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the second and fourth lines of the first stanza. Cegerxwîn used the same scheme in
writing Dilê Cegerxwîn, ‘Cegerxwîn’s Heart.’ 60 Examples (131) and (132) show portions
from both authors, (131) by Nalbend and (132) by Cegerxwîn. The full texts with English
translations may be viewed in Appendix A.
(131) duhî spêdê li ser banî (AN1:1-12)
me dît canek ji xew rabû
ji mal derket derê xanî
me texmîn kir Zuleyxa bû
zuleyxa bu sîfet hûrî
wekî tîrê ji merra bûrî
çû ser avê lirexê jûrî
wekî rrojê limin ava bû
dema zivrî ji ser avê
me dît lêda ji nû tavê
miqabil çûme hindavê
qere puşî girê dabû
(132) agir bi Kurdistanê ket (CX1:1-6)
lewra haware dil;
sed baẍ u sed bistanî ket
manendî bilbil jare dil
pêtek ji Kurdistanê hat,
mêalik u cergê min dipat;
aman welat, aman welat,
bawer bikin xwînxware dil
bawer bikin eî yarê min,
heval u hem guhdarê min;
her gav u her êvarê min,
naxoş u hem bêzare dil
Another rhyme scheme used by Nalbend for consecutive stanzas was AAXA,
XAXA, etc. In this scheme the first, second and fourth lines of the first stanza rhyme and
the third line is free from rhyme. In the stanzas that follow, the first and third lines are
60 Each quatrain of Dilê Cegerxwîn is written as du beyt, ‘two lines’ of poetry, a couplet, with rhymes also
at each caesura, the midpoint in each line. This is the traditional form for the ruba’i mentioned by
Avery/Heath-Stubbs (1981). Nalbend’s Ey Malikê Vê ‘Alemê is also written in the ruba’iyat form.