The Metrical Structure of Kashmiri Vanɨvun Sadaf ... - Ars Metrica

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Ars metrica – www.arsmetrica.eu – 2012/05 *PkFT/NoBr(μ) InitialStress » FtMin(μ) və́.rì: > *və.rì: *PkFT/NoBr(μ) » FinalStress ká.ɲi > *ká.ɲì *LongLapse » *PkFT/NoBr(μ) má.ha.rè.ɲi >má.ha.rè.ɲi FinalStress » *PeakFT/σμ yə́m.bɨr.zàl > *yə́m.bɨr.zal *PkFT/NoBr(μ) » *Lapse má.lɨ.ri > *má.lì.ri FinalStress » *Clash sá.bìz > *sá.biz *Lapse » *PeakFT/σμ lá.fàŋ.gɨ > *lá.faŋ.gɨ *Lapse » *Clash lá.fàŋ.gɨ >*lá.faŋ.gɨ *Lapse&*Clash » *PeakFT/NoBranch(μ) ʤá.lan.dà.rɨ > *ʤá.làn.da.rɨ Source: Munshi & Crowhurst (2012) One of the central claims that I make in the present study based on the discussions and analyses that follow is that Vanɨvun provides one of the most optimal meters available to the Kashmiri poetic traditions. Under this analysis, the stress assignment is not lexically-driven but is determined by the metrical or rhythmic divisions in a line. Thus, a metrical division or “Measure” (also (loosely) designated as a (metrical) “foot” in the following analyses) in a poetic line (verse) behaves like a (trisyllabic) prosodic word presenting one of the most optimal structures in the metrical system. The desired output is achieved through various repair mechanisms which are available to the composer in the form of quantity-increasing and/or decreasing strategies that can be applied to the input enabling the author to stretch or to skew the poetic instance as the need be (More on this in §5 and §6). 4. Structural Aspects of Vanɨvun In order to understand the metrical structure of the verse, we need to look at two important components of Vanɨvun, viz. verse design and delivery instance (recitation or song) . Given its role in the present analyses, a third component, rhyme, is also described briefly for a general understanding of the verse. 15 4.1. Verse Design The basic component of the Vanɨvun verse is a “measure” or metrical “foot”. 16 The song is divided into couplets and each line in a couplet is composed of four metrical divisions (feet). Each foot consists of one strong beat (corresponding to a metrically “strong” syllable), which occurs at the left edge of the foot. A varying number of syllables may occur in weak or less prominent positions; these range from one to three in all feet except the last foot of every even-numbered line which 8
Ars metrica – www.arsmetrica.eu – 2012/05 always contains a single “strong” syllable; thus, the second line in each couplet is invariably shorter than the first line. 17 For illustration, consider the data in (5) and (6) below (Note: Vowels of the metrically most prominent syllables are henceforth represented as bold and underlined; edges of metrical feet are designated by “ ↑”, and “↑↑” represents the right edge of the final foot in even lines. Following traditional binary distinctions of feet into “Strong” and “Weak”, “S” represents a metrically strong syllable and “W” a metrically weak syllable.): (5) Example from (1) repeated here Couplet #1: bismelah kərit h hemay vanɨvunuy sa:hiban anja:m onuye: ‘By saying “Bismillah” I will start singing Vanɨvun (for you) Sahib has brought you good fortune (today)’ Foot structure (tentative): 18 ↑SWW ↑ SW ↑ SWWW ↑ SW ↑ ↑SWW ↑ SW ↑ SW ↑ S ↑↑ (6) Excerpt from a rarely performed comical Vanɨvun 19 Couplet #1: adɨ-k h or adɨ-l j ok go:mut č h otuye: ami k h otɨ o:suy motuye: ja:n ‘The half-bald, handicapped (person) has turned grey A madman would have been better’ Foot structure (tentative): ↑SWW ↑ SWW ↑ SW ↑ SWW ↑ ↑SWWW ↑ SW ↑ SWW ↑ S ↑↑ Couplet #2: k h aji muri yeza:r zan hay č h es buhuri: vuhuri: t h ə:vinam xulɨhas vat h ‘(His) wide-bell trousers look like sacks I hope he gives me an option for divorce within a year’ Foot structure (tentative): ↑SWWW ↑ SW ↑ SWW ↑ SWW ↑ ↑SWW ↑ SWW ↑ SWW ↑ S ↑↑ (7) First two couplets from a popular Vanɨvun, often sung as a be:th by bridesmaids šo:xɨ ča:niva:yey čangɨ nay sa:zo: (1) a:k h o: šahare: ši:ra:zo: hu:rɨ č h ey vanɨva:n nu:rɨ- mahara:zo: (2) a:k h o: šahare: ši:ra:zo: ‘For (my) wish for you, I will play Chung, flute and music 9
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