⏑ ‑ ‑ ‑ | ⏑ ‑ ‑ ‑ | Fa-lá tas’au ilà ghayrí
⏑ ‑ ‑ ‑ | ⏑ ‑ ‑ ‑ | Fa-’indí ma’dinu ’l-khayri (Mac. N. ii. 377).
Steer ye your steps to none but me ✿ Who have a mine of luxury (vol. v. 65).
If in the second ’Arúz of the Wáfir Maf’áílun (⏑ ‑ ‑ ‑) is further shortened to Mafá’ilun (⏑ ‑ ⏑ ‑), the metre resembles the second ’Arúz of Rajaz, where, as we have seen, the latter foot can, by license, take the place of the normal Mustaf’ilun (‑ ‑ ⏑ ‑).
The Kámil bears a similar relation to the Rajaz, as the Wáfir bears to the Hazaj. By way of illustration we quote from Mac. N. ii. 8 the first two Bayts of a little poem taken from the 23rd Assembly of Al-Hariri:—
‑ ‑ ⏑ ‑ | ‑ ‑ ⏑ ‑ | ⏑ ⏑ ‑ ⏑ ‑ | Yá khátiba ’l-dunyá ’l-daniyyati innahá
⏑ ⏑ ‑ ⏑ ‑ | ⏑ ⏑ ‑ ⏑ ‑ | ‑ ‑ ‑ | Sharaku ’l-radà wa karáratu ’l-akdári
‑ ‑ ⏑ ‑ | ‑ ‑ ⏑ ‑ | ‑ ‑ ⏑ ‑ | Dárun matà má azhakat fí yaumihá
‑ ‑ ⏑ ‑ | ‑ ‑ ⏑ ‑ | ‑ ‑ ‑ | Abkat ghadan bu’dan lahá min dári.
In Sir Richard Burton’s translation (vol. iii. 319):—
O thou who woo’st a World unworthy, learn ✿ ’Tis house of evils, ’tis Perdition’s net: A house where whoso laughs this day shall weep ✿ The next; then perish house of fume and fret.
The ’Arúz of the first couplet is Mutafá’ilun, assigning the piece to the first or perfect (sahíhah) class of the Kámil. In the Hashw of the opening line and in that of the whole second Bayt this normal Mutafá’ilun has, by license, become Mustaf’ilun, and the same change has taken place in the ’Arúz of the second couplet; for it is a peculiarity which this metre shares with a few others, to allow certain alterations of the kind Zuháf in the ’Arúz and Zarb as well as in the Hashw. This class has three subdivisions: the Zarb of the first is Mutafá’ilun, like the ’Arúz; the Zarb of the second is Fa’alátun (⏑ ⏑ ‑ ‑), a substitution for Mutafá’il which latter is obtained from Mutafá’ilun by suppressing the final _n_ and rendering the _l_ quiescent; the Zarb of the third is Fa’lun (‑ ‑) for Mútfá, derived from Mutafá’ilun by cutting off the Watad ’ilun and dropping the medial _a_ of the remaining Mutafá.
If we make the ’Ayn of the second Zarb Fa’alátun also quiescent by the permitted Zuháf Izmár, it changes into Fa’látun, by substitution Maf’úlun (‑ ‑ ‑) which terminates the rhyming lines of the foregoing quotation. Consequently the two couplets taken together, belong to the second Zarb of the first ’Arúz of the Kámil, and the metre of the poem with its licenses may be represented by the scheme: