1837.] 



of the Persians, 



117 



Bub at. 



Ai dil talab kemal dar Madrasah cband 

 Takmil-i-asul w& hikmat-i-hindasah chand 

 Har fikr kih juz fitr-i-khuda waswasah ast 

 Sharmi az khuda badar kih in waswasah chand. 

 Sahibi is celebrated for the beauty of his Rubaiyat. A Rubai resem- 

 bles in rhyme the four first misras of the Ghazal ; and is generally 

 written in the same measure, viz. the Bahr-i-Bazaj ', or in one of its 

 varieties. According to the Dustur-i nazm, a measure for the Rubai 

 has lately arisen composed from the measures of the Muzaria and 

 Mushakil, and called the Bahr-i-Ruba-yat. 



The Kita <**^jj 



Never comprises less than two couplets — in the Kita the two last 

 lines of each distich are most frequently made to rhyme, though there 

 is no fixed measure for this class of composition. The first Kita in 

 the Diwan of Hajiz is written, like a Masnavi, in rhyming couplets. 



^ ^ «£U ^jS > \js U«Ji J 



Kita. 



Ai karimi kih az khazanah-i-ghaib 

 Gabr wa tarsa wazifah-i-khud dari 

 Dostanra kiija kani mahrum 

 To kih ba dushmanan nazer dari. 



The Kitas of Sadi are in the highest esteem. This class of compo- 

 sition rarely exceeds twenty couplets. 



The Masnavi iJ)J&*» 

 In the Masnavi both lines of the distichs rhyme together— for instance : 



