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syllables of Arabic feet, as their quantities appear to be hardly appreciable by an European ear, the “long,” in particular, being of a shifting character, so much so, indeed, that certain readers of the Koran are said to have been known to make use of no less than seven varieties of this quantity. This being the case, it has been suggested by the eminent French orientalist, M. Stanislas Guiraud, that musical notation should be applied to the determining of the Arabic rhythms, but, notwithstanding the ingenuity and ability of his treatise on the subject, his tentatives do not as yet appear to have brought about any very definite result. Several Arabists of distinction, German and English, have indeed endeavoured, by the use of quantitative signs, to reproduce in their own languages the precise rhythm and accent of Arabic verse; but I confess that to myself, notwithstanding the ability and ingenuity displayed by the translators (who indeed have been the first to acknowledge the ill-success of their experiments and to pronounce against the feasibility of representing the Oriental metres by a similar arrangement of feet and accents in European verse), the result seems still more unsatisfactory and inartistic than that of the many unsuccessful attempts to introduce Greek and Latin rhythms into English metre. The genius of the two languages (Arabic and English) belonging, as they do, to opposite groups of speech-form, presents no point of union; and it seems to me, therefore, that the only satisfactory way of rendering Arabic poetry in English verse is to content oneself generally with observing the exterior form of the stanza,
