They read in Arabic:—
‑ ⏑ ‑ ‑ | ‑ ⏑ ‑ | ⏑ ⏑ ‑ |
Kána lí kalbun a’íshu bihi
‑ ⏑ ‑ ‑ | ‑ ⏑ ‑ | ⏑ ‑ |
Fa’ktawà bi’l-nári wa’htarak.
If we compare this with the formula (iii. A. 2 p. 283), we find that either line of the couplet is shortened by a foot; it is, therefore, majzú. The first ’Arúz of this abbreviated metre is Fá’ilátun (‑ ⏑ ‑ ‑), and is called sahíhah (perfect) because it consists of the normal third foot. In the second ’Arúz Fá’ilátun loses its end syllable tun by the ’Illah Hafz (suppression of a final Sabab khafíf), and becomes Fá’ilá (‑ ⏑ ‑), for which Fá’ilun is substituted. Shortening the first syllable of Fá’ilun, i.e. eliminating the Alif by Khabn, we obtain the third ’Arúz Fa’ilun (⏑ ⏑ ‑) as that of the present lines, which has two Azrub: Fa’ilun, like the ’Arúz, and Fa’lun (‑ ‑), here, again by Khabn, further reduced to Fa’al (⏑ ‑).
Ishak of Mosul, who improvises the piece, calls it “so difficult and so rare, that it went nigh to deaden the quick and to quicken the dead;” indeed, the native poets consider the metre Madíd as the most difficult of all, and it is scarcely ever attempted by later writers. This accounts for its rare occurrence in The Nights, where only two more instances are to be found, Mac. N. ii. 244 and iii. 404.
The second and third circle will best be spoken of together, as the Wáfir and Kámil have a natural affinity to the Hazaj and Rajaz. Let us revert to the line:—
⏑ ‑ ‑ ‑ | ⏑ ‑ ‑ ‑ | ⏑ ‑ ‑ |
Akámú ’l-wajda fí kalbí wa sárú.