While the Hazaj and Rajaz connect the third circle with the first and second, the Ramal forms the link between the third and fourth Dáirah. Its measure Fá’ilátun (‑ ⏑ ‑ ‑) and the reversal of it, Maf’úlátu (‑ ‑ ‑ ⏑), affect the trochaic rhythm, as opposed to the iambic of the two first-named metres. The iambic movement has a ring of gladness about it, the trochaic a wail of sadness: the former resembles a nimble pedestrian, striding apace with an elastic step and a cheerful heart; the latter is like a man toiling along on the desert path, where his foot is ever and anon sliding back in the burning sand (Raml, whence probably the name of the metre). Both combined in regular alternation, impart an agitated character to the verse, admirably fit to express the conflicting emotions of a passion-stirred mind.
Examples of these more or less plaintive and pathetic metres are numerous in the Tale of Uns al-Wujúd and the Wazir’s Daughter, which, being throughout a story of love, as has been noted, vol. v. [33], abounds in verse, and, in particular, contains ten out of the thirty-two instances of Ramal occurring in The Nights. We quote:
Ramal, first Zarb of the first ’Arúz (Mac. N. ii. 361):
‑ ⏑ ‑ ‑ | ⏑ ⏑ ‑ ‑ | ‑ ⏑ ‑ |
Inna li ’l-bulbuli sautan fí ’l-sahar
‑ ⏑ ‑ ‑ | ⏑ ⏑ ‑ ‑ | ‑ ⏑ ‑ |
Ashghala ’l-’áshika ’an husni ’l-watar
The Bulbul’s note, whenas dawn is nigh ✿ Tells the lover from strains of strings to fly (vol. v. [48]).
Sarí’, second Zarb of the first ’Arúz (Mac. N. ii. 359):
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