collection of poems. These can be arranged by poet, tribe, topic or the name of the compiler such as the Asma'iyyat of al-Asma'i. Most poems did not have titles and they were usually named from their first lines. Sometimes they were arranged alphabetically by their rhymes. The role of the poet in Arabic developed in a similar way to poets elsewhere. The safe and easy patronage in royal courts was no longer available but a successful poet such as Nizar Qabbani was able to set up his own publishing house. A large proportion of all Arabic poetry is written using the monorhyme, Qasidah. This is simply the same rhyme used on every line of a poem. While this may seem a poor rhyme scheme for people used to western literature it makes sense in a language like Arabic which has only three vowels which can be either long or short. Mu'rabbah, literary ArabicQaridQit'ah, an elegy or short poem about an eventQasidah, an ode, designed to convey a message. A longer version of qit'ahMuwashshah, meaning "girdled," courtly love poetryRuba'i or dubayt, a quatrainRajaz, a discourse in rhyme, used to push the limits of lexicography Malhunah, vernacular poetryKan ya ma kan, meaning "once upon a time"QumaZajal, meaning "shout"Mawwal or Mawaliya, folk poetry in four rhyming linesNabati, the vernacular poetry of the tribes of the Arabian Peninsula and the Syrian Desert.Humayni, the vernacular poetry of Yemen. Literary theory and criticism Literary criticism in Arabic literature often focused on religious texts, and the several long religious traditions of hermeneutics and textual exegesis have had a profound influence on the study of secular texts. This was particularly the case for the literary traditions of Islamic literature. Literary criticism was also employed in other forms of medieval Arabic literature and poetry from the 9th century, notably by al-Jahiz in his al-Bayan wa-'l-tabyin and al-Hayawan, and by Abdullah ibn al-Mu'tazz in his Kitab al-Badi. Modern poetry Beginning in the 19th and early 20th centuries, as part of what is now called "the Arabic renaissance" or "al-Nahda," poets like Francis Marrash, Ahmad Shawqi and Hafiz Ibrahim began to explore the possibility of developing the classical poetic forms.Somekh, pp. 36–82. Some of these neoclassical poets were acquainted with Western literature but mostly continued to write in classical forms, while others, denouncing blind imitation of classical poetry and its recurring themes, sought inspiration from French or English romanticism. A common