It is not impossible that metre and rhyme grew naturally from the Biblical Hebrew. Rhyme is unknown in the Bible, but the assonances which occur may easily run into rhymes. Musical form is certainly present in Hebrew poetry, though strict metres are foreign to it. As an historical fact, however, Hebrew rhymed verse can be traced on the one side to Syriac, on the other to Arabic influences. In the latter case the influence was external only. Early Arabic poetry treats of war and love, but the first Jewish rhymsters sang of peace and duty. The Arab wrote for the camp, the Jew for the synagogue. Two distinct types of verse, or _Piyut_ (i.e. Poetry), arose within the Jewish circle: the ingenious and the natural. In the former, the style is rugged and involved; a profusion of rare words and obscure allusions meets and troubles the reader; the verse lacks all beauty of form, yet is alive with intense spiritual force. This style is often termed Kalirian, from the name of its best representative. The Kalirian Piyut in the end spread chiefly to France, England, Burgundy, Lorraine, Germany, Bohemia, Poland, Italy, Greece, and Palestine. The other type of new-Hebrew Piyut, the Spanish, rises to higher beauties of form. It is not free from the Kalirian faults, but it has them in a less pronounced degree. The Spanish Piyut, in the hands of one or two masters, becomes true poetry, poetry in form as well as in idea. The Spanish style prevailed in Castile, Andalusia, Catalonia, Aragon, Majorca, Provence, and in countries where Arabic influence was strongest. Kalir was the most popular writer of the earlier type of new-Hebrew poetry, but he was not its creator. An older contemporary of his, from whom he derived both his diction and his method of treating poetic subjects, was Jannai. Though we know that Jannai was a prolific writer, only seven short examples of his verse remain. One of these is the popular hymn, "It was at Midnight," which is still recited by "German" Jews at the home-service on the first eve of Passover. It recounts in order the deliverances which, according to the Midrash, were wrought for Israel at midnight, from Abraham's victory over the four kings to the wakefulness of Ahasuerus, the crisis of the Book of Esther. In the last stanza is a prayer for future redemption: Bring nigh the hour which is nor day nor night! Most High! make known that thine is day, and thine the night! Make clear as day the darkness of our night! As of old at midnight. This form of versification, with a running refrain, afterwards became very popular with Jewish poets. Jannai also displays the harsh alliterations, the learned allusions to Midrash and Talmud, which were carried to extremes by Kalir.