Editing Metre (poetry) (section)

===Ottoman Turkish===<!-- This section is linked from [[Poetry]] -->
In the [[Ottoman Turkish language]], the structures of the poetic foot (تفعل ''tef'ile'') and of poetic metre (وزن ''vezin'') were imitated from Persian poetry. About twelve of the most common Persian metres were used for writing Turkish poetry. As was the case with Persian, no use at all was made of the commonest metres of Arabic poetry (the ''tawīl'', ''basīt'', ''kāmil'', and ''wāfir'').<ref>Deo, Ashwini; Kiparsky, Paul (2011). [https://u.osu.edu/deo.13/files//2015/06/DeoKiparsky2011-2fsd6ay.pdf "Poetries in Contact: Arabic, Persian, and Urdu"]. In Maria-Kristina Lotman and Mihhail Lotman ed. ''Proceedings of International Conference on Frontiers in Comparative Metrics'', Estonia, pp. 147–173. (See p. 156 of the pdf).</ref> However, the terminology used to describe the metres was indirectly borrowed from the [[Arabic poetry|Arabic poetic tradition]] through the medium of the [[Persian language]].

As a result, [[Poetry of the Ottoman Empire|Ottoman poetry]], also known as Dîvân poetry, was generally written in quantitative, [[Mora-timed language|mora-timed]] metre. The [[Mora (linguistics)|moras]], or syllables, are divided into three basic types:
* Open, or [[Syllable weight|light]], syllables (''açık hece'') consist of either a short [[vowel]] alone, or a [[consonant]] followed by a short vowel.
** Examples: '''''a'''''-''dam'' ("man"); ''zir''-'''''ve''''' ("summit, peak")
* Closed, or heavy, syllables (''kapalı hece'') consist of either a long vowel alone, a consonant followed by a long vowel, or a short vowel followed by a consonant
** Examples: '''''Â'''''-''dem'' ("[[Adam and Eve|Adam]]"); '''''kâ'''''-''fir'' ("non-Muslim"); '''''at''''' ("horse")
* Lengthened, or superheavy, syllables (''meddli hece'') count as one closed plus one open syllable and consist of a vowel followed by a [[consonant cluster]], or a long vowel followed by a consonant
** Examples: '''''kürk''''' ("fur"); '''''âb''''' ("water")

In writing out a poem's poetic metre, open syllables are symbolized by "." and closed syllables are symbolized by "–". From the different syllable types, a total of sixteen different types of poetic foot—the majority of which are either three or four syllables in length—are constructed, which are named and scanned as follows:

{| align=left border=0 cellpadding=2 cellspacing=0 width="98%"
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''fa‘'' ('''–''')
||''fe ul'' ('''. –''')
||''fa‘ lün'' ('''– –''')
||''fe i lün'' ('''. . –''')
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''fâ i lün'' ('''– . –''')
||''fe û lün'' ('''. – –''')
||''mef’ û lü'' ('''– – .''')
||''fe i lâ tün'' ('''. . – –''')
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''fâ i lâ tün'' ('''– . – –''')
||''fâ i lâ tü'' ('''– . – .''')
||''me fâ i lün'' ('''. – . –''')
||''me fâ’ î lün'' ('''. – – –''')
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''me fâ î lü'' ('''. – – .''')
||''müf te i lün'' ('''– . . –''')
||''müs tef i lün'' ('''– – . –''')
||''mü te fâ i lün'' ('''. . – . –''')
|}
{{Clear}}

These individual poetic feet are then combined in a number of different ways, most often with four feet per line, so as to give the poetic metre for a line of verse. Some of the most commonly used metres are the following:
* ''me fâ’ î lün'' / ''me fâ’ î lün'' / ''me fâ’ î lün'' / ''me fâ’ î lün''<br />'''. – – – / . – – – / . – – – / . – – –'''
{| align=left border=0 cellpadding=2 cellspacing=0 width="98%"
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''Ezelden şāh-ı ‘aşḳuñ bende-i fermānıyüz cānā<br />Maḥabbet mülkinüñ sulţān-ı ‘ālī-şānıyüz cānā''
|| Oh beloved, since the origin we have been the slaves of the shah of love<br />Oh beloved, we are the famed sultan of the heart's domain{{Sfn|Andrews|1997 |p=93}}
|}
{{Clear}}
::—[[Bâkî]] (1526–1600)
* ''me fâ i lün'' / ''fe i lâ tün'' / ''me fâ i lün'' / ''fe i lün''<br />'''. – . – / . . – – / . – . – / . . –'''
{| align=left border=0 cellpadding=2 cellspacing=0 width="98%"
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''Ḥaţā’ o nerkis-i şehlādadır sözümde degil<br />Egerçi her süḥanim bī-bedel beġendiremem''
|| Though I may fail to please with my matchless verse<br />The fault lies in those languid eyes and not my words
|}
{{Clear}}
::—Şeyh Gâlib (1757–1799)
* ''fâ i lâ tün'' / ''fâ i lâ tün'' / ''fâ i lâ tün'' / ''fâ i lün''<br />'''– . – – / – . – – / – . – – / – . –'''
{| align=left border=0 cellpadding=2 cellspacing=0 width="98%"
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''Bir şeker ḥand ile bezm-i şevķa cām ettiñ beni<br />Nīm ṣun peymāneyi sāḳī tamām ettiñ beni''
|| At the gathering of desire you made me a wine-cup with your sugar smile<br />Oh saki, give me only half a cup of wine, you've made me drunk enough{{Sfn|Andrews|1997 |p=134}}
|}
{{Clear}}
::—[[Nedîm]] (1681?–1730)
* ''fe i lâ tün'' / ''fe i lâ tün'' / ''fe i lâ tün'' / ''fe i lün''<br />'''. . – – / . . – – / . . – – / . . –'''
{| align=left border=0 cellpadding=2 cellspacing=0 width="98%"
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''Men ne ḥācet ki ḳılam derd-i dilüm yāra ‘ayān<br />Ḳamu derd-i dilümi yār bilübdür bilübem''
|| What use in revealing my sickness of heart to my love<br />I know my love knows the whole of my sickness of heart
|}
{{Clear}}
::—[[Fuzûlî]] (1483?–1556)
* ''mef’ û lü'' / ''me fâ î lü'' / ''me fâ î lü'' / ''fâ û lün''<br />'''– – . / . – – . / . – – . / – – .'''
{| align=left border=0 cellpadding=2 cellspacing=0 width="98%"
|-
|&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
||''Şevḳuz ki dem-i bülbül-i şeydāda nihānuz<br />Ḥūnuz ki dil-i ġonçe-i ḥamrāda nihānuz''
|| We are desire hidden in the love-crazed call of the nightingale<br />We are blood hidden in the crimson heart of the unbloomed rose{{Sfn|Andrews|1997 |p=131}}
|}
{{Clear}}
::—[[Neşâtî]] (?–1674)