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Learning Meters of Arabic and English Poems with Recurrent Neural 1 Learning meters of Arabic and English poems with Recurrent Neural Networks: a step forward for language understanding and synthesis Waleed A. Yousefa, Senior Member, IEEE; Omar M. Ibrahimea,b; Taha M. Madboulya,b; Moustafa A. Mahmouda,b; Abstract—Recognizing a piece of writing as a poem or prose is Diacritics without fat-ha dam-ma kas-ra sukun usually easy for the majority of people; however, only specialists writing can determine which meter a poem belongs to. In this paper, we X X XX X build Recurrent Neural Network (RNN) models that can classify short vowel — /a/ /u/ /i/ /no vowel/ poems according to their meters from plain text. The input text is encoded at the character level and directly fed to the models TABLE I: The 4 Diacritics of Arabic Language. Transliterated names (1st without feature handcrafting. This is a step forward for machine row), writing style on example letter X (2nd row), and corresponding short understanding and synthesis of languages in general, and Arabic pronunciation vowel (3rd row). language in particular. Among the 16 poem meters of Arabic and the 4 meters of English the networks were able to correctly classify poem written above or under the letter to emphasize the short with an overall accuracy of 96.38% and 82.31% respectively. vowel accompanied with that letter. There are 4 diacritics: The poem datasets used to conduct this research were massive, . Table I lists these 4 diacritics on an example letter over 1.5 million of verses, and were crawled from different @ @ @ @ nontechnical sources, almost Arabic and English literature sites, X, their transliterated names, along with their short vowel and in different heterogeneous and unstructured formats. These datasets are now made publicly available in clean, structured, representation. Each of the three diacritics @ @ @ is called and documented format for other future research. To the best of the authors’ knowledge, this research is the harakah; whereas the fourth @ is called sukun. Diacritics are first to address classifying poem meters in a machine learning just to make short vowels clearer; however, their writing is approach, in general, and in RNN featureless based approach, in not compulsory since they can be almost inferred from the particular. In addition, the dataset is the first publicly available grammatical rules and the semantic of the text. Moreover, dataset ready for the purpose of future computational research. Index Terms—Poetry, Meters, Al-’arud, Arabic, English, Re- a phrase with diacritics written for only some letters is current Neural Networks, RNN, Deep Learning, Deep Neural linguistically sound. Networks, DNN, Classification, Text Mining. There are two more sub-diacritics made up of the basic four. The first is known as shaddah @, which must associate I. INTRODUCTION with one of the three harakah and written as . Shaddah A. Arabic Language @ @ @ is a shorthand writing for the case when a letter appears two Arabic is the fifth most widely spoken language [1]. It times in a row where the first occurrence is accompanied arXiv:1905.05700v1 [cs.CL] 7 May 2019 is written from right to left (RTL). Its alphabet consists of with sukun and the second occurrence is accompanied with 28 primary letters and 8 further derived letters from the harakah. Then, for short, it is written as one occurrence primary ones, which makes all letters sum up to 36. The accompanied with shaddah associated with the correspond- writing system is cursive; hence, most letters are joined and ing harakah. E.g., X X is written as X. The second is known a few letters remain disjoint. as tanween, which must associate as well one of the three Each Arabic letter represents a consonant, which means harakah and written as: . Tanween accompanies the last that short vowels are not represented by the 36 letters. @ @ @ letter of some words, according to Arabic grammar, ending For this reason the need rises for diacritics, which are with harakah. This is merely for reminding the reader to symbols “decorating” original letters. Usually, a diacritic is pronounce the word as if there is à (sounding as /n/), follows Waleed A. Yousef is an associate professor, [email protected] that harakah. However, it is just a phone and is not a part Omar M. Ibrahime, B.Sc., [email protected] Taha M. Madbouly, B.Sc., [email protected] of the word itself. E.g., Ég. P is pronounced à + Ég. P and Moustafa A. Mahmoud, B.Sc., Senior Big Data Engineer, mustafa. is pronounced . [email protected] Ég. P à + Ég. P aHuman Computer Interaction Laboratory (HCILAB: www.hciegypt.com); and Department of Computer Science, Faculty of Computers and Informa- tion, Helwan University, Egypt. B. Arabic Poetry (úGQªË@ QªË@ ) bThese three authors contributed equally to the manuscript, their names . are ordered alphabetically according to the family name, and each of them Arabic poetry is the earliest form of Arabic literature; it is the second author. dates back to the sixth century. Poets wrote poems without 2 Meter Name Pattern Scansion Foot á Ëñª¯ á Ê« A¯ á ʪ ®J Ó á Ê J« A®Ó H Bñª®Ó á KC« A¯ áÊ«A®Ó á Ê« A®JÓ Scansion 0/0// 0//0/ 0//0/0/ 0/0/0// /0/0/0/ 0/0//0/ 0///0// 0//0/// 0//0// 0/0// 0/0/0// 0/0// al-Taweel á Ê« A®Ó á Ëñª¯ á Ê J« A®Ó á Ëñª¯ 0//0/// 0//0/// 0//0/// TABLE II: The eight feet of Arabic poetry. Every digit (/ or 0) represents al-Kamel á Ê« A®JÓ á Ê« A®JÓ á Ê« A®JÓ the corresponding diacritic over a letter of a feet: harakah ( ) or sukun al-Baseet á Ê«A¯ á ʪ® J Ó á Ê«A¯ á ʪ® J Ó 0//0/ 0//0/0/ 0//0/ 0//0/0/ @ @ @ al-Khafeef 0/0//0/ 0//0/0/ 0/0//0/ ( ) respectively. Any of the three letters (called mad) is equivalent to á KC« A¯ á ʪ ®JÓ á KC« A¯ @ ø@ð 0; tanween and shaddah are equivalent to 0/ and /0 respectively. al-Wafeer á Ëñª ¯ á Ê«A®Ó á Ê«A®Ó 0/0// 0///0// 0///0// 0//0/0/ 0//0/0/ 0//0/0/ al-Rigz á ʪ ®J Ó á ʪ ®J Ó á ʪ ®J Ó 0/0//0/ 0/0//0/ 0/0//0/ al-Raml á KC« A¯ á KC« A¯ á KC« A¯ knowing exactly what rules make a collection of words a al-Motakarib á Ëñª ¯ á Ëñª ¯ á Ëñª ¯ á Ëñª ¯ 0/0// 0/0// 0/0// 0/0// poem. People recognize poetry by nature, but only talented /0/0/0/ 0//0/0/ 0//0/0/ al-Sar’e H Bñª®Ó á ʪ ®J Ó á ʪ ®J Ó ones who could write poems. This was the case until Al- 0//0/0/ /0/0/0/ 0//0/0/ al-Monsareh á ʪ ®J Ó H Bñª®Ó á ʪ ®J Ó Farahidi (718 âA¸S˘ 786 CE) has analyzed Arabic poems 0/0//0/ 0/0//0/ 0//0/0/ al-Mogtath á KC« A¯ á KC« A¯ á ʪ ®J Ó and recognized their patterns. He came up with that the 0/0//0/ 0//0/ 0/0//0/ al-Madeed á KC« A¯ á Ê« A¯ á KC« A¯ succession of consonants and vowels, and hence harakah 0/0/0// 0/0/0// al-Hazg á Ê J« A®Ó á Ê J« A®Ó and sukun, rather than the succession of letters themselves, 0//0/ 0//0/ 0//0/ 0//0/ al-Motadarik á Ê« A¯ á Ê« A¯ á Ê« A¯ á Ê« A¯ produces patterns (meters) which keeps the balanced music 0//0/0/ 0//0/0/ /0/0/0/ al-Moktadib á ʪ ®J Ó á ʪ ®J Ó H Bñª®Ó 0/0//0/ 0/0//0/ 0/0/0// of pieces of poem. He recognized fifteen meters. Later, one al-Modar’e á KC« A¯ á KC« A¯ á Ê J« A®Ó of his students, Al-khfash, discovered one more meter to make them all sixteen. Arabs call meters ', which means TABLE III: The sixteen meters of Arabic poem: transliterated names (1st Pñm . col.), mnemonics or tafa’il (2nd col.), and the corresponding pattern of “seas” [2]. harakah and sukun in 0/ format or scansion (3rd col.). A poem is a collection of verses. A verse example is: ÈQÓð I. J.k øQ»X áÓ ½J.K A®¯ ing code in table II. This pattern corresponds exactly to the pattern of harakah and sukun of the pronounced (not ¯ á É Óñm ÈñkYË@ K. øñÊË@ ¡ ® . written) shatr. E.g., the pronunciation of the first two words A verse, known in Arabic as bayt , which consists and the first two letters of the third word has (I K.) È@ ú¯ ÈA ð of two halves. Each half is called a shatr (Q¢). Al-Farahidi exactly the same pattern as the first of the three tafa’il of the meter , and both have the scansion 0///0//. has introduced al-’arud ( ), which is often called áKÊ«A®Ó ðQªË@ For more clarification, the colored parts have corresponding the Knowledge of Poetry or the study of poetic meters. He pronunciation pattern; which emphasizes that the start and laid down rigorous rules and measures, with them we can end of a word do not have to coincide with the start and determine whether a meter of a poem is sound or broken.
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