Poets abandoned the full three-to six-footed meters (buflur) of Arabic poetry and took refuge in the single foot (al-tafilah) or basic foot combination of a meter (such as mu.sta.filunfo'ilun of al-Bas"it). They also freed themselves from the requirement of the monorhyme which characterized the archetypal qll$"idah. Variation on and repetition of the poetic foot and the use of rhyme now becomes the poet's choice, one he makes in accordance with the subject and mood of the poem.
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Poets abandoned the full three-to six-footed meters (buflur) of Arabic poetry and took refuge in the single foot (al-tafilah) or basic foot combination of a meter (such as mu.sta.filunfo'ilun of al-Bas"it). They also freed themselves from the requirement of the monorhyme which characterized the archetypal qll$"idah. Variation on and repetition of the poetic foot and the use of rhyme now becomes the poet's choice, one he makes in accordance with the subject and mood of the poem.
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Open it Poets abandoned the full three-to six-footed meters (buflur) of Arabic poetry and took refuge in the single foot (al-tafilah) or basic foot combination of a meter (such as mu.sta.filunfo'ilun of al-Bas"it). They also freed themselves from the requirement of the monorhyme which characterized the archetypal qll$"idah. Variation on and repetition of the poetic foot and the use of rhyme now becomes the poet's choice, one he makes in accordance with the subject and mood of the poem.
Original toplevel document (pdf)
owner: logan - (no access) - Fakhreddine, Huda J.: Metapoesis in the Arabic Tradition, p3
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