Mixture or combination

MUTALAVVIN SAN’ATI – It is a literary term of Arabic origin. It means putting into different rhythms the same poem. There many poems falling into various rhythms. “A” being a scientific book there no any biographic information. Only in one context there was noted about the biography of the author when Babur learned about rhythm “mutalavvin” from the book “Badoyi’us-sanoyi’” by Ataullah Husaini when Babur went to Murghab as respond to the challenge of Sultan Husain to fight against Shaibani-Kahn. In the review of Hurshedi to the book by Ahmad Manshuri “there was one bait which could be read in various rhythms” [“A”, on folio 36 a]. Babur himself was astonished from that he invented the bait:
Qoshig’a borg’ali ko’ngul o’ziga kelmadi netay,
Yuziga tushgali ko’zum ko’ziga ilmadi ul oy, -p.55
It was noted that this bait can be read in all 16 rhythms of Aruz in the book “A”. Babur also mentioned rhythm of “mutalavvin” in the depiction of event touching upon 1526 in Baburname
“At that time I said this bait:
Ko’zu qoshu so’zu tilinimi dey,
Qadu hadu sochu belinimu dey?-p55
And read it in 504 rhythms. So, it was arranged as book” [“B”, on folio 331 b; see. Also “Taqti’”]
A.A.
Mutalaffaz – see., “Nun”I mutalaffaz.
MUTATAVVAL SHE’R (mutavval she’r) – It is a literary term of Arabic origin. It expresses type of ghazal where number of syllables exceeding four. It was unique poetic device. “If the floors of the bait higher than eight it is called as “mutatavval”, but the amount of mutatavval is not clear. The more syllabus the more skillful is author” [“A”, on folio 30 b; 31 a]. It has not been mentioned in modern manuals about aruz theory. But Nawai and Tarazi gave short information. There was given three samples in book “Fununul-balog’a”(every stanza consisting of 10 lines in rhythm of “hazaj, ramal and rajaz” in “solim” metric), while “Mezonul-avzon” cited only one sample (every stanza consists of 8 lines, in the rhythm “mutaqoribi maqbu” in “aslam” metric). The poetic type of “mutatavval” was explained widely in “A”. Babur analyzed the following poems in mutatavval type.
1. The ode devoted to Ulughbek by Kwaja Ismat Bukhari consisting of 6 baits – in mutaqorib rhythm, with 8 bundles mixing rhythms maqbuz (fa’uvlu) nad aslam (fa’lun). (“A”, p-31 a).
2. A bait in mutaqorib rhythm with 8 bundles in every line mixing rhythmes “asram (fa’lu)” and “solim”:
Ey o’|zi chobuk, | v-ey ko’|zi usruk, | v-ey ti|li chuchuk, | lab lari| - shakar,
Ey xa|ti sunbul, v-ey so’|zi chun mul, v=ey yu|zi gul-gul, |qoma|ti – ar’ar p.55
3. Persian mutatavval poem in hazaj rhythm, with line of 8 bundles in “solim” (bait 44)
4. Turkic mutatavval poem by Shaikh Ahmad Tarazi with 10 bundles in “salim” rhythm in every line. (bait 44 a, b)
5. again one bait in persian language by unknown aithor with 15 bundles beginning with “axrab (maf’uvlu) hashv with “makfuf (mafo’iylu), ending bundle with “mahzuf”9fa’uvlun) every line. (44 b)
After these examples Babur outlined his own experiences “In the last year of the Indian conquest I was going to Sanbal at that time when I created a bait with 16 lines”
Menga sen ne|cha kim javru | jafo birla | azob aylasang ey yori | jafojo’yi |purozori | sitamkor,
Senga men qi |luram qullu|qu xizmat, che| kram jav|ru jafo to|ki, tirikmen |erur yori|vafodor”
(the rhythm of zulqofiyatayin, hazaj bahri” seven 7 syllables of rhythm “makfuf-mafo
Iylu” the last syllable of “maqsur –fa’uvlon” rhythmic pattern.)
Babur did not stop with that rhythm and found other two rhythms of “mutavvali mutataval rajaz”, which was originated by the shift of words “menga” and “senga” which are in the beginning of line to the end of line that formed pattern “matvai mutatavl”; while words “menga sen” and “senga men” stands in “mahbun mutataval ramal” rhythm.
Mafo’iylu + 6 times mafo’iylu +fauvlon;
Mufta’ilun + 6 times mafta’ilun + mufta’ilun;
Fa’ilotun +6 times fa’ilotun + failotun.
(There was put one long and short syllable instead of three extreme long syllables contradicting theory of Aruz)
There appears again rhythm of “makfuf va maqsur hazak” if there replaced one long syllable from the beginning of the line to the end in the rhythm “mahbun ramal”. These means that rhythms “mutatavvals of “hazaj, rajaz, ramal” originate independent circle, which means prolonging of circle of “mujtalibai muzohafa” (see. Doiralar)
S.I., A.A.