264
Ad §208
SUPPLEMENTARY NOTES
Euripides vorherrscht" 3. It seems thus, that apart from the statement of the Alexandrian scholiast there is also internal Greek evidence which points to a Persian origin of this metre. Ad § 215 Professor Annemarie Schimmel suggests in a letter that the reason why this va::n is common in Moulavi and rare elsewhere "is probably that it is a typical dancing metre and therefore very fitting for poems recited during the whirling dance". Ad § 231 bahr e xafif is especially common in the type of poetry known as qe6f. Typically more than a quarter of the verses in golestiin are in this va::n.
Ad § 251 fn. 4 The beit referred to is
r..\'f.
lb:.
" u-;
.\... r..J> ~.J>
~..J j~ ~ J~ d>~~
t..>
,t\
~
o~
Here the rhythm shows us that we must read x"iiniam "you call me" and beriiniam "you chase me away" (not x"iinim and beriinim). Ad § 260 It is interesting to note that the fard is much more common in golestiin than the robiiCii proper. There are 37 instances of the former and only 9 of the latter. Ad § 320 fn. 51 The etymologically correct pronunciation of the obsolete u~ kiiu or kiiu" (cf. Old Hindi kahzi and kiihzi), has been "lost" and native scholars nowadays pronounce it ku. This too is the pronunciation given in the glossary of Matthews and Shackle: An Anthology of Classical Urdu Love Lyrics, but the correct pronunciation is still found in John T. Platts: A Dictionary of Urdu, Classical Hindi, and English, from 1884.
3 Dietmar Korzeniewski: Griechische Metrik. pp. 116-118 (Darmstadt 1968).