The origin and significance of the poetic language of Shirkik Beykasda

, ,June 2025 ,Pages 159-174

Authors

Rawand Saleh

DOI logo 10.17656/jzsb.12434

Keywords

Abstract

The history of Kurdish classical literature includes a number of leading and innovative poets. The position of these poets is reflected both in the works of their contemporaries and in modern Kurdish poetry. Rumi, the innovative poet and the greatest follower of the Zari Gorani school of poetry, is second only to Nali in mentioning his name among the works of Sherko Bekas. Although Bekas himself is the heir and continuator of the Baban school, he has used Malavi as a Dalek alongside Nali. Although it is said that Nali revolted against the ancient school of song and Rumi defended it as a representative of that school, there is no discussion of Nali among the large number of Rumi's non-poems with his friends. As if Rumi did not like Nali's project! However, outside the struggle of the poetic movements of that time, Sherkobek, as two great inventors of Kurdish poetry, turns Nali and Rumi into poetic Dali for different purposes and loads them with different meanings. The many references Bekas as an innovative poet to Rumi as a classical poet, even outside the circle of his own mouth, mean the greatness of Rumi for the poet and the poet's knowledge and awareness of Rumi's position in the history of Kurdish literature. In all his poems from the early years of his writing until 1999, Bekas mentions the name of Rumi 39 times in 31 texts. Of course, these signs are not without poetic meaning and symbolism. Bekas uses a line of Rumi's poem as the gateway to his poem and in the introduction to his work he talks about Rumi's position and the others are all mentioned in his poetic texts. In this paper, we have tried to interpret the meanings of these symbols by a descriptive-analytical method.

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  • First online22 June 2025
  • Published at22 June 2025

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