Just a place to jot down my musings.

Saturday, May 26, 2012

The Arabic nominal system, the regular pattern

Let’s begin by looking at the case-endings for the regular (sālim, سالم) pattern. 


Singular


Dual
Definite Indefinite Construct Definite Indefinite Construct
marfū‘
-u
-un
-u
-āni
-āni
-ā
manṣūb
-a
-an
-a
-ayni
-ayni
-ay
majrūr
-i
-in
-i
-ayni
-ayni
-ay


This applies to all regular nouns and adjectives in the singular and the dual, whether they are masculine or feminine. Nouns like walad- and bint- and sayyāra(t)-; participles used participially, like kātib-; participles used nominally, like mubārā(t)-: all follow the same pattern.


What’s more, some kinds of masculine broken plurals also follow the sālim regular singular pattern of declension. Thus, the masculine word kuttāb (“(male) writers”), which is the broken plural of the word kātib- (a participle, but being used as a noun), follows the singular sālim declension. Just because a plural is formed in a broken manner does not automatically mean that its declension is also irregular.


There is also a sālim plural pattern, but this varies depending on gender. There is also a subtype of regular feminine nouns, which end in an ā, and which show slightly different endings. 


Plural—Animate Masculine
Definite
Indefinite
Construct



marfū‘
-ūna
-ūna



manṣūb
-īna
-īna



majrūr
-īna
na





This is the pattern that would be followed by the participle kātib- used participially (to describe a group of males that are currently engaged in a process of writing).


Plural—Feminine

Plural—Long ā Feminine
Definite
Indefinite
Construct
Definite
Indefinite
Construct
marfū‘
-ātu
-ātun
-ātu
-ayātu
-ayātun
-ayātu
manṣūb
-āti
-ātin
-āti
-ayāti
-ayātin
-ayātu
majrūr
-āti
-ātin
-āti
-ayāti
-ayātin
-ayāti


For example, the word sayyārat- in the singular declines as sayyār-āt- in the plural. The feminine ā word mubārā(t)- declines as mubār-ayāt-, etc.


More to follow on the “irregular” nominals.



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Why pearls, and why strung at random?

In his translation of the famous "Turk of Shirazghazal of Hafez into florid English, Sir William Jones, the philologist and Sanskrit scholar and polyglot extraordinaire, transformed the following couplet:

غزل گفتی و در سفتی بیا و خوش بخوان حافظ

که بر نظم تو افشاند فلک عقد ثریا را


into:

Go boldly forth, my simple lay,
Whose accents flow with artless ease,
Like orient pearls at random strung.

The "translation" is terribly inaccurate, but worse, the phrase is a gross misrepresentation of the highly structured organization of Persian poetry. Regardless, I picked it as the name of my blog for a number of reasons: 
1) I don't expect the ordering of my posts to follow any rhyme or reason
2) Since "at random strung" is a rather meaningless phrase, I decided to go with the longer but more pompous "pearls at random strung". I rest assured that my readers are unlikely to deduce from this an effort on my part to arrogate some of Hafez's peerless brilliance!

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What is this life if, full of care,
We have no time to stand and stare.
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