It seems to me that apart from the aptness of the Malay language in the construction of four-lined verses with a AAAA pattern of rhyme, the influence of Ibnu’l-‘Arabi’s and ‘Iraqi’s four-line shi’r and Jami’s ruba’i, the concept of the bayt and the shi’r in Arabic and Persian prosody, the creative genius of the poet, Hamzah’s choice of the four-line shi’r composed of a single bayt could well have been influenced also by the symbolism in the Sufi doctrines.
-Syed Muhammad Naquib al-Attas
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