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the movement of the rhyme and (as far as possible) the identity in number of the syllables composing the beits.
The principal Arabic metres are sixteen in number, each subdivided by numerous variations; and it may, perhaps, be interesting to note here the somewhat whimsical names by which they are known in the East. The generic name given to them is behr, literally “sea,” but, by analogy, the space comprised within the walls of a tent, thus continuing the metaphor before mentioned, and they are distinguished individually as the long, the extended, the open, the copious, the perfect, the trilling, the tremulous, the running, the swift, the flowing, the light, the analogous, the improvised, the curtailed, the approximative and the consecutive. The English reader will naturally suppose that these names are in some way descriptive and will doubtless be surprised to hear (and this fact alone will amply suffice to show how toto cœlo the genius of Oriental prosody differs from that of the West) that, in the opinion of those scholars who have most radically studied the question, they have no analogy whatever with the character of the various metres, but were (as far, at least, as concerns the thirteen primitive metres) manufactured by the inventor, as a mere memoria technica, after the model (i.e. the grammatical measure) of the fundamental feet upon which the respective “circles” or groups of metres are based. I should perhaps mention here that the system of Arabic prosody is said to have been invented by one Khelil, a grammarian, and to have been suggested to him by the strokes of a blacksmith’s hammer upon an anvil. not the most promising combina-
