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tion of circumstance for the birth of so important a branch of art.
The principal form used in Arabic poetry (and that which most frequently occurs in the Thousand and One Nights) is the Kesideh or Purpose-poem; practically identical with the better-known (Persian) form of the Ghazel or love-song par excellence, with the exception that the latter is limited to eighteen beits or verses and must contain the name of the poet in the last beit. The Kesideh may be composed in any one of the sixteen metres and is built upon a single rhyme, the two hemistichs of the first beit rhyming with each other and with the second hemistich of each succeeding beit to the end of the poem, however long it may be. It is a curious fact that the same prohibition of enjambement, or the carrying on of the sense from one verse (or pair of hemistichs) to another, obtains in Arabic as in French classic verse, it being considered a fault not to complete the sense in the one verse. It is allowable to repeat the same rhyming word, but (according to the strict laws of prosody) not unless seven verses intervene. However, this and the preceding rule are constantly violated by Arab poets, who appear to have little scruple in repeating the rhyming word whenever it suits them, and in Persian verse (whose laws are essentially the same as those of Arabic prosody) the licence is still greater, the same word in the same sense being allowed to form the rhyme throughout a whole ghazel. The Kitah or Fragment, which is also of frequent occurrence in the work, is only a portion of a Kesideh, other than the metla, first or
