![\"\"](\"http:\/\/localhost\/wp\/wordpress\/wp-content\/uploads\/2009\/05\/philip_g_kreyenbroek.jpg\" "\\"P.G.")
By Philip G. Kreyenbroek<\/p>\nBy Philip G. Kreyenbroek<\/p>\n
Written, “elevated” poetry traditionally played a less prominent role in Kurdish society than folk poetry (q.v.) did. The number of written literary works in Kurdish is far smaller than in its surrounding cultures, but it is comparable to that of Pashto (q.v.). The written literary output in Kurdish consisted mostly of poetry until the 20th century, when a prose literature developed in both major dialects of Kurdish as a result of social and political developments.<\/p>\n
<\/p>\n
By Philip G. Kreyenbroek<\/p>\n
Written, “elevated” poetry traditionally played a less prominent role in Kurdish society than folk poetry (q.v.) did. The number of written literary works in Kurdish is far smaller than in its surrounding cultures, but it is comparable to that of Pashto (q.v.). The written literary output in Kurdish consisted mostly of poetry until the 20th century, when a prose literature developed in both major dialects of Kurdish as a result of social and political developments.<\/p>\n
<\/p>\n
For a long time Kurdish was not used as a written language; those who aspired to contribute to the elevated, written culture of their times wrote in Arabic, Persian or, later, Turkish. Kurdish poetry and prose narratives were transmitted orally. However, the form, language and imagery of the earliest known Kurdish written poetry effortlessly follows the models offered by Arabo-Persian poetry, which suggests that the tradition had been perfected before the known early poets appeared.<\/p>\n
Our knowledge of the early history of written Kurdish literature is still imperfect. For a long time our information derived solely from data published by Alexandre Jaba (1860) on the basis of information from Ma\u1e25mud Efendi B\u0101yazidli. Later David N. MacKenzie (1969) established the real dates of death of two of the poets concerned, showing that B\u0101yazidli’s information was inaccurate. It would be unsafe, therefore, to rely on the rest of Jaba \/B\u0101yazidli’s information.<\/p>\n
The early poets. The first five poets mentioned by B\u0101yazidli (‘Ali \u1e24ariri, Mall\u0101-y\u0113 Jezri, Faqi-e \u1e6ceyr\u0101n, Mall\u0101-y\u0113 B\u0101t\u0113, A\u1e25mad \u1e34\u0101ni) are thought of as the chief exponents of the Korm\u0101nji school, which used the Korm\u0101nji sub-dialect of Jazira\/B\u014dt\u0101n as a literary language. It is often claimed that the founder of this school was Mall\u0101-y\u0113 Jezri (ta\u1e35allo\u1e63, or pen name, of Shaikh A\u1e25mad Neš\u0101ni, 1570-1640), who was deeply influenced by the Persian poets, notably \u1e24\u0101fe\u1e93 (q.v.), whom he sought to emulate (Uzun, I, p. 20). His vast oeuvre includes qa\u1e63idas (odes) and \u1e21azals (lyrics), some of which remain popular to this day.<\/p>\n
Faqi \u1e6cayr\u0101n “The birds’ jurist” (pen name of Mo\u1e25ammad Faqih of Mukis, 1590-1660; see Kurdo, I, pp. 70-89; Blau, forthcoming) is said to have been a disciple of Mall\u0101-y\u0113 Jezri. His work includes qa\u1e63idas and \u1e21azals, and he was the first known Kurdish poet to use the ma\u1e6fnawi (couplet) form for narrative poems. Among his extant works are \u1e24ek\u0101yat\u0101 Š\u0113\u1e35\u0113 San’\u0101ni (The story of Shaikh \u1e62an’\u0101n), Qawl-\u0113 \u1e25asp-\u0113 raš (The poem of the black courser), and Qesey\u0101 Bar Sis (The story of Bar Sis).<\/p>\n
Very little is known about ‘Ali \u1e24ariri. Some poems have plausibly been attributed to him (see Kurdo, I, pp. 57-64). Otherwise all we know is that, together with Mall\u0101-y\u0113 Jezri and Faqi \u1e6cayr\u0101n, his name is included in the list of venerable predecessors whom A\u1e25mad \u1e34\u0101ni praised in his introduction to Mam u Zin (q.v.)<\/p>\n
A\u1e25mad \u1e34\u0101ni (1650-1707) is probably the best known and most popular of the classical Kurdish poets, largely on account of his famous Mam u Zin (Lescot, 1942; \u1e34\u0101ni, 1996). This work, a long romantic epic, is sometimes seen as the Kurdish equivalent of the national epics of other nations and bears some resemblance to Romeo and Juliet, describing the impossible love between two scions of noble houses whose families did not allow them to marry. It was inspired by the Kurdish popular epic Mam\u0113 \u0100l\u0101n, and possibly by Ne\u1e93\u0101mi Ganjavi’s Layli o Majnun. Apart from this major work, A\u1e25mad \u1e34\u0101ni wrote Nubeh\u0101r\u0101 pe\u010duk\u0101n (New spring for children), a rhymed Arabic-Kurdish word-list intended for the use of Kurdish school students, and a religious work entitled ‘Aqida im\u0101n\u0113 (Faith in the religion).<\/p>\n
About the life of Mall\u0101-y\u0113 B\u0101t\u0113 we only have the unreliable data provided by Jaba and B\u0101yazidli. He is known to have written a mawlud, that is a poem on the birth of the Prophet Mo\u1e25ammad; perhaps a version of the Kurdish romance Zambilfer\u014dš (The basket seller); and, as was recently discovered, a didactic poem about morality, expediency and good manners, which must have been so popular at one time that it became part of the oral religious literature of the Yezidis (see Kreyenbroek and Rashow, forthcoming).<\/p>\n
Gur\u0101ni poetry. Around the 16th century, in the area roughly equivalent to the Persian province of Kordest\u0101n, the Ardal\u0101n family achieved a degree of independence from the Safavids. They acted as champions of local literary culture, promoting the development of a written literature in Gur\u0101ni (see GUR\u0100N), a language whose origins differ from those of Kurdish, but which is widely regarded as a dialect of that language. Gur\u0101ni, the religious language of the main branch of the Ahl-e \u1e24aqq (q.v.; see also MacKenzie, 1965), now also became the language of the court, and thus of a significant section of Kurdish written literature.<\/p>\n
Gur\u0101ni poetry was more strongly influenced by local poetic traditions than its early Kurm\u0101nji counterpart, using a decasyllabic meter with a caesura between two rhyming hemistiches, which is typical of the folk poetry of the region (MacKenzie 1965; Mokri).<\/p>\n
The founder and first representative of this Gur\u0101ni school was Yusof Yask\u0101 (d. 1636), who wrote \u1e21azals. Among his disciples were Shaikh A\u1e25mad Ta\u1e35ti Mardu\u1e35i (1617-92), Shaikh Mo\u1e63\u1e6daf\u0101 B\u0113sar\u0101ni (1641-1702), and A\u1e25mad Begi Kom\u0101si (1796-1877). \u1e34\u0101n\u0101 Qob\u0101di (1700-59) composed the \u1e62alaw\u0101t-n\u0101ma, a eulogy on the Prophet Mo\u1e25ammad and Imam ‘Ali b. Abi \u1e6c\u0101leb, and a well-known version of Širin o \u1e34osrow. A famous Gur\u0101ni version of Layli o Majnun was later written by Moll\u0101 Bol\u0101d Khan (d. 1885). The last and best-known member of the Gur\u0101ni school was Sayyed ‘Abd-al-Ra\u1e25im Moll\u0101 Sa’idi T\u0101wgozi (ca. 1806-82), whose pen name was Ma’dum or Ma’dumi, but who is better known as Mawlawi. His religious poetry in Persian, Arabic, and Gur\u0101ni was strongly influenced by classical Sufi literature, with love imagery playing an important role. The prominent Kurdish female poet and scholar M\u0101h Šaraf \u1e34\u0101nom Mastura Kordest\u0101ni (1805-47) was long thought to have written only in Persian, but her Gur\u0101ni poems have recently been discovered.<\/p>\n
S\u014dr\u0101ni poetry. To the west of the Zagros in Iraqi Kurdistan, the princely dynasty of B\u0101b\u0101n (q.v.) increased its power during the latter half of the 18th century. In 1781 Ma\u1e25mud Pasha began to transfer his capital to a new site, Solaym\u0101niya,. His successors continued this policy, and ‘Abd-al-Ra\u1e25m\u0101n Pasha (r. 1789-1802) actively promoted the use of the local dialect of Kurdish, which came to be known as S\u014dr\u0101ni, as a literary language.<\/p>\n
The oeuvre of ‘Ali Bardaš\u0101ni (d. 1812) consists partly of adaptations to written S\u014dr\u0101ni of the great works of Kurdish (particularly Korm\u0101nji) oral tradition. He also composed qa\u1e63idas and some of his \u1e21azals became part of the popular tradition and were set to music.<\/p>\n
The reign of ‘Abd-al-Ra\u1e25m\u0101n’s grandson, A\u1e25mad Pasha, saw the rise of the N\u0101li school of poetry, whose center was Sulaym\u0101niya. These poets helped S\u014dr\u0101ni achieve the status of a significant literary language. The founder of this school was Mall\u0101 \u1e34edri A\u1e25mad Šaweysi Mik\u0101\u02beili (also known as Mall\u0101 \u1e34edri Šarazur, 1800-56), who is generally known by his pen name, N\u0101li. Like Mall\u0101-y\u0113 Jezri, N\u0101li used Perso-Arabic poetic forms such as the qa\u1e63ida and \u1e21azal, which until then had not formed part of the Kurdish poetry of the area. His works include poems praising the rulers and mystical verse, but he is best known for his lyrical poetry. S\u0101lem (pen name of ‘Abd-al-Ra\u1e25m\u0101n Beg \u1e62\u0101\u1e25ebqer\u0101n, ca. 1805-69) helped to develop literary S\u014dr\u0101ni. He used the hazaj meter (see ‘AR\u016a\u017b), which proved well suited to S\u014dr\u0101ni poetry.<\/p>\n
In 1851 the B\u0101b\u0101n dynasty was overthrown and many poets left Sulaym\u0101niya. S\u014dr\u0101ni poetry, however, continued to develop, mainly in Kirkuk and Persian Kurdistan. The greatest poets of this period were \u1e24\u0101ji Q\u0101der Mall\u0101 A\u1e25mad Koyi and Shaikh Re\u017c\u0101 \u1e6c\u0101leb\u0101ni. \u1e24\u0101ji Q\u0101der Koyi (ca. 1816-94) left Kurdistan for Istanbul, where he became familiar with Korm\u0101nji language and literature and came into contact with foreign ideas. The language of his qa\u1e63idas is simple and his work reflects his interest in social affairs. He criticized traditional attitudes, and his poems contain references to features of the modern world. His poetry became immensely popular in Kurdistan.<\/p>\n
Shaikh Re\u017c\u0101 \u1e6c\u0101leb\u0101ni (1813-1910) introduced satire to Kurdish poetry. He traveled much and lived eight years in Istanbul. Apart from satirical poetry, \u1e6c\u0101leb\u0101ni’s work contains autobiographical elements; romantic love and religion (particularly of the Ahl-e \u1e24aqq) are frequent themes. His style and choice of vocabulary were more forceful than was customary in Kurdish “high” poetry.<\/p>\n
The poetry of Mall\u0101 Ma\u1e25mud Ma\u1e25wi (1830-1906), son of Mall\u0101 O\u1e6fm\u0101n Bal\u1e35i, is more lyrical in tone. A central theme is that of the human beloved helping the lover attain to divine Truth. The poetry of \u1e24\u0101req Mall\u0101 \u1e62\u0101le\u1e25 (1851-1907) also shows strong Sufi influence.<\/p>\n
Me\u1e63b\u0101\u1e25-al-Diw\u0101n (‘Abd-All\u0101h Beg A\u1e25mad Ebr\u0101him, 1859-1916) lived in Persian Kurdistan, where his work became influential. The great tragedy of his life was that his wife, No\u1e63rat \u1e34\u0101nom, left him. This personal tragedy is prominently reflected in his work, which thus departed from the accepted tradition of describing an ideal state of affairs, and it was much criticized by classicists.<\/p>\n
Women began to play a role in Kurdish intellectual life in the 19th century. Mastura Kordest\u0101ni (see above) became well-known, as did Mehrab\u0101n (1858-1905), Sira \u1e34\u0101nom of Di\u0101rbakr (1814-65), and \u1e34\u0101tun \u1e34oršid.<\/p>\n
Kurdish nationalism. Kurdish intellectual life changed in many ways towards the end of the 19th century. Emerging nationalist aspirations led to the development of a Kurdish press, which was published outside the Kurdish regions. In 1898 the first Kurdish paper, Kordest\u0101n, was published in Cairo by two brothers, Med\u1e25at Pasha and ‘Abd-al-Ra\u1e25m\u0101n; it was later forced to move to Europe, where its last issue was printed in 1902. In Istanbul, the monthly R\u014dji Kord (Kurdish day) changed its name to Hat\u0101wi Kord (Kurdish sun) in 1913. In 1916 \u1e6eorayy\u0101 Badr Khan published the Turkish-language weekly Jin (Life), which demanded independence for the Kurds, and the weekly Kordest\u0101n in 1917-18.<\/p>\n
The Partition of Ottoman Kurdistan. When the Ottoman Empire collapsed after World War I, Kurdish nationalists had high hopes for an independent Kurdish state. These expectations came to nothing and Ottoman Kurdish lands were divided between Turkey, Iraq, and Syria, where the Kurds formed minorities in states preoccupied with establishing the ethnic and cultural identities of the majority.<\/p>\n
Turkish exiles: the “Hawar school.” The repressive policies of the Turkish Republic forced Kurdish intellectuals into exile. Damascus and Beirut became centers of Kurdish intellectual activity, which led to the development of a modern Kurm\u0101nji literature. The brothers Jeladet (1893-1961) and Kamiran Bedir\/Badr Khan (1895-1978) played a prominent role in these activities. They developed a Kurdish orthography in Latin script, which is still used today. This was first used in the periodical Hawar “Cry for help” (Damascus, 1935-43), which became the focus of Kurm\u0101nji cultural aspirations and achievements. Further periodicals included Ronahî “Light” (Damascus, 1941-44), Roja nû "New day” (Beirut, 1943-46), and Stêr “Star” (Damascus, 1943-45). These publications reflect a strong preoccupation with Kurdish culture and identity. Besides the Bedir Khan brothers, the Hawar school included the poet Cegerxwîn (pen name of \u015eêxmûs Hesen, 1903-46), Osman Sebrî (1905-93, see Uzun, I. pp. 248-54), and the poets Qadrîcan (1914-74), Ra\u015fîd Kurd (1910-68), and Nûredîn Zaza (1919-88). When Syria became independent after World War II, many collaborators of Hawar left that country and continued their activities in Paris.<\/p>\n
Kurdish Literature in Turkey. The use of Kurdish in any form was strictly forbidden in the Turkish Republic almost from its inception, and no Kurdish literature was published within its borders until the late 1960s. In 1961 a new constitution brought about an atmosphere of freedom that led to a renewed interest in Kurdish culture. The period 1962-68 saw a number of Turkish\/Kurdish literary publications, including Mûsa Anter’s Birîna re\u015f “The Black wound” (Istanbul, 1965) and M. Emîn Bozarslan’s edition and Turkish translation of Mam u Zin (Mem û Zîn, Istanbul, 1968). Bozarslan was jailed for publishing this book, however, and Mûsa Anter spent several years in prison because of his literary activities (he was murdered in Di\u0101rbakr in 1992). In 1967 there was a general wave of repression of manifestations of Kurdish identity. Apart from a number of short-lived magazines in the mid-1970s, no significant works in Kurdish were published in Turkey until the 1990s.<\/p>\n
In 1991 the Turkish government recognized the existence of the Kurdish language. This again led to a wave of literary activity, although in practice conditions remained very difficult. Some Kurdish works that were originally written in the Diaspora were now published in Turkey, and several Kurdish or Kurdish\/Turkish magazines appeared (Roj-name “Newspaper,” Istanbul, 1991; Newroz “New day,” Istanbul, 1991; Govend “Round Dance,” Di\u0101rbakr, 1991; War “Camp,” Istanbul 1997). Many of these were banned, to reappear soon afterwards under a different name. A further liberalization of official attitudes towards Kurdish in 2002 may help to promote Kurdish letters further, though at the time of writing it is too early to tell.<\/p>\n
In Iraq: The fall of the Ottoman Empire in 1918 eventually led to the foundation of the state of Iraq (under British mandate, 1920-32), which included part of the Kurdish territories. The first printing press of Kurdistan was set up in Solaym\u0101niya in 1919, and the British promoted the use of S\u014dr\u0101ni as a written language. The 1920s saw the emergence of several Kurdish newspapers and many S\u014dr\u0101ni translations of Western works.<\/p>\n
The poetry of this early period was still classical in form, but patriotism and social affairs played an increasing role, and purely personal elements became more prominent. Significant poets included Piram\u0113rd (\u1e24\u0101ji Tawfiq, 1867-1950), A\u1e25mad Mo\u1e35t\u0101r J\u0101f (1897-1935), \u1e24amd Fatt\u0101\u1e25 Beg S\u0101\u1e25ebqer\u0101n (1878-1936), ‘Abd-al-Wa\u1e25id Nuri (1903-46), and Zaw\u0101r (‘Abd-All\u0101h Mo\u1e25ammad, 1875-1948). The 1930s saw a departure from classical poetic forms, and the emergence of free and syllabic verse, e.g., in the work of Gor\u0101n (‘Abd-All\u0101h Solaym\u0101n, 1904-62). Later poets include S\u0101lem (Shaikh S\u0101lem A\u1e25mad Azab\u0101ni, 1892-1959), Delz\u0101r (A\u1e25mad Mo\u1e63\u1e6daf\u0101 \u1e24ama \u0100\u1e21\u0101, b. 1920), B\u0113kas (Fa\u1e35i ‘Abd-All\u0101h, 1905-48) and his son Š\u0113rko B\u0113kas (b. 1940), K\u0101mr\u0101n Mokri (1929-89), and K\u0101kay Fall\u0101\u1e25 (b. 1928).<\/p>\n
The emergence of literary magazines in the 1920s furthered the development of a S\u014dr\u0101ni prose literature. This largely consisted of short stories, which often had social or political themes, e.g., Ademîzad le sayey derebegî “Man in feudal society” (1945) by \u1e24osayn \u1e24ozni Mokri\u0101ni (1893-1947). The first S\u014dr\u0101ni novel was Jani gel “The Suffering of the people” (1973) by Ebr\u0101him A\u1e25mad (b. 1914).<\/p>\n
The ups and downs in the relations between the Kurds and successive Iraqi governments affected literary output. In 1959 a chair of Kurdish Studies was established in the University of Baghdad and literature flourished, but a time of repression followed soon afterwards. Then, in 1970, Kurdish was recognized as the second official language of Iraq; the same period saw the foundation of the Kurdish Academy of Sciences in Baghdad, and there were many Kurdish literary periodicals. By the mid-1970s, however, the Kurds had once more fallen foul of the government. Important works of the period 1974-92 were Mo\u1e25ammad Mokri’s (b. 1952) novels Heres “The avalanche” (1985) and Tole “Revenge” (1985), as well as Helo “The eagle” (1986) by Š\u0113rko B\u0113kas.<\/p>\n
The setting up of a more or less autonomous security zone comprising in Iraqi Kurdistan in 1992 initially led to a great deal of literary activity, with a strong focus on political and social issues. The tensions between political groups in 1994 and the resulting partition of the security zone caused disillusionment among writers and intellectuals, many of whom fled the country. Those who stayed were often highly critical of the authorities. On the other hand, the heightened sense of Kurdish identity resulting from the events of 1992 led to serious attempts to develop closer links with Kurds outside Iraq.<\/p>\n
In Persia. The only period of independent Kurdish literary activity in Persia before the Revolution of 1978-79 was that of the short-lived Autonomous Republic of Kurdistan (the Mah\u0101b\u0101d Republic, January to December 1946). Kurdish became the official language; the poets Hemin (Mo\u1e25ammad Amin Šay\u1e35-al-Esl\u0101m Mokri\u0101ni, 1921-86) and Ha\u017e\u0101r (‘Abd-al- Ra\u1e25m\u0101n Šarafqandi, 1920-91; qq.v.) were recognized as “poets of the nation,” and several newspapers and periodicals were published.<\/p>\n
After 1946, however, expressions of Kurdish identity were on the whole discouraged until well into the era of the Islamic Republic. From 1959 to 1963 the influential weekly Kordest\u0101n was published in Tehran under the auspices of the Persian government, but it was distributed only outside Persia.<\/p>\n
After a difficult start the cultural rights of the Kurds found increasing recognition in the Islamic Republic. Around 1984, the first literary works in Kurdish appeared: A\u1e25mad Q\u0101\u017ci (b. 1935) published Baqab\u0113n (The bond), a collection of satirical short stories, and H\u0101w\u0101r (‘Ali \u1e24asani\u0101ni, b. 1939) published Š\u0101ri w\u0113r\u0101n (The Ruined city), which deals with social problems. The same year saw the publication of the cultural magazine Sirwe (Morning breeze), founded by the poet Hemin and subsidized by the local authorities. Sirwe became a forum for expressions of Kurdish identity, including short stories in Korm\u0101nji and S\u014dr\u0101ni, and thus furthered the acceptance of Kurdish as a literary language in Persia. In 1986 a conference of Kurdish intellectuals was held in Mah\u0101b\u0101d. The process of recognition and liberalization appears to have continued slowly but surely, leading to further publications and to the official recognition of Kurdish as a language of instruction in schools in the Kurdish areas in 2002.<\/p>\n
In Armenia. Although numerically small, the Kurdish community of Armenia was very active in the field of literature in the Soviet period. Both poetry and literary prose show the influence of Russian literature. The literary journal Riya taze (New way) was published in Yerevan from 1930 and published the works of such literary figures as Emînî Evdal (1906-64), Hejiyê Cindi (1909-90), and the poet Casimê Celîl (1908-98).<\/p>\n
In 1935 Erebê Šemo (Arab Shamilov, 1897-1979), published the autobiographical novel that became instantly popular; an expanded version was published under the title of Berbang (Dawn) in 1958. \u015eemo’s works further included the novel Dimdim (Yerevan, 1966), which was based on a famous Kurdish storyline, as was Semand Siyabendov’s (1909-98) Siyabend û Xecê “Si\u0101band and \u1e34aj\u0113” (in Cyrillic script, 1959, in Ar. script, Baghdad, 1980). The literary journal Behara taze “New spring” (Yerevan, 1980-90) published poems, short stories, and novels by writers of a younger generation. Armenian independence and the conflict with Azerbaijan Republic led to the expulsion of Kurdish Muslims from Armenia, which led to a decline of Kurdish literary life.<\/p>\n
In the Diaspora. In spite of the achievements of the Armenian Kurds, Korm\u0101nji literature developed mainly in the Diaspora. After the end of the French mandate in Syria, France became the first center of Kurdish literary activities in Europe. In 1950 Kamiran Bedir Khan became Professor of Kurdish Language and Culture in Paris. While the first wave of Kurdish immigrants in Europe consisted mostly of intellectuals, some two decades later many Kurds came there as immigrant workers. In the course of time, these Kurds re-discovered and explored their cultural identity by literary means. There was a strong Kurdish literary movement in Sweden, where a number of Kurdish periodicals appeared. Most of these were aimed at a Korm\u0101nji speaking public, but S\u014dr\u0101ni journals are also published there. Mehmet Tayfun Malmîsanij (b. 1952) is actively developing a written Zaza literature. Prominent Korm\u0101nji writers include Mahmut Baksi (1944-2001), and Mehmed Uzun (b. 1953), whose work was translated into several languages. In 1983 the Kurdish intellectual tradition in Paris was strengthened by the foundation of the Kurdish Institute, which brings out the semi-annual review H\u0113vî\/Hîwa “Hope” (first published 1983), and from 1987 onwards the bulletin Kurmancî, which focuses on the modernization of the Kurdish usage and orthography and aims to contribute to the development of a Modern standard Korm\u0101nji.<\/p>\n
Bibliography<\/strong>: Mo\u1e25ammad Mall\u0101 ‘Abd-al-Karim, “Mewlewi: A Great Poet and ‘\u0101lim of Southern Kurdistan,” tr. Homer Dizeyee and Michael L. Chyet, in Martin van Bruinessen and Joyce Blau eds., Islam des Kurdes, Les Annales de l’Autre Islam 5, Paris, 1998, pp. 59-82. ‘Ali Kam\u0101l \u0100\u1e21\u0101z\u0101da, P\u0113šaki diw\u0101ni Ma\u1e25wi (Introduction to the Diwan of Ma\u1e25wi), Solaym\u0101niya, 1922. Kharis Bitlisi, Leyli i Majnun, facs. ed. and tr. Margarita Borisovna Rudenko, Moscow, 1965. Joyce Blau, “Kurdish Written Literature,” in Philip G. Kreyenbroek and Christine Allison, eds., Kurdish Culture and Identity, London and New Jersey, 1996, pp. 20-28. Idem, “Written Kurdish Literature,” in Philip G. Kreyenbroek and Ulrich Marzolph, eds., History of Persian Literature, Appendix 2, forthcoming. Th. Bois, “ Kurds, Kurdist\u0101n vi: Folklore and Literature,” in EI2 V, pp. 480-86. Cecil John Edmonds, “A Kurdish Lampoonist, Shaikh Riza Talebani,” Journal of the Royal Central Asian Society 22, 1935, pp. 111-23. ‘Abd-All\u0101h Goran, Div\u0101n Goran, ed., Mo\u1e25ammad Mall\u0101 ‘Abd-al-Karim, Baghdad, 1980. Rafiq \u1e24elmi, Še’r u adabiy\u0101ti Kordi, 2 vols., Baghdad, 1941-56. Alexandre A. Jaba, tr., Recueil de notices et récits kourdes: servant à la connaissance de la langue, de la littérature et des tribus du Kourdistan, St. Petersburg, 1860; new ed. Stockholm, 2000. A\u1e25mad Jezri, Div\u0101n, ed. Martin Hartmann, as Der kurdische Diwan des Schech Ahmed, Berlin, 1904; ed. with commentary A\u1e25mad Zevengi as al-‘Aqd al-jawhari fi šar\u1e25 Div\u0101n al-Šay\u1e35 al-Jaziri, 2 vols. Kamišli, 1958; ed. \u1e62\u0101deq Bah\u0101\u02be-al-Din as Div\u0101n Mel\u0101 Jeziri, Baghdad, 1977; ed. H. Šarafkandi as Div\u0101n-e ‘\u0101ref-e rabb\u0101ni Šay\u1e35 A\u1e25mad Jezri, Teheran, 1982. A\u1e25mad \u1e34\u0101ni, Mem \u016b Z\u012bn, ed. and tr. Margarita Borisovna Rudenko, Moscow, 1962; ed. and tr. Mehmed Emîn Bozarslan, Istanbul, 1996; tr. Jemal Nebez as Mam und Zin, genannt Romeo und Julia der Kurden, Munich, 1969. Idem, Nubeh\u0101r\u0101 pe\u010duk\u0101n, facs. ed. Albert von Le Coq, I, pp. 1-47; ed. Parwiz Jah\u0101ni as Farhang-e nowbah\u0101r, Urmia, 1988. Jam\u0101l \u1e34azned\u0101r, R\u0101bari r\u014d\u017en\u0101magari kordi (Guide to the Kurdish press), Baghdad, 1973. Philip G. Kreyenbroek, “On the Kurdish Language,” in Philip G. Kreyenbroek and Stefan Sperl, eds., The Kurds: A Contemporary Overview, London, 1992, pp. 68-83. Philip G. Kreyenbroek and Kh. Jindy Rashow, God and Sheikh Adi are Perfect: Sacred Hymns and Religious Narratives in the Yezidi Tradition, forthcoming. Qanatê Kurdo, Tarîxa edebiyata Kurdî (History of Kurdish literature), 2 vols., Stockholm, 1983-85. Albert von Le Coq, facs. ed., Kurdische Texte, 2 vols., Berlin, 1903. Roger Lescot, ed., Textes Kurdes, 2 vols., Paris, 1940-42. Idem, ed. and tr., Mamé Alan: Epopée kurde, Paris, 1999. Gina Lennox, ed. Fire, Snow and Honey: Voices from Kurdistan, Halstead, UK, 2001. David N. MacKenzie, “Some Gor\u0101ni Lyric Verse.” BSO(A)S 28, 1965, pp. 255-83. Idem, “Malâ-ê Jizrî and Faqî \u1e6cayrân,” in Mojtab\u0101 Minovi and Iraj Afš\u0101r, eds., Y\u0101d-n\u0101ma-ye Ir\u0101ni-e Minorsky, Tehran, 1969, pp. 125-30. M\u0101h Šaraf \u1e34\u0101nom Kordest\u0101ni, T\u0101ri\u1e35-e Ardal\u0101n, ed. N\u0101\u1e63er \u0100z\u0101dpur, Tehran, 1946; tr. Evjeniya I. Vasilieva as Khronika Doma Aradal\u0101n, Moscow, 1990. M. Mokri, “Cinquante-deux verses de Cheikh Amir en dialecte gur\u0101ni,” JA, 1956, pp. 391-422. Mall\u0101 \u1e34edri A\u1e25mad Šaweysi “N\u0101li,” Div\u0101n, ed. ‘Abd-al-Karim Modarres and ‘Abd-al-Karim F\u0101te\u1e25, Urmia, 1985. F. Pirbal, “La situation de la littérature au Kurdistan d’Irak,” Etudes Kurdes 2, Paris, 2000. \u1e34\u0101n\u0101 Qob\u0101di, Širin o \u1e34osraw, ed. Mo\u1e25ammad Mall\u0101 ‘Abd-al-Karim as Širin o \u1e34osraw, š\u0101k\u0101r-i š\u0101’er-i n\u0101wd\u0101r-i kord \u1e34\u0101n\u0101y Qob\u0101di, Baghdad, 1975; repr. Urmia, 1989. \u1e24\u0101ji Q\u0101der Koyi, K\u014dmala še’r-i \u1e24\u0101ji Q\u0101der Koyi (Anthology of the poetry of \u1e24\u0101ji Q\u0101der Koyi), compiled and ed. ‘Abd-al-Ra\u1e25m\u0101n Sa’id, Baghdad, 1925. Idem, Div\u0101n, ed. Mo\u1e25ammad Mall\u0101 ‘Abd-al-Karim as Div\u0101n-i \u1e24\u0101ji Q\u0101der Koyi: Hang\u0101waki ter ba r\u0113g\u0101 da baraw s\u0101\u1e35kerdenawa, Baghdad, 1976. ‘Al\u0101\u02be-al-Din Sajj\u0101di. M\u0113\u017euy adab-i kordi (History of Kurdish literature), 2 vols., Baghdad, 1956 (S\u014dr\u0101ni Kuridish in Ar. script). Anwar Soltani, ed., Anthology of Gorani Kurdish Poetry: Compiled by A. M. Mardoukhi (1739-1797), London, 1998. Re\u017c\u0101 \u1e6c\u0101leb\u0101ni, Div\u0101n-i Š\u0113\u1e35 Re\u1e93\u0101y \u1e6c\u0101leb\u0101ni, ed. ‘Ali \u1e6c\u0101leb\u0101ni, Baghdad, 1946. Mehmet Uzun, ed., Antolojiya Edebiyata Kurdi (An anthology of Kurdish literature), 2 vols, Istanbul, 1995.
\n <\/p>\n