Magin_Edward-thesis

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was from the village of Amediya. His dad was originally from Amediya, but his
occupation was based in Barmarnê.
When Nalbend came into poetry, he was one of the new poets, the new form of
the Kurdish language. The poets before Nalbend wrote in three different languages: in
Farsi, in Kurdish, in Arabic. When he came and he started writing, he kind of distanced
himself from those poets and wrote only in Kurdish. It was not only him; there were other
poets. About 20 poets…Salih Hyusî, Mela Anwir Mahî…
SS: The poets he just named were a few of them that followed him and only
wrote in Kurdish.
RF: He loved poetry so much and was so good at it that he’d use any scrap, he’d
have a cigarette box, and write on that cigarette box. And he would take a napkin and
write a poem on it. Anytime he wrote a poem, he’d pretty much duplicate it. He wrote
two copies. One copy for him, one for his good friend Tahir Mahi.
EM: What are the classifications, the themes, subjects, of Nalbend’s poetry. He
mentioned them in a previous conversation. I didn’t record them.
RF: The themes of Nalbend’s poetry were love poetry (evîn dar), erotic poetry,
religious (dînî) poetry and, I guess, politics (sîasî) you can say…..and Kurdish culture.
That was the fifth one.
EM: What forms did he use? Çwarkî?
RF: Çar. Ruba’i. The new (modern) type of poetry he didn’t write.
EM: Did he write any in the style of tercîa band?
RF: I haven’t seen it.
SS: Is that a Kurdish word?
EM: Kurdish and Arabic.
RF: The example that you wrote, he said that we have the same type of examples.
It’s very, very familiar. They call that Zarrora Şiarê, ‘necessary.’ It’s Arabic and means