Rajaz (, literally 'tremor, spasm, convulsion as may occur in the behind of a camel when it wants to rise'The Penguin Anthology of Classical Arabic Literature, ed. by Robert Irwin (London: Penguin, 1999).) is a metre used in classical Arabic poetry. A poem composed in this metre is an urjūza. The metre accounts for about 3% of surviving ancient and classical Arabic verse.Bruno Paoli, 'Generative Linguistics and Arabic Metrics', in Towards a Typology of Poetic Forms: From Language to Metrics and Beyond, ed. by Jean-Louis Aroui, Andy Arleo, Language Faculty and Beyond: Internl and External Variation in Linguistics, 2 (Amsterdam: Benjamins, 2009), pp. 193-208 (p. 203). Some historians believe that rajaz evolved from saj'.
Form
This form has a basic foot pattern of | ⏓ ⏓ ⏑ – | (where '–' represents a long syllable, '⏑' a short syllable, and '⏓' a syllable that can be long or short), as exemplified through the mnemonic (Tafā'īl) ().Classical Arabic Literature: A Library of Arabic Literature Anthology, trans. by Geert Jan van Gelder (New York: New York University Press, 2013), p. 93. Rajaz lines also have a catalectic version with the final foot | ⏓ – – |.Wright, William (1896), A Grammar of the Arabic Language, vol. 2, p. 362.
The form of each (metron) may be ⏑ – ⏑ –, – – ⏑ –, or – ⏑ ⏑ –; only rarely ⏑ ⏑ ⏑ –.
Lines are most often of three feet (trimeter), but can also be of two feet (dimeter). Thus the possible forms are: | ⏓ ⏓ ⏑ – | ⏓ ⏓ ⏑ – | ⏓ ⏓ ⏑ – | (trimeter) | ⏓ ⏓ ⏑ – | ⏓ ⏓ ⏑ – | ⏓ – – | ( trimeter catalectic) | ⏓ ⏓ ⏑ – | ⏓ ⏓ ⏑ – | (dimeter) | ⏓ ⏓ ⏑ – | ⏓ – – | (dimeter catalectic)
Uniquely among the classical Arabic metres, rajaz lines do not divide into hemistichs.Classical Arabic Literature: A Library of Arabic Literature Anthology, trans. by Geert Jan van Gelder (New York: New York University Press, 2013), p. xxiii. The early Arab poets rhymed every line on one sound throughout a poem.Geert Jan van Gelder, 'Arabic Didactic Verse', in Centres of Learning: Learning and Location in Pre-Modern Europe and the Near East, ed. by Jan Willem Drijvers and Alasdair A. MacDonald, Brill's Studies in Intellectual History, 61 (Leiden: Brill, 1995), pp. 103-18 (p. 107). A popular alternative to rajaz poetry was the muzdawij couplet rhyme, giving the genre called muzdawija.Encyclopedia of Arabic Literature, ed. by Julie Scott Meisami, Paul Starkey, 2 vols (London: Routledge, 1998), s.v. 'Prosody (‘arūḍ)'.
Although widely held the oldest of the Arabic metres, rajaz was not highly regarded in the pre- and early Islamic periods, being seen as similar to (and at times indistinguishable from) the rhymed prose form saj'. It tended to be used for low-status, everyday genres such as lullabies, or for improvisation, for example improvised incitements to battle.
Rajaz gained in popularity towards the end of the Umayyad period, with poets al-‘Ajjāj (d. c. 91/710), Ru‘ba (d. 145/762) and Abū al-Najm al-‘Ijlī (d. before 125/743) all composing long qaṣīda-style pieces in the metre. Abū Nuwās was also particularly fond of the form.W. Stoetzer, 'Rajaz', in Encyclopedia of Arabic Literature, ed. by Julie Scott Meisami, Paul Starkey, 2 vols (London: Routledge, 1998), II 645-46 (p. 646).
In the twentieth century, in response to the aesthetics of free verse, rajaz, both in traditional form and more innovative adaptations, gained a new popularity in Arabic poetry, with key exponents in the first half of the century including poets ‘Ali Maḥmūd Ṭāhā, Elias Abu Shabaki, and Badr Shakir al-Sayyab (cf. his 'Unshūdat al-Maṭar').Salma Khadra Jayyusi, Trends and Movements in Modern Arabic Poetry, trans. by Salma Khadra Jayyusi and Christopher Tingley, 2 vols (Leiden: Brill, 1977), II 607-10. Since the 1950s free-verse compositions are often based on rajaz feet.
Example
A famous, early example is the following incitement to battle by Hind bint Utbah (6th/7th century CE), showing the form | ⏓ ⏓ ⏑ – | ⏑ – ⏑ – |, with the first two elements mostly long, and the fifth one always short:Classical Arabic Literature: A Library of Arabic Literature Anthology, trans. by Geert Jan van Gelder (New York: New York University Press, 2013), p. 94.
naḥnu banātu ṭāriqī namshī ‘alā n-namāriqī wad-durru fī l-makhāniqī wal-misku fī l-mafāriqī ’in tuqbilū nu‘āniqī ’aw tudbirū nufāriqī firāqa ghayra wāmiqī We are those Ṭāriq girls We walk on carpets fair Our necks are hung with pearls And musk is on our hair If you advance we'll hug you Or if you flee we'll shun you And we'll no longer love you| – ⏑ ⏑ – | ⏑ – ⏑ – | | – – ⏑ – | ⏑ – ⏑ – | | – – ⏑ – | ⏑ – ⏑ – | | – – ⏑ – | ⏑ – ⏑ – | | – – ⏑ – | ⏑ – ⏑ – | | – – ⏑ – | ⏑ – ⏑ – | | ⏑ – ⏑ – | ⏑ – ⏑ – |
Relationship to Sarī‘ The rajaz metre is very similar to the sarī‘, of which the first two metra are the same as rajaz, but the third is shortened: | ⏓ ⏓ ⏑ – | ⏓ ⏓ ⏑ – | ⏓ ⏑ – | (trimeter) | ⏓ ⏓ ⏑ – | ⏓ ⏓ ⏑ – | – – | ( trimeter catalectic)
Unlike the rajaz, sarī‘ is used in couplets.
The third metron is usually – ⏑ –, ⏑ ⏑ – being very rare, especially at the end of a couplet.
The two metres are considered by some scholars to be variations of the same metre.Maling, Joan (1973). The theory of classical Arabic metrics. Unpublished dissertation, MIT; p. 49.Golston, Chris & Riad, Tomas (1997). "The Phonology of classical Arabic meter". Linguistics 35 (1997), 111-132; p. 116.
Key studies
Five Raǧaz Collections: (al-Aghlab al-ʻIǧlī, Bashīr ibn an-Nikth, Ǧandal ibn al-Muthannā, Ḥumayd al-Arqaṭ, Ghaylān ibn Ḥurayth), ed. by Jaakko Hämeen-Anttila, Studia Orientalia, 76/Materials for the study of Raǧaz poetry, 2 (Helsinki: Finnish Oriental Society, 1995), Minor Raǧaz Collections: (Khiṭām al-Muǧashiʻī, the two Dukayns, al-Qulākh ibn Ḥazn, Abū Muḥammad al-Faqʻasī, Manẓūr ibn Marthad, Himyān ibn Quḥāfa), ed. by Jaakko Hämeen-Anttila, Studia Orientalia, 78/Materials for the study of Raǧaz poetry, 3 (Helsinki: Finnish Oriental Society, 1996), Manfred Ullmann, Untersuchungen zue Raǧazpoesie. Ein Beitrag zur arabischen Sprach- und Literaturewissenschaft (Wiesbaden, 1966)
References
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