Magin_Edward-thesis

222
expands the poet’s range of possible choices. I also identified a situation where a poet
intentionally changed the normal syntax so that the final word in the line would be
dissimilar to the end rhyme of the other lines in the quatrain. While the decision of the
poet to change the order was phonologically motivated, the device employed was
syntactic, which is why I placed the discussion in the syntactic section of the paper (see
§ 5.4.1.1.11). On the syntactic level, every possible deviation from normal SOV constituent
order was found except for verb initial phrases (with declared subjects). The only verb
initial phrases were two imperative clauses where the subject is naturally not declared.
For equative and attributive clauses, there were no instances where a copula followed the
subject when the subject was placed after an adjective phrase or noun phrase (see
§ 5.4.1.1). Regarding ellipsis (§ 5.4.1.2), it was discovered that it is the use of anaphoric
pronouns that is a tool for the poet, as pronoun ellipsis is often permitted because of the
language’s rules concerning participant reference. Other instances of ellipsis exhibited
freedoms taken by the poets. In § 5.4.1.3 on free variation, we saw how poets varied word
usage by utilizing more than one word form. Potentially, poets capitalized on the
language of other subdialects of Northern Kurdish―spoken language having minor
differences from their own―for these variations. More research is needed on this subject
before drawing any conclusions.
The whole of this analysis reveals numerous variations that are found in poetic
language. While most of these poetic devices were utilized by Neo-classical poets, some
continue to be employed by modern poets. One poem in the corpus worth highlighting is
Şaban Silêman’s Gutgutik, ‘Rumors,’ which is a modern poem that utilizes end rhyme, a
poetic device that was not employed in any of the other modern poems in the corpus; nor
have I seen it in any other modern poems I have read. Due to Silêman’s immense
popularity in Northern Iraq, it would be worthwhile to conduct a more extensive analysis
of his poetry to see to what degree he uses end rhyme and, perhaps, other poetic devices
identified in the analysis in Chapter 5.
The analysis and its application have provided an initial step in the study of
Northern Kurdish poetry and has at least partially answered the question, as concerns