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Michael Adeeb said:" ancient and recent prosody books lack the analysis of the mental process which enabled AlXalil to achieve this mathematical summit feasible only to the genius"
Maling, Joan Mathilde mentioned in her thesis"The theory of classical Arabic metrics"
These two statements exceptionally point to al-Xalil's thinking and system, unlike the general attitude of the vast majority of Arab and non Arab scholars.
Besides giving an idea about numerical prosody, I hope to clarify my conviction that there will never be new Arabic meters outside AlXalil's Meter Clock, just like there will never be new elements outside Mendeleev's periodic table. This is based on the the hereunder proved concept that Arabic meters are parts of a mathematically designed architectural structure. The feet (tafaeel) are parts that were designed to fit in that structure. The introduction of any new part or the use of the existing parts against the system instructions will spoil the rhythm.
This subject is based on the Arabic origin: https://sites.google.com/site/alarood/r3/Home/daleel
Being aware of the various backgrounds of those who may read it, I will try to make it as easy as possible.
I always express my opinion that the metrics of Arabic poetry is a precise manifestation of the mathematical nature of Arabic rhythm which can be viewed as a program followed by the Arabs subconsciously.
Arabic prosody as a science was started and completed by AlXalil Ben Ahmed. One of the greatest mentalities in History. He produced it on two scales:
the 1st is the general Abstract mathematical scale, on which the only left the key for its door is ( the circles) . He did not elaborate on it because people were and still are not ready to understand it. The circles were inviting people for centuries to use them and enter.
The 2nd is the detailed mnemonic special sets of rules each of which is applicable to one of his 15+1 meters. Needless to say that all these partial rules are just resulting subsets of that program.
Here are some preliminary definitions.
consonant = c ,
short vowel = v
Long vowel = V or vv
cv= 1 (bu in but) called in linguistics short syllable (s) ,light syllable (l) and indicated by / or u. 1 is analogous to unstressed
cvv =2 like (ma –n man) called in linguistics long syllable (L) or heavy syllable (H) indicated by (/0) or _
or cvc like (but).2 is analogous to stressed.
When it comes to Arabic prosody, there are two prosodic syllables
2 called sabab = cvv = cV or cvc
3 called wated = cv – cvc and cv-cvv/cV = 12 every 12=3
They are defined as “Sabab” (the tent-rope) is composed of two letters, a vowelled and a quiescent consonant as “Lam.” [ or a consonant and a long vowel " laa=lA لا"] The “Watad” or tent peg [or mountain] of three letters a foot in which the two first consonants are moved by vowels and the last is jazmated or made quiescent by apocope as “Lakad لَقـَدْ " [or a long vowel cvv = cV as halaa =halA هَـــلا]
They form the special basic vocabulary of the special Arabic poetic metrics. 2 is the same as defined above.
Thou 3 = 1 +2 = This monolithic prosodic syllable 3 composed of the inseparable couple of accoustic syllables short 1 and long 2 (12) characterizes Arabic prosody. Remembering and considering this particular unique prosodic syllable 12=3 as one unit is a MUST to understand and feel Arabic meters the way an Arab does
Short vowels are not counted for our purpose.Only consonants and long vowels are counted.
Sabab counted letters =2. Watad counted letters =3 the number of letters is the symbol.
(f a ' u = 3 ) ( l u n = 2 ) fa'u = 3 lun =2 fa'ulun = 3 2
Mutaqareb = fa'ulun fa'ulun fa'ulun fa'ulun =3 2 3 2 3 2 3 2
Following are two other shapes representing the same meter
Let us move to another meter Hazaj
We may add up even numbers
Hazaj = 3 2 2 3 2 2 3 2 2 3 2 2 = 3 4 3 4 3 4 3 4
Ist rule : added even numbers (sababs) and the odd 3 (wated) alternate. There is no 3 3
Let us compare the patterns of mutakareb and hazaj syllables
and with some coloring
here we may see the roots of Arabesque
This calls for the evaluation of the relation between audio and visual rhythms.
crossing out such a probability closes the door of expected beneficail repercussions. Most important result is the confirmation of Malinge view that AlXalil's system is the only basis for an adequate description of Arabic verse.
One may ask :" Is the poet aware of these artistic dimensions ?"
The poet especially the ancient was not aware, nor he is supposed to know; his innate sense of this mathematical or engineering program subconsciously guides him. The bee is guided by the same sense.
It is the role of the scientist in both cases to study and discover this program. As a matter of fact this innate program guides other creatures. Consider this resemblance between this flower and Kamil meter.
This justifies looking foor a poetic ratio analogous to the golden ratio.
The rest of this subject will enhance this impression.
Mutaqareb and Hazaj having a degree of similarity, interfere to produce a new meter ,Taweel
As you see we have three patterns resulting from the alternation of 3 wated and an even number 2 = sabab 2/22=4 two sababs as shown in the table at the bottom right of the above shape. this relation represents not only these three meters but their circles as well, which covers 8 meters of the 16 Arabic meters.
We mean by circle the meter alternating numbers distributed on the perimeter of a circle. each number represents a probable start of a certain meter as shown in the following three figures
Every syllable on this clock is defined by its circumfurancial and diagonal position. This reminds us of Latitude and longitude lines. the two dimensions of the sabab 2 define its metric characteristics.
Taweel as an example to be compaired to its syllables in the clock
Let us develop our symbols so that only capital letters will count. All small letters are short vowels which do not count in Arabic since a short vowel sounds deeply united with the ever preceding constant
In the following two shapes, circle C has two layers of perimeter defining two different behaviors of that circle :
The internal blue layer in which the two homogeneous circles C and A shared the production of circle B . 50% of its pattern (genes) coming from each circle ( 3 2 ) from A , ( 3 4 ) from C
The double-lined red layer beyond which circle C alone gives birth to two new circles each produced as a result of a change (similar to genetic jump) in one of its two constituents 3 and 2
A change in a specific 3 of circle C produces circle D
The relations expressed in these two circles are expressed in the following table:
RaJaz and Saree' are the fourth couple; Razaj = 2 2 3 2 2 3 2 2 12 Saree' = 2 2 3 2 2 3 2 2 21
The Numerical symbol is the number of consonants ( C ) + the number of long vowels (V)
Small vowels ( a, o/u, e/i ) do not count since from an Arabic prosodic point of view the are included within the consonant they follow.
To help visualize that in detailed scansion, counted letters will be written as big letters; short vowels will be written as small letters.
Ba = Ja = Li = Cv = 1
B = J = L = C = 0
BaL =Cv C = 1 0 = 2
JaBaL (mountain) = 3 = 1 2 = 1 1 0 = Cv Cv C = where Cv =1 , C =0
At circle C, this iambic wated 3 = 1 1 0 = 1 2 at arm 9 in the previous shape, at arm 8 in the next shape changes its structure from 110 = 12 to 101 = 21= 3 trochaic wated. and thus in the following shape, the metric symbols at 9 + 8 + 5 of circle D = 2 1 2 where :
2 1 = 3 = wated mafrouk ( trochaic = - u )
1 2 = 3 = wated majmoo' ( iambic = u - )
Both together form the unique wated twin 2 1 2 at this location of this circle. This formation 212 is fixed and any change in it spoils the meter.
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Circle E resulted from circle C by another change which took place in the first 2 of each 2 2 where it changed from 2 to 2 on arms : 2 - 11 - 5
where 2 may be11= (2) =CvCv or 10 = 2 = CvC = CvV . 2 is known as khababi sabab
Rajaz and Kamil are first twin.
Hazaj and Wafer are second twin.
Ramal is not part of a twin. becuase it has 2 3 ( not 2 2 3 ) in the beginning.
the extrapolated twin 2 3 2 2 3 2 2 3 2 is not allowed in Arabic poetry.
2 and 2 3 do not coexist in the ( hashw - internal portions ) of any meter.
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All Al-Xalil's 15/16 meters are composed of sabab 2 and wated 3 according to the patterns in the clock circles, with circle E having 2
Khabab is an indepentent pattern composed only of khababi-sabab 2 with no watad 3. Being free of wated this 2 is free to have any of two its two forms: 2 = 10 and (2) = 11. From this Arabic point of view, the following feet all belong to Khabab ( galloping) :
pyrrhus = u u = 11 = (2) or =2
spondee = - - = 2 2 or = 2 2
dactyl = - u u = 2 (2) or = 2 2
anapest, = u u - = (2) 2 or = 2 2
In Arabic khabab any 2 and any (2) may replace each other since both of them are equivalent types of 2
The symbols in the following table indicates that this applies to Sanskrit prosody of which I have no knowledge.
https://books.google.ca/books?id=m7UIAAAAQAAJ&printsec=frontcover#v=onepage&q&f=false
In French poetry, meter is determined solely by the number of syllables in a line.
Dr. Ahmed Raja'ee says it is composed of what is known in Arabic sabab 10 = 2 units. that is khabab in Arabic
this youtube demosnstrates that.
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What is the relation between khabab and Xalil's metrers ?
The following introduction is necessary to answer that question .
Quotation from : https://www2.bc.edu/~richarad/lcb/fea/tsurin/compmetrics.html
" English is a stress-timed language, French is syllable-timed. Poets in both languages made efforts to import the quantitative metres from classical Greek and Latin. "
These are three main types of prosody
Al-Xalil's meters are composed of 2 and 3=12 . In a way they are similar to the classic Greek and Latin metrers . Khabab ( galloping ) has no wated 3. The symbol 1 in khabab is always combined with another 1 to make together 11 = (2). Khabab in the form 2 2 2 2 2 2 is similar to the French prosody.
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لإ
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http://samples.sainsburysebooks.co.uk/9781118894125_sample_948142.pdf
Charles O. Harman in his book : Verse an introduction to prosody - page 87 :
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To be continues by the will of Allah.
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[1] Arabs concentrated on the detailed rules of al-Xalil not fully aware of his system. Westerners in general thou they have the system concept , yet they could not avoid the restrictions imposed by the concept of the short 1 and long 2 syllables being ultimate and non-bypassable.
These two linguistic acoustic syllables 2 and 3 are the two pillars of Arabic prosody.
Since 2 is the same in both acoustic and Xalil's approaches, one may deduce that the only difference is limited to the wated 3 that combines the two acoustic syllable 1 and 2 in one entity.
That is perfectly true. 1 and 2 as two short and long acoustic syllables are capable of describing the rhythm of any verse including Arabic. With some elaboration, they are capable of properly outlining the rules of quantitative prosodies : old Greek and Roman.
Isn't Arabic prosody quantitative as well? It is; but that is the minor part of its combined nature. Arabic prosody is both qualitative and quantitative. The qualitative part supersedes and controls the quantitative part. Wated means tent peg. It also means mountain. It plays In Arabic prosody the same role mountains play informing earth topography.
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