1837.] 



of the Persians, 



121 



Of these the Mukhammas is most in vogue. The following is a 

 specimen of the Murabba from Sadi : 



Murabba. 

 Man mandah am ranjiir az 6 

 Bar-mandah am manjur az o 

 Goi kih bini dur az o 

 Bar ustakhanam me khalad. 



The subject of this class of composition is most commonly the pains 

 of love — separation from its object — expostulation and entreaty. The 

 five misras of the first Mukhammas in the Diwan of Haftz rhyme all 

 alike in am, in which also terminate the concluding misras of the suc- 

 ceeding nine. The following is a specimen : 



Mukhammas ( Hafiz). 

 K'o bukht kih az sar nujazi Dar hazrati chun to dil nuwazi 



Maruz kunam nahaft razi Haihat kih chun to shahbazi 



Tashrif dihad dar ashianam. 

 The Musaddas, the Musamman and the Muasher, terminate with a 

 couplet rhyming differently from the preceding ones. 



The Marsujah ^j <0 

 Is an elegy or dirge, consisting generally of upwards of 50 stanzas, 

 arranged like the Musamman^ 



The Tarikh ^fi 

 Is a stanza frequently used for inscriptions on edifices and tombs— 

 from the numerical value of the last letters of the last misra, the date 

 of the building is known. It is also used in historical and biographical 

 treatises. The Diwan of Hafiz, contains a number of Tdrikhs • as 

 also the Ta z kirat-i-Serkhash. The numerical value of letters is as- 

 certained from the Abjad. 



