſts.
soºt, JºJº) Leve RJess
cºsts cºcts cºsts cºsts
sºlº cº-esº- Leº eºſis
cºsts cºsts cºsts cºsts
tº cºlº
* Lºº oleº cle ** Çs'
ex, e-º-; cº-ejº's ; :=*
ºç9 º'e's rºle-J Lºgg
cºcº cº-º cºsts cºxº~
-º-, jº- ºs ºjºsº
vºlcl; cºxº~ cºsts cºxº






- -
-
as PROSODY.
Scansion of Perfect Forms.
* Gººs jºb
<sº Geº -º cº (Sº ºa e <-
& Cº -ºjº CŞJºe Cºlº- ºv)
syº tºº cº-º ºr
cº-Lºs cºcº cº-lº-e cºcº
GS34", sº (33—ºle &Jºe: (**) )
evº º Aº Qºtº-ºw; Cºle as
eyº Gº Jejº e.e. e. 5. GSG > *
ejº º cºsº owjøes
* “Gº º ºxee glºss,
cºsº cºsº vºclº, vºctº
º
- -
-
- -
-
- - --
- - º
- -- -
-





PROSODY. 99
º
-
- Scansion of Perfect Forms.
& Cº., a jº
cº-ºr ever, Gº cº-ºººº Gº!;
eº & eº tº ºiled glº-
ou,” “sles' * Qºr
tº Mºslºv cºcº cºstkº cº-Lºs
- - Jºe Ç-rºo a;” -
Cº.; cº- ** evej, ’o, &= º cº
exºr Jojº *joº _5} º!e
©º ****) *exa’ Peº
Q 2
- -
-
- -
-
-
- - º --
- - * . . --
-
-
- - -
- º





PROSODY.
Scansion of Perfect Forms.
& Cº. oº ejº
exº~J º & & jº Gº! Gºejº
wº-gº gº *CŞey lºgs;
exº~J º jºgº cº
cººler Jºe Cºve cººl-yeº
eºs ºs ººgee e-ey.
cºerº ºpe Jºe, sº sº.
cºcº cºsts cºck's cºsts
º -
- º º - - - º




PROSODY. - to:
Scansion of Perfect Forms.
eſſ cºs & cºve ºf oºº gº
º'cº ous e-º-; JºJo
ejºsº Jºs cº-tº Jº-
*"gº co-eye ºlºgy Jº
_2^* -ºxº -j- cº- a jº
cºol, cº-exicº's & Sºs
Jºel. Jºel. Jºel. * º





#02 - PROSODY. -
Scansion of Perfect Forms.
-º-, -º-º: -j- e-º gº
CŞeº e-j- 9 5- a CŞ
çoxi els;” set º'e evºl_3=º
çe, eº;- ºur a**ś
Jº Jºsº Jºº Jº-
‘Sex, ºr eºle oºº-
lºs Jºslº, Jºslº, Jº
yeº -ºº ºr ejº
--
25 gº 2: Gº & J C sº cº-cº
Jº Jº Gºgº cº-cº
Jºslº, Jºslºv Jºslº Jºelk's
Lºgº 29-sqº J |- sº las-Cº
Jºslº, Jºslº Jºelkº Jºck's





PROsody.
1.03
Scansion of Perfect Forms.
ºlº ºr "-Jº gº 34 ye
cº- tº erºe -ºsy.
U> Jºelk's Jºck's Ç Kº- Uk-e
Glº g” - “jº Jº';*
cº-3 Jºelk-e Jºslº, Jºelºs
tº tº tº º eye G tº
rº- Glººse Jej'cº
Jºelkº cºcº - cºs U-2 -
rºº lººse Jellº
º






-
-
OA. PROSODY. º
- Scansion of Perfect Forms.
- - - -- -
-- -ºs- Gºzº z}*
C޺- tº gº ºr je Xe
CŞeº- tº-3 ; CŞer' er'
CŞeº “Cºlº- cºexe
“geº- tº-2 Seº
-
- - - - -
-- --
- -
* -º oºz;”
Cº- ºr cºſº. 2 jº
& ex-Jé º ox! sº *
Gºes-J -ºo: egºſ
- 6




PROSODY. - } 05 -
Scansion of Perfect Forms,
GS) 63 _y=U= 29' 5T Ue - -
- CŞyloº _y= cle LUT =
Qg yea; 6 U- JUXe - -
cº-3 Jºelk's JºeU-s -
Cºle wºre JU';-
tglº jo “glº Q99 QS 3
tºl-JoJ a Pº) º'cs
cº-Gº cºcº U-23-
tº Jegg tº eve &
cº-U., cº-3. Jºs
P




106
PROSODY.
Scansion of Perfect Forms.
Lyº, Jº º' Gºº º
evº! coºl çls--_e sjº_* ©5-
Jºelk's
evºlcs
Jºelk's
o'Eo-º-
- cºelº
lsº
cºcºo
Jº
Jº-
rºos.
Jº
re; osy CŞy, ºr G
re;’
wº
rege;
-
wº
syCŞ;
o'clºs
* *. ty












PROSODY. 107
- Scansion of Perfect Forms, -
-º-, -ºº ºs oºo… z;”
eſ; º' oºj - eve J
eſſye cºyº, soye je
ey ºf evej
cºs Jºslº, U23.
*L* -oº ºvº-
-
-
& T jºy, sejº L &tº
cºſ _U& ast; c.wº
e-Lº Gºejº Léº
- º cºstkº cºsts cºsts


P 2
108
PROSODY.
Scansion of Perfect Forms.
JUG-i- gº 294°
Jºcº cºsts cº-
ºfte º ºsº
Jºslº cºsts cº-º-º-e
ſi .*. -
Ulºs Cº-º ji=0
evs. sey olºs' 20 Jºe 3 ob eyeſſ
evºlerº --~~" ey; Lºº exº~~y.
Ü Mºs cºxº~º cº cº's
cy) **** (, As ºx *O º *Xº, cºs
---
º






PROSODY, 109
-º
Scansion of Perfect Forms.
| Ǻla's cºs > y
CŞji=" tº Jº Jº ex3. Çs"
cº-º Sºla's cº-º-, jºy
Ls exts ºf Je Lºs ej –º exº~Jº -
- -
L., exts. exts ex-ſe Cº. º.o -*;= &laj
Leyt-e Jo-º- ey-ºº: vºsº
-- -
-
u-tºº-y ls-cº-sle oºº-º-º-3 CŞj=&as


1 10 PROSODY.
Scansion of Perfect Forms.
&la's cº-º cº-º ji=0
ºf cºs ºº sº; oº eas
º crºcºpe; ºr, Gºº wºvº-
erº. Je-lº --&- woºz
Ǻlas ove” j=º
cºe LL3 _57 j= re evº
gº tºº gº º cº-
º cº- cºxº~ exº~~~~
o” cº-º cº-




- PROSODY. 1 * *
Scansion of Perfect Forms.
cºs’ cº-º jºy
Lººs ºjee jº
!”, Je o'errº ºjº
&º co-º Jºey
colºr ºx! *** Ç9; ºr gº
obº (Sºlº cºlºr. Fº
cytºct; cºsts cºsts cºsts
-
cºsts cºsts cºsts cºsts






112 PROSODY.
Scansion of Perfect Forms.
—ºr, 93-0 & & ;1 Cº. Leºyº.
--J o; &lº exº~ *, *; º
Cºx; Cºx; exº-3 cº-3
-Jººs [...exº~ *=} cº,
Jºaºº cºs Jºey
coºrs Q3- Kºlc t Çsº º G= 2
eveals cºcº e;32-3 cº-3
-
-
*** º cºsts cºsts gºals


PROSODY. 1 13-
Scansion of Perfect Forms.
- - - .
*** * ~ * * > 3’ exº -
*** **, 30-~~ (.2%
cºsts cºsts cº-3 cºsts
* *-9 -º-º-ºw -º -
Jºe's cº-3 cºsts cºsts
º Ulº- cº Jº95.
Lº Gº!. Sº gº", *@*
9- sº Gºjº ~ J| C޺ cº-" -
Lºcºls cºjº a VJ'ºs -4_yº
gºals evºs cºsts wº -
Lºcs -s cº-º -JJ'QSº cºs”
cºcts evºº cºsts cºxs
Q





1 + 4 PROSODY.
Scansion of Perfect Forms.
-
99,-(4→ ; * Gºº Jº-> *
- oº:-- J - G&Jºu: a 3-
cºsts sº cºsts ºx;
ouls Jº º os-Leº, 24*.
clºcks cº-3 Cºle's ev M-3
i- o:*** cº-º Jºey
“l el' Gº, Lºyº - r yºu
evº sºlº (sJeº (982)
- cºxs cº-3 cºxs cºcts
cº-3 93%-3 cº-3 cºcts
-




PROSODY. 15
Scansion of Perfect Forms.
Jºaºs ojºsº cº-ºw Jºey
o; eJºe 2 ºr 2 º’ wº
clºſe U-23 g º cº-G st
| o!'s Jº Jºy ºv's
ev M-3 cºx3 cºx3 cºsts
ºx3 cºx3 cºxs cºsts
'y. coºl cº _5 Ue Q = \ ºak- <-
jø oºeue cºe ºr
yº Cºe **** (s’ **
cº-3 º cºx; Jºc's -



PROSODY.
Scansion of Perfect Forms.
8 yaºs º-' cº Jºy
-
oº: tº• Cººs 2 -, -93. “sº
o-3; ºpejs tº g : -'e' ºº
cºxs cºxs cºxs cºsts
oº: Lºre; Lºcº-e Leº
& “ & ºlaºs º-' cº-º-e Jºey
**** Jºº *49*. asº cºjº Cº.
**, 3 J' ºe 3: CS2. Jº cº-
ey M-3 cº-3 cºxs cºcts
- ** 23.5', e.e.- yº-
coºlas º cº-3 cºsts





PROSODY.
* 117
Scansion of Perfect Forms.
_2^* Gºº Jºey
—'yº. Jº g” CX4Q _2 -Jū
-Lº's egº Q_s^* º j|
-jºye Cºege _le-Jū
cºsts cº-3 cºcts
--~! cºlº ºj
cº)\cts cºsts cºsts
Gº- Owº Jºey
y’s se rºle”) ºf
2, so G Jºj Cº .
>se º cºljeº
cºcts ºct; cºsts
Jºse Q-Lº ejoº



118
PROSODY.
Scansion of Perfect Forms.
-
~ ºf ok. &c. ºf
C K. : cºbº &QS &
"e-
cºxs cº-3 cºsts
ex, ºilº Pº
cºx; cº-3 cº's ($
-
• *M*5 cº-3 - cº'c's
.*. º,
wº cºxs cºsts
-- --








PROSODY, - 119.
- - -
-
Scansion of Perfect Forms. -
8 slaº cº-" Gºo Jºey ---
exº~ ej\x3 cºcts
cºils. cº'GS) *çºe'>
exº~3 cºxs cºsts
& “ 8 slaº cº-sº Ovºo Jºey
eºſcº's exº cº- see
coºlſ c 2'-º', cººl-cºe,
Gºals


120 PROSODY.
Scansion of Perfect Forms.
-º-, Ǻ cºs ejº
evº (Jº J Kº, jº evº Cºxo ºle a 3.
cº)\cts cºxº~ *-3 cºxº~
-
evº Lóey Jº- _2=ºve
-ºº &le; eºs zy”
ºrs ** &ls. Ǻy ex-JJ Çg
cºsts U \xº~ cºcº cº-
- | t; º cº- -- s - cºsts º cº-




PROSODY. £21
Scansion of Perfect Forms.
82°F (Sºla's cº cy”
exº-T2 as < *** cº-
cº º-'UºT jº Ǻ- eſſ
~ (.333-0 ** G sºo-
-
sº exº~3-9 cºcts (*) \xxx
* Gº-º “He lºse."
º
als cº-o º cºcº º ºxº~
-
<!g ºleº o';** ** cº-
* ey Lºs sºlºs's
~ *le cºol, gº-
-- - ---
cº
& Cº., ºsts cº-
º- º
R



122
PROSODY.
Scansion of Perfect Forms.
º &lar Cº-e c jº
º Ails Jū ol oly- sº
o: <!-- ©lº, Lºs Cºrº
exºt's _jtjet. ty-sº
exºle eº-ºs- Cº-º
exº~~~ <-2\cºs exº~~~



rº- Cº. rºl eve &
riseº Pºle, 3…
cº-º- ess cº-
** -
tº 2,539 &
eº- eyes cº-


PROSODY. 123
Scansion of Perfect Forms.

3' ºtº oſſop we “glº 33 y Ú
22," Jºe eºlje exº~
2', ºil- º!" lyseºsº J393
* Jºe's U2-, cºe's J-3-
º-
&ºs ºji=l cºs & Lºa”

cº, eup, ºu & eſſexeſ
co., cytºc ea. Jºy Jr. 5 * -
evey, Jºlº allels esſ,’
Gºals Jºe's Jº.
evotºs eye. Cºx, ºr

Gºals J.-- 0:2 83 * J.--

- R 2
124
PROSODY.
-
Scansion of Perfect Forms,
-** -j- e.” & “
** sºlº cº-º-º: a) gº Ue
cºlº, Qºsº cyl- J * > *- *Je
ejºkes Jºcºs **** - J ***
**q → cºyº ºº: Jºº-
eºs; Jºslºt º'e's U23-
-º-º-º-º- ºr g_º
- -
e- ºr cº-- ºr ºrje
**, *, * * *
º “les) ºr Uſºs, “jº
*alsº Jºslº, ºgº Jº-
evºlº a *%-r **** º **
*** Jºlº exe's Jºº-







PROSODY. I 25
Scansion of Perfect Forms.
23|alºe; *çº & cº-
_j'cs, colº ºGs) -º
-
--
cºsts Jºslº, ex&ts J-3.
2- (c cyj=e25% **** rºls
eºs; Jºlº exas Jº.
exes Jºelkº exels Jºcºs
&yeº. ºe';* *** *L,
ºxe's Jºsº- ºg's Jºslº-
>





126 PROSODY.
Scansion of Perfect Forms.
-º-, cº- sº a 94; Ju Çs
- - ~ cº- sº cº --
~~~~ sº-o- “...sº
cºstkº cº e's J15-8.9
Ǻla's cºs ºvº
< * cº- e; solº rºle < & ºt,
eyes escº sea ºf a *-es-,
exº~ ejeº rºles. aºu
cº-º-, -º-; cº-s cº-3
ſy G.


PROSODY. 127
Scansion of Perfect Forms.
exaº CŞyla's cºs ºvéº-
cºlº & Jº'ſ cle “º L-35
Jes cºlºgos-ºs-ºs-319-e-
º Jºs' ee,” 30-32
cº- & Mc’s cº-º-º-e cºsts
Cºleº “eº |-ºl. 89-le
º- --- - *. 3. * *
Oyºs" Q-rºo ºrs"
LL's 53 Ç$3; jº 5* evºj Jºjº -
ULs ºf es_j & Jº evºlevºe as
yº ºrº jº, cºe}
cºxs cºstkº cººks cº-tº-
Lºk Sojº Jº O'ºe-
exº~3 cºcº cºxs cºlº
-

128. PROSODY.
Scansion of Perfect Forms.
&” cº-º cº º
&T ~ 0- 0-31; º; “sº a rºle
eſſ evº! cº-s oº &e 2, eu º żº Jº
cº- -š';* **śs;- **!e
olº Sogey ºr jº Lº:
gºas cº-lº-' cº cº-lºs
pyaºs º-' cº-ºs º-'
evºle-el; G 0-2 3' eye ºf
Jºj
~
**, 3 * Lºlº º tº-yº .
**, *;éº jºla e-eyº
cºxs º cºsº,º cº º cºlºs
-
-



PROSODY. - - 129
Scansion of Perfect Forms.
--> Jºseº (*)yº cº cº-sº
ly Çsº elºs Çove *: º
5% ºeº-" (ševº, ſº
ejº cºcº cºxs cºcºs
8. slax's º*=" cº-º-e cº-sº
CŞyº CŞ* cyloº rº-Çsº -
S


- - PROSODY.
Scansion of Perfect Forms.
* - T -- * - cº-º j ar
evº" cºlº Lºst jars
-*** Qºlas &;”
eval sege ** &.9) cº-j &y Uſe
cºs' sº * jº _j jº -
evºleze * * >; Jo
cº)\cºs cº- cº-
--
cºlogo * ~s Jº
º cºcts cºs cº



PROSODY, 131
Scansion of Perfect Forms.
* * * *Tex sº
*** *-e 'exº'ſ
- cºs [3 (* 50-xx-6 exº~~~-
- - ºr'e loºte Jºe”
evº wes
CŞy" º _* º evº2= -
C޺ rºas. Peek-
cº-º-º-e cº-3 cº-3
Ǻ ºnes _º-º-º: -




S 2 -
13:
PROSODY.
Scansion of Perfect Forms.
Je's sº dº cº-exes-
Jet-sº Cº-yº º'os-
- J-sº cy!) ex= cº- sºKaº.
J-ºk'ely cºps tº
cºsts Jºsº Jº clºs
—º -j- º
cºlº L'jºy' Gº &al;
C
eºly ºccº, &le;
gºals Jºlº, Jºxº~
º94 34°49° clºs
cºsts Jºcºs lsº








PROSODY.
Scansion of Perfect Forms.
…sº ºs-
exº~ *-*.
U2'Je cº-ºj e º 'ºe &
- -
ſ Jºl jeº > -J cºs'Jº — 3
U lye C-Jojº. 34.2%
Cºx; cºcº 950-3
Le'º º ºsº,
Jººs cºcº cº-3
- ºtºs Cºo eys' tº 9 sts
º, 2 ego a cºls cº
-
º - ºlºs Q_j^0(-5yº ºUs!”
eºs oºctºrs cºsts
º, as geº (seº
- ºss sºlº cººls



6
184 PROSODY.
Scansion of Perfect Forms.
tº Jºseº e Cº.
- --
- - -- sº.
- - ºw |-oºs' Q-Cº
eºs ºsº cºsts
- Quº Jrs cº - & Joº*J
exº cºsº cºsts
- cºe |33 (~ ovo Gº tº
wºol; s’’Les" e.
exº Lºuie Lecºu
- cºe lºs' pesºs






- FROSODY. I
3
5
-
Scansion of Perfect Forms.
& “ & _laaº (-) 32- ºs- - -
ev. Q3- 3-9 as' jº &ºl. J
eval oxº ºilº o! Gº ST
~e?” -** Lic ºseſ
Jºe -º Je P sº *-yº:
Jºe -->~ & Jo O'º * -ºº olj
2-e Jºe'e Cºº
Jºcºs Jºctºrs cºsts -
tº
93--" eyecº, &sj
Jºzlº Jáclºs ºsts
-----
º º
-
-
º



136
PROSODY.
w -
Scansion of Perfect Forms.
ex: º 3 º' jº- tº jº
* *
sº º ºſe oºº-
cº-seº Gº Gºss
ex, ºe ºs- cº
U23 cº-3 cºxs cº-3
-º-, cºs ºjºs
©-o ºr cº e.g., 3 rººs
Öº cº-o-º: eº rºle
Jº cº-s cº-3 cºxs
- cy. Nº "Çe evº alcº
Jºs cº-3 cº-3 cºxº
-






PROSODY. 1.37
Scansion of Perfect Forms.
cºsº- a 5% cº-º-º:T
cº Jirº G solºel Çsº
Qsº- cº-º gº º'
cº-3 cºxº cº-3-3 cºxs
Gºv &l, QSelº, 8'º
cº-3 cºxs cº-3 cºxs
º Jºe cº-º- -jºº
º, º sºlº tº
cº-ºsts Leº;-Je
;| - its. *.
Çs'L' --> Gº º
exº~3 u15-3 cº- Jº
* <= y, zºº
eºs Jº Jºs U,”
T

-

PROSODY.
Scansion of Perfect Forms.
cº-º cº-º ºleº
rºl & Jºſeº -> *
cº-jº º ºs º-
cº-º-; Jºes ºf evº
Çyl) r_yle º re,”
&D pºle ºf reº
cºs cºxs cº-3 cºxs
CŞyle º ºu rejº

PROSODY. 139
Scansion of Perfect Forms.
& jaº evº cº -3°.
ejº cººr & Cº.
º ejº Gº Cº- Jºe -
ojº G-ºr: ** Çsº
Jº Jºc's J-3 cºsts
ojº cº-r: C*- C޺ º
Jº Jºe's J-3 cºsts
- º -
- ------ -->
- * - -
- -
- -
- - -
- - --
-- -
- -- - º
- - - -
º º
- º -- a
--
- -
-
- -
---
- - - -
-

T 2
# 40 PROSODY.
Forms of the Ru-ba-ie: º
-> <= j <=4, e3,
** Jeº e-- 0: #2 ove º
er Jeyer, gº- ed;=* -
as cº-º-, cº-º cº-
er Jºseº cºve -º-º:
a cº-º- Jº-º-, cº-
tº cº-º jiº G, 3e
J-3 Jºcºs cºsts cº-3-
e; Jºº os-ºs ºoº
83 cº-º-, cº-3 cº-º-e -
“sº cºe, º cºº


|
PROSODY. | 4 |
Forms of the Ru-ba-ie.
Jºe 9-º- slºo'ſ ecº
cº, Cº - J --J lºº
Cº. 2.10, 2.D., C.L,
& cº-º-, co-º-º-, cº-ºxº~
cº’ Gl. GS CN: jº G.sº A.
-- - º --
& cº-lºw cºsts cº-º-º-,
cºlº J19°Cº- sºlji estº
Jº Jºelke 0<=x< cº-
Gº Gº!Gº! P'º' Gº!!"
& cºelº U15-3-5 cº-º-
Gºº Gº L_9 cele co-
sº Jº Gº Cºrey Ue
* * * *; J's ºne J
escº Cºlo-Jºseºeve

142 PROSODY.
Forms of the Ru-ba-ie.
ce, oe, sº slºpe reles-
Jº Jºslº, Jº exº~
->
º
eºs º ºxº cº-
ºvers & Cº jº ºvej
* -
-
- º
U23 Jºzº cºes ºxx.
or 'Gº ovº-Je', e.eye
* - - *— - | s =º | - L - | |
- Pj- sys" — cº-ºp ou 3
* objº e := }; -º- ºg
*_2 cº-sº" CX-2 Uri's 37 ;=*_j
** Cºo j| _º çejº & as eſ
~ *L';* cº, Lºcºs
& cºcº cºcº Jºaº
6


PROSODY, 143
Forms of the Ru-ba-ie.
** UCŞya, oºl; L'eze
&; cºst. Jºsº Jº-
tº e-ºe-a ly ** ***j|
J-3 cºxº~ cºsts." J_*
- (*o-j ºsey’ſ ºl
& Cº., cºsº Jº-
Jºº & LJe reºſ y Jºe
Jºe Qºs' 2 53 *D _3 cº-º ºvºo
*35- sº yo co-e J' Cºº's ye
jº sº, Çsº rºl; &5 & eſſ
34 –LJe rºle Cºve
Jº Jºslº Jºlº U-23-

| 44 PROSODY.
Forms of the Ru-ba-ie.
Cº- Cº-eye cº-jºº Pleye
Jº Jº Jº cº-
J/53 Cººgle, -jº a yºu!!
Jº Jºlº cº-º- Jº-
LU evil gº tº ex; a 3T GS
_L ove & Joye ** *** }
Je ** º 2. Jº as a * s
Jºe ex: ; ; c. sºlº cº-
LU <!;=* res. “"cs.
Jº e-rºu evee, sº
&G cº-º-e Jºel J.--
Je. £rº e º ºs-
Jº Jº-tº-e Jºlº U-23-
J's Jºe: “yo-e Jº-
83 cº- Jº-º-; Jºº-



PRosody. 145
-3ºx= o::= Ovel», Jºey —ººs Cºla's &;”
Jº Jºº cººls cºsts cºxº cº-
cº-3 cºlºs cºsts cºc's cºsts cºcº
Jº cle : Ǻ *- (*~ & 25 CŞy - CŞ
* > 3’ &= * j, J-84; 3 ºr jº
(las-Jº. 2 (SºT &= cº- º 23 (62.54 *
les-jº º GS 29- - De U3'-º', ; &º a ye
Lº -i- 2 < * * ~e oº eve 2; ºil ºst
Le JV: _º Ǻle &J Çsº 3. QS 5°Nº &s-
The foregoing Ode, by Sheikh Fizee, may be read in four dif-
ferent measures, as above described.


|
PART III.
- - R H Y M E.
º
º










TJ 2
PART III.
OF CA - FE-1 E. H.,
R H Y M E.
Cá-fe-yeh asts is derived from 233 following another; and it
is so called because it is used at the end of hemistichs or distichs, in
different words, to complete the rhyme.
The conclusion of the C6-fe-yeh is the last quiescent letter that
occurs in a verse; and it is preceded by one or more accented, pre-
ceded by a quiescent, preceded by an accented letter, as in the
words &5. e and Q&º in the following distich :
GSjºle Qº-º * cºs) Je
Gºv. 5; cº- º' cº CŞy'e
This rule is from Kháleel Ebn Ahmed, upon which Ukh-fusn
remarks, that the Cd-fe-yeh includes the whole of the last word of
the hemistich or distich.




lso RHYME.
Some again pretend that the final letter only is the Cá-fe-yeh;
and although this is partly true, yet it is liable to objections, which
will hereafter be produced.
The fact is, that the Cat-fe-yeh has determinate letters and accents,
distinguished by appropriate names; and which are to be managed
according to rule, in order to obviate irregularities and defects.
Earplanation of the Letters forming the Cá-fe-yeh.
It is to be observed, that the Re-wee C &º is the basis of the Cá-
fe-yeh or rhyme, which cannot exist without it. Re-wee is the
last quiescent letter of the rhyme, and other eight letters are united
to it, four antecedent and four subsequent—the four antecedent are
1 –30 / 2 cº 3 gºlj 4 Jºse and the four subsequent
I Jºe: 2 a 5- 3 cºjº 4. Usy
Of the Four Letters that precede Re-wee.
1. Ridf Go y implies either the letter quiescent, preceded by a
letter accented with a Futteh ; or 2 quiescent, preceded by a letter
accented with a Zum ; or Qg quiescent, preceded by a letter ac-
cented with a Kussir; that is, whenever either of these three letters
precedes the QS y as in the following distichs of Se-nā-ee:
6








RHYME. - 151 -
o 2-6-2 . -
gº-J' oºº-ºo-
• a 2 -
lºny J'e fºr yle rºseſ
In the first distich, o is GS3–0 and is Goy-in the second
distich, U is C& J and , is Gov-in the third distich, U is gº
and QS is -ey -
But if after the S-3cy two quiescents occur, such as cºlº and
cºsts or ev.º and evºº, or ex=y and º in such case
- some of the letters following the Gey are included therein, and are
called Cºlj –30 / or redundant Ridf; but Nasser-ed-deen Tou-see,
in his treatise called jºx|jºx's includes these letters in the GS3)
and calls them — clºs GS2 y or redundant Re-wee.
In Persian the 3 and QS Ridf have both C332-, or open, and
|, ºs-“ or sharp pronunciations. The first --> or open, is
U ºw-
when Zum preceding , and the Kussir preceding GS is & Cº. OT
lengthened, as in the words Jºe and 23 and cºe and cºs
The second Jºãº or sharp, is when the pronunciation is not
lengthened, as in the words L25 and _2^ and Cº. and cº-s!
Ancient authors have used them both together, as in the follow-
ing distich of Se-nā-ee:







sº - - RHYME.
*T 3: ; J- Cº- 2 -
esſ ye e.g. , 2-Tº
º, ºn 2
The Kussir preceding the letter Q & in the word jºy. is open,
and in the word ſe is sharp. In the following distich, the Zum
preceding _2 in J1,3 is open, and the Zum preceding 2 in T. * is
sharp.
_3= Gºj Jºe 2 - T5–4.
Jº Jº Je 2 ºr “”
The letter softened into Ge JCS or QS Quiescent, preceded by
3. Kussir, when it immediately precedes the Q_j is not sounded
open; as is exemplified in the following distich :
2. Ki-ed exº is any quiescent, excepting the Ridf and 2 and
Qg and which are also called cº-5- or letters capable of ex-
tension; in the following rhymes, the last letter is Re-wee, and the
* * is Ki-ed : thus eve and ey-y and Jºº-º-
and cº-es-3 and cºs" ejº and * D- º and $º-yºs and jº
--
→as and yaſſ-Jºs and Jºº-yº and j” 3– ** and ºs--
- re and 3.5–º and Cº-ºº: and jº And in Cá-fe-yeh, a
difference in the letter Ki-ed is allowable; as in the following dis-
tich from the Gool-shun-ráz :




RHYME. 15.3
Jºe & 9 ye oº:: & exile a.º.
Here in the word jº- the Ki-ed is r and in j** it is & In such
case it is proper to preserve the & j=º --> or proximity of utter-
ance; as in the following distich of Sady:
j= ** > * * ****
Here j= and j4% have a proximity of utterance; the one from
the top, and the other from the bottom of the throat.
3. Ta-sees O.A.G or the quiescent preceding the GS 29 between
which there occurs an accented letter called Jºse as in the
following rhymes: Jºs and Jº-Jº", and Jº-Jºlº and
Jºlsº - -
- º
It is allowable for the Jºse letter to be different, as in Jºls.
and Je's
º
And in rhyme Oºty as a kind of º Lº ºº; or one of those
unnecessary things, which an author, by introducing, obliges himself
to continue; thus ,< will rhyme with jº-J4. with Jo
—Jºlº with Jºy




154 RHYME.
The Letters which follow the QS


1. Wussel J-22 is the letter which immediately follows the Cº.,
as “g in the last hemistich of the following distich:
cººl, Laºſ & sº
- Çsº Jºey'º-ee--_33 Jº
And the letter s in the following distich :

sex & 23 JSU aſ X
se-2 * >= x=* Ue

The J-22 letters most frequently used are q9eva’s “gº or verbal
QS and CŞ;& CŞū or Qs indefinite; and cºllas- CŞū or “g in
the second person singular; and rº- jº * or * of the first
person singular; and -lat-sº (gly or e of the second person
singular; and e-gº jº cº, or 0% in the third person singular;
and a .5 >TJºë's Gºlº or final s not sounded, such as allº and
&JU and QS years ºf the verbal gº as oºge and cº,
2. The letter Kherooj a 5- immediately follows the Jºe, such
as a in the words re; and -e);- and the letter gº as in
Q-sºo and G-coº- and the letter sº in the words cº-soº
and ex-soº

RHYME. 155
3. Ma-zeed ejº is the letter which immediately follows the
zº- such as Cº- and Jºey
-
4. Nú-ye-reh sº is the letter that immediately follows the
e;” such as Cº. in the words Jºey and Cº. op 3- and
whatever letter follows sº is accounted belonging to it.
-
Positions of the Cá-fe-yeh Letters, in relation to the Re-wee.
- --
G$5.2
Following the Re-wee. Preceding the Re-wee.
4. 3 2 1 1 2 3 4.
The Accents of the Cá-fe-yeh Letters.
The accent over the letter immediately preceding the QS2 y is
called Tow-jeh Aº and in the rhymes, any difference between
the &^-57 is not allowable, excepting when the GS 3 J on account
of its connection with J-2 partakes of its accent, in which case a
difference in the accent preceding it is permitted, as in the follow-
ing distich of Sády: º
ſh
X Z




156 RHYME.
- The accent on the letter preceding -so y and ºxº is called
Huz—we 23- The accents of 23- are a S follows: when the Gey
is then _3\e is Futteh; upon , is Gey the accent is Zum ; and
when Ç is Goy it is Kusser. And CA$ has also three variations
of accent, as has been already explained. In the 29- of 3cy J
no difference is allowable, but it is permitted in cº provided
GS 5–0 is accented, as in the following example from Kemál
Ishmāeel:
-
--- - -
* * * * *
º e; e.g. -37 o' j| so go jo
The Futteh preceding Oºty is called Rus Cºy and the accent
over Jºsio is called Ish-bda 84% When the “g 2 y is accented,
a difference in the gº. is allowable, as in the following lines of
Sády:
º, J'ſ sº := -$5 slºe'ſ CŞ
*
º CŞjº. & Y rºle cº; ; : oº: L.
When the GS 2) is joined with the letter J-2» it is called Muj-ré,
CŞjºs” as the Kussir of the letter J in the above verses of Sády:
-->

RHYME. 157
The accent of the letter J- when it is joined with &_25-is
called Neºfaz 333 which is the term also given to the accents of
zº-andº
- ºn ºn º º
Nä-ye-reh sºli is never accented. -
Jº - o or nº ºn
- -
- - - -------
Baplanation of other Names given to sº, y and easts
º -
When < y is quiescent, it is called Re-wee Mo-keyed Q_
cºs as o in the words o-,- and cº-" and when by its union
with Jºe, it obtains an accent, it is called Re-wee Mut-luk Çs,
-ºla's as o in ** and *** and either of these two kinds, if
not united with any Cd-fe-yeh letter, is called Mo-jur-rud e;="
but when it is united with any Cd-fe-yeh, it assumes the name
thereof. So that exºs QS 29 when single, is called e;=**** QSy
and when united with the Goy it is called Gojº cº-e GS:-
or Re-wee, united with Ridf, &c. -
The different Kinds of Cá-fe-yeh.
There are four kinds of Cá-fe-yeh, viz. 1, Ca-fe-yeh Mo-jer-
rud-eh sex= Asts 2, Ca-fe-yeh Mo-rud-duſ-eh &ers easts
3, C4-fe-yeh Mow-usse-seh Cºasts 4, Cafe-yeh Moo-se-
leh &\º & [3



j 58 RHYME,
* : * ~ * ------ -- tº --
* -- ~ lºſiº tº ºf ºil it tº st
- - - - -
on Of the Defects in Cá-fe-yeh. ºº
-
º
l
-
1. When Q3 2 9 in one word is quiescent, and in the other is ac-
- -
º - - -
-
cented, as in the following distich of Hāfez, º
- - G==&Geºſts’ jJºſeº
---
--- -
--
this defect is called Ghoo-loo _2^* If the letter Jºey in one
word is quiescent, and in the other accented, it is called Bo-dee
--- - - - - --- --- ---
- - -
-
º . ſº a tº dº.
2. When the Tow-jeh Asº in the two words are differently
- - - - -
* * * * * *
accented, it is called Uk-wd (g 23| which has been exemplified
under the head of Tow.jeh & 53
3. A difference in the ‘g which is an unpardonable error,
although some admit it, when the Re-wee in one letter has an
Arabic and in the other a Persian letter; or when the two letters
have a proximate utterance, such as Cºd and Cº- and º, and
e.V. —zºº and sº, and sºlº and O'Lº
But even this is in general disallowed. This fault is called Ik-fé
U. T
-
4. Disagreement in the Gey which is allowed by Arabic Poets,
but in Persian is absolutely inadmissible. The Arabians rhyme
Jº- with Jº; and gº with Lº and such like.


RHYME. 1.59
|
5. Disagreement in the letter CA3 on account of distance of utter-
ance, such as rhyming jº and j-i-oje and cyc, which how-
ever is not very vicious, and has been used by several Poets.
6. Disagreement is the & Lºſ * when the QS 2 y is cº- such
as Jºb and Jºlsº
7. Disagreement in the jºs such as –)153 and J139 The three last
kinds of defects are called Se-nād eylºn
8. Ee-ta (aſ in Arabic, and in Persian Sha-ye-gon Colºlº, is
repeating same word in verses in one sense; but when it is re-
peated with different significations, it is not called Ee-ta, being of
the nature of Tuj-nees oº. Ee-ta is of two kinds, 1 Khe-fee,
and 2. Je-lee.
º an ºg hºod bºº
1. Khe-fee C-3s is when the repetition is not striking, such as
Gle and tº or cº- and eleyº &e
2. Je-lee Cº- is when the repetition is apparent, such as
Cººey jºy and &l= Ot ;& and 23 *3 &c. And such as
and Q occurring together in the words oly', and cºe and such
as Gº and 9 in the words cº and 94 y_j and such as tº in the
words (43 and tgau and such as ejº and erº and co-Kº and
* >
- * * , - - - º -
* See page 156, line 14.
6




#60 RHYME.
This second kind of Ee-ta is very inelegant, and can never be
admitted in the same distich; but after the intervention of some
distichs, it may be allowed in a Ká-see-deh or Ghuz-el or Ke-tad.
9. Tuz-meen gº.º is when the sense of the rhyme rests upon
- - what is to follow, as in this tetrastich of Ameer Khusro :
ºil . X| cºlº º |; Ú-º- Jº
ÜJºſſ 922 aº jº º ºs- º
º º -- º -- - - -- - º -
L J, tº a 5 aſ ** G
- - - *. *54 - _5 GS * > Gº --º º
10. When the rhyme of a Ká-see-deh or Ke-tad undergoes a
change, and which is a very great deformity, unless the alteration is
- - º - º
designed and pointed out, as in a Kā-see-deh of Sheikh Azoo-ree,
beginning thus:
º -
Leś , Lé Cºey'J'aºlº jºi --
After some distichs, he then points out the change of the rhyme: -
ºs - - - - ºil. ... -
ºsey; Lºſ -g Laºs's sº
..". L. º.º. - --
& \ºl so .s- og_{3 & 12-3,
ſºl sojo jºj j| 'ser' U Nº. --
–"J -- J% ~) * 3. º º º - -





RHYME. - 161
11. Tuk-rár Cafe-yeh Má-mool Us.” assuſ, 3 or repe-
tition of the Mä-mool rhyme. The Mā-mool rhyme is formed
either by separating or by compounding; the latter, as in the fol-
lowing distich of Hāfez:
cº 8jº _5 gº
j923 & 4 Gººs j <e5° & 27
The Mut-ld of this Ghuz-el is
Jº &lº, solº j' ***
Lyº &ls & Ls Gº
And also in the following tetrastich of the author of this treatise:
- - J º *. *.
exº~Ly: Qº 3- cy &J &;’
cº *::: __3° J 2 Gº j?
º —º-oººoºo-ºº:jeº
The other kind is when a word is divided into two parts, one of
which is made Cá-fe-yeh or rhyme, and the other becomes -ºcy
as in the following tetrastichs of Shums eddeen of Delhy, the
author of this treatise.
ey! JU - ºlº s' Jes;”
ey! Jº 2 vº Ue
easy **; ºye eſſay as
ey jº eye- cººl ºxº
Y. -

- 162 RHYME.
- Both these kinds, when skilfully managed, are great beauties in
poetry; but when repeated, or introduced injudiciously, become
deformities.
-
Of the Distribution of the Cá-fe-yeh, according to the Measure.
Khá-leel Ebn Ahmed has limited the Cº-fe-yeh to two quies-
cents, as has already been intimated in the commencement of this
treatise ; and, according to this rule, Caife-yeh cannot exceed four
kinds.
1. When the two quiescents occur without any intervention, as
in the following distich of Se-nā-ee: -
oº - - - -
--
º
- jºr ex-gºve serſ
This kind of Cá-fe-yeh, is called Mo-ta-rá-dif' -eyº
2. When the two quiescents are separated by an accented letter,
thus:
--~~~ C޺ 2 y -ºpe
e;- 5' cº- > g. :
This kind is called Mo-ta-wd-tir, jº X-9
6 -


RHYME. - - 163
3. When two accented letters occur between the two quiescents,
as in the following distich of Khá-cánee:
Lºet, e. el; Jo Cºlle ;) --Al Ue
The letter e in U.e., in scanning is accented. This kind of
Cá-fe-yeh is called Mo-te-dá-rek JoJº,
4. When three accented letters intervene between the two quies-
cents, as in the following distich of Se-ná-ee:
JJD y_j & eº;
This kind of Cá-fe-yeh is called Mo-te-rd-keb -1!”
Mo-te-kó- wus Qº 5 KX's is when four accented letters intervene
between the two quiescents, which is common in Arabic, but not
allowable in Persian poetry.
Of Re-deef -ºcy
Re-deef signifies an independent word or words which are intro-
duced at the end of hemistichs or distichs after the rhyme is com-
pleted, as in the following distich of Ze-hoo-ree:



Y 2.
164 RHYME.
zerº Ǻak at , Le
29,3&ºys Jºels- &-
According to Nás-Seer-ed-deen Tou-see, the Re-deef is a repeti-
tition of the word without any variation of the sense; but it may
be used throughout a Ka-see-deh, either with one, or with various
significations.
All, excepting Nás-Seer-ed-deen, agree that the Re-deef ought to
have a signification in itself, independent of the rhyme. And it is
allowable for the hemistich to be composed solely of the Ca-fe-yeh
and the Re-deef, as in the following tetrastich of Jami:
Cº-> y º Jeji=**_e e-
*}_ -jº- º *** es' G
Cº-ºp' egº Ue ſº *_<!
Any change in the Re-deef is not allowable, unless the intended
alteration is pointed out, as in a Ká-see-deh of Kemál IS-máeel,
beginning thus:
CX-9 | cºlº &_Y Pºe ce, sº
After some distichs in the Kā-see-deh, he thus points out an al-
teration of the Re-deef. -


RHYME, 16s
Jºº.º º Çsº-J Us jº J
Há-jeb -->> is that kind of Re-deef which is introduced be-
- tween two rhymes.
-


INDEX OF TERMS EXPLAINED
PAGE
loºl 78
º 91
º U2','e' 54
-j- 91
e;- Q1
&J|<\! 91
J3.0 Uº y 47
76
... ( .
O 9 J 77
JJ j| 91
sº 51
splxº~! 58
cººl 154
gº! 91
GUCŞ, 8.
[…, 70
IN
THIS WORK.
Jºel 76
el,- 51
cºlºc' 14
-5,- 44
CŞ53 158
U. 1 156
cºlºſſ 56
**PU: 52
º Ol
Ula, 157
rºl 34
* º 66
jº 9.
&\; 1
facs
C޺- &Q- 34
- --9
SING. *: 79
PLU - º
U24. exel, 61
(SCA-4 156
º 4.
à_G 33
Gº” G 1 5 I.
cº, Jº Cº. U 39
C
Jºſeº 26
㺠43
jLaſ Jºlsº 42
-- 5
O*:X=''

168
INDEX.
*&s;
exº~~~);
ºple;
\-83
y
& iſy
&ºe;
U}}
- - - --
sº &”
- ---
- - - - - - -
-
&J
-º-º:
*}
jº
&laº
2."
PAGE
3O
30
3O
pace |
*~23 15.5
&_º 34
Jº 76
15 gi
Q--> 91
9. Os- 91
*—
P.A. G. E.
cº-ºs- 91
-j- 91
-j- 91
a 5-153
c - 155
Lººs. 28
cºlj Cºlce 3
clºse 8O
cºsº 81
ſ 4
80
cº-ºw
-- 1.
88
-> Uj
53
60
46
67
4. 79
jº si



INDEX.
P.A. G. E.
cºs ſº Q_j 11
JON-2."
Goly 148
Sº
-ºo-yº 2O
I64
O”.) 154
-Ulaş J. 28
81
º
& sº
81
j
****, 3,
cº GS 2.9 1 5.5
-ºla's QS 155
**śy 1 5.5
JJJ 91
º 70
Q-ºw 7 6
... , 9.
&= \,,
8O
8 I
&;” &
P A C E
--> U," 40
cyloc X| – Lºs 46
jº, 91
5* 65
Jºº. 91
_j\ºo 78
-yº 78
79
* ,
<!- O1
CŞy's 1
( 66
O429 yS-
‘5) & 7s
o’s 26
,, . "
& 15s
* > * 70
&\,23 76
cy-3 6
86
*
jº _5 J 44
&J Lºs 43
Sº
-0|\º si



170
* A G. E.
ol.3× 59
-
80
…) 81
l,
cº-c 15
ÇSº 4
_jlsº 58
\ 80
cº-sºº 81
Q 85
<\cºs^* 3
& 29-" 91
C޺ 155
cºcº'ſ Jºs' 36
-º-, 91
cºst 91
CA-6 73
zººs 3
**** a’s 51
PAGE
Geºs 19
--> 79
*}~ 153
8 yes 2
~~ Q1
-º-º: 91


INDEX.
171
PAGE
sy! 153
cº o: 67
j= 91
CŞUJ 155
;3|2 70
-*
*…a 2'-º'- 70
*… colº 2 × 70 -
-ºlaeºlº 69
Cº.; 76
Jºa, 152
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and ſome Chapters of the Goſpel of St. Matthew, with Notes by the late William Chambers, Esq. all in Perſian,
with Engliſh Tranſlations. By FRANCIS GLADWIN, Eſq. of Calcutta. In one volume royal quarto, hot-
preſſed, elegantly printed in the new Talik Type caſt by Figgins for Wilſon and Co. of the Oriental Preſs, and
illuſtrated with 32 Plates, containing exact Imitations of Perſian and Arabic Manuſcripts. Price 31. 3s. in boards.
ſº. This Work will be found to contain every requiſite inſtruction for thoſe who may wiſh to obtain a
thorough knowledge of the Perſian Language, and to render the moſt difficult hand-writing perfectly familiar.
The BAKHTYAR NAMEH, or Story of Prince Bakhtyar and the Ten Viziers, a Series of Perſian Tales;
from a Manuſcript in the Collection of Sir WILLIAM OUSELEY. Perſian and Engliſh. Elegantly printed
in royal 8vo. Price 14s. in boards, ſº A few Copies of the Engliſh Tranſlation may be had ſeparate.
The Tootſ NAMEH, or Tales of the Parrot; in the Perſian Language, with an Engliſh Tranſlation.
Elegantly printed in royal 8vo. hot-preſſed, the Perſian Types by Vincent Figgins. Price 18s. in boards.
ſº. Of this Work it would be almoſt a ſufficient recommendation to obſerve, that it is one of the valuable and
numerous Publications of the celebrated Mr. GLADWIN, and that this Edition has been undertaken in con-
ſequence of the impoſſibility of procuring a copy of the original in this country, and the difficulty and delay in
getting one from Calcutta. It will be found equally entertaining to the General Reader, as intereſting to the
Orientaliſt, and peculiarly inſtructive to the Student of the Perſian Language. The ſubjećt turns principally on
Gallantry, the plots are managed with ingenuity, and the narrative related with delicacy; and the whole affords
a very curious pićture of Aſiatic manners.
The PRINCIPLES of ASIATIC MONARCHIES, Politically and Hiſtorically inveſtigated, and contraſted
with thoſe of the Monarchies of Europe; ſhewing the dangerous tendency of confounding them in the Adminiſtra-
tion of the Affairs of India. With an attempt to trace this Difference to its ſource. By ROBERT PATTON, Eſq.
Governor of the Iſland of St. Helena, and Author of an Hiſtorical Review of the Monarchy and Republic of
Rome, 8vo.
A DICTIONARY, ENGLISH, PERSIAN, and ARABIC. By JOHN RICHARDSON, Eſq. M. A. F.S.A.
of the Middle Temple, and of Wadham College, Oxford. In 2 vols. folio. Price 161. 16s, bound. -
PERSIAN LYRICS, or Scattered Poems from the Diwan-I-Hafiz; with Paraphraſes, in Verſe and Proſe; a
Catalogue of the Gazels, as arranged in a Manuſcript of the Works of Hafiz in the Chetham Library at Man-
cheſter, and other Illuſtrations. By the Rev. Mr. HINDLEY.



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