Magin_Edward-thesis

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120 boundaries. 65 Disyllabic true end rhyme was also more prevalent than true end rhyme focused on a single syllable. The following couplets from Sindî’s Dergehê Jîn u Hîvî Ya, ‘The Door of Life and Hopes,’ exhibit disyllabic true end rhymes. In (156) lewa rhymes with xewa and eve rhymes with şeve. (156) ew çirayên mililetîne şewiq vedan bu me lewa (BS4:29, 30) bilbilên şermin dixuînin Kurdu dê rabe ji xewa zana u nezan her êkin Kurdînu nabit eve (BS4:33, 34) lew ji êşa em dinalîn her li me dunya şeve The corpus also contains many examples of multisyllabic end rhyme where rhymes cross word boundaries. These examples are discussed in § 5.3.3.1.4 on mosaic rhyme. In some instances, there is identical rhyme, where a word is repeated in the rhymed sentence. 66 In the discussion that follows, examples (157) through (159) exhibit this type of rhyme. Multisyllabic rhyme was the most common type of rhyme in Dilê Cegerxwîn, ‘Cegerxwîn’s Heart.’ In the example that follows, the rhymes consist of three syllables that cross word boundaries. Such a rhyme is said to have a compound ending. The repetition of the word min in lines 5 and 6, the word ew in lines 7 and 8, and the word dil at the end of lines 6 and 8, are identical rhymes contributing to the compound endings. Yarê min, guhdarê min and êvarê min rhyme the final three syllables, as do naxoşe ew, poşe ew and seîdoşe ew. Bêzare dil, at the end of line 6, rhymes with kerare dil at the end of line 8. Note here that the consonantal onsets of the first syllables of the rhymed 65 See § 5.3.3.1.4 on mosaic rhyme. 66 Turco (2003:53) defines identical rhyme as having “identity of sound in the consonants immediately preceding the accented vowel as well as in the following sounds (cyʹst, persiʹst, insiʹst).” For this paper I have opted for Adams’ (1997:199) looser definition that does not consider accent. He identifies identical rhyme as simply, “a word rhymes with itself,” which is basically the repetition of a word. He uses an example from Emily Dickenson’s “Because I Could not Stop for Death” where the end of line 2 and line 4 in a quatrain is the same word, “ground.”
121 sequences are different and thereby fulfill the definition of true rhyme. The repeated words min and ew in the rhymed sequence are examples of identical rhyme. (157) Bawer bikin eî yarê min, heval u hem guhdarê min; (CX1:5-8) Her gav u her êvarê min, naxoş u hem bêzare dil. Bêzar u pir naxoşe ew, kincên sîyeh – gûn – poşe ew, Geh sîne geh seîdoşe ew, geh heîderê kerare dil. Multisyllabic rhyme was also commonly used by Sindî. The following examples from Bîrewerîa Barzanî Yê Nemir, ‘Memories of Immortal Barzanî,’ show two-syllable, three-syllable and four-syllable compound rhymes, respectively. They illustrate both identical rhyme and true rhyme. (158) êş u derdên mililetê Kurd wî ji hîngê kirne ders (BS1:41, 42) sehirezayî u ‘eqil u curet ew mukim lê bune ders suz u peyman em didinte gel teda u ala weda (BS1:45, 46) em bimînîn bête senger meşxelên roka weda mililetê Kurd pir wefaye sufyên destên tene (BS1:17, 18) ruh ji êşan pir semaye ‘aşiq u mestên tene Sindî also used four-syllable, identical, compound rhymes in every line of his tercîa band, Nehat, ‘It Did Not Come,’ provided in full below. (159) dîl u êxsîrî ji gelî bun ser feraza min nehat (BS5) mam di’îşiqa wê şepalê sil u zîza min nehat çav dinêrim ez bibînim xuş ‘ezîza min nehat guh min da awaz u lavçan dengê saza min nehat ez ji ke’bê ra mirîdim hec u ferza min nehat cejne u sunete aştî pir ‘aciza min nehat şivanê deşt u zuzanim berxe nazamin nehat dawet u şahîan veqetîan can witaza min nehat têhnî u tav u tehireye siha gwîza min nehat çend mekir hawar u yeman kes bu duza min nehat kî wekî me mubitalye kes li rêza min nehat mam li nêçîrê ji mêje şah u baza min nehat ‘ud u sentur bistirîne xuş awaza min nehat min bi jehira wê qebîle maru gaza min nehat ez bi ḧukimê mirnê dayme (neqiza) qeza min nehat derfeye hakim bibînim roja heza min nehat
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Graduate Institute of Applied Lingu
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© 2012 Edward Harry Magin Jr. All
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THESIS DUPLICATION RELEASE I hereby
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DEDICATION to my Naphtili, who has
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Table of Contents Table of Contents
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4.4.3.5 Irregular verbs ...........
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6.2 Shushi’s version of Allah ...
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List of Figures Figure 1. Meta-lite
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Prefixes, infixes, suffixes, partic
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1. Introduction 1.1 General The pur
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3 1.3 The people and the language N
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2. Literature review 2.1 History of
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7 2.1.1 Before 1920 The division of
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9 The most revered poet among Kurds
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11 (Shakely 2002). According to Mac
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13 He was a severe social critic, r
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15 Kurdish intellectuals in Turkey
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17 The publication of magazines in
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19 2.2 On translating poetry The op
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21 literature in general, can provi
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23 his audience and their cognitive
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25 trying to grasp that meaning we
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27 INTERPRETATION POETRY Critical e
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29 there was no epic meter in the l
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31 while it may be difficult to dis
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33 No version of poetry, however fa
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35 Pound also produced poems that a
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37 Can it be said that the possibil
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39 Accuracy can include: 1. represe
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41 the classical poets, they wrote
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43 two famous Kurdish poets, Ahmed
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45 it was winter and they had no fo
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47 In Kurdistan, in winter, the nig
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49 there were some expectations of
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51 the only Northern Kurdish term t
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53 3.7 Quçan on imagery in his poe
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55 some similarities to the system
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57 f, F [f] like ‘f’ in ‘find
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59 4.2.4 Glides A glide is often ad
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61 (4) min guh li te ne bî. (Şir
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63 root” (Whaley 1997:128). The f
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65 where the verb agrees with the s
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67 Gender can only be learned throu
Page 95 and 96: 69 specific marker, -an or -a, depe
Page 97 and 98: 71 particle, such as in relativizat
Page 99 and 100: 73 The discussion above summarizes
Page 101 and 102: 75 Table 6. Demonstratives. Demonst
Page 103 and 104: 77 NP = (DEM)(NUM) head-noun ( [ EZ
Page 105 and 106: 79 Table 7. Verb suffixes Non-past
Page 107 and 108: 81 attached to the adjective cuan i
Page 109 and 110: 83 (59) ew dixtur bî-Ø 3D doctor
Page 111 and 112: 85 (64) pênc zarok-ên wî hene (T
Page 113 and 114: 87 the nonverbal element çê and t
Page 115 and 116: 89 script is the standardized ortho
Page 117 and 118: 91 Imperatives and wishes may seem
Page 119 and 120: 93 (94) ez di-şê-m b-ê-m 1D IPFV
Page 121 and 122: 95 where we would expect to see it.
Page 123 and 124: 97 absolutive sentences, it must ma
Page 125 and 126: 99 Table 15. Past perfect tense con
Page 127 and 128: 101 adpositional phrases have a spe
Page 129 and 130: 5. Analysis of Northern Kurdish poe
Page 131 and 132: 105 and free variation, which conce
Page 133 and 134: 107 free from rhyming and the secon
Page 135 and 136: 109 Table 17. Poems using çuarkî
Page 137 and 138: 111 Tercîa band means when you hav
Page 139 and 140: 113 5.3.2 Line syllable count The s
Page 141 and 142: 115 (140) xwozîya kesê guh daye m
Page 143 and 144: 117 of Immortal Barzanî,’ the pr
Page 145: 119 of the prose poems in the corpu
Page 149 and 150: 123 (161) şînyî u tazî ji gelî
Page 151 and 152: 125 Table 21. Orthographic consonan
Page 153 and 154: 127 analysts have used to describe
Page 155 and 156: 129 are three lines and two of the
Page 157 and 158: 131 multisyllable A' and A'' rhymes
Page 159 and 160: 133 ceger ker with liber anber. The
Page 161 and 162: 135 (188) em li ber şewqa hîvîan
Page 163 and 164: 137 Hence, “the immediate effect
Page 165 and 166: 139 evro vala=ye today vacant=COP.P
Page 167 and 168: 141 (201) hatî piling-ê nehîn (A
Page 169 and 170: 143 baẍ u rez u darubar garden an
Page 171 and 172: 145 tu hêye ve 2D exist.PRS.2SG ag
Page 173 and 174: 147 (215) dê gurîk-im vî can-î
Page 175 and 176: 149 verb and recipient, bidey me. I
Page 177 and 178: 151 SRMs is outside the scope of th
Page 179 and 180: 153 subject, hevalan, is actually a
Page 181 and 182: 155 (236) tazî ya Qazî jibîr ne-
Page 183 and 184: 157 baẍ u rez u darubar garden an
Page 185 and 186: 159 u hestîê min, ‘body and bon
Page 187 and 188: 161 generally refer to the omission
Page 189 and 190: 163 are in parentheses. For the con
Page 191 and 192: 165 ‘because of him.’ If the pr
Page 193 and 194: 167 instances ellipsis of object pr
Page 195 and 196: 169 And in (268), there is no ezafe
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171 (274) agr-ek boş li ser helkir
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173 sentence. Hence, the final noun
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175 5.4.1.3.1 Use of alternate word
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177 with subdialect differences. Wh
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179 (296) kanê gundî (BS6:17-19)
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181 Kurds from an area other than S
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183 (304) erê sîlav çima evro me
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185 Relativizers can often be left
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187 Şivan her roj sêvekê xwit.
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189 5.4.1.4.1 Repetition and repeti
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191 (321) geh şax=e geh westan=e e
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193 (323) dergeh-ê jîn u hîvî-a
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195 (326) şêr ew=in u sef dirrî-
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197 (335) ev-e fexr-a me hemy-a bû
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199 before the subject nêrgiz, ‘
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201 (341) mililet-ê Kurd pir wefa=
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203 (344) te di-vêt ku bi-de-m te
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205 The chiasmus in Cegerxwîn’s
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207 is not a hunter.’ 144 5.5 Sum
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209 As I see it, verse poetry depen
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211 ‘break,’ as Shushi describe
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213 In the second line, we had mult
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215 use to describe a situation whe
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217 God rest-OBL.M in.midst.of mise
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219 create an independent clause, j
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221 instead of using a word for ‘
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223 poetic language: “What is pos
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225 AN1 by Ahmed Nalbend translated
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227 Siḧarê xîv bi bûn sor gul.
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229 Memik sor bûn wekî sêva. The
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233 Kurds are dear and happy Dîn p
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235 Sutî li min cerg u dil My live
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237 Kê baş nevêt ew rûyê spî
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241 Hell is burning (for him) and f
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245 We want you to give us pressure
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247 BS1 by Badirxan Sindî translat
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249 Where’s the knight of the ste
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253 “Şurşivanê Kurdanim.”
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255 “Whose lover and euphoric one
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261 Çûn ser sêdar u qinaran hewa
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267 They said, Yes .. we saw it. Ji
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271 He was the disciple of the love
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273 At times it is the king, at tim
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275 Rûniştîe li birca belek He r
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277 CX3 by Cegerxwîn translated by
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279 DD by Deyka Dalyayê translated
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281 ez u tu dê digurekî da nivîn
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Note: The dots and question marks i
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285 HS by Hisin Silêvanî translat
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287 When she fills her empty shotgl
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289 those who are exploited. Jê di
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291 gîfankên bajêrvanîê, 40 th
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293 In the long roads of the city q
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295 Yan ji ber rengê goma xwîna d
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297 name of all and everybody. Ji d
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299 hitting his head against a wall
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301 MQ2 by Mihsin Quçan translated
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303 li derazînka on the doorsteps
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305 MT1 by Mu’eyed Teyb translate
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307 Bi qelem û defterên wan yarî
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309 min serek girit 10 I took one s
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311 ji dilbera dêm befir u xwîn o
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313 Şev sêwî, tenha û belengaz.
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315 SS1 by Şaban Silêman translat
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317 We have become lost beyond the
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319 SS2 by Şaban Silêman translat
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321 Xatwîna min.. 25 My dear.. Li
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323 The intention of love ewe― is
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325 INTERVIEW WITH REŞÎD FINDÎ M
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327 poetry that he wrote that deals
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329 ‘necessary.’ Sometimes, lik
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331 contact with poets. Indeed, my
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333 EM: We talked about five differ
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335 EM: Thank you. Can you describe
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337 CVVC, and each one gives you a
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339 and free of qafîa. Because I c
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341 that time we respected women mo
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343 INTERVIEW WITH MIHSIN QUÇAN Th
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345 it was Kurdistan. But after a w
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347 EM: What are the other subjects
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349 Sadîq Şabak, if you can call
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351 INTERVIEW WITH MU’EYED TEYB T
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353 you can say, was more knowledge
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REFERENCES ADAMS, STEPHEN. 1997. Po
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357 HAIG, GEOFFREY. 2011. Linker, r
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359 MURRY, JOHN MIDDLETON. 1969. Pe
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361 ŞIRÎN. 2006. English-Kurmanji
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VITA Edward H. Magin Jr. did his un
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