This Book
The Literary Kurdish Language
This book discusses aspects of the
literary Kurdish language through the successive stages of the history of
Kurdish literature, which begins in the middle of the 10th century AD with the
Lorri dialect through the works of (Baba Tahir al-Hamadani 937-1010 AD) and
(Baba Sarhang Dawdani 935-1007 AD). It then coexists in the 11th century with
the Gorani dialect in the works of (Per Shalyar 1006-1098 AD) and (Shah Khoshen
1015-1074 AD), and in the 16th century with the northern Kurmanji dialect in
the works of (Ali Heriri 1530-1600 AD), Faqi Tayran (1563-1641 AD), and Mala
Ahmed al-Jaziri (1567-1640 AD), and in the 19th century with the central
Kurmanji dialect in the works of (Nali 1800-1877 AD), Salem (1805-1869 AD), and
Kurdi (1812-1850 AD). In this way, Kurdish literature continues to evolve in
these four dialects, integrating its types, genres, and arts and reaching the
peak of its creative productivity in the second half of the 20th century.
The unification of its language in the foundation of a rising
civilization, or the refinement of its independent words within the context of
a free flow of texts in the four dialects (Lorri, Gorani, northern Kurmanji,
central Kurmanji). For each dialect, its literary heritage and eloquence
strives to assimilate into a vibrant culture that brings together these riches
in an attractive nest for the minds and hearts of various creative gifts and
productivity in style and similar in depth to meet in the sincerity of
intentions and loyalty originally between the conscious feeling of the writer
and the stirring of the emotional imagination of those who are moved by the
beauty of nature and love of humanity.
And between beauty and love, delicate touches of style
developed between increasing challenges and decreasing of resistance that are
intertwined with the earth and saturated with the scent of dignity. The
literary style of his language (which is the goal of this book) evolved from
the spiritual drink of the refined elite to the shared balance between the
explicit expressive and the hidden in its implications, a world of pleasing
beauty to the human sense of wonder.
The five chapters of the book revolve around the study of
syntax in literary language and the selection of words according to their
idiomatic meanings and the purpose of their use, and the work is smooth and as
planned:
The first chapter consists of three parts: The first is
about the syntactic principles in Kurdish literary language, with a detailed
study of the relationship of dictionary terms within the sentence and the
change in their meanings on the internal and external levels... Internally, it
may interact with the rhetorical arts of euphemism, irony, hyperbole, and...
Externally, according to its relationship with other cohesive terms within the
same sentence. The second part deals with the syntactic sentence as a main
aspect in the simological system, because it does not study the sentence alone,
but also the laws that produce it and what links it to literary trends in terms
of the factors of influence and impact between them, and delves into the
differences between the arts of eloquence and the principles of style and the
characteristics of similarity between them.
As for the third part, it focuses on the elusive identity
between the traditional viewpoints of those working in linguistic and critical
studies based on their own experience and the contemporary theories of academic
specialists, and the more the identity expands, the more problems and dilemmas
arise in building and reviewing study guides, especially in the subjects of
grammar and literature, which causes discrepancies and gaps between linguistic
expressions and their meanings within the context of speech and ignores the
rhetorical aspect of understanding terms in terms of form and content within
the sentence. In order to clarify and not deviate from the essence of the
language, this part also focuses on the importance of the study of language as
a means of communication and expression, and the role of the syntactic sentence
in its structure and function.
The second chapter began with a detailed account of the path
taken by the Kurdish language through its long historical stages and the
geographical distribution of its four dialects in the development and
sustainability of three types of literary language. Therefore, there is no
shared, unified history, but rather each dialect has its own beginning for its
literature: the first beginning was with the Lorri dialect in the tenth century
with Poetic Quartet of Baba Tahir Hamadani and Quartet of Baba Sarhang Dawdani,
and with the Kurmanji dialect in the eleventh century and with the Northern
Kurmanji dialect in the sixteenth century and with the central Kurmanji dialect
in the nineteenth century. During this long
period, the language of the writers was imbued with a Sufi character in terms
of expressive content and a classical character in terms of its cultivated
rhetorical form and continued until the first quarter of the twentieth century.
Then the features of renewal began to appear in the literary types of prose,
poetry and a shared language that was easy to understand and smooth to
articulate, whose basic aim was to stir the emotions of the public and direct
them towards solidarity and the fight against injustice, and continued until
the last quarter of the twentieth century, where the secrets and rhetorical
arts of language began to emerge and its highest goal became creativity.
Through the three types that characterized the Kurdish literary language in its
ancient, modern and contemporary history, this chapter comes to study the
language of literature in the Kurdish language, its characteristics, and its
role in the process of development and modernization.
The third chapter deals with a comparison of some aspects of
the grammar of Kurdish dialects, and consists of three parts: The first part is
devoted to the study of some morphological characteristics in the northern and
central Kurmanji dialects and their comparison in terms of the structure of
words and the types of suffixes used in constructing names and verbs... In
order to illustrate some cases, the study goes beyond the boundaries of the
dialects and refers to examples in other dialects. The second part deals with
the study and comparison of personal pronouns in the dialects, along with the
rules derived from their use in sentences taken from colloquial speech in the
dialects. In the third part, we have attempted to compare the dialects in terms
of the use of tools of recollection and femininity, focusing on the widespread
use of them in the northern Kurmanji dialect and the central Kurmanji dialect's
reliance on the biological aspect only without the presence of morphisms
specific to its use.
In the fourth chapter, a study is devoted to the Shabak and
dig up their history in terms of their origin and stages of formation, and
shedding light on their economic and demographic status in their regions and
their social habits and religious rituals, all in order to know the language
they speak, which is Kurdish, and its classification in the Kurdish language
family.
The fifth chapter consists of two parts: The first is
devoted to literary types since the inception of folk literature, which is not
much concerned with aesthetics, and passing through national literature in its
classical adornment that excels in rhetorical sciences. Then comes the
interactive communication stage with the aesthetics of other nationalities and
access to global literature in its widest doors, to culminate in comparative
literature studies. The second part deals with comparative literature and
explains in detail the points of similarity and difference between its three
schools (French, Slavic, American), each of which has its own methodology in
comparing and criticizing literary texts, and uses the comparison process as an
informative tool in a distinctive and different perspective. The American
school is concerned with the form and aesthetics of the text, while the Slavic
school emphasizes the content and intellectual sources of the text, while the
French school pays more attention to the circumstances and relationships
outside the text. As for Kurdish literature, this science is still in its early
stages, whether in terms of definition or practice...
Finally, the results derived from the five chapters of the
book are listed, and it is hoped that the sought-after projects will be
proposed to consolidate the scientific foundations in critical studies of
Kurdish literature.
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