versification of the Ḫarǧas in the monroe-swiatlo collection of arabic Ḫarǧas in hebrew...

Versification of the Ḫarǧas in the Monroe-Swiatlo Collection of Arabic Ḫarǧas in HebrewMuwaššaḥs Compared with That of Early Hispano-Romance PoetryAuthor(s): Dorothy Clotelle ClarkeSource: Journal of the American Oriental Society, Vol. 98, No. 1 (Jan. - Mar., 1978), pp. 35-49Published by: American Oriental SocietyStable URL: http://www.jstor.org/stable/600149 .

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VERSIFICATION OF THE HAR6AS IN THE MONROE-SWIATLO COLLECTION

OF ARABIC HARCJAS IN HEBREW MUWASSAHS COMPARED WITH THAT OF EARLY HISPANO-ROMANCE POETRY

DOROTHY CLOTELLE CLARKE

UNIVERSITY OF CALIFORNIA, BERKELEY

The rhythmic system of the har,as from the Iberian Peninsula recently collected and edited by Monroe and Swiatlo corresponds to one-usually called the accentual system-developed in medieval Latin and flourishing at the time of the composition of the hargas under study, that is, the eleventh century through the beginning of the fourteenth. In this system verse measure is dependent on both syllable count and regularity of stress beat. Harga strophes are composed in patterns that in graphic diagrams produce symmetrical geometric configurations, varying in design, but following strict rule.

Much of the earliest known Hispano-Romance verse (aside from that in the cuaderna via), developed from the Latin, particularly in Church related poetry, was composed on the same principles, indicating that the barga system here considered, the Latin accentual system, and that of at least one important segment of Hispano-Romance poetry belong to the same verse-metric tradition.

THE TRANSLITERATION, with stress-markings, supplied by James T. Monroe and David Swiatlo in their recent edition of "Ninety-three Arabic bargas in Hebrew muwa?ah.s: Their Hispano- Romance Prosody and Thematic Features,"1 enables one foreign to Arabic to attempt to draw some conclusions concerning certain medieval versification practices in the Iberian Peninsula, the place of origin of the selections in the collection.

Characteristics that become apparent upon examination of the linear rhythmic patterns indicate, as the editors have noted, the close relationship between the harga rhythms and those of certain Hispano-Romance verse. Since this rhythmic system of verse measure corresponds to one that was frequently used in medieval Latin poetry and in some of the earliest known Hispano- Romance poetry also, one may conjecture, at least, that both the hargas and the Latin verse of particular stress pattern, along with the latter's Hispano-Romance descendents, all reflecting the appeal that stress-beat rhythms held for medieval audiences of both Arabic and Hispano-Romance speech, belong to the same verse-metric tradition.

1 JAOS 97 (1977), 141-163.

As in their Latin and Romance counterparts, the principles of construction on which these bargas are based are few and simple, and the rules governing the application of these principles are likewise uncomplicated. Repetition, symmetry, and balance are basic to the structure. Since the structure of the composition is architectural, both horizontal and vertical patterns are essential to it. Simplicity seems to be a prime requisite, even in the composite patterns. Clarity of design is an invariable characteristic.

The only intralinear rhythmic units employed in these hargas are either binary (trochaic or iambic) or ternary (dactylic, amphibrachic, or anapestic).2 Each line is composed of a repetition of a single rhythmic unit (sometimes including a fraction of it), or of the special combination dactyl-plus-trochee (60060, with an occasional permissible variation of it),3 giving the adonic,

2 These terms are here employed in the traditional English sense; in diagrams they will be represented graphically as follows: trochaic, 60; iambic, 06; dactylic, 600; amphibrachic, 060; anapestic, oo6.

3 Although the pattern in diagram may suggest the possibility of the reverse, the adonic is traditionally so considered. F. J. E. Raby (A History of Secular Latin Poetry, 2nd ed., 2 vols. [Oxford, 1967], vol. I, pp. 164-

35



Journal of the American Oriental Society 98.1 (1978)

one of the oldest and most favored of Latin groupings, perhaps the oldest known to Romance poetry,4 and the one that evolved into both the important late medieval verso de arte mayor (and before it or simultaneously with it, the closely related gaita gallega) and the lilting, predominately hexasyllabic, rhythm frequently employed in the serranilla, the lullaby, and other light pieces. There is, then, a minimum of one and a maximum of two unstressed syllables separating any two stressed syllables within a line.5 As in the medieval Latin stress-beat patterns, both syllable count and the spacing of stress beats within a line follow set patterns of regularity, thus doubly restricting the linear composition.

In spite, however, of the seemingly heavy restraints, imposed by the limited number (five) of available units and their occasionally-used fractions, the ninety-three hargas offer a total of over three dozen-at least thirty-seven and possibly thirty-eight-verse patterns (see Ap- pendix). Line length, ranging from that of two (60, nos. 19, 84) to that of twelve syllables (no. 2 and others),6 likewise shows variability within

165), speaking of Columbanus (d. 615), notes: "One poem is in adonics [...] and its model is perhaps to be found in Boethius. [. ..]. Then later he explains how the metre is constructed [... ]: si tibi cura / forte volenti / carmina tali / condere versu, / semper ut unus / ordine certo / dactilus isthic / incipiat pes; / inde sequenti / parte tro- cheus / proximus illi / rite locetur. / saepe duabus / clau- dere longis / ultima versus / iure licebit."

4 I refer to the 9th-century "Cantilene de Sainte Eu- lalie" (ed. Karl Bartsch, Chrestomathie de l'Ancien Franfais [Leipzig, 1920], p. 4), composed of 28 1 double adonics clearly recognizable in spite of the incrustation of anacrusis in individual hemistichs that tends to obscure the meter. The poem begins:

Buona pulcella fut Eulalia, bel auret corps, bellezour anima.

Voldrent la veintre li deo inimi, voldrent la faire diaule servir.

5 Compare the following statement by Emilio Gar- cia G6mez (Todo Ben Quzmdn, 3 vols. [Madrid, 1972], vol. I, p. 57, n. 6): "En las combinaciones fundamentales de los pies de la m6trica arabe clasica no hay nunca tres breves seguidas. De hecho, puede haberlas, por licencia, alguna vez. Mas de tres, nunca."

6 Regardless of the language in question, throughout the present study Spanish count will be used in reference to syllabically measured verse-that is, the counting to

limits. Whether long or short, the lines are arranged in sequences that intensify the linear rhythmic movement, and so contribute to the mnemonic properties characteristic of, and desir- able in, verse intended for audient pleasure and, perhaps, vocal participation.

The hemistich used as an apparently independent, but, if as in Spanish, in fact dependent, line, is best characterized by its Spanish name, pie quebrado (fractioned measure). Its length and rhythm are identical to that of a hemistich (e.g., nos. 51, 52) or of a rhythmic unit (e.g., no. 84) of the full line. If it is the initial line in a composition, its stress pattern may coincide with that of the beginning of the line it precedes (as in barga no. 60), but usually it has its rhythmic identity with the ending fraction of that line, as in harga no. 42. Within or at the end of the composition, it repeats the rhythm of the end of the line it follows (e.g., bargas nos. 71, 72, 89; and compare the Latin, no. 288 in The Oxford Book of Medieval Latin Verse),7, or, as in no. 38 (and no. 289 of the Oxford Book . . .), it anticipates the climactic final portion of the last line of the strophe.

Like other features of our hargas, the pie quebrado is frequently to be found in medieval Latin poems, particularly, I believe, in the later centuries of the period. Among the earlier examples (before 1300) appearing in The Oxford Book ..., and comparable to ours, see nos. 216 (sec. 1), 234, 276, 282.

Verse endings are generally paroxytonic, occasionally oxytonic, as one expects generally in Castilian medieval poetry. The proparoxytonic verse in these hargas is so rare (nos. 75, 78), that it would seem to be rather accidental than in- tentional.8

From the historical point of view, there is probably little or nothing particularly remarkable about the system of line-patterning in this group of hargas, if we can place the latter approximately in the period between the earliest (993-1056) and the latest (into the fourteenth century) deter- minable dates of the known authors represented in the collection-essentially the eleventh, twelfth,

the last stressed syllable plus one, regardless of the number (or lack) of syllables following the stress.

7 Ed. F. J. E. Raby (Oxford, 1970). 8 Since the rime schemes offer nothing unusual, and

are indicated in the Monroe-Swiatlo study, no further mention will be made of them here.

36



CLARK: Versification of Hargas

and thirteenth centuries,9 precisely the centuries in which the same system was most popular in Latin poetry.

One system of verse measure that involved a sizable fraction of medieval Latin poetry was that of syllable count combined with patterned stress beat. It is this segment of Latin verse with which we are here concerned. The patterns are various-some simple, some complex. The sim- plest designs were most often based on the duple rhythmic units, most frequently on the trochee. The trochaic octosyllable, both single and double, was extremely popular. An example of the first is the beginning line, "Sancte sator, suffragator," from an anonymous ninth-century poem written entirely in the same meter (Oxford Book ..., no. 73). Favored also was the trochaic hexasyllable, single or double, as in the "Ave maris stella" by an unknown ninth-century poet, or the "Congregavit nos in unum Christi amor," by Paulinus of Aquileia, d. 802 (Oxford Book ..., nos. 71, 76). The iamb as the sole unit of measure in a poem held some appeal in the heptasyllable, as in the series beginning "O duces Phrygios," in an anonymous work of c. 1200 (Oxford Book ..., no. 235), and especially in the enneasyllable, as in "O lux beata, trinitas" beginning an anonymous hymn of around the sixth century (Oxford Book. ., no. 37). The triple rhythmic units were used almost exclusively in combination with the duple to form complex patterns. Of these, the most highly favored is the adonic, as in Gottschalk of Orbais's ninth-century "Christe mearum" (Ox- ford Book . . ., no. 90). Poems made solely of a single pattern in triple rhythm are uncommon, but may be found, as in the dactylic poem by Peter Abelard (d. 1142) beginning "O quanta qualia sunt illa sabbata" (Oxford Book ..., no. 169). In initial position, the stressed syllable was greatly preferred to the unstressed.

In Latin the system had gradually evolved from early Latin verse, which, according to F. Brittain, "like modern European verse in general, was built on an accentual basis, and took no notice of the length or shortness of syllables." Brittain claims that in the hymns of the Venerable Bede (d. 735), "the defeat of quantity is complete, for his poems are based entirely on accent."'0

9 Monroe-Swiatlo, JAOS 97 (1977), 144. 10 F. Brittain, The Medieval Latin and Romance Lyric

to A.D. 1300 (Cambridge: University Press, 1951), pp. 1, 9.

It was in the eleventh century, according to Raby, that "the principles of accentual verse were fully developed and fully mastered, so that a regular cadence was produced when the words were read according to their grammatical accent.""l Raby later comments that the end of the thirteenth century and the beginning of the fourteenth saw the end of Latin poetry, after which "there was a tendency to sink back again into that system of merely numbering syllables from which the rhythmical principle had slowly emerged."12 Dated from the late twelfth (probably) and the thirteenth centuries are the earliest presently available texts bearing evidence of the practiced use-in competition with the purely syllable- count system-of the same accentual system of verse measure in certain kinds of Castilian and Galician-Portuguese poetry. These texts, coincid- ing in date with the latter part of the Latin period as defined by Raby, are perhaps the mere rem- nants of a previously flourishing body of stress- beat-measured poetry in the two languages.

In the three linguistic areas here involved, then, essentially the same system was being utilized at the same time, in certain kinds of poetry, indicating that the system was neither an exclusive nor a local one.

From the artistic point of view, the hargas of the Monroe-Swiatlo collection offer more of interest in strophic than in verse pattern.

Each harga is composed of a single strophe, relatively brief.'3 Strophe length ranges in number of lines from one (no. 1) to eight (no. 93), and in number of syllables from eight (no. 1) to forty-eight (no. 85). Polymetry regularly patterned is not uncommon.

If a harga's lines with their rhythmic patterns are plotted in diagram (see Appendix), and arranged in such a way that the first stress-beats of consecutive lines are vertically aligned, a geometric pattern emerges, creating an archi-

11 F. J. E. Raby, A History of Christian-Latin Poetry from the Beginnings to the Close of the Middle Ages (Oxford, 1953), p. 453.

12 Ibid., p. 453. 13 The relationship between harga and the remainder

of the poem in which it appears is not a concern of the present study. It is interesting to note, however, that Garcia G6mez, in vol. III of Todo Ben Quzman, under the title Metrica de Ben Quzman y metrica espanola ..., devotes a section (pp. 254-257) to "La raz6n esencial de la jarcha: indicaci6n del ritmo."

37




tectural design featuring, through the set-beat, a columnar effect. The geometric shapes so formed vary in the extreme, from that of a single line lying horizontally and marked, like a fence, at fixed brief intervals by stake-like dividers, as in nos. 1 and 2, to that of the tall and slender tower- like structure supported by two prominent columns flanking one of slighter salience, as in no. 92.

Graphically thus represented, each harga of more than one line contains either (a) a single block, rectangular or square, solidly filled with syllables, each of its vertical columns containing only syllables of like stress, and these columns appearing to support the horizontal planes (lines of poetry) that furnish the rhythmic units for their design, and seem to intersect them; or (b), in a more sophisticated arrangement, in a composite pattern, two such blocks, the first and primary block as just described, and a second, of one or two lines, in a new rhythmic pattern, superimposed upon (in one case following-no. 35, a couplet) the first, and harmonizing with it.14 The two-tone variation in texture resulting from the stress sequence necessarily characterizes the blocks. A block may begin with either a single or a double column of unstressed syllables, or a column of stressed syllables, and may end with either a column of stressed or a column of unstressed syllables, as in nos. 54, 57, 64, 17, and 64, respectively. Two "stressed" columns may be separated by either one or two "unstressed" columns, as in nos. 92 and 93, respectively.

The "block" represents the harga's core, which contains all the essentials, placed in proper order, of the harga's rhythmic system. Anything to the left or to the right of the core may be regarded as an extension of the rhythm of the line in which it appears, either in anticipation of it (left) or in continuance of it (right).

The block may remain unadorned, as in the isosyllabic compositions, or, as in the anisosyllabic pieces, it may have one or both of the following functional ornaments: (a) a wing-like extension formed from the final syllables of one line, or of a limited number of lines of equal length, longer than the others in the harga and protruding to the right and continuing the metric pattern of the line or respective lines begun in the block; or (b), a single unstressed syllable in anacrusis appearing

14 See, for example nos. 35, 69, 70, 81, 87, 89.

to the left, on a single line or on a limited number of symmetrically placed lines.15

This syllable in anacrusis is the medieval Spanish pie perdido, which in 1492 Nebrija described as follows: "Ponen muchas vezes los poetas una silaba demasiada despues de los pies enteros, la cual llaman medio pie o cesura, que quiere dezir cortadura; mas nuestros poetas nunca usan della sino en los comiencos de los versos, donde ponen fuera de cuento aquel medio pie... "16 On the use of anacrusis in our area, Isabel Pope, in her study on the "Mediaeval Latin Background of the Thirteenth-Century Galician Lyric,"17 remarks: "Furthermore, as Hanssen has shown, anacrusis, or the appearance of a superfluous initial atonic syllable in either hemistich, may occur. Accord- ing to Hanssen this is a frequent phenomenon in Peninsular mediaeval Latin verse and was taken over into verses in the vernacular. In his analysis of the sources of the verso de arte mayor J. Schmitt similarly remarks this phenomenon as characteristic of the mediaeval Latin double senarius or goliardic verse whence he derives the Spanish line."

The patterns of the composite structures suggest the possibility of the existence of a very limited time-measure system in which, as in English, the stressed beats rhythmically mark equally measured time intervals, and all single rhythmic units are isometric, regardless of the number (or lack) of unstressed syllables clustering around the stress-beat, thus:

Break, break, break, 6 6 6 On thy cold gray stones, 0 Sea oo6 o6 06 And I would that my tongue could utter oo6oo6 o6o

The thoughts that arise in me. 06006 o6

But the tender grace of a day that is dead 0060 6oo6oo6 -Alfred, Lord Tennyson 18

15 Examples of the various structures are the following* unadorned, nos. 54, 58; ornamented a, nos. 67, 68, 74' ornamented b, nos. 62, 64, 65; ornamented a plus b' nos. 63, 75, 79.

16 Antonio de Nebrija, Gramdtica castellana, ed. Pascual Galindo Romeo (Madrid, 1946), vol. I, p. 44.

17 Speculum, IX (1934), 3-25. 18 From the poem titled "Break, Break, Break."

Noteworthy is the extended line, two of which similarly placed (3c, 4c) appear in the four-quatrain poem.

Would the sense of barga no. 35 be distorted if the first line were to be read with a rest beat after each of the

38




The probability is, on the other hand, that the composite form of the hargas is akin either to Latin polymetric pieces or to the many medieval Latin compositions the first hemistichs of whose lines consistently have one rhythmic sequence, and the second hemistichs another. A typical example of the latter is the sapphic verse in the "Hymn to St. John the Baptist," by Paul the Deacon (?), d. 799. Each line of the poem, if read accentually, begins with an adonic, and ends with a trochaic hexasyllable, two prominent meters in our harga list:

Ut quaeant laxis resonare fibris mira gestorum famuli tuorum solve polluti labii reatum,

sancte Iohannes. etc. 19

Of the strophe form in which the Sapphic frequently appears in Latin, Edelestand du Meril remarks: "Par sa coupe lyrique et fortement rhythmie, la strophe sapphique et adonique avait acquis une grande popularite dans toute l'Europe; c'etait une mesure habituelle aux chants plus specialement destines au peuple."20

Although in at least ninety percent of the Monroe-Swiatlo selections there is, within each bar?a, conformity in the type of line ending -that is, all lines of a strophe end exclusively in paroxytones or exclusively in oxytones, with the former decidedly in preference, as in Castilian -deviation from the general practice permits the poet to mix the ending types, so that, to the right, there may appear an unstressed syllable equivalent to the syllable in anacrusis in left-of-block position.

In view of the fact that the provenience of the pieces in the Monroe-Swiatlo collection is the Iberian Peninsula, and in light of the information that it has been possible to glean from the editors' transliterations, it is well to examine some of the

first two stresses, thus: b6s bus bus bi-fAmmi, thus mak- 60 o 60 o 6 o

ing this line correspond to the second? Of interest in this respect is the medieval Latin anonymous poem on "The Assumption" (c. 1300), beginning Cantet omnis creatura, continuing in trochaic octosyllables, and having the following refrain: o, o / Domino / concinat haec con- tio. (Oxford Book .... no. 289).

19 Oxford Book ..., no. 66. Examples of other combina- tions may be found in nos. 29, 51, 77, 187, 221, 241, etc.

20 Poesies populaires latines du moyen dge (Paris, 1847), . . p. 296.

early Peninsular stress-beat poetry to seek clues that may eventually lead to the clarification of the history of verse metrics as employed in various types of early Spanish poetry. Although our sup- ply of appropriate texts is meager, a sufficient number are available to allow us to make a comparison of their prominent metric features with those of the Monroe-Swiatlo collection. There are enough of them, at least, to show that the systems, if not the same in essence, at least merely represent two consecutive or parallel stages in the evolution of a single system. In the case of Romance poetry that system, quite clearly, is one that became popular among medieval Latin writers of both religious and profane poetry, and has conveniently been termed accentual.

The many similarities between the metric system of our hargas and that of much of this accentual Latin poetry make it clear, I believe, that the two belong in the same technical tradition. Whether that tradition coincided, at the time of the composition of these hargas, with a similar one of Arabic origin, I cannot say, but that point is only part of the story. The part of interest here is that of harga practice parallel to, and in some cases identical with, that in various genres of the earliest known poetry written in Castilian and in Galician-Portuguese, the latter a medium at one time generally favored by Castilian lyric poets.

Thirteenth-century Castilian performance texts (not limited to song refrains) offer several examples in which the rules under whlch they are composed are the same, with one modification, as those governing our harga construction. The modification concerns anacrusis, which in the early period may be used relatively profusely and which may appear sporadically within a composition-not symmetrically patterned, that is-and so cause a loss of symmetry in strophe patterning and, as a consequence, eventually lead to freedom from the regularity of intralinear stress beat. It may also be used at the beginning of either the first or the second hemistich, or both, in the same line.

Gonzalo de Berceo's much-discussed song- word text generally titled "I Eya velar I"21-which

21 On this early 13th-century piece, see especially editions and discussions by Daniel Devoto ("Sentido y forma de la cAntica 'Eya velar'," Bulletin Hispanique, LXV [1963], 206-237); and Brian Dutton (Gonzalo de Berceo: Obras completas, vol. III {London, 1975], including the "Introducci6n").

39




Isabel Pope believes "may provide a single existing example of religious songs in the vernacular which provide a link between the mediaeval Latin liturgical poems and the secular cantigas d'amigo"22-offers an excellent example of the first step toward freedom from the rule of measured beat. Berceo's text23 (minus the refrain I Eya, velar that follows each line), edited to reflect my interpretation of the meter, in keeping with medieval Spanish rules for scansion as I have observed them to be, reads as follows (couplets are numbered in parentheses):

I Eya, velar I Eya, velar I I Eya velar I VelAt, aljAma de 16s judios, (1)

que n6n vos furten el Fi(jo) de Dios,

ca furtarvos 16 querran (2) Andres e Peidro et Johan.

N6n sabMdes tant6 d'escanto (3) que salgades de s6 el canto.

T6dos s6n lhdronci?llos (4) que assechan por b1s pestiellos.

Vu6stra lMngua tan pAlabr6ra (5) avos dado mala carrera.

Tod6s son 6mnes pl6gadizos, (6) ri6aduchos, mescladlzos.

Vuestra lengua sin recAbdo (7) pbr mal cabo vos a echado.

N6n sabedes tantb denganno (8) que salgades endeeste anno.

N6n sabedes tanta razbn (9) que salgades de la prisibn.

T6masejo e Matheo (10) de furtarlo han grant desto.

El disclpulb 16 vendib, (11) o el Maestro nbn lo entendib o

D6n Fhillpo, Sim6n e Judas (12) p6r furtar buscan ayhdas.

Si lo quieren acbmeter, (13) oy es dia de parescer.

06060 o6o6o

06060 6o6o o6o6o 6o6o

00000

60o6 6o6o oo6

o6o60000o

06060 6060 o606

6060 o6o6o 06o6o 6o6o 6o6o 6060 6o6o 6060 6060

606o 6060 6060

0000o

jOcOO

0006o 6o6 6o6 0o60o 0o60o

6o60 o6o6o o6060 06o60 6o6o 060o 6060

06060 o6060 o6o6o o6o6 o606 6o6o

o6o6o 60o 6o6

06o6o o066o oooo oooo

Although in diagram the distribution of pies perdidos may tend to distort the view, the form of this song is none other than that of the simple trochaic octosyllabic couplet of our hargas nos. 7

22 "The Thirteenth ...," p. 15 (see note 17, above). 23 The text quoted is based on the ed. by Florencio

Janer, Poetas castellanos anteriores al siglo XV (Madrid, 1864) [Biblioteca de Autores Espaiioles, vol. 57], and compared with those of D. Devoto and B. Dutton (see n. 21, above). The "block" is obtainable from any of these editions.

through 12. The tendency, decidedly marked by the end of the fourteenth century, especially in L6pez de Ayala's Rimado de palacio, unrestricted- ly to expand verses leftward by the use of anacrusis, is already clear here in Berceo's piece. Since the expansion here is far more pronounced in the second hemistich than in the first, the false impression of irregularity of meter is greatly enhanced.

It is to be remarked that in the song there is a decidedly strong tendency to match exactly the lines of a single couplet. Even in those in which the matching is not perfect, the difference is mini- mal. Harga resemblance of the individual couplet is thus striking.

In the scansion of the composition, the syna- lepha (elision, in effect) as indicated would be required in normal verse reading at any time. The rimes of the first couplet may also be read as oxytonic (judi6s, Di6s) without affecting the scansion. Old Spanish fi for fijo, when followed by de plus a substantive (cf. fidalgo, fideputa, etc.), as suggested in line lb, is a well-known phenomenon.24 As late as the fifteenth century Juan de Mena refers to the Fi de Maria, and Gomez Manrique to the Fi de Santa Maria.25 Except that it would create awkwardness in couplet structure-and loss in sarcasm-a different scansion could be given to couplet 11, thus: 1l diclp(u)lo o1 vendib / el Maestro non lo entendio (6060 6o6 / 060o o6o6), since in Old Spanish discipulo was frequently syncopated, thus becoming trisyllabic. In line lib, the lo of lo entendio would probably be apocopated, thus reducing the two pretonic syllables to one.26

In regard to apparent accent shift in certain dissyllabic words, Daniel Devoto states: "Staaf intento ya en 1906 una interpretacion acentual de la Cantiga (En: Nordisk Tidsskrift for Filologi 1906-1907, pags. 55-57); pero en lugar de partir de la acentuaci6n castellana normal, reforzan-

24 J. Corominas, Diccionario critico etimol6gico de la lengua castellana, 4 vols. (Madrid, 1954), s.v. hijo.

25 Laberinto de Fortuna (st. 37), and "Estrenas de Gomez Manrrique al muy excelente sefior rey don Alon- so" (st. 2), respectively, ed. R. Foulche-Delbosc, Cancio- nero castellano del siglo XV, 2 vols., (Madrid, 1912, 1915) [Nueva Biblioteca de Autores Espanoles, vols. 19, 221, nos. 14 and 417.

26 John D. Fitz-Gerald, Versification of the cuaderna via as found in Berceo's Vida de Santo Domingo de Silos (New York, 1906), p. 54.

40




dola, intent6 aplicar la acentuaci6n de los pies latinos al verso espafiol, destruyendo los acentos propios de las voces castellanas: -v6slo, tanto, todos, tanta."27 I read exactly as Staff would in these and in certain other dissyllables (mala, buscan), for the reason that in poetry the stress of many (if not most or all) such dissyllabic words in Old Spanish, well into the fifteenth century, either was subject to such shift, in secondary verse-stress position, or, like the ordinarily unstressed monosyllabic particle, which could bear the rhythmic stress or at least stand in stress position, was too weak to distort the rhythm.28 I greatly suspect, indeed, that, given the duple rhythm of the body of Berceo's poem, the word eya may well have been given its stress on the second syllable (eya) in this selection, thus making iEya, velar! conform to the rhythm of the couplets. The same phenomenon in regard to dissyllabic words seems to have been present in medieval Latin accentual verse.

Probably even earlier, by some decades, than Berceo's work is the Auto de los Reyes Magos.29 Standing as evidence that the same principles of verse and strophe construction as those governing the Monroe-Swiatlo hargas were operative in Spanish in the early years of its known literature, is this polymetric 148-line fragment of a dramatic presentation of the Mage Kings episode of the Christmas story. The piece has been dated as of the twelfth or the early thirteenth century. The author, in an obvious attempt to utilize meter both for dramatic effect and for the purpose of delineating character, has created what for us is a veritable treasure.

The Auto text may be divided logically into some sixty-six strophes, mostly couplets, but ranging in length from one to six lines. Each strophe is monorimed wholly or in pairs. The two monostichs, like all other strophes, have rhythmi-

27 "Sentido y forma .. .," p. 235, n. 63. 28 Possibly the secondary verse stress position was

allowed to fluctuate without detracting noticeably from the over-all impression of the rhythmic pattern.

29 Ed. J. D. M. Ford, Old Spanish Readings (Boston, etc., 1906), pp. 6-12. Strophe division as discussed herein is mine. I divide line 17 into two, as follows: Ala ire / o que fure, aoralo e. Lines not discussed here, but which are of particular interest in the present study are the following: 23-26, 27-28, 44-45, 50-51, 58-59, 65-66, 79-81, 86-87, 113-114, 119-124, 129-130, 133-135, 142-143, 146- 147.

cal arrangement. Many of the strophes could, for their form, well be taken for hargas of the Monroe- Swiatlo collection type. From the lines that remain unflawed by lacunae or possible scribal error, some fourteen isosyllabic strophes, in addi- tion to the two monostichs, of perfect harga simple structure may be blocked. At least eight more have an ornamented block, and many of the remainder are modified, like Berceo's couplets, only by the use of hemistichal anacrusis and/or Spanish-count ending (interchangeability of oxytonic and paroxytonic ending). All the Auto's strophes are closely related to our harga form. The same rhythmic stresses, in duple and triple rhythm, for example, constitute the movement of the verses in the Auto as in the hargas. Intra- strophic sequences of rhythmic units, even when polymetric, harmonize with each other, and are regularly appropriate to the dramatic situation, as, for example, in the couplet opening the dialogue between Herod and his learned courtiers, in which the latter address him in suave double adonics, and Herod, finishing the couplet in his hasty quest for information, skips the first beat of his line: Learned: Rei, qque te plaze ? he nos uenidos 60060 6oo6o King: I traedes uostros escriptos? 006o 6oo6o

(lines 127-128)

Significantly enough, the Auto's opening nine- couplet soliloquy, spoken by Caspar, is identical in structure, except for two or three hemistichs, and for a pie quebrado introductory to the final couplet of the speech, to that of Berceo's i Eya, velar! The total rhythmic effect of the one, however, is markedly different from that of the other. Although the hemistichal core is identical in the two compositions, Berceo most frequently employs the "aggressive" stressed opening and the tapered ending, producing a trochaic effect, and the Auto's poet prefers to allow the gentle opening and the stressed ending typical of iambic measure to predominate. The two share likenesses to the hargas.

The following examples may serve as illustration of the various matters of interest in this study:

Isosyllabic: Pfsta strbla non se dond ulnet, 6o60 o6o6o quln la trae o quln la tine. 606o o6o6o

(lines 19-20) En t6do, en tbdo es nacido ? non se si algo e ueldo.

(lines 29-30)

o6o6o 6o6o o6o6o 6o6o

41




Fu nunquas alguandre falada o en escriptura trubada ?

(lines 34-35) Ueer lo 6 otra uegada, si es uertad o sl es nada.

(lines 46-47) a Quin uio ntimquas tal mil, Sbbre rei otro tal I

(lines 107-108) Ain non sb io mbrto, nin sb la terra pusto I

(lines 109-110)

I ciumo 16 sabedes? ia prouado 16 auedes ?

(lines 88-89) Quanto I a que la ulstes i que la perciblstis ?

(lines 96-97) Tredze dias a, i mais non auera, que la auemos uelda i bine percebida.

(lines 98-101) Pus catad, dezid me la uertad.

(lines 131-132)

060060060 A good example of profane poetry composed by o6oo6oo6o a learned writer for the entertainment of a rela-

tively sophisticated audience are the verse pas- o6o6 o6o6o sages interpolated in the prose tale titled Historia o6o6 o6o6o troyana and dated ca. 1270 by Menendez Pidal.30

The anonymous author would have expected the 6o6oo6 poems to be read by an individual, either silently 6o6oo6 for his own diversion, or, for group enjoyment,

aloud. They are not designed for singing or for o6o6o6o dramatic performance, it would seem, even though, o6o6o6o as mood-building devices these lyric interludes

enhance-no doubt by author's aim-the dramatic Anisosyllabic: situation in which the lovers find themselves, and o6o6o6o intensify the emotion of love around which the 6o6o6o6o tale centers.

Metrically, these passages represent an inter- o6o6o6o0 mediate stage in the learned tradition, and stand

o6o6o6o between that of our hargas and that of the purely syllable-count measure that eventually prevailed

6o6o6 in poetry of its kind. Although stress-beat o6o6o6 regularity is quite rigidly-and most effectively o6o6o6o -maintained in such selections as the second o6o6o6o (pp. 59-63), which is slightly reminiscent of

harga no. 92, and which begins: 6o6

o6o6o6

In a comparison of the Auto with our hargas, the differences to be noted are the Auto's greater range of line length (from four to fifteen syllables), the prominence and sporadic distribution of its anacrusis, the somewhat freer use of polymetry within some of its strophes, and the tendency in it not only perceptibly to fracture the line as near the middle as possible without completely separating the parts, but then to treat interhemistichal like interlinear pause.

The Auto de los Reyes Magos is another example of the poems whose metric scheme has generally been considered 'irregular' or has been only dimly perceived, but whose form has simply been ob- scured by a system of anacrusis different from, but an outgrowth of, that found in medieval Latin and seen in our hargas. Like Berceo's performance piece, the Auto de los Reyes Magos undoubtedly was written for the entertainment and edification of the general public, and the metric form is therefore probably a reflection of the cleric's learning, the people's taste, and the poet's concept of what could be delivered "trippingly on the tongue"-all within the confines of tradition.

I Gent perdida, mal fadada, cofondida, desesperada, gente syn entendemiento, and the third (pp. 78-79), which may best be illustrated by its second quatrain:

este es su anparamiento, este es toda su fianca este es su acostamiento, este es toda su esperan;a,

rigidity of syllable count, and a sparing use of sporadic anacrusis are to be found in all the poems, and for most of them it would require an over- working of poetic license and a bit of forcing to scan them satisfactorily with regular stress beat, though in some the poet may well have intended to bolster his structure with the interspersion of enough regularly spaced stresses to make dis- cernible some wavering pattern of vertical lines.

From a still different genre comes the Gudiel verse epitaph (1278) recently retrieved from its prose-appearing form, and edited and studied, by

30 Historia troyana en prosa y verso: texto de hacia 1270, ed. R. Menendez Pidal con la cooperaci6n de E. Var6n Vallejo (Madrid, 1934). There are eleven poems, totalling 1302 lines.

42




Harold G. Jones III,31 who has demonstrated its clear relationship with the Latin. In it we find four quatrains, metrically resembling a sequence of hargas, each in perfect conformity with Monroe- Swiatlo harga rule, including symmetrically placed anacrusis. The composition may be diagrammed thus:

(1) o 6 o 6 o 6 o 6 o32 6 o 6 o 6 o 6

6 o 6 o 6 o 6

o6o6o6o6 6o060606 O o o o o

(2)

0

0

0

0

6060606o 60606060

(3) o o 6 o 6 o 6 o

o0606060

(4) o o 6 o 6 o 6 o

o o 6 o 6 o 6 o33 o 6 o 6 6

The modulating element (aside from the use of duple rhythm) providing a smooth rhythmic flow through the composition is the octosyllable. The effect of this sustaining constant may be com- prehended at once with a glance at the syllable sequence as noted by Jones (p. 173): 9-8-8-9 8-8-8-8 8-7-8-7 8-7-8-7. The harga-like location of the syllables in anacrusis in stanzas 1, 3, and 4 functions as a further unifying element, and adds not a little interest to the harmoniously designed form.

The Gudiel epitaph structure, obviously of learned design, presents excellent evidence, on the one hand through its undoubtedly direct relationship with the Latin, and on the other hand through its likeness to our hargas, that the three accentual systems, Latin-harga-Castilian,

31 "The Epitaph of Fernan Gudiel: An Anomaly of Thirteenth-Century Castilian Metrics," Hispanic Review, 43 (1975), 169-180.

32 The line reads Aqui iaz don Fernan Gudiel. Since the remainder of the pqem consists of paroxytonic verse exclusively, I am assuming that the surname here was trisyllabic, and that the stress fell on the second syllable, thus: Gudiel.

33 The normal prose reading would be o6oo6o6o (Di- gamos, que la reciban). By an acceptable license, I scan Digaams. In the remainder of the poem, scansion is uneventful.

are a trinity. To find a sizable sampling of early Hispano-

Romance compositions equivalent to the harga in function as well as form, it is necessary to turn to the Galician-Portuguese cancioneiros. Of these, one in particular is of interest in comparing harga and Romance song-refrain. That one is the collection of over four hundred poems (words for songs) in honor of the Virgin, the Cantigas de Santa Maria,34 by Alfonso X, the learned, of Castile (1221-1284, reigned 1252-1284).

With few exceptions, each of the songs has a refrain placed in introductory position. Its repetition after each strophe is also indicated. Some of these refrains look as if they may have been borrowed from popular song, though most have a decidedly learned cast. It must be re- membered, of course, that all the poetry involved in the present study, whether Latin, barga, or Romance, has either been created by learned writers or been passed through the hands of the eclectic learned, and so does not necessarily directly represent "the people."

Coming as they do from that period in which, according to Raby (see quotation above), accent was losing its importance as a means of indicating verse measure, so that simple syllable-count alone sufficed, most of the refrains do not have a discernibly regulated beat. An impressive number of them do, however, by choice or by chance, showing that the accentual system has by no means been forgotten. These accentual verses exhibit the same duple and triple rhythmic units as those discussed above.35 Following the same principles as did the makers of our hargas, the poet has arranged his lines to form a wide variety of strophic designs both simple and composite -with the inevitable result that some of his refrains correspond exactly in pattern to some examples from the Monroe-Swiatlo collection. The following examples, with the diagrams of their corresponding harga patterns, may be used for comparison:

34 Afonso X, o Sdbio, Cantigas de Santa Maria, ed. Walter Mettmann, 4 vols. (Coimbra, 1959-1972). Where so marked by the editor, I treat the hemistichs of long lines as independent verses, since they apparently were so intended (see ed., vol. I, p. xxiv), and since they make better metrical sense so considered.

35 Over twenty percent by strict scansion, and many others that would pass as regular with little laxity in the scansion.

43




Quena Virgen ben servir nunca podera falir.

(no. 59, bar. 10) Par Deus, tal sennor muito val

que toda door toll'e mal.

(no. 81, bar. 14, 15) Nas coitas devemos chamar a Virgen, estrela do mar.

(no. 112, har. 14, 15) En todo logar a poder a Virgen a quen quer valer.

(no. 168, har. 14, 15) Miragres muitos pelos reis faz Santa Maria cada que lie praz.

(no. 122, bar. 23) Resurgir pode e faze-los seus vive-la Virgen de que naceu Deus.

(no. 133, bar. 28) Da que Deus mamou [o] leite do seu

peito non 6 maravilla de saar contreito.

(no. 77, bar. 29) Quen Santa Maria quiser deffender, non lie pod'o demo niun mal fazer

(no. 74, bar. 30, 32) Do dem'a perfia nona toll' outra cousa come Santa Maria.

(no. 285, bar. 46) Os que a Santa Maria saben fazer reverenca, macar se non amen eles, ela met'y aveenca.

(no. 344, bar. 58, 59) Muit' amar devemos en nossas voontades a Sennor, que coitas nos toll'e tempestades.

(no. 36, bar. 64)

6060606 06006o6o06

06006o00o6 o6oo6oo6 o6oo6oo6

ditto

ditto

0606060606 o6o6o6o6o6 060o060o06

6oo6oo6oo6

6006006006o

6o6o6o6o6o6o

06006006006 oo006oo006oo00

060060

006oooo6oo 0060060

oo6oo0060060o 60060060

00600oo6

6oo00oo006

606060

6oo6oo6o

0606060

6oo6oo6o

606060 0606060

Sometimes Alfonso's refrain is double the length of a harga, simply because of the repetition of the given pattern:

Da que Deus mamou [o] leite do seu peito, 606060606060

non 6 maravilla de saar contreito. 606060606060 (no. 77, har. 2)

Fol 6 a desmesura ooooooo quen dulta que tornada ooooo606 a Ostia sagrada ooooooo non 6 en carne pura. ooooooo

(no. 149, bar. 4) Como aa Virgen pesa 6oooooooo

de quen erra a ciente, outrossi ar praz-lle muito de quen ss'ende ben repente.

(no. 174, bar. 7, 8, 9, 11, 12) A que faz o ome morto

resurgir sen nulla falla, ben pode fazer que viva outra morta animalla.

(no. 178, bar. 7, 8, 9, 11, 12) Com' a grand' enfermidade en saar muito demora, assi quen guarez' a Virgen e guarid' en pouca d'ora.

(no. 346, bar. 7, 8, 9, 11, 12) Omildade con probeca quer a Virgen cor6ada, mais d'orgullo con requeza 6 ela mui despagada.

(no. 75, bar. 7, 8, 9, 11, 12) Deus te salve, groiosa Reya Maria, lume dos Santos fremosa e dos ceos via.

(no. 40, bar. 40)

ooo6ooooo 60606060 60606060

ditto

ditto

ditto

6oooooo606 60606o 6oooooooo 606060

Conversely, in several selections, Alfonso's refrain, otherwise identical in pattern, may have fewer lines than does a corresponding barga. Such is the case in his nos. 128, 174 (quoted above), 256, 286, 346 (quoted above), each of which has only four lines rather than the six of harga no. 85.

Occasionally the difference between refrain and harga may be a matter of a single unstressed syllable, as in the correspondence of Alfonso's no. 10 and harga no. 24:

Rosa das rosas e Fror [-] das frores, 60060060060 Dona das donas, Sennor das sennores. 60060060060

or as in Alfonso's no. 79, which, save for the lack of an unstressed syllable at the end of his quatrain, is identical with hargas nos. 54 and 55:

Ay, Santa Maria, o6oo06 quem se per vos guya o6oo06 quit' 6 de folia o6oo06 e sempre faz ben. o6oo06

In one case the difference, if it exists at all, involves nothing more than one syllable in anacrusis. In any case the effect is identical: Vella e Minya, 6oo06 Madr' e Donzela. 60060 Pobre e Reynna, o6oo06 Don' e Ancela. 60060

(no. 180, har. 62)

44




Other similarities between the two collections abound. Perhaps one more example may be cited. The series of eight brief lines forming harga no. 92 are suggestive of the series of four of the same kinds in Alfonso's no. 115 (see also nos. 72, 380): Con seu ben 606

sempre ven 6060 en ajuda 6060 connocuda 606 de nos Santa Maria. 606

6o6o 6o6o 6o6

Most of the refrains that do have the pre-set pattern are attached to poems in which the strophes are composed of lines whose inner beat occurs at random. There are, however, some compositions in which, as it does in the hargas described by Garcia G6mez, the introductory refrain sets the rhythmic pattern obviously intended-though not always perfectly achieved -for the remainder of the poem. A good example is no. 406. Choosing for his refrain the divided line Ben vennas, Mayo, / e con alegria, which has the same rhythmic sequence (60060060060) as the lines of our harga couplets nos. 24, 25, 26, and 27, Alfonso attempts to compose his whole poem of lines having the same pattern. Although he sometimes obliges the strong to bear the weak, the degree of his success is high. Other examples, varying in degree of success, include nos. 10, 75, 79, and perhaps 80. In nos. 100 and 139, in the last four and eight lines, respectively, of each strophe, the introductory rhythm is repeated.

Here we have, then, I believe, clear evidence that the forms in use by the harga poets were the same as those composed in a Romance language by a learned layman, whose subject material was totally of Christian origin, and who, though he possibly could have been influenced by the Arabic form, was consciously striving, like Berceo,36 to be a troubadour: ". . e por aquest' eu / quero seer oy mais seu trobador, / e rogo-lle que me queira por seu// Trobador e que queira meu tro- bar / reCeber . . ." (Prol. B, 18-22); ". .. e de que quero seer trobador.. ." (no. 10, line 20); "Santa

36 "En tu loor, Sennora, querria entender" (st. 2); "Aun merced te pido por el tu trobador, / qui est romance fizo, fue tu entendedor" (st. 232)-Loores de Nuestra Sennora .. ., ed. Brian Dutton, Obras completas, vol. 3 (London, 1975).

Maria, valed', ai Sennor, / e acorred' a vosso trobador, / que mal le vai." (no. 279, refrain).

To show that the fixed-stress patterns basic to the harga persisted in Hispanic poetry far beyond the thirteenth century, one might continue the story by citing anthology favorites from subse- quent literary periods, choosing from the early fourteenth century Juan Ruiz's "Cerca la Tabla- da" or "Quiero seguir / a ti, Flor de las flores" (Libro de buen amor, st. 1022-1042, 1678-1683), or one of certain verse "morals" posted at story-end in Juan Manuel's Libro de Patronio (e.g., nos. 2, 4, 6, 7, 8, 23, 29, 30, 35, 36, 42, 44, 48, 49); from the turn of the century an imitation of a rustic courting scene in the dezir commo a manera de cantiga by Pero Goncalez de Mendoca (Cancionero de Baena, no. 252), opening with the plea, "Men- ga, dame el to acorro," and continuing in the same meter; from the fifteenth century (probably) the romances beginning "Fonte frida, fonte frida" and "Mis arreos son las armas," both in the ever- popular trochaic octosyllable; from the sixteenth century the poem in the adonics noted in Santa Teresa's breviary, "Nada te turbe, / nada te espante;"; from the nineteenth century Becquer's anapestic rima VII, "Del sal6n en el Angulo os- curo;" from later in that century Jose Asunci6n Silva's third Nocturno, beginning, "Una noche, / una noche, toda llena de perfumes, de murmullos y de musicas de alas," and pulsating hypnotically throughout with the ancient but now subdued trochaic alternation.

To show that the composition having both function and structure of the harga neither ceased with Alfonso X's Cantigas, nor was confined to Galician-Portuguese, we may select for examination a group of eight song refrains popular in the mid-fifteenth century, and glossed a lo espiritual by Juan Alvarez Gato.37 We can be reasonably sure, from the specific statements and quotations in seven of the rubrics, that the refrains all are from songs that were, indeed, popular. They were chosen for glossing, no doubt, for the very fact that they were popular. Six of the eight, according to the rubrics, are from cantares, and for one the rubric states, simply, A la sonada de: "Nuevas te traygo, Carillo." Except for no. 114, they yield the expected structural patterns, as follows:

37 Selections below, numbered as indicated, are from the Foulch6-Delbosc Cancionero ..., vol. I (see n. 25, above).

45




Dime, Sefiora, dy, 6oo606, or: quando parta desta tierra, sy te acordaras de my.

(no. 111) Quien te truxo, rey de gloria, por este valle tan triste ?

Ay, onbre, tu me truxiste !

(no. 114) Quita alla, que no quiero, falso enemigo, quita alla, que no quiero que huelgues comigo.

(no. 115, rubric) Agora es tienpo de

ganar 060060606 or: buena soldada 6oo0060 or:

(no. 116, rubric) Dy nobis, Maria, que viste en la via ?

(no. 118) Soliades venir, amor, agora no venides, non.

(no. 119, rubric) Amor, no me dexes, Que me morire

(no. 120, rubric) Dezidme, reyna del

cielo, 06060060 or: sy soys vos 606 or: su hija y madre de

Dios. 0606o06

(no. 137) Nuevas te traygo, Carillo

(no. 137, rubric)

or:

o6o6o6 60606060

o6o6o6o6

60606060 o6o6oo6o 06060060

oo6ooooo 6oo6o

0060060 6ooooo

o6o6o6o6 ooooo

6ooooo 6ooooo

o6o6o6o6 o6o6o6o6

o6oo6o 06006

o6oo6oo6o 060

o6oo6oo6

60060060

The strophes in the body of all these compositions are either simple zejeles or zejel variations -the zejel being, incidentally, a form that appears fully developed in Latin at least as early as the late eleventh century, in the much-parodied Ver- bum bonum et suave.38 The rhythm of the main strophes in nos. 115 and 120 is guided by that of the refrain (o6oo6o), but in nos. 116, 118, and 119, the rhythm of the body of the poem tends toward the trochaic, and therefore is at variance with that of the refrain. Fluctuating inner stress is characteristic of the body of nos. 111, 114, and 137.

The foregoing investigation, while serving to corroborate the Monroe-Swiatlo statement concerning the hargas in their collection, that they

38 Oxford Book . . ., no. 117.

"are composed in the meters of the stress-syllabic Hispano-Romance system of prosody," offers evidence for several other conclusions, including the following: 1) that the form of these harAas may be less "popular" than "stylized popular" or simply learned; 2) that the verse-meter system of the Monroe-Swiatlo hargas is either borrowed from the system that moved, with gradual modification, from Latin to Hispano-Romance, or, if independent of it, runs parallel to it both chronologically and morphologically; 3) that, in view of the conservativeness of some three centuries of rigid regularity in line and strophe construction, the Monroe-Swiatlo harga system may be a borrowed rather than an original one; 4) that the Hispano-Romance metric system that corresponds to that of these hargas comes at least in large part from the medieval Latin directly through Church or other Christian writings, and therefore is independent of that of the harga; and 5) that the most dynamic element in the evolution of line measure from Latin to Hispano-Romance was anacrusis.

APPENDIX

STRUCTURAL DIAGRAMS OF THE HAR6AS OF THE

MONROE-SWIATLO COLLECTION.

1.

2.

3.

4.

5.

6.

7, 8, 9,

11, 12

10.

13.

14, 15

16.

6060606o

606060606060

6 o 6 o 6 o 60606o

0606060 o 6 o o 6 o

o 6 o 6 o 6 o oo0666oo

o60606 o6o6o6

6060606o

6060606o

6 o 6 o 6 o 6 6 o 6 o 6 o 6

o6oo6oo6o o6oo6oo6o

06006006 o6oo6oo006

6060600oo6o 606060060

46




606060606 606060606

606060606o 606060606o

6 o 6o 6o

44.

45.

46.

6060606o 60606060

66 o 600606060o 6006o60060

oo0606060o oo6oo060 6o

o606060606 0606060606

6060oo6oo6o

6006006060o

6006060oo6 6006o06006

6o6o6o6o6o6o 60606060606o

o6oo0600606 o6006006006

o6oo6oo060 6o 06006006060o

6 o o 6 o o6oo0606o

606060 6oo6oo6o

6 6 o 6 o 6o6o6o6o6o

6 o 6 o 6 6o6o60606

060oo6 6oo6o6oo6

60606o6o 06060

6060606o 6 o 6 o 6 o

o6oo6oo6o 6 o o 6 o

6 o o6 o

6o6o6o6o

47.

48.

49.

50.

51.

52.

53.

54, 55.

56.

57.

58, 59.

60.

6oo6o6oo6o o 6oo6 o

6o6o6o6o6o6o o 06o606o

o6o6oo6o6o6 o 06 060606

o 6o o6 oo 6 o o 6 o o 6 o 6

o 6 o 6 o 6060606o6o

o 606o60

6oo0606o 60060060 6oo0606oo6o

o6 0060 o 6 o o 6 o

o o 6 o o 6 o

6 o 6 o 6 o 6 6 o o 6 o

o 6o o6 o

6o6o6o6o6o o6o6o6o6o

6 o 6 o

oo6oo0606o o6 0060060

oo 6 o

6oo060 6oo6o 6 o o 6 o

o 6 o 6 o

6 oo6 o o 6o o 6 o

o0o6o o 6o o6 o

6 o 6 o 6 6 o 6 o 6

o 6 oo6 o 6 o 6 o 6

o o o o06 o0 o06 oo o06o

o oo 006

6oo0606o 6oo0606o 6oo6oo6o 6oo0606o

o o o 6 o o 6 o o o

6 o 6 o 6o

17.

18, 20

19.

21.

22.

23.

24, 25,

26, 27.

28.

29.

30, 32.

31.

33, 34.

35.

36.

37.

38.

39.

40.

41.

42.

43.

47




6 o

6 o o

60o60o

6 o o 6 o 6060o 60060 60060

6 o o 6 o

6 o o 6 o

60060

60060 060060060

60060

0606060 o6 o 6 o 6 o

o 6 o o o 6 o

o 6 o o 6 o

o 6 o o 6 o

o o 6 o o 6 o

o 6 o o 6 o

0060060

o6o6o6

060060o6

6 o 6 o 6 o

o6o6o6

6 o 6 o 6 o

6 o 0060 o

6 o 6 o 6 o

6 o o 6 o

6 o 6 o 6 o

6 o o 6o

6 o 6 o 6 o

6 o o 6o

o 6 o 6 o 6 o

o o o

o 6 o 6 o 6 o

o o o

o6 o o 6 o o o o

o 6 o

o6 o 6 o 6 o 6 o

060606

oo6060606ooo 060606

6060

606060

o6o6 606060

0606060

060o6

060

60606o 60606o60

75.

76.

77.

78.

79.

80.

81.

82.

83.

84.

85.

6 o o o o o 6 6006006

6 o o 6 o o 6 0o006oo

oo 6oo

600606 60060060 60060060

oo0060060 60060060

060060

o600600 060060

060060060 060060 0600600600 060060

0060060060oo 060060

oo0060060060 060060

o6060606060 6060606060

6o6060o6o

606060606o

06006o060 60606o

6006o

06006060

06060

060606060

606o60 606060

606o

60

60606o60

606o6060

6o6o6o6o

6o6o6o6o

61.

62.

63.

64.

65.

66.

67, 68.

69.

70.

71.

72.

73a, 73b,

73c, 74.

48




6 o 6 060 0

6o6o6o6o6o6o 60 60606060

o6o 6 6 o o 6 o6o6 o

6 o6 6 o0

o6o 6odooo6 06 o

060 o oo0060

o 6 o 6 o 6 o o 6 o 6 o

06 00 06 00

o0060 o 06 00 06 00

o0000 o

6 o o 6 o 6 o 6 o0000o

060

6 o o 6 6 6oo6oo6o 6 o

90, 91.

92.

93.

o6oo6o o 6 o o 6 o

o6oo6o

o o 6 o

6 o 6 o

oo6o0

6 o6 6o6o

6 o 6 o

6o6o 6o6 6o6 6o6o

6o600o 600o6

600oo6

6006

60060

6 o o 6

6 o o O

86.

87.

88.

89.

49



versification of the Ḫarǧas in the monroe-swiatlo collection of arabic Ḫarǧas in hebrew...

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