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Andalusian form poetry, Elaine Stirling, Moorish fixed verse, poetry, poetry to soothe the king, zejel
In Córdoba, the caliph knew
disturbing dreams a lighthouse threw
him beams to fix his mind anew
no one can know your full extent
or how your daylight hours are spent
in fantasy or merriment
you are the source of all that’s new
your single eye of constant praise
looks out upon the stormy ways
of man in quietude allays
you are the vast and steady view
who cannot fathom or adore
expansion of his life’s full store
will never reach your lighthouse door
your frame deflects the morbid hue
what shadow dooms the lighthouse saves
invisible among the graves
to stand where brightening future paves
the ease and magnitude of you
~~~
The poem you’ve just read is my first attempt at a form called the zejél (zajal in Arabic), developed in the 12th century Moorish courts of Al-Andalus. Imagine city states vying for supremacy in the poetic arts where both genders and all religions flourished; where sciences grew hand in hand with arts, one the seat of knowing, the other of creating.
Imagine poets as the highest paid of all the artists for their ability to “soothe” the king, not through false flattery—although, of course, this happened—but by aligning as closely as possible through language, rhyme, and rhythm with universal truths.
The zejél opens with a cabeza (head) of three lines to introduce the theme and foundational rhyme (a). The quatrains that follow develop the theme with a rhythmic progression, usually octosyllabic, of bbba, ccca, ddda, etc. Stanzas continue for as long as the poet desires, until, perhaps, she sees the king assuaged and the course of government flowing smoothly again.
© Elaine Stirling, 2014
Image of the lighthouse can be found at http://www.hbombkaraoke.com.
Oceantics 
I imagine there were some lengthy zejels before the king nodded off! Well done, again, and of course.
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Haha, thank you, Mikels, for the vivid image of the perfectly assuaged, snoring king. All in a day’s work. 😉
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Elaine, I see you couldn’t resist going to the end of the big book and finding there a form you hadn’t tried. And as usual, quite successfully wrote an example. Your choice of a lighthouse for imagery is brilliant. And you know to that is like a beacon to me–new form new form new form! I particularly like the smoothness in your final quatrain. So, with the spirit of imitation being the highest form of flattery, I offer you this:
Sleep Deep My King (a zejel)
Notes from silence enter, sing refrain
waft high to low, echo, fade, restrain;
open hearts hear and afterwards retain.
Memories of melodies are carefully crafted
meticulously as on a spear the head is shafted
notated scales, sharps and flats are staffed
so upon awaking, hearts of dreams reclaim
soothing smooth refined vibrations of the strings
feeling you are rising, even flying without wings
to edges where the voice of your kingdom sings
glories of your name in single endless ecstatic chain.
I know your royal lids are growing heavy, slowly drooping
from royal brow, bringing countenance of fathers swooping
to remind your highness that his rest is required for recouping
strength to create new deeds, immortal songs sung in your name.
My king, may your ears mine the silent splendors of the deep
find jewels beyond what tongues can speak in blissful sleep
upon awakening may all in your joy of your kingdom steep
be blessed with joy and work in equal measure without strain.
When the lids of above and below meet and become one mark
wise souls endeavor to remember port from where they embark
new songs are brought back from time of rest, savored in the dark
where all opposites merge, no separateness, only the songs remain.
D. Russel Micnhimer 1-2-2014
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hehe, you know me well, Russel. That honking big book is SO fun to explore. I like how you’ve run with the theme. I can picture this form taking hold in those vast Moorish courts…it will be nice to see that same eagerness take hold today. Much appreciated, your sharing here.
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An octosyllabic follow up attempt.
In Light of Day ( Zegel Two*)
Nocturnal heart wanders wide
In dreams explores the other side
Where all our joys and fears abide.
Journeys there may not make full sense
Strange actions, stranger consequence
Assail mind from an unknown whence
Where all our smiles and tears reside.
Some voices whisper, others yell
Blessings from heaven, curses hell
Tightly capture us in their spell;
Possibilities open wide.
All choices or none guide our way
Difficult to tell which holds sway
Panic and calm both stay at bay
We do not know who does decide.
Choices are made and then reversed
Decisions are all unrehearsed
Some are blessed and others are cursed
In our dreams we take both in stride.
Awakening in light of day
Choices made seem here to stay
In our control come what may
Though dream voice may remain our guide.
D. Russel Micnhimer 1-3-2015
*The zejél opens with a cabeza (head) of three lines to introduce the theme and foundational rhyme (a). The quatrains that follow develop the theme with a rhythmic progression, usually octosyllabic, of bbba, ccca, ddda, etc. Stanzas continue for as long as the poet desires.
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