Fa.’ilatun Mustaf’i.lun Fa.’ilatun (ii. 7.10.7)
= - U - - | - - U - | - U - - |

4.  Al-Muzari’, twice

Mafa.’ilun Fa’i.latun Mafa.’ilun (ii. 2.4.2)
= U - - - | - U - - | U - - - |

5.  Al-Muktazib, twice

Maf’u.latu Mustaf.’ilun Maf’u.latu (ii. 9.6.9)
= - - - U | - - U - | - - - U |

6.  Al-Mujtass, twice

Mustaf’i.lun Fa.’ilatun Mustaf’ i.lun (ii. 10.7.10)
= - - U - | - U - - | - - U - |

E. Dairat al-Muttafik, circle of “the concordant” metre, so called for the same reason why circle B is called “the agreeing,” i.e. because the feet all harmonise in length, being here, however, quinqueliteral, not seven-lettered as in the Matalif.  Al-Khalil the inventor of the ’’Ilm al-’Aruz, assigns to it only one metre: 

1.  Al-Mutakarib, twice

Fa’ulun Fa’ulun Fa’ulun Fa’ulun (ii. 1)
= U - - | U - - | U - - |

Later Prosodists added: 

2.  Al-Mutadarak, twice

Fa’ilun Fa’ilun Fa’ilun Fa’ilun (ii. 5)
= - U - | - U - | - U - |

The feet and metres as given above are, however, to a certain extent merely theoretical; in practice the former admit of numerous licenses and the latter of variations brought about by modification or partial suppression of the feet final in a verse.  An Arabic poem (Kasidah, or if numbering less than ten couplets, Kat’ah) consists of Bayts or couplets, bound together by a continuous rhyme, which connects the first two lines and is repeated at the end of every second line throughout the poem.  The last foot of every odd line is called ’Aruz (fem. in contradistinction of Aruz in the sense of Prosody which is masc.), pl.  A’airiz, that of every even line is called Zarb, pl.  Azrub, and the remaining feet may be termed Hashw (stuffing), although in stricter parlance a further distinction is made between the first foot of every odd and even line as well.

Now with regard to the Hashw on the one hand, and the ’Aruz and Zarb on the other, the changes which the normal feet undergo are of two kinds:  Zuhaf (deviation) and ’Illah (defect).  Zuhaf applies, as a rule, occasionally and optionally to the second letter of a Sabab in those feet which compose the Hashw or body-part of a verse, making a long syllable short by suppressing its quiescent final, or contracting two short quantities in a long one, by rendering quiescent a moved letter which stands second in a Sabab sakil.  In Mustaf’ilun (ii. 6. = — — U -), for instance, the s of the first syllable, or the f of the second, or both may be dropped and it will become accordingly Mutaf’ilun, by substitution Mafa’ilun (U — U -), or Musta’ilun, by substitution, Mufta’ilun (- U U -), or Muta’ilun, by substitution Fa’ilatun (U U U -).[FN#454] This means that wherever the foot Mustaf.’ilun occurs in the Hashw of a poem, we can represent it by the scheme U U U — i.e. the Epitritus tertius can, by poetical licence, change into Diiambus, Choriambus