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"definition": "From the sources\nHemistich Ending Concordance (al-taṣrīʿ) is an Arabic rhetorical device in poetry where the final segment of the first hemistich (ṣadr) agrees with the final segment of the second hemistich (ʿajuz) in rhyme (al-qāfiya), with descriptions also specifying correspondence in metre and the final vowel or grammatical inflection.[1][2][3] Nābulsī defines the device as the agreement of the final part of the beginning of the verse with the final part of its end in metre, rhyme, and grammatical inflection; Cachia renders the requirements as agreement in metre, final consonant, and final vowel.[3] It may also be described as the agreement of the end-words of both hemistichs of a line in their final letter.[1] It is most characteristically used in the opening line of a poem, though it may recur elsewhere.[1][4][2][3] The term is derived from miṣrāʿ, meaning a rhymed hemistich.[4] Taṣrīʿ is specific to poetry; its analogue in prose is sajʿ.[1][2] It may also be described as running like the poem's rhyme (al-qāfiya), with the sole difference being that it falls at the end of the first hemistich rather than the second.[2]",
"linguisticOperation": "From the sources\nA line of Arabic poetry (bayt) consists of two hemistichs: the first is the ṣadr and the second is the ʿajuz.[1]\nTasrīʿ occurs at the end of each hemistich, where the final segment (juzʾ) of the ṣadr agrees with the final segment of the ʿajuz.[1]\nAbd al-Ghani (2011) describes this agreement using overlapping formulations: agreement in rhyme and grammatical inflection; agreement in the final letter; and agreement in metre.[1]\nHeinrichs (1998) describes tasrīʿ as giving the poem’s rhyme also to the first hemistich of a line.[4]\nThe analogy given by Abd al-Ghani (2011) is that of the two leaves of a door (miṣrāʿān), where the two hemistichs of the poetic line resemble the two leaves of a double door.[1]\nIt is most commonly found at the opening of the poem, but may recur in later lines.[1][4][2][3]\nIbn Sinān describes tasrīʿ as running like the poem's rhyme (al-qāfiya), the only difference being that it falls at the end of the first hemistich (ṣadr) rather than the second, likening the two hemistichs to the two leaves of a door (miṣrāʿā al-bāb).[2]\nNābulsī defines the correspondence as agreement of the final part of the first hemistich with the final part of the second in metre, rhyme, and grammatical inflection.[3] Cachia identifies two strict requirements: the two hemistichs must rhyme, and their final segments must be metrically identical. He interprets Nābulsī's additional requirement concerning grammatical inflection as effectively requiring the words ending the two hemistichs to have the same final vowel.[3]\nEncyclopedia Interpretation\nIn this encyclopedia, the mechanism is described as the extension of the poem’s rhyme to the first hemistich, so that the two hemistich endings correspond in their terminal sound.\nAbd al-Ghani's overlapping formulations of the formal correspondence between the hemistich endings are not treated as separate subtypes or as a rigid checklist; Nābulsī's explicitly enumerated six varieties are presented separately under Types.",
"recognition": "From the sources\nTasrīʿ may be present when:\n\nThe final segment of the first hemistich agrees with the final segment of the second hemistich.[1]\nThe two hemistich endings share the poem’s rhyme or final letter.[1][4]\nThe agreement may also be described in terms of grammatical inflection or metre where these are part of the source formulation.[1]\nEncyclopedia Interpretation\nThe following diagnostic tests aid identification:\n\nIdentify the end-word or final segment of the first hemistich and the end-word or final segment of the second hemistich.\nCheck whether the ending of the first hemistich shares the rhyme or final letter of the second hemistich.\nWhere relevant, note whether the two endings also correspond in grammatical inflection or metrical form, but do not treat these as separate subtypes unless explicitly required by the source being followed.",
"diagnosticCommunicativeEnhancements": "From the sources\nTasrīʿ gives the line a musical quality (jarsan mūsīqiyyan) that appeals to hearing and understanding.[1]\nIt pleases the soul through the musicality of sound.[1]\nIbn Rashīq considers it evidence of the poet's natural fluency (quwwat al-ṭabʿ) and abundance of material (kathrat al-māda).[2]\nIbn Rashīq also notes that when it recurs beyond the opening line in a qaṣīda, it may indicate affectation (al-takalluf).[2]\n\nApplying the Recognition Framework\nThe information on this page can be used to evaluate whether this device is present in a candidate lexical item using the Specific Device Recognition part of the Universal Framework for Identifying Arabic Rhetorical Devices:\n\nUse the Definition, Mechanism, and Recognition sections of this page in Step 1.\nApply the substitution test in Step 2.\nConsider contextual indicators in Step 3.\nUse the Diagnostic Communicative Enhancements section of this page in Step 4.",
"examples": "Source Example🔗\nقِفَا نَبْكِ مِنْ ذِكْرَى حَبِيبٍ وَمَنْزِلِ — بِسِقْطِ اللِّوَى بَيْنَ الدَّخُولِ فَحَوْمَلِHalt, let us weep at the memory of a beloved and a dwelling-place — at the sands of al-Liwā between al-Dakhūl and Ḥawmal.\nExplanation\nThe end-word of the first hemistich (manzili) and the end-word of the second hemistich (Ḥawmali) share the same final consonant, illustrating tasrīʿ.[1][2]Source Example🔗\nأَلَا عِمْ صَبَاحًا أَيُّهَا الطَّلَلُ الْبَالِي — وَهَلْ يَنْعَمَنْ مَنْ كَانَ فِي الْعُصُرِ الْخَالِي؟Good morning to you, O crumbling ruin — can one who lived in ages past ever know peace?\nExplanation\nThe end-word of the first hemistich (al-bālī) and the end-word of the second hemistich (al-khālī) share the same final consonant, illustrating tasrīʿ.[1]Source Example🔗\nسَكَتُّ فَغَرَّ أَعْدَائِي السُّكُوتُ — وَظَنُّونِي لِأَهْلِي قَدْ نَسِيتُI fell silent, so my silence deceived my enemies — and they thought I had forgotten my people.\nExplanation\nThe end-word of the first hemistich (al-sukūtu) and the end-word of the second hemistich (nasītu) share the same final consonant, illustrating tasrīʿ.[1]Source Example🔗\nخَلِيلَيَّ مُرَّا بِي عَلَى أُمِّ جُنْدَبِ — لِأَقْضِيَ حَاجَاتِ الْفُؤَادِ الْمُعَذَّبِMy two companions, pass with me by Umm Jundab — so that I may fulfil the needs of the tormented heart.\nExplanation\nThe end-word of the first hemistich (Jundabi) and the end-word of the second hemistich (al-muʿadhdhabi) share the same final consonant, illustrating tasrīʿ.[1]Source Example🔗\nأَفَاطِمُ مَهْلًا بَعْضَ هَذَا التَّدَلُّلِ — وَإِنْ كُنْتِ قَدْ أَزْمَعْتِ صَرْمِي فَأَجْمِلِيO Fāṭima, gently — enough of this coquetry; and if you have resolved to break with me, then do so gracefully.\nExplanation\nThe end-word of the first hemistich (al-tadalluli) and the end-word of the second hemistich (fa-ajmilī) share the same final consonant, illustrating tasrīʿ.[1]Source Example🔗\nالرَّأْيُ قَبْلَ شَجَاعَةِ الشُّجْعَانِ — هُـوَ أَوَّلٌ وَهِيَ الْمَحَـلُّ الثَّانِيSound judgement comes before the courage of the brave — it comes first, and courage is in the second place.\nExplanation\nThe end-word of the first hemistich (al-shujʿāni) and the end-word of the second hemistich (al-thānī) share the same final consonant, illustrating tasrīʿ.[1]Source Example🔗\nقَدْ عَلَّمَ الْبَيْنُ مِنَّا الْبَيْنَ أَجْفَانَا — تَدْمَى وَأَلَّفَ فِي ذَا الْقَلْبِ أَحْزَانَاSeparation has taught our eyelids separation — they bleed, and it has gathered griefs in this heart.\nExplanation\nThe end-word of the first hemistich (ajfānā) and the end-word of the second hemistich (aḥzānā) share the same final consonant, illustrating tasrīʿ.[1][2]Source Example🔗\nوَتَقَفُّو لِيَ الْجَدْوَى بِجَدْوَى وَإِنَّمَا — يَرُوقُكَ بَيْتُ الشِّعْرِ حِينَ يُصَرَّعُYou follow up my gift with a gift — for a line of poetry pleases you most when it has tasrīʿ.\nExplanation\nThe end-words of the two hemistichs (jadwā) and (yuṣarraʿu) agree in their final rhyme sound, illustrating tasrīʿ.[2]Constructed Example🔗\nيَا وَطَنِي كَمْ ذُقْتُ فِيكَ الْهَوَانَا — وَكَمْ حَمَلْتُ لِأَجْلِكَ الْأَحْزَانَاO my homeland, how much humiliation I have tasted in you — and how much grief I have borne for your sake.\nExplanation\nThe end-word of the first hemistich (al-hawānā) and the end-word of the second hemistich (al-aḥzānā) share the same final consonant, illustrating tasrīʿ.English Constructed Example🔗\nAt last the valley wakes to light — Beyond the hills, the stars burn bright.\nExplanation\nThe two hemistichs end in the corresponding rhyme light / bright, while each hemistich expresses an independently intelligible meaning. This illustrates the perfect variety of taṣrīʿ.",
"differentFrom": "Sajʿ: Abd al-Ghani (2011) states that tasrīʿ is specific to poetry and that its analogue in prose is sajʿ; Ibn al-Athīr makes the same point explicitly, stating that tasrīʿ in poetry holds the same position as sajʿ in prose.[1][2]\nTarṣīʿ (الترصيع) - Taṣrīʿ concerns correspondence between the endings of the two hemistichs of a poetic line, typically by extending the poem’s rhyme to the end of the first hemistich. Tarṣīʿ, by contrast, involves correspondence in rhyme and morphological weight across multiple paired words or expressions.",
"notes": "Abd al-Ghani (2011) presents several overlapping formulations of the definition: agreement in rhyme and grammatical inflection, agreement in the final letter, and agreement in metre. This page preserves that variation without treating the formulations as distinct subtypes.[1]\nThe phrase yusʿid al-nafs is rendered here as “pleases the soul”, not as a claim about ease of breathing or pronunciation.[1]\nHeinrichs (1998) derives the term from miṣrāʿ, meaning a rhymed hemistich.[4]\nCachia observes that the strict requirements of taṣrīʿ are rhyme between the hemistichs and metrical identity of their final segments. Although Nābulsī additionally formulates the requirement in terms of grammatical inflection, Cachia understands this as requiring the hemistich-ending words to share the same final vowel rather than requiring their grammatical circumstances to be otherwise comparable.[3] Cachia further observes that taṣrīʿ appears to require a marked balance between the two hemistichs, while noting that Nābulsī does not explicitly make this part of his definition.[3]\nCachia observes that taṣrīʿ is best employed in the opening line of a poem and may be considered infelicitous when used elsewhere.[3]",
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"arabic": "قِفَا نَبْكِ مِنْ ذِكْرَى حَبِيبٍ وَمَنْزِلِ — بِسِقْطِ اللِّوَى بَيْنَ الدَّخُولِ فَحَوْمَلِ",
"english": "Halt, let us weep at the memory of a beloved and a dwelling-place — at the sands of al-Liwā between al-Dakhūl and Ḥawmal.",
"explanation": "The end-word of the first hemistich (manzili) and the end-word of the second hemistich (Ḥawmali) share the same final consonant, illustrating tasrīʿ.[1][2]"
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"arabic": "أَلَا عِمْ صَبَاحًا أَيُّهَا الطَّلَلُ الْبَالِي — وَهَلْ يَنْعَمَنْ مَنْ كَانَ فِي الْعُصُرِ الْخَالِي؟",
"english": "Good morning to you, O crumbling ruin — can one who lived in ages past ever know peace?",
"explanation": "The end-word of the first hemistich (al-bālī) and the end-word of the second hemistich (al-khālī) share the same final consonant, illustrating tasrīʿ.[1]"
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"arabic": "سَكَتُّ فَغَرَّ أَعْدَائِي السُّكُوتُ — وَظَنُّونِي لِأَهْلِي قَدْ نَسِيتُ",
"english": "I fell silent, so my silence deceived my enemies — and they thought I had forgotten my people.",
"explanation": "The end-word of the first hemistich (al-sukūtu) and the end-word of the second hemistich (nasītu) share the same final consonant, illustrating tasrīʿ.[1]"
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"arabic": "خَلِيلَيَّ مُرَّا بِي عَلَى أُمِّ جُنْدَبِ — لِأَقْضِيَ حَاجَاتِ الْفُؤَادِ الْمُعَذَّبِ",
"english": "My two companions, pass with me by Umm Jundab — so that I may fulfil the needs of the tormented heart.",
"explanation": "The end-word of the first hemistich (Jundabi) and the end-word of the second hemistich (al-muʿadhdhabi) share the same final consonant, illustrating tasrīʿ.[1]"
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"arabic": "أَفَاطِمُ مَهْلًا بَعْضَ هَذَا التَّدَلُّلِ — وَإِنْ كُنْتِ قَدْ أَزْمَعْتِ صَرْمِي فَأَجْمِلِي",
"english": "O Fāṭima, gently — enough of this coquetry; and if you have resolved to break with me, then do so gracefully.",
"explanation": "The end-word of the first hemistich (al-tadalluli) and the end-word of the second hemistich (fa-ajmilī) share the same final consonant, illustrating tasrīʿ.[1]"
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"arabic": "الرَّأْيُ قَبْلَ شَجَاعَةِ الشُّجْعَانِ — هُـوَ أَوَّلٌ وَهِيَ الْمَحَـلُّ الثَّانِي",
"english": "Sound judgement comes before the courage of the brave — it comes first, and courage is in the second place.",
"explanation": "The end-word of the first hemistich (al-shujʿāni) and the end-word of the second hemistich (al-thānī) share the same final consonant, illustrating tasrīʿ.[1]"
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"arabic": "قَدْ عَلَّمَ الْبَيْنُ مِنَّا الْبَيْنَ أَجْفَانَا — تَدْمَى وَأَلَّفَ فِي ذَا الْقَلْبِ أَحْزَانَا",
"english": "Separation has taught our eyelids separation — they bleed, and it has gathered griefs in this heart.",
"explanation": "The end-word of the first hemistich (ajfānā) and the end-word of the second hemistich (aḥzānā) share the same final consonant, illustrating tasrīʿ.[1][2]"
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"arabic": "وَتَقَفُّو لِيَ الْجَدْوَى بِجَدْوَى وَإِنَّمَا — يَرُوقُكَ بَيْتُ الشِّعْرِ حِينَ يُصَرَّعُ",
"english": "You follow up my gift with a gift — for a line of poetry pleases you most when it has tasrīʿ.",
"explanation": "The end-words of the two hemistichs (jadwā) and (yuṣarraʿu) agree in their final rhyme sound, illustrating tasrīʿ.[2]"
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"arabic": "يَا وَطَنِي كَمْ ذُقْتُ فِيكَ الْهَوَانَا — وَكَمْ حَمَلْتُ لِأَجْلِكَ الْأَحْزَانَا",
"english": "O my homeland, how much humiliation I have tasted in you — and how much grief I have borne for your sake.",
"explanation": "The end-word of the first hemistich (al-hawānā) and the end-word of the second hemistich (al-aḥzānā) share the same final consonant, illustrating tasrīʿ."
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"explanation": "The two hemistichs end in the corresponding rhyme light / bright, while each hemistich expresses an independently intelligible meaning. This illustrates the perfect variety of taṣrīʿ."
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