When Melodies Gather: Oral Art of the MahraMain MenuOverviewAcknowledgmentsBorn to be Digital?About the MahraHuman and Geographical ContextFind Your PoemTheory of ClassificationIndex of PoemsGlossary (please wait while the terms load)BibliographiesbibliographySamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
Reǧzīt
12017-10-10T20:51:39+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a1282413cyoa16plain2018-05-07T17:21:12+00:00branching_parent_pageSamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
You’ve opted to compose a quick couplet in aesthetically challenging—and prestigious—tristich (three-part) lines. This is the typical mode of versified conversations between poets, occurring face to face or transmitted over a distance. Because these couplets are exchanged as dialogue, there is an expectation of rapid composition (turnaround time), or even extemporaneous composition at public celebrations. The next question concerns the complexity of versified conversation you’ll be involved with:
Will anyone be joining you?
No; it’ll just be me.
Yes; it’s a group effort.
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12017-10-10T20:51:39+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Collective (Reǧzīt)3cyoa32plain2018-04-14T19:36:16+00:00branching_parent_pageAnonymous