Rajaz


Rajaz 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. Some historians believe that rajaz evolved from saj'.

Form

This form has a basic foot pattern of | ⏓ '⏓ ⏑' – |, as exemplified through the mnemonic '. Rajaz lines also have a catalectic version with the final foot | ⏓' – – |.
The form of each may be ⏑ – ⏑ –, – – ⏑ –, or – ⏑ ⏑ –; only rarely ⏑ ⏑ ⏑ –.
Lines are most often of three feet, but can also be of two feet. Thus the possible forms are:
Uniquely among the classical Arabic metres, rajaz lines do not divide into hemistichs. 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 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, Ru‘ba and Abū al-Najm al-‘Ijlī all composing long qaṣīda-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, 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. 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, showing the form | ⏓ '⏓ ⏑' – | ⏑ – ⏑ – |, with the first two elements mostly long, and the fifth one always short:

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:
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.

Key studies

  • Five Raǧaz Collections: , ed. by Jaakko Hämeen-Anttila, Studia Orientalia, 76/Materials for the study of Raǧaz poetry, 2,
  • Minor Raǧaz Collections: , ed. by Jaakko Hämeen-Anttila, Studia Orientalia, 78/Materials for the study of Raǧaz poetry, 3,
  • Manfred Ullmann, Untersuchungen zue Raǧazpoesie. Ein Beitrag zur arabischen Sprach- und Literaturewissenschaft
  • D. Frolov, 'The Place of Rajaz in the History of Arabic Verse', Journal of Arabic Literature, 28, 242-90, https://www.jstor.org/stable/4183399