Introduction to numerical Arabic prosody

I have always been attracted to and fascinated by the Arabic poetry, especially its rhythm, with so distinctive patterns of sound regularity, I thought there should be a mathematical description of that rhythm. As briefly as I can, I will try to present a numeric description of that rhythm and of my work as well in the following pages

Here are some concepts and some definitions of Arabic sounds:

-pardon the non technical of some of my vocabulary-

·              Vowel letters : there are three vowels ( a,o,e ) each vowel has two periods, a short vowel (v ) = (a,o,e) and a long vowel (V) = (A,O,E).

·              Consonants: (c) the rest of the alphabet.

·              Each consonant is involved in one of two types of pronunciation: depending on whether it is or not (C).

Ist (c), if followed by a vowel (i.e. but = bat, b is followed by a short vowel, T is not, man : m is followed by a long vowel, N is not)

·              Any syllable starts with a consonant

·              The types of syllables and their numerical values are:

c + v       = 1     (ba in but)

 

c + V      = 2      (mA in man)

c + v + C= 2      (baT =but  )

 

( c + v ) + (c + V ) = 1+ 2 = 3    { below  = (be = 1) + ( lO = 2 ) } = 3

( c + v ) + (c + v + C ) = 1 + 2 = 3   { come on = (ka = 1) +( moN = 2) }= 3

I

·                   These syllables come in 8-11 standard groups called tafaeel (tafAEL) or feet

 

It took me some time to issue the 1st edition of my book on the subject. It was devoted mainly to the introduction of this concept into Arabic prosody field, rather than following the probable new horizons which became feasible as a result of providing the prosody science with this simple tool. However I have almost finished the 2nd edition which goes much beyond the 1st.

 

Some of the features are:

·                   Direct mathematical expression of the meter ! of any human voice, consequently of any rhythm.

·                   Mathematical representation of poetry rhythm, graphically as well.

·                   Prediction of new acceptable rhythms from mathematical analogues.

·                   The ratio ( 2+3 ) / ( 2 +3 ) often reflects the internal music of poetry. The higher the value the stronger and faster the implication is.

·                   Some - I would say- discoveries explaining some aspects of the marvelous beauty of Quran.

·                   Aware of the three types of prosody :quantitative, syllabic and stressed, I think this tool is capable of handling all of them, taking into consideration the difficulties in the case of the stressed poetry which requires certain additions and modifications.

·                    Expressing music numerically.

·                   The ease this method renders for comparative multilingual prosody.

·                   It can be utilized to express different dialects and stresses of the same language:

Had you seen him = hA/D/ yO /seneM =2C23

Had you seen him = haD/ yosE/N/ heM =2 3 C 2     (hem: e includes i )

Had you seen him = haD/ yO/ sE/N/ heM= 2 2 2 C 2

          

Come on = ka /moN= (c + v)/ (c+ v + C) = 1 / 2 ≡ 1+ 2 = 3

Come on = ka/ mO/N= c+v / c + V + C = 1 / 2/ C  ≡ 1 + 2 +C = 3 + C

 

I discovered that the fist people who used the numerical values (1 and2) in this sence where the ancient Indians. After almost finishing my book I found a book in Arabic using (1 and 2) in the same since but in a static manner that stops far beyond the above limits.

 

I am looking forward to a chance that enables me to elaborate further on the applications of this approach.

Please find:

1-        Application on Arabic verse in Latin letters.

2-        Numerical representation of certain English verse lines as perceived by an Arab.

3-a letter I sent to somebody about the subject.

4-some mathematical and graphic representation of certain poem lines.

 

Some Arabic sounds don’t exist in English. Usually two characters express each such sound. Since the numerical value of any syllable in Arabic is equal to the number of consonants and long vowels (A,O,E). Bearing in mind that (e) and (i) are the same, short vowels (a,o,e) don’t count in this regard, perhaps because the period each takes to be pronunced is very short ,they are considered as mere description of the consonants that invariably precedes each of them,  A mathematical analogy is the plus and minus signs (+,-) before figures,. thus they are important albeit they have no numerical value. Trying to keep the same criteria in English I colored the short vowels in green as an indication that they should not be counted, and suggested to represent each of the Arabic sounds which does not have an English similar by a single letter as described herebelow.

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You notice:

1.                   Every capital letter is an end of a sylable

2.                   There are two types of capital letter syllable ends;

1^st: consonant, example L :(kill=;keL =2)= (haL=2) ,( âamaL =3)

 2^nd: long vowel, example O:(no=nO=2): (you=yO=2) ,( âakO =3)

3                    Any (consonant +short vowel)=1. If not followed by consonant will stay as such.

4                    Every two consonants are separated by a vowel letter

5                    All words start with consonants.

6                    The numerical value of each syllable is the number of its consonant letters and long vowels. The short vowels are not counted.

 

Following is a translation of an Arabic lyric from (http://www.shira.net/billadhi.htm)

 

Billadhi askara min 'arf el-lama   بالذي أسكر من عرف اللمى

The one who intoxicates by the scent of her dark lips

Kulla ka'sin tahtasihi wa habab ;     كل كأس تحتسيه وحبب

Each cup she sips, and the pearl-like teeth

Walladhi kahhala jafnayka bima    والذي كحل جفنيك بما

The one who has darkened your eyelids with kohl

Sajada-sse'eru ladayhi wa-qtarab    سجد السحر لديه واقترب

Magic bowed down toward him and got close

Walladhi ajra dumu'i andama  والذي أجرى دموعي عَندما

And the one who made my tears flow like red dye

Indama a'ratta min ghayri sabab   عِندما أعرضت من غير سبب

When you shunned me for no reason

Di 'ala sadri yayumnaka fama   ضع على صدري يمناك فما

Put your right hand on my breast

Ajdara-l-ma'a bi-itfa el-lahab       أجدر الماء بإطفاء اللهب

It is more suitable than water to put out the flames.

 

Click here to listen

Following are some English well known words and phrases to facilitate the comprehension of the way in which Arabic prosody and pronunciation are expressed. Notice that the number representing any syllable is equal to the count of its letters minus short vowels.

q                   strong = STroNG= STrُNG = CC/cvC/C=CC2C

q                   what is it?= wa/tisiT =cv/cvcvC== wَ /tِsِtْ= 13

q                   let it go = letiTgO = lِtِtْ/go  =cvcvC/cV= 3 /2 = 32

q                   so what = sO /waT=  sO/wَ T= cV/cvC= 22

q                   this = z i S = zِ S = cvC=2

q                   three = YrE = CcV=C2

 

 

 

Predominantly each line of Arabic verse consists of two equal parts with a compulsory caesura between them At the end of the second half comes the rythm colored in yellow in the above example. Refering to the last line, it consists of the following the same applies to any verse(from right to left):

1-        -B = the last capital letter (consonant or vowel),

2-         -Y =the capital letter before the last

3-        resaba = what ever lies between the last two capitals.

4-        ga = the two small letters (consonant followed by vowel) preceding Y , the capital before the last.

As in figures 1  and 2 , Arabic verse is easily expressed in various graphical forms. An example is the previous verse where its scansion (1^st half of first line 2 3 2 1 3 2 2 3:

 

 

The red background represents the typical syllables or syllable groups (feet), where as the blue columns represent the actual verse where -as permitted- a (2=kA) became (1=ka)

The beauty of a certain rhythm is reflected in the representation of the scansion of half a line or one line on a web graph.

 This shape represents the two halves of the 1st line, the red is the typical where all syllables are twos and threes. The blue represents the real verse were two twos were replaced by one for each.

 

 

 

 

Following are some points showing the use and importance of this method:

1.                   It makes computer analysis applicable to poetry rhythm, and with proper programming makes feasible computerized poem writing.

2.                   It makes possible the translation of poetry from one language to the other in a poetic form.

3.                   It facilitates teaching metrical patterns to youngsters and adults.

4.                   It can be used to analyze the characteristics of pronunciation of various languages and dialects.

5.                   It might have application in other fields, music for instance.

6.                   In Arabic, certain ratios between certain rhythm-representing figures are parameters of the internal music. The auther expects that further computer analysis may reveal thump prints for various poets.

7.                   It reveals new patterns that may be looked upon as new longer types of feet, which could not be detected without being numerically represented.

                       8.                    Applying this method in a certain field leads to new  fields (windows)

                       9.                    One chapter in the book explains the numerical and graphicacal representation of musical rhythm.

Application on a multi language scale requires expertise on each language. Computer programming is needed to widen the different scopes. Utilization on a larger scale requires the necessary set up.

 

Figures 3 and 4 show the graphical web representation of Al_Kamil an Arabic poetry bahr  11 2 3 11 2 3 11 2 3 .The area between the red and black lines represents the deviation from the standard mode.