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create an independent clause, joining it to the first clause with the conjunction û, ‘and.’ I
appreciate this creativity of Shushi―to translate the event of ‘flying fleet’ into the
prepositional phrase bi lez, ‘with haste,’ and the verb meş, another word for ‘go.’ Though
she changed the syntax, she retained the basic meaning being conveyed.
In the third line of the second quatrain, Shushi gained needed syllables by
expanding ‘heart’ to include the can, ‘soul.’ This reminds me of Sindî’s use of the two
nouns jîn, ‘life,’ and hîvî, ‘hope,’ to represent one basic idea in Dergehê Jîn U Hîvî Ya,
‘The Door of Life and Hopes,’―that idea being “everything good.” In Longfellow’s
poem, ‘heart’ represents the part of a person that lives after death. Hence, can, ‘soul,’
may rightly be viewed as an explication of the metaphoric meaning of ‘heart.’ Also, note
that Shushi used lê for ‘but’ instead of belê. She also had the option, as I did, to use habît,
‘exist,’ or jît, ‘live.’ For Shushi, both verbs would provide the same meaning.
In the final line of this quatrain, Shushi decided to change the image, as it was
difficult to convey Longfellow’s image in Northern Kurdish (see the discussion of my
version of the poem in § 6.1). Shushi’s decision is in concord with Boerger’s sixth
principle, which was introduced previously. I had to speak with Shushi a second time
about the image she chose, as the literal translation of nexweş ‘not well,’ which would
seemingly convey some redundancy in the line. Obviously, a ‘wound,’ the new image, is
something that is ‘not well.’ The issue here had to do with the meaning of nexweş, which,
according to Shushi takes on a different meaning in this context. Shushi thought that the
English word ‘trying’ or ‘difficult to bear’ conveyed the sense of nexweş in this use of the
word. So, still utilizing the extension of the heart image represented in ‘beat,’ Shushi
settled for an alternate image to convey the situation of the present life, the life bound to a
failing human body―but a life that still can experience the hope of eternity with God.
In the first line of the final quatrain, Shushi expanded the idea of ‘gladly’ by
adding to keyf, ‘happiness,’ the word xweşî, ‘pleasure,’ therein gaining some syllables.
She gained another syllable by means of the conjunction u, ‘and.’ She also chose to end
the line with a verb, moving the GOAL―the prepositional phrase bo mala Xwedê, ‘to the
home of God’―before the future word dê, ‘will.’ Recall from § 4.4.1.2 that the normal