Hi there, I'm a native Italian from Northern Italy. This is a difficult question. I've read this post:
Of course, unless the poet wants a really sing-song or bouncy poem, these meters will have to be toned down and varied a bit. We should remember that Arabic meters always sound a bit variable to an English ear.
Still, the poet can be as imaginative as possible in constructing the underlying metrical sense of the poem, and then apply the artistry of using the syntax to emphasize or play against the medial caesura to achieve various poetic objectives.
Full rhyme, microrhyme, or other form of slant rhyme may be used. In the case of slant rhyme, it should not be so subtle as to obscure the consistency of the rhyming sound. The rhyme is an important unifying element of the poem.
In this case, the first line will have a clearly discernable syntactical pause at the hemistich. Repeating the same rhyming word in successive lines of the poem should be strictly avoided except when there is a clear and overriding stylistic justification for it. The most acceptable justification for repetition is if the poem is praising God or pining for the beloved and the name of the subject is the rhyming word itself.
Radical enjambment between verses that pivots syntactically on the rhyming word should be the exception, not the rule. The rule should be at least a mild degree of syntactical autonomy for each long line.
However, the complete autonomy of the long line is not important in the Arabic ghazal. In the examples below, two short vertical line segments are used to indicate the division between the hemistiches.
The rhyme is indicated in red. In all cases, the verses could be represented as couplets by dividing them into two lines at the hemistich. Unclawed and undeviled, the tails are more succu- -lent, chopped off the living, and tasting like chicken.
Goblins minting coinages out of kilter Treasure houses squandering gold and silver Knights and dragons bartering helter-skelter Wizard-summoned policies brew and conjure royal edicts floundering left of centre Even Sir Philip Sydney can get into the act! Tho with benign aspect sometime didst vs behold, Thou hast in Britons va- -lour tane delight of old, Syllabic long lines: Truly, had you been me — a perverse and twisted and malignant take on myself admittedly — you would have been far worse in your fabulous rage, but too difficult to shove aside callously.
Perched on top I see quite distinctly a mottled frog, contentedly sitting there. The scrap of old paper is just some refuse discarded without care, But the frog reveals itself for a leaf, the sort of leaf you find in its dark wooded lair of late autumn on the ground in frosty northern forests, stirring in mists so rare, Tossing through the chill morning breeze as an earthy, cool humidity fills the air.
A Word on Stanzas The pioneering poets who set themselves to the task of adapting Persian ghazals into English saw fit not only to write each hemistich on a separate line, but to present each set of two hemistiches sher as a separate stanza — a couplet. They were certainly correct in doing so.
This is because the Persian ghazal poets, though they usually write both hemistiches on a single line, treat the hemistich poetically as a separate verse and the sher as an independent couplet.
By contrast, the Arab poets approach the hemistich as a verse only when and if they feel like it. The long line bayt is what matters to them, and they traditionally never grouped these into stanzas. This is because using couplets as stanzas with a break between them is — for adapting the Arabic form — something totally arbitrary and contrived.
It would be far more faithful to the Arabic form to set out the long lines stacked one on top of the other without any stanza breaks at all. The second most faithful would be to split the long line into two at the hemistich, but still stack the lines on top of one another without any stanza breaks.
I see no objection to setting an Arabic ghazal in the couplet form that English-language Persian ghazals are written in. However, once a poet is willing to make stanza breaks at all, the poet might as well make them wherever it seems appropriate, as long as the stanza break is not placed between the two hemistiches of a long line.
It only recognizes consonants as being actual letters. This is further complicated by the fact that Arabic has long vowels that are created by a vowel movement on a previous letter followed by an unvoweled y or wor an alif. However, it comes across in English very much as a syllable syllabic meter.This is an example of one that was done for the Players to the Manager of the local Premier Football Team as a promotion for this product.
The words of this and many others may be found here and here.
I continued writing verses for Birthdays and other occasions for crafters on the forum of my son's website Imag-e-nation now La Pashe and the rest, as they say, is history.
Related Page Urdu Poetry Poems for Kids (in English) Editor’s Note: If you have liked this page (Kids Urdu Poems), then please share it on Facebook, Twitter or any other social urbanagricultureinitiative.com will encourage the Admin to add more poems for kids.
If it is not inconvenient, please do write your brief comment at the end of this page under the heading “Leave a Reply here”. The HyperTexts The Best Sonnets of All Time Sonnet Definition and Examples Which poets wrote the best sonnets ever penned in the English language?
Short Arabic Poems. Short Arabic Poems. Below are examples of the most popular short Arabic poems by PoetrySoup poets. Search short Arabic poetry by poem length and keyword. A poetic “form” is a set of rules for writing a certain type of poem.
These rules can include the number of lines or syllables the poem should have, the placement of rhymes, and so on. Here are lessons for writing several common poetic forms. Here are some of the poetry writing lessons for children that I have created.
These should help you learn to write your own poems. How to Write Funny Poetry.