Magin_Edward-thesis

135
(188) em li ber şewqa hîvîan çav melê ye bêye ve (BS1:3-5)
tu bike rehimê ji mirîdan kengî dê tu hêye ve
bazê bazan şahê Kurdan ruhinîya çavê meyî
The following are other examples from the same poem. The interlaced rhymes are in
italics.
(189) raza ‘şqê ji qîdem ra derde ye u kuvane dil (BS1:7, 8)
kî dê sax kit ji ezel ra dil geşe u perwane dil
(190) şînyî u tazî ji gelî bûn çep u rast u jor u jêr (BS1:15-18)
şev u roj xelkî girî bûn kal u genc u jin u mêr
mililetê Kurd pir wefaye sufîên destên tene
ruh ji êşan pir semaye ‘aşiq u mestên tene
(191) wêne ya suz u di lêran xuîaye ser ruîmetê (BS1:37, 38)
wer bixuînin ey hevalan ayeta xuş hîmetê
While these rhymes are reminiscent of what you’d expect to see in quatrain form, they
are not the dominant feature throughout in the poem, which is written in couplets. Of the
46 lines in the poem, a case could be made for 20 lines as having at least one syllable of
interlaced rhyme.
In one couplet from the poem, lines 19 and 20, Sindî uses three words ending in
l―dil, gul and şemal. This seems quite intentional because in the second line of the
couplet, the words in the same positions, adar, azar and bajar, all rhyme. The nonrhyming
words in line 19 should be considered as an instance of consonance, which is
the repetition of the same or similar sounding consonants with different vowels (Adams
1997:200). (Note, though, that dil does rhyme with hil at the end of the line.) The
consonance works, perhaps, to prepare the reader for the perfect rhymes that follow in
line 20.
(192) erê ey dil kanê ew gul ka şemala geş u hil (BS1:19, 20)
buçî (adar) 72 buye azar buçî bajar bu kavil
72 The parentheses here appear in the original text.