Rajaz (, literally 'tremor, spasm, convulsion as may occur in the behind of a camel when it wants to rise') is a

metre The metre (British spelling) or meter (American spelling; see spelling differences) (from the French unit , from the Greek noun , "measure"), symbol m, is the primary unit of length in the International System of Units (SI), though its prefi ...

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.

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'') ' (). It is exceptional, but possible, for both

anceps In languages with quantitative poetic metres, such as Ancient Greek, Latin, Arabic, Sanskrit, and classical Persian, an anceps (plural ''ancipitia'' or ''(syllabae) ancipites'') is a position in a metrical pattern which can be filled by either ...

syllables to be short. Rajaz lines also have a

catalectic A catalectic line is a metrically incomplete line of verse, lacking a syllable at the end or ending with an incomplete foot. One form of catalexis is headlessness, where the unstressed syllable is dropped from the beginning of the line. A line ...

version with the final foot , ⏓ – – , . 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

hemistich A hemistich (; via Latin from Ancient Greek, Greek , from "half" and "verse") is a half-line of verse, followed and preceded by a caesura, that makes up a single overall prosodic or verse unit. In Latin verse, Latin and Greek poetry, the hemist ...

s. The early Arab poets rhymed every line on one sound throughout a poem. A popular alternative to ''rajaz'' poetry was the ''muzdawij'' couplet rhyme, giving the genre called ''muzdawija''. 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' Saj‘ ( ar, سجع) is a form of rhymed prose in Arabic literature. It is named so because of its evenness or monotony, or from a fancied resemblance between its rhythm and the cooing of a dove. It is a highly artificial style of prose, characte ...

''. 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 The qaṣīda (also spelled ''qaṣīdah''; is originally an Arabic word , plural ''qaṣā’id'', ; that was passed to some other languages such as fa, قصیده or , ''chakameh'', and tr, kaside) is an ancient Arabic word and form of writin ...

''-style pieces in the metre. Abū Nuwās was also particularly fond of the form. In the twentieth century, in response to the aesthetics of

free verse Free verse is an open form of poetry, which in its modern form arose through the French '' vers libre'' form. It does not use consistent meter patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech. Defi ...

, ''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'). 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 Hind bint ʿUtba ( ar, هند بنت عتبة), was an Arab woman who lived in the late 6th and early 7th centuries CE; she was the wife of Abu Sufyan ibn Harb, a powerful man of Mecca, in western Arabia. She was the mother of Mu'awiya I, the foun ...

(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.

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) * D. Frolov, 'The Place of Rajaz in the History of Arabic Verse', ''Journal of Arabic Literature'', 28 (1997), 242-90, https://www.jstor.org/stable/4183399

References

{{reflist Arabic poetry Poetic rhythm Arabic poetry forms Arabic and Central Asian poetics