Magin_Edward-thesis

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1917), and Mahwî (1830-1909). We can see by these later dates that Classical Kurdish
poetry continued into the 20 th century (Shakely 2002). Nali used Perso-Arabic poetic
forms, such as the qashida and ghazal. Until that time they were not part of the literary
tradition of the area. Nalî, who is renowned for his lyrical poetry, also wrote mystical
verse and poems praising rulers (Kreyenbroek 2005).
Many poets left the city of Sulêmaniya after the Baban dynasty was conquered in
1851 (Kreyenbroek 2005). However, the Sorani literary tradition continued to develop in
the 19 th century. But while there were some great poets during this period, and many
literary works were written, the culture remained largely oral. Literacy was
predominantly found among the clergy and the social elite. Hassanpour writes,
“According to one study, 68.5 percent of the poets who lived until 1917 came from the
clerical group, while the feudal class accounted for 20 percent” (Hassanpour 1996:50).
Like Xanî, Haji Qadirî Koyî (ca. 1816-94), a great poet from this era, heralded the
notion “that Kurds could achieve sovereignty only if they possessed both a literate
tradition, the pen, and state power, the sword” (Hassanpour 1996:49). Speaking to his
own people, he writes:
Do not say, “The Kurdish language does not attain the purity of Persian.”
It possesses an eloquence that reaches unequalled heights,
but lack of solidarity among Kurds
has debased its value and price. (Blau and Suleiman 1996:156)
Koyî wanted his people to become literate and enlightened to the world around them.
While Xanî and Koyî emphasized the need for a literate tradition, both poets valued the
oral traditions of their people, borrowing from oral literature as opposed to those
available in Arabic and Farsi literature (Hassanpour 1996:49). Koyî left Kurdistan for
Istanbul, Turkey where he became familiar with Northern Kurdish and its literature.
While there he also became familiar with foreign ideas. Many of his poems, thus, deal
with his critique of society and traditional ways (Kreyenbroek 2005).
Sheikh Razay Talabanî, another poet from the Nali school, is considered to have
introduced satire to Kurdish poetry (Kreyenbroek 2005). Shakely (2002) writes: