مستفعلان) , the tarfiil a sabab khafiif ( thus متفاعلن becomes مُتَفاعِلاتن). 2) On the other hand , the hadhf means the loss of a sabab khafiif (as for mafaa‘ii[lun] [ = fa‘uulun] or for fa‘uu[lun] [ = fa‘al] ) the kaff means the loss of a sabab khafiif and the preceding vowel ( as , for instance in mufaa‘al[atun] [ = fa‘uulun ]) and the hadhadh means the loss of a whole watid madjmuu‘ ( as in mutafaa[‘ilun] [ = fa‘ilun ]).
These examples give only a rough impression of the complexity of the classical system. Even more complicated changes take place when two deviations obtain within one foot and in certain other special cases. In this manner one can derive from the 8 basic feet no less than 37 Furuu‘ feet, all of which actually appear in old poetry. Feet undergoing a change through ‘Ilal play the greater part for two reasons. Firstly because they produce a greater plus or minus in the normal feet than the weaker Zihaafaat, and secondly because they cause rhythmic variants, which recur throughout the whole poem. Because of the large range of the varying line endings, a great number of sub-divisions appear in all metres; and because the Darb, the last of the second hemistich , is ( being the end of the whole line ) more concerned with these changes than the ‘Arud ( the last foot of the first hemistich ) , the possible metres are named after their different Duruub. The Tawiil, for example, has only one ‘Arud, i.e. the last foot of its first hemistich always has the same form ( shortened by Kabd ) of mafaa‘ilun ; but it has three Duruub, i.e. apart from the normal form of the last foot of its second hemistich there are two further forms of its Darb. Accordingly . one speaks of the first, second, or third Tawiil, depending on whether the Darb has the form mafaa‘iilun, mafaa‘ilun or fa‘uulun. The same goes for all other metres. The Kaamil, which has 9, has the greatest number of Duruub. The sum of all possible A‘aariid of all 16 metres is 36 , and that all Duruub is 67; in other words, the 16 ancient Arabic metres are used by the poets in a total of 67 rhythmic variations, merely counting the changes caused by ‘Ilal in the line-endings and ignoring the sporadic Zihaafaat in the Hashw of the line.
We are now –if we trust the Arabic prosodists and follow them on their circuitous ways –in a position to scan all the metres which appear in ancient Arabic poetry, and this would appear to bring to an end the exposition of ‘Ilm al-‘Aruud in its general structure
ـ[سليمان أبو ستة]ــــــــ[28 - 11 - 2009, 08:21 م]ـ
هناك أخطاء في الترجمة، بعضها يمكن رده إلى السهو وبعضه لعدم فهم المعنى الحقيقي للنص المترجم عنه. فمن ذلك قول المترجم: وإنما تقع (عيلن) في كلتا الحالتين تحت الأوتاد غير الغامضة، والصحيح هو (عِلُنْ). ونحو ذلك أيضا قوله: "ولذلك فإننا نحصل على التفعيلات السبع التالية ... x ب ـــ ب " وصحتها x ب ـــ x ولا يبرر له هذا الخطأ أنه موجود بالأصل، فناسخ مقال فايل قد أخطأ خطأ مطبعيا، وأما المترجم فلم يعرف إن كان ثمة خطأ في قوله أم لا.
وتجده يترجم كلمة mnemonic)) بعبارة (يسهل تذكرها أو حفظها) وفايل يقصد بها ترجمة الصيغة التي ارتضاها الخليل تعبيرا عن الأجزاء feet وكان بإمكانه أن يجعل مقابلها كلمة (التفعيلة) في عبارات من نحو: If one writes down the mnemonic words of these metres … ولو دونا تفعيلات هذه البحور ... لكان أفضل.
وأنت تجده يمر على عبارة فيسهو عن ترجمتها نحو قول فايل: cf. for the details the arabic compendia of the ilm al-arud وهي إشارة منه لمراجعة مختصرات علم العروض.
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