Zejel

by S. L. P. Van der Veer

Autumn 2003

This issue we look at a Spanish form, the zejel (pronounced theh-hel or seh-hel, called in Arabic zajal, in French zadjal). Its origins are a matter of debate, but it is closely related to the Arabic form, muwashshah. Both forms are believed to have developed from the Arabic form, musammat, although the zejel is the earlier form.

The zejel became popular in 11 th century Moorish Spain (Andalusia, the southern region of Spain that was conquered by the Moors in the 8 th century). Despite its popularity, it did not gain favour among anthologists, and conservative Arabic scholars looked down on the form because it did not meet the strict requirements of classical Arabic poetry. However, it was well-received by Jewish court circles, possibly due to the prevalence of similar forms in pre-Andalusian piyyut (liturgical poems). The zejel spread through Galicia (the eastern region of Spain) and Portugal, and developed into the cantiga in the 14 th century.

The primary difference between the zejel and the muwashshah is the language. Zejels are written in colloquial Spanish dialect. Muwashshahat are written in classical Arabic, with a kharja (i.e., envoi, or closing couplet) written in Spanish (typically the kharja is a quote from a popular song). The zejel usually does not have a kharja, although there is a variation which does.

Like the muwashshah, the zejel is a strophic rhyming poem. Unlike the muwashshah, which is limited to 5-7 strophes (or stanzas), the zejel may be longer than 7 strophes. Common themes are love, drink and friendship.

The zejel begins with a cabeza, an introductory strophe of variable length which presents the theme. The muwashshah opens a rhyming couplet, the matla, which also opens the ghazal (Bardic Circle, ÐS - Autumn 2001). The strophes which follow the cabeza are comprised of a mudanza (a monorhymed tercet) and a vuelta of one or more lines that rhyme with the cabeza. Multiple variations of these strophes are possible. The zejel employs the simplest of these, the quatrain, which gives the following rhyme pattern: aa bbba ccca ddda, where aa is the cabeza. The muwashshah uses a two-line vuelta, which gives the rhyme pattern: aa bbbaa cccaa dddaa.

While not a syllabic form, the zejel commonly has a line length of 8 syllables.

The Heart Sets No Limits

by S. L. P. Van der Veer

 

Cast your gaze to the heavens above;

seek out the meaning of friendship and love.

 

Hear in the Song of the world as it sings

of magic and comrades and beautiful things,

and how what we love gives a soul wings

that whisper the grace of a dove.

 

See by the gleam of moon’s silvery light,

or by the glint of a star burning bright,

how the fire of friendship can drive back the night.

Fear’s demons can not stand against love.

 

Feel on the breeze as it brushes the bough,

hinting its pow’r as it dances about,

how the hand of a friend removes lingering doubt:

strength of iron hid by silk’n glove.

 

Taste of the fruit your labours have wrought

through hardship and effort and battles you’ve fought,

and how even in failure lessons are taught.

Some bonds are thicker than blood.

 

Smell hist’ry in the scent of the earth,

every cycle of seasons, every death, every birth,

and how appearance is no measure of worth:

the land is renewed by the flood.

 

Dream of the Song in the world as it wends

over peaks and through valleys, whatever life sends,

and how what we face is made better with friends.

The heart sets no limits on love.

For Additional Information

ibn Quzman. “Yahni-kum, Yahni-kum!” (zejel)

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