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5.4.1.3.4 Use of emphatic words
In one example in § 5.4.1.3.1, I mentioned the word belê, which in some contexts
means ‘yes.’ Such words may be used to emphasize something, giving added stress. For
the Neo-classical poet, such words may also be seen as “free” words, free syllables that
can be added to a line, helping the poet reach a required syllable count. Another word
often translated as ‘yes’ is erê. Sindî used this word at the end of line 26, rhyming with
berê in line 25, also shown. Use of the word adds a meaning similar to the adverbial and
interjectional uses of ‘indeed’ in English. In this instance, erê emphasizes the truth of the
proposition.
(302) lê bi çun-a te her em=în ser (BS1:25, 26)
however with departure-EZ.F 2O all 1OP=COP.PRS.1PL in
zeman-ê te u ber-ê
time-EZ.M 2O and past-OBL.M
‘However, with your departure, it’s still us in your time and your past.’
çunkî tu hey-Ø u her hey-î ruh u
because 2D exist.PRS-2SG and always exist.PRS-2SG soul and
wîjdan=î,
erê
conscience=COP.PRS.2SG yes
‘Becase you exist and always will exis, you are the soul and the conscience, yes.’
Sindî used the word erê in two other places, but for non-rhyming purposes. Line
19 of Bîrewerîa Barzanî Yê Nemir, ‘Memories of Immortal Barzanî,’ begins with erê and
is followed by another interjection, ey, which may be comparable to ‘hey’ or ‘O.’ Both
erê and ey helped Sindî reach his desired meter. While they do provide some emotive
effects, they are not required in the meaning of the clause. In (304), the word erê begins
Sindî’s poem Mîrê Peyvan, ‘The Prince of Words.’ I suppose such use of an interjection
works as an emotional appeal, to grab the attention of the reader, welcoming him or her
into what appears to be an ongoing discussion. However, it may be that Sindî’s purpose
was to gain extra syllables.
(303) erê ey dil kanê ew gul ka şemal-a geş u hil (BS1:19)
yes O heart where 3D flower that candle-EZ.F bright and lit
‘Yes, O heart, where’s that flower? Where’s the bright and lit (glowing) candle?’