‘Qêrîn Dikim Da Ku Şiyar Bî’: Helbest û Siyaseta Şiyarkirinê Ya Cegerxwîn

‘Qêrîn Dikim Da Ku Şiyar Bî’:[1] Helbest û Siyaseta Şiyarkirinê Ya Cegerxwîn

METİN YÜKSEL – JI ÎNG: FEXRIYA ADSAY

Puxte: Ev gotar li ser helbestên helbestvanê kurd ê navdar Cegerxwîn (1903- 1984) hûr dibe. Piştî ku jiyan û kariyera Cegerxwîn di nav peywendekê dide rûniştandin, destnîşan dike ku helbesta kurdî ya klasîk di perwerdeya wî ya medreseyê de çawa afirîneriya helbestkî ya Cegerxwîn şêwandiye. Dûre, çewisandin û zilma ku gundiyên kurd ji destê axa, şêx û netewe-dewletan dîtine kiriye ku Cegerxwîn têkeve nav helwesteke civakî û siyasî ya marksîst û neteweperwer. Lê, ev nivîs ji sifetên besîtker yê “çepgir” û “neteweperwer” wêdetir diçe û îdia dike di gewhera helbestên wî de tebeqeyeke hê kûrtir heye: Bikaranîna berdewam a metafora şiyarkirinê. Lewma helbest û siyaseta Cegerxwîn dikare wek hewla şiyarkirina ji xewa kûr -kurd, gundî û karker jî tê de- a hemû komên civakî yên marûzî kedxwarî û zilmê dibin, bê şayesandin. Bi riya helbest û siyaseta wî ya şiyarkirinê, tê îdiakirin ku Cegerxwîn di nav rabêjên siyasî yên pêşverû yên dewra xwe de cî digire.

Peyvên Sereke: Cegerxwîn, helbesta kurdî, hişyarkirin, modernîzasyon.

Belgeyek di Arşîvên Dîplomatîk ên Wezareta Karên Derve yê Fransayê li Nantesê (MAE CADN) de wergera frensî ya belavokeke kurdî, ku ji bo Şêxê Barzan hatiye nivîsandin, dabîn dike. Ev belavok ku di sala 1931ê de belav bûye bo kurdên Iraqê daxwazên neteweyî pêşniyaz dike. Bi risteyên li jêr ên helbestvanê kurdî yê klasîk Melayê Cizîrî diqede: ‘Dema şens li rûyê te bikene, texîrkirina wê guneh e’[2]

Di belavokeke siyasî ya bi vî rengî de referansa bo helbestvanê kurd ê sûfî tiştekî pir eşkere dibêje ji ber ku ew helbestê wek amrazeke îfadekirina têkoşîna siyasî bi kar tîne. Nêzî dema nivîsandina vê belavokê, melayekî xort ê kurd bi mexlasa Cegerxwîn perwerdeya xwe ya medreseyê xilas kiribû û navdariya wî ya wek helbestvanekî serkeftî belav dibû. Ev gotar, bi taybetî bala xwe dide vê pirsê ka helbestên Cegerxwîn çawa bên xwendin û hewl dide temaya bingehîn kişif bike. Di vê peywendê de, xwendineke nêz a bo helbestên wî îdia dike ku serkeftina wî di îfadekirina poetîka û siyaseta şiyarkirinê de ye. Yanê, bikaranîna gelek caran a metafora şiyarkirin û peyvên bi vê re elaqedar endîşeyên Cegerxwîn ên bingehîn ên civakî û siyasî diyar dike. Ez bawer dikim xwendineke Cegerxwîn a ji nêz ve û bi baldariyeke bo bikaranîna vê metaforê, derbarê çalakgeriya siyasî û civakî ya Cegerxwîn de têgihiştineke têr û tijî dabîn dike. Bi gotineke din, hûrbûneke li ser bikaranîna wî ya metafora şiyarbûnê û têgeh û peyvên bi wê re elaqeder ên wek ronahî, pêşveçûn, fêrbûn li dijî paşverûbûn, tarîtî û cahiltî, taybetiyên modernkirinê ên helbestvanî û siyaseta wî jî dabîn dike. Bi rastî, ev xwendin ji binavkirineke besît a wek marksîst û neteweperwerekî kurd, wêdetir diçe. Herweha, bi pêvajoya geşkirina-hişmendiyê ya bi riya helbestê, Cegerxwîn wek dengekî bijarte yê modernîzasyona kurdî ye ku helbest û perwerdeya kevneşopî aniye ba hev. Ev modernîzasyona ji hûndir ve bi riya performansên muzîkal yên Şivan Perwer, populerîzasyona helbestên wî bêtir bi pêş xistiye.

Beriya ku em derbasî analîza helbestên wî yên şiyarkirinê bibin, ez kurteyek helbesta kurdî ya klasîk bidim ku heta radeyekê şikil daye kariyera wêjeyî ya Cegerxwîn. Her çiqas Cegerxwîn helbestvanekî bijarte bû jî, mirov dikare bibîne ku di nav alimên kurd de helbest wek cureya sereke ya wêjeyî kar kiriye. Dûre jînenîgariya Cegerxwîn tê. Wê bê dîtin ku di çêbûna nerîna wî ya siyasî de, rola bûyerên siyasî û dîrokî yên serdema wî girîng e. Ez dibêjim ku metafora şiyarkirinê tenê bi Cegerxwîn ne sînorkirî ye; berevajî vê, di pêvajoya modernîzasyona Rojhilata Navîn a dawiya sedsala nozdemîn û bîstemîn de metaforeke hevpar e. Bi riya çavkaniyên ji destê yekem (arşîv û çapamenî) û destê duyem, analîzeke helbestên wî têgiştineke kûr dabîn dike ku ne tenê fikr û ramanên siyasî yên neteweperweriya kurdî û çepitiyê popularîze kirine lê zimanê kurdî jî adapteyî şertên nû yên civakî û siyasî kirine.

Kariyera helbestî ya Cegerxwîn bi piranî dema perwerdeya wî ya medreseyê ya li herêmên cuda yên Kurdistanê şikil girt. Wek Martin van Bruinessen diyar dike, li seranserî Kurdistanê melayên kurd tenê dersa zanisten îslamî nedidan, lê wan helbesta kurdî jî geş dikirin.[3] Du helbestvanên kurd ên klasîk ên herî bi nav û deng ku helbestên wan li medreseyên Kurdistanê dihatin jiberkirin û belav dibû, Melayê Cizîrî û Ehmedê Xanî bûn. Melayê Cizîrî, wek Mela jî tê naskirin, ku di dawiya sedsala şanzdemîn û destpêka sedsala hivdemîn[4] de jiyaye, herî zêde bi Dîwana xwe ya ku fikrên sûfî tê de cî digrin, navdar e.[5] Melayên kurd qe nebe hin beşên Dîwana Mela ji ber dikin.[6] Tê zanîn ku:

Ê herî navdar Melayê Cizîrî ye, dû re Hafiz (ç. 791/1389 an 792/1390) û Camî (817-98/1414-92), ku Dîwana wî ya ji 2000 risteyan zêdetir e, ji gel bêtir di nav şêx û melayan de berbelav bûye. Li dibistanên Qur’anê yên Kurdistanê her dem hatiye xwendin û şîrovekirin, lê deqa wê zehmet e. Fikrên wî ji sûfîzma farisî tê. Dîwana wî ji aliyê M. Hartman hatiye çapkirin, Das kurdische Diwan des Schêch Ahmed, Berlin 1904, kopiya resen; ji aliyê Muhamed Şefîq Anwasî Heseniye, Istanbul 1340/1922; Qedrî Cemîl Paşa, Dîwana Melê, bi tîpên latînî, Hawar, hej. 35-57 (1941-3), deqa netemam; û bi taybetî, çapa taybet a Şêx Ehmed b. el-Mela Muhamed el-Buhtîel-Zi- vingî, el-Akd el-Cewherîel-Şêx el-Cizirî, 2 c., rr. 943, Qamişlo, 1377/1958.[7]

Koleksiyona muhteşem a helbestên Mela xuya ye bo ulemayên kurd mînak bûye. Gengaz e ku mirov bi taybetî gelek koleksiyonên helbestan ên alimên kurd neçapkirî bibîne.[8] Hin ji wan di demên dawî de hatine çapkirin.[9]

Ehmedê Xanî jî di nav ulemayên kurd de bi taybetî bi Mem û Zîna xwe gelekî navdar bûye. Mem û Zîn di dîroka ziman û wêjeya kurdî de wek berhemeke hîmdar tê qebûlkirin. Mesnewiya ku ji 2655 risteyan pêk tê, evîna navbera Mem û Zînê vedibêje. Lê belê, ew ji serpêhatiyeke evînê wêdetir e. Tiştê ku Xanî kiriye ‘Fîrdewsiyê duyem û rêberê kurdan’[10] ew e ku digel bazara kurdî kesad e, wî girîngiya nivîsandina bi kurdî binxêz kiriye. A din, Xanî xemgîn e ku kurd di bin darê tirk, ereb û farisan de tên çewisandin. Risteyên li jêr ji beşa pêncemîn ‘Derdê Me’ne:

Ez mamê di hîkmeta Xwedê da Kurmanc-i di dewleta dinê da

Aya bi çi wechî mane mehrûm? Bilcumle ji bo çi bûne mehkûm?

Wan girtî bi şîr-i şehrê şuhret Texsîr-i kirin bilad bi himmet

Her mêrekî wan bi bezlê Hatem Her mêrekî wan bi rezmê Rustem

Bi fkir ji’ereb hetave gurcan Kurmancîye bûye şubhê burcan

Ev rom û‘ecem bi wan hesar in Kurmanc-i hemîli çar kenar in

Herdu terefan qebîl-i kurmanc Bo tîrê qeza kirîne amanc

Goya ku li ser hedan kilîd in Her tayife seddek in sedîd in

Ev qulzemê rom û behrê tacîk Hindîku bikin xurûc û tehrîk

Kurmanc-i dibin bi xûn mulettex Wan jêk vedikin misalê berzex

Cwamêrî û himmet û sexawet Mêrînî û xîret û celadet

Ew xetm e ji bo qebîlê ekrad Wan daye bi şîrê himmetê dad

Hindî ji şeca’e têxeyûr in Ewçend-i ji minnetê nefûr in

Ev xîret û ev ‘uluwwê himmet Bû mani’ê hemlê barê minnet

Lew pêkve hemîşe bêtifaq in Dayim bi temerrud û şiqaq in

Ger dê hebûwa me ittifaqek Vêkra bikira me inqiyadek

Tekmîl-i dikir me dîn û dewlet Tehsîl-i dikir mi’ilm ûhikmet

Rom û‘ereb û‘ecem temamî Hemyan ji me re dikir xulamî

Temyîz-i dibûn ji hev meqalat Mumtaz-i dibûn xudan kemalat[11]

Nîqaşên derbarê Mem û Zînê de bi gelemperî li dora vê ye, gelo deqeke hîmdar a neteweperweriya kurdî ye an na.[12] Lê, tiştê zelal terciha bi zanebûn a Xanî ya bo nivîsandina bi zimanê kurdî ye. Di vê wateyê de, risteyên li jêr ji beşa bi sernava ‘Sebebê nezma kitab e bi vî ezmanî’:

Safî şemirand vexwari- durdî Manendî durrê lisanê kurdî

Înaye nizam û intizamê Kêşaye cefa ji boyî‘amê

Da xelq-i nebêjitin ku ekrad Bê me’rîfet in bêesl û binyad

Enwa’ê milel xudan kitêb in Kurmanc-i tenê di bêhesêb in

Hem ehlê nezer nebên ku kurmanc ‘Işqê nekirin ji bo xwe amanc

Têkda ne di talib in ne metlûb Vêkra ne muhib in û ne mehlûb

Bêbehre ne ew ji ‘işqibazî Farix ji heqîqî û mecazî

Kurmanc-i ne pirr di bêkemal in Emma di yetîm û bêmecal in[13]

Ev risteyên Mem û Zînê bi eşkereyî girîngiya ku Ehmedê Xanî dide nivîsandina bi kurdî, diyar dikin. Çawa ku Mela bi Dîwana xwe bûbû mînak, Xanî jî ji ber tevkariya wî ya di berdewamkirina hişmendiya pêşxistina zimanê kurdî de, bo nifşên piştî xwe yên ulemayê kurd bûbû modelek. Weku Martin van Bruinessen destnîşan dike:

Xanî li Kurdistanê bi berfirehî hat/tê xwendin. Destxetên [Mem û Zîn] wî dihatin kopîkirin û ji aliyê melayan dihatin parastin; feqî ligel sûreyên Qur’anê û risteyên Hafiz, Sadî û yên din, ên Xanî jî bi jiberkirin fêr dibûn.[14]

Hin beşên Mem û Zînê cara yekem di rojnameya Kurdistanê de hatin weşandin.[15] Celadet Elî Bedirxan dibêje ku bavê wî Emîn Elî Bedirxan xwestiye Mem û Zînê çap bike. Komîsyona Perwerdeyê ya wê dewrê di 22ê Tebaxa 1894an de biryar daye ku ‘beşên herî zêde hestyar’ jê derxin û nehatiye çapkirin.[16] Çapa ewiltir a Mem û Zînê di sala 1919an de li Stenbolê li çapxaneya Necm-i İstikbal Matbaası bûye. Ev çapa taybet bû ku wê di sala 1950 li Tirkiyeyê bihata qedexekirin.[17] Di 1968an de, M. Emin Bozarslan, tevî wergera bo tirkî, ji bilî ew ‘risteyên herî zêde hestyar’ veguhast bo tîpên latînî; dîsa jî ew hate qedexekirin/hevdan û Bozarslan derket pêş dadgehê. Di sala 1975an de ew ji nû ve hate çapkirin.[18]

Çendîn koleksiyonên helbesta kurdî yên dûre mînakên baş in ku bandora Ehmedê Xanî di wan de baş xuya dike. Mirov dikare manendiyên xurt bibîne di navbera israra Xanî ya bo zimanê kurdî û Leyla û Mecnûna Şêx Mihemed Can (1858-1909) de. Şêx Mihemed Can li Axtepeyê, nêzî Çinara bi ser Diyarbekirê ve hatiye dinyayê. Leyla û Mecnûn mesnewiyek e ku ji 21 beş û 1882 malikan pêk tê.[19] Di beşa bi sernavê Sebebê Telîfa Kîtabê de, wek berzkirina Xanî ya bo zimanê kurdî, Şêx Mihemed Can jî aliyên cuda yên kurdan ji ereb, faris û tirkan rêz dike û kurdan û zimanê wan dipesinîne.[20] Herwiha, Rewdneîma birayê Şêx Mihemed Axtepî Şêx Evdirehmen Axtepî (1850-1910) jî zimanê kurdî teşwîq dike. Di sala 1884an de hatiye nivîsandin û ji 4531 malikan pêk tê. Ev risteyên jêr ji Rewdneîmê ne:

Ji kurmanciya xwe me anî nîzam Mu’ella û şêrîn û efseh kelam
Ji kurmanciyê zêde şêrîn niye Welêkin xerîdarî çendin niye…

Me ev çendî lefzê şêrîn çêkirin Zebanê di tirkan me pê jê kirin
Me hêvî ji nezzareganê ezîz
Ku çavan bidin ser vê nezma temîz[21]

Alimekî din ê kurd Xelîfe Yûsivê (1885-1965) Bazidî belavokek bi navê Manzum Takriz çap kiriye.[22] Yek ji sedemên ku ew perwerde û belavkirina zanîna îslamî bi riya zimanê kurdî pêk tîne, Mem û Zîna Ehmedê Xanî ye.[23]

Piştî Melayê Cizîrî û Ehmedê Xanî, sêyem helbestvanê kurd ê herî naskirî Melayê Bateyî ye. Bi Mewlûda xwe, vegotina jiyana Pêxember a helbestkî, tê naskirin. Girîngiya vê berhemê ew e ku ew ne tenê di destpêka perwerdeya medreseyê de bi feqiyan tê fêrkirin, lê ew di mewlûdan de jî tê xwendin. Dema misliman ji bo hin rewşên taybet (wek mirin, zewac, sinet, hwd.) mewlûd didin, melayek tê vexwendin ku mewlûdê bi awayekî melodîk bixwîne. Ji mêvanên vexwendî re jî di dawiya vê merasimê de xwarin tê pêşkeşkirin. Dema mirov bala xwe baş bidê, merasimên mewlûdê li Tirkiyeya hevçerx yek ji çalakiyên herî berbiçav ên olî ye û di her wexta salê de di peywendên civakî yên ji hev cuda de dikare bê pêkanîn.[24] Mewlûda Melayê Bateyî wek versiyona ‘standard’ tê qebûlkirin, lê wekî din jî mewlûdên kurdî hene.[25]

Ser dawiyê, divê bê destnîşankirin ku helbestvanên kurd ên klasîk wekî din jî hene. Mirov dikare qala van jî bike: Feqiyê Teyran (1590-1660), Pertew Begê Hekarî (ç.1806) û Siyahpûş (dawiya sedsala hîjdemîn û destpêka sedsala nozdemîn).[26] Bi rastî, hê gelek helbestvanên kurd ku kêmtir tên naskirin hene. Dîrokzan û folklorzan Celîlê Celîl diyar dike ku li pirtûkxaneyên cuda yên li Ewropayê piraniya wan helbest, wî 250 destxetên kurdî dîtine.[27] Mînakeke balkêş ku Celîlê Celîl qal dike helbestvanekî sedsala bîstemîn bi mexlesa Xemgîn e ku li ser berhema Feqiyê Teyran a bi navê Şêxê Sen’aniyan risteyên xwe zêde kiriye.[28] Celîl ji van destxetan berhevokek helbestên kurdî çap kiriye.[29]

Divê ev jî bê diyarkirin ku ji destê melayên ji medresê derçûne, tenê helbest dernediket. Rewşenbîrên kurd ên nû-peyda ku di dawiya sedsala nozdemîn û destpêka sedsala bîstemîn de ji perwerdeya rojavayî derdiçûn jî helbest nivîsandine.[30] Li Parîsê sala 1983yan de di hevpeyvîneke vîdeoyî de, Cegerxwîn qal dike ku Celadet Bedirxan bo wezna helbestkî jê re rêberî kiriye.[31] Hamit Bozarslan di dîroka neteweperweriya kurdî de êwreke nû ku belavbûna helbestên çepgir ên wek Cegerxwîn, Qedrî Can û Osman Sebrî hatibûn sînorkirin, destnîşan dike.[32] Ev tespît ji aliyê şaredarê Diyarbekirê yê salên dawiya 1970yan jî tê piştrastkirin.[33]

Cegerxwîn, navê wî yê rasteqîn Şêxmûs Hesen e. Di sala 1903yan de li gundê Hêsarê yê bi ser Mêrdînê ve hatiye dinyayê.[34] Dema 13 salî bûye —di Yekem Şerê Cîhanê de— malbata wî bar kiriye Amûdê, bajarekî kurdan li bakur-rojhilatê Sûriyeyê. Piştî demeke kurt, dê û bavê wî miriye. ‘Birayekî wî yê nîv-mela ku di rastiyê de bi tiştekî nizanibû’ û xwehek wî hebûye.[35] Cegerxwîn ji bo jina birayê xwe û xweha xwe xebitiye. Ji heywanên wan re şivantî kiriye, di zeviyên wan de xebitiye.[36] Hê dora 20 saliya xwe de dest bi perwerdeya medreseyê kiriye û dora 28 saliya xwe de jî bûye mela.[37] Perwerdeya wî piranî li Amûdê pêk hatiye; lê di dema perwerdeya xwe de Iraq, Îran û li Tirkiyê, Diyarbekir jî tê de, çûye gelek herêmên cuda yên Kurdistanê.[38]

Dema di navbera salên 1928-1936an de melatî dikir, dibîne ku gundî çiqas hejar in.[39] Piştî ku di 1925an de serhildana Şêx Seîd têk çû, navê Cegerxwîn li xwe kir.[40] Di damezirandina gelek saziyên kurd de cî girtiye: di sala 1938an de ji bo pêşxistina xebatên derbarê ziman û dîroka kurd de, Ciwankurd, sala 1946an de jî Civata Azadî û Yekitiya Kurd ku ji bo armancên siyasî hatibû damezrandin.[41] Cegerxwîn li Sûriyeyê di siyaseta komunîstan de jî çalak bû. Weku Keith Hitchins diyar dike:

Di 1949an de tev li Partiya Komunîst a Sûriyeyê bû û her weha, wek piştevanekî xurt ê seferberiya Yekitiya Sowyetan a li hemberî mêtingeriya rojavayî, kete nav tevgera komunîst a enternasyonal. Çalakiyên bi vî rengî çendîn caran bû sedema girtinan, a yekem di sala 1949an de bû. Taliyê di 1957an de ji komunîstan veqetiya û ji ber ku wî rizgariya gelê xwe ji xwe re kiribû armanca sereke, wek alternatîf tev li Partiya Demokratîk a Kurdistanê ya Sûriyeyê bû.[42]

Cegerxwîn di sala 1958an de çû Iraqê û ji 1958an heta 1963yan li Zanîngeha Bexdayê di ziman û wêjeya kurdî de bû wanebêj, pirtûkeke rêzimanê çap kir[43] û sala din jî ferhenga kurdî ya bi du cild.[44] Cegerxwîn di 1947an de çîrokek bi navê Cim û Gulperî, di 1956an de Reşoyê Darê û di 1958an de Gotinên Pêşiyan çap kiriye.[45] Berhevoka devkî ya kevneşopên kurdî dûre li Swêdê hate çapkirin. Sala 1979an de li Stockholmê bi cî bû, di 22ê Cotmeha 1984an de li wir koça dawî kir.

Helbestên Cegerxwîn ‘kevneşop û modernîteyê’ tîne ba hev. Wî di bin bandora helbestvanên kurd ên klasîk de dest bi nivîsandinê kir. Kaniya vê bandorê bêgûman perwerdeya wî ya medreseyê bû. Ji aliyê din ve, zimanê helbestên wî yê sade jî deyndarê helbesta gelêrî ye ku wî di seyahatên xwe yên li Kurdistanê berhev kiribûn:

Cegerxwîn wek helbestvan him klasîst e him modernîst e, mîstîk e, di heman demê de ateîst e, welatperwer e û sosyalîst e; lê bi taybetî, ew li dû heqîqetê digere, wê misyonê kiriye ku ew her qoziya welatê xwe Kurdistanê û hemû tebeqeyên civaka kurd nas bike. Ew ji kevneşopa helbesta kurdî ya klasîk derketiye…klasîzma wî bêgûman piranî xwe dispart xwendinên wî yên li medreseyê. Kaniyek din a xurt jî ilhama helbesta gelêrî bû ku wî di rêwitiyên xwe yên li seranserê Kurdistanê ber hev kiribû.[46]

Di belavbûna helbestên wî yên di nav girseyan de xuya ye zimanê wî yê sade roleke mezin leyistiye. Piştî ku yekem berhevoka helbestên wî çap bû, kurdologê frensî Thomas Bois di rojnameya kurdî-frensî ya Kamûran Bedirxan, Roja Nû de ku li Bêrûdê çap dibû, rexneyek nivîsand li ser wê. Bois destnîşan dike ku, bi zimanekî sade û zelal ku ji tirkî, farisî û erebî hatiye şuştin, helbestên Cegerxwîn bi rihetî di nav gel de belav dibe. Ji ber şêwaza wî ya populer jî wî wek şoreşger bi nav dike.[47] Helbestvan Qedrîcan jî, di pêşgotina çapa yekem a dîwana Cegerxwîn de dibêje ku ew ê valahiya ku Xanî û Melayê Cizîrî hiştine tijî bike.[48]

Helbestên wî li Şamê di kovarên Hawar û Ronahiyê[49] de ji aliyê Celadet Bedirxan di salên 1930 û1940î de hatin çapkirin. Dîwana wî ya yekem li Şamê çap bû.[50] Çapbûna dîwana wî ya yekem di Ronahiyê de hate îlankirin.[51] Dûre helbestên ku pesnê helbestnûsiya wî didin derketin.[52] Helbesteke balkêş ku xitabî wî dike wisa ye:

Cegerxwîn tu pir xwenda yî, ji ritba alima yî Cegerxwîn kir wetenparêz, tu șairê kurda yî.

Bi șihrên xwe te hișyar kir, gelek xortê di razayî, Bi xêret û himêta te, hin jê bunê fedayî.[53]

Duyem û sêyem dîwanên wî di salên 1954 û 1973yan de çap bûn. Bi qewlê Celîlê Celîl her sê dîwanên wî yên ewil lûtkeya serkeftina wî ne.[54]

Weku berê jî hatibû gotin, kariyera Cegerxwîn a helbestkî bi helbesta kurdî ya klasîk ku di medreseyê de xwendibû, şêwaz girtiye. Bi xwe qal dike ku dema wî di medreseyê de dixwend, wî dîwanên Melayê Cizîrî, Ehmedê Xanî û helbestên şairên din ên kurd bi xwe re digerandin.[55] Cegerxwîn dibêje hezkirina helbesta kurdî di fitrata wî de hebûye.[56] Helbesta wî ya bi navê “Hozan û Şairên Kurd” wek antolojiyeke kurt a helbesta kurdî ya klasîk e ku tê de qala hemû helbestvanên kurd ên klasîk dike û girîngiya wan binxêz dike: Melayê Botî, Xanî, Feqiyê Teyran, Siyahpûş, Xelîlê Sêrdî, Selîmê Hîzne, Feqê Reşîd, Şêx Ebdurahman Axtepî, Melayê Batî, Pertûwê Hekkarî, Melayê Xasî, Birifkanî, Mîrmihê, Seydayê Licî û Yusifê Kenan.[57] Lê Xanî ji hemûyan bêtir bandor li ser wî kiriye:

Yek rehberê me heye seydayê Xanî Seyda ye, suxteyê wî her Cegerxwîn[58]

Xuya ye mexlesa Cegerxwîn îlhama xwe ji Dîwana Mela girtiye. Di xezeleke xwe de Mela dibêje:

Hat der ji burc û penceran dil girt û da ber xenceran
Ev reng e halê dilberan lew ‘aşiqan xûnbûn ceger.[59] (îtalîk lêhatiye zêdekirin)

Hin risteyên din hene mirov dikare rasterast hevterîbên navbera Mela û Cegerxwîn bibîne:

Mûyekî ez ji te nadim bi dused Zîn û Şirînan Çi dibit ger tu hesêb kî mi bi Ferhad û Memê.[60]

Risteya Cegerxwîn wisa ye: Mûyekî ez ji te nadim bi rebîa edewî.[61]

Divê nêzîkatiya helbestên Cegerxwîn a bo Yekitiya Sowyetan jî bê destnîşankirin. Ordîxanê Celîl pirtûkeke kurdî nivîsandiye ku tê de helbestên Cegerxwîn wek bidengkirina çewisandina kurdan û tebeqeyên jêr ji aliyê emperyalîst, şêx û axayan analîz dike.[62] Di salên 1950yî de wergera rûsî ya helbestên wî li Yekitiya Sowyetan hebû.[63]

Li Tirkiyeyê jî, helbestên Cegerxwîn baş dihatin naskirin, bi taybetî di medreseyên veşartî yên li Kurdistanê.[64] Dewleta tirk dîwanên yekem û duyem ên Cegerxwîn, piştî ku hatin çapkirin, qedexe kirin.[65] Li Tirkiyeyê wergera tirkî ya helbestên wî ji aliyê Gani Bozarslan yekem car di salên 1970yî de hatin belavkirin.[66] Bi saya Şivan Perwer helbestên wî di salên 1970 û 1980yî de pir belav bûn. Kendal Nezan di hevpeyvîna vîdeoyî de bi Cegerxwîn re, pirsên Mehmûd Lewendî yên derbarê belavbûna helbestên Cegerxwîn di nav kurdên li Tirkiyeyê dibersivîne. Nezan diyar dike dema mela û feqiyên medreseyan helbestên wî ji ber dikirin û di nav xwe de belav dikirin, ev piranî bi saya Şivan Perwer bû ku ew kiribûn stran û bi berfirehî hatibû naskirin.[67] Lê dema em tên ser analîzkirina zanistî ya helbestên Cegerxwîn zêde xebat xuya nakin. Yek îstisna teza masterê a Ömer Faruk Yekdeş e. Yekdeş, helbestên evînê yên Cegerxwîn û yên Nazım Hikmet dide ber hev. Ev lêkolîn îdia dike ku Cegerxwîn têgihiştina klasîk a bo evînê ya di helbesta kurdî ya klasîk de ji îfadekirina evîna pîroz ber bi evîneke dinyewî ve guherandiye ku di nav rastî û seksuwelîteya şênber bo jina hezkirî ku di heman demê de sembola welatê bav û kalan, Kurdistanê ye.[68]

Di helbestên Cegerxwîn de çendîn taybetiyên girîng ên şêwazî divê bên binxêzkirin. A yekem, zimanê helbestên wî sade û zelal e bo kurmancîaxêvekî asayî. Duyem, ji ber ku helbestên wî bi wezn û bi qafiye ne, jiberkirin û xwendina wan hêsan e, bi taybetî bo feqiyên medreseyê ku yekem rêbaza wan a fêrbûnê jiberkirin e.[69] Di perwerdeya medreseyan de jiberkirin ‘wek hokera herî girîng a fêrkirinê’ tê qebûlkirin.[70]

A sêyem, di helbestên wî de peyvên çepgir û neteweperweriyê berbiçav in. Têgeh û peyvên neteweperwer di zimanê helbestên wî de hêmanên eslî ne: Kurd, Kurdistan, bindestî, yekitî, şêx, axa, beg, serxwebûn, serbestî, azadî, welat, welatparêz û welatparêzî. Herweha termînolojiya çepgir a civakî û siyasî jî helbestên wî karakterîze dikin: Markis, Markisî, Sitalîn, Lenîn, wekhevî, demûqrat, koledar, heval, pale, piroleter, sermayedar, karker, cotkar, borjiwaz, rencber, dîktatorî, jar/dîl/belengaz/ketî, sewre, zordestî, bindestî, zorker, sewra oktobir. Bi qewlê Celîlê Celîl, Cegerxwîn helbest derxistiye derveyî mizgeft û medreseyan. Piştî ku ji mizgeft û medreseyan dûr ket, ket nav tevgera komunîst. Helbesta klasîk dahurand û analîza civakî ya marksîst fêr bû: Çîn, şerê çînî û berjewendiyên burjuwaziyê. Mijûlbûna wî ya bi marksîzmê têgihiştina wî jî zêde kir û ‘helbestên bajarî’ nivîsand.[71]

Yek ji girîngtirîn taybetmendiyên helbestên Cegerxwîn ew e ku bi riya bikaranîna termînolojiya marksîst bo bidengkirina çewisandin û kedxwariya ser gundî û rêncberan, beşdarî rabêja siyasî ya pêşverû ya dewra xwe bûye: Biratiya gerdûnî ya gelên cîhanî. Teza doktorayê ya neçapkirî ya Maha Tawfiq Nassar a li ser çapemenî û helbesta filîstiniyên li Îsraîlê ku ji 1948an heta 1967an di nav Partiya Komunîst a Israîlê de cî girtine, manendiyên pir berbiçav ên bi helbestên Cegerxwîn re derxistine holê. Nassar qala gelek helbestên derbarê biratiya gerdûnî û bihevrebûna hemû karker û gundiyên hemû cîhanê dike.[72] Şiyarkirina ciwanan ji aliyê helbestvan û çalakger Habib Qahwaji tê berzkirin.[73] Endîşeyên manendî yên Cegerxwîn û helbestvanên israilî-filistînî yên derbarê gelên tepisandî de xuya ye berê wan daye bikaranîna heman rabêja siyasî ya pêşverû. Ji ber vê, wek mînak, mirov dikare bi riya paseportan rexnelêgirtina sînoran bibîne. Mehmûd Derwîş dibêje ku ‘Dilê her mirovî neteweya min e/Lewma min ji vê paseportê xilas bike’;[74] Cegerxwîn, di helbesta xwe ya pênc rûpelî ya bi navê ‘Heval Pol Robson’ de ku xitabî Paul Robesonê muzisyen, lîstikvanê afrîkî amerîkî dikir, cîhaneke ku tê de sînor tune ne û hewcedarî bi paseportê tune ye disêwirîne.[75]

Lê hê jî ev pirs maye: Derbarê helbestên Cegerxwîn de hemû ev in? Tenê têkoşîna siyasî ya marksîst û neteweperwer e ku Cegerxwîn pê mijûl bûye? Elbet di helbestên wî de ji van zêdetir tişt hene. Di kakila helbestên Cegerxwîn de daxwaza zanîn û ronakbûna kurd, gundî û karkerên di bin zext û zordariyê de ne, heye. Gelek ji helbestên Cegerxwîn qala xwendin, zanebûn, zanîn, ronî, ronahî, pêşketinê dikin wek berevajiya nezanî, bêxwendin û paşketinê. Metafora navendî ku dema qala van têgehan kiriye li pey hev dubare kiriye ‘şiyarbûn’ e. Şiyarbûn wek şerta esîl a bo rizgarbûna kurd, gundî û karkeran disekine. Du ‘çîn’ên zordar ku tên rexnekirin şêx û axa ne. Lê, nezanî û nexwendin ji şêx û axayên ku keda gundiyan dixwin jî xetertir e.[76] Zanîn di heman demê de rê li ber rizgarbûna kurd û Kurdistanê ya ji neyaran û gihiştina bo hêza xwe vedike. Di seranserî helbestên wî de arezûya xurt a bo pêşketin û ronakbûna kurdan îfadeya xwe di bikaranîna berdewam a metafora şiyarbûna ji xewê de dibîne. Ger mirov bi eşkereyî bêje, şiyarbûna ji xewê wek rêbaza rizgarbûna kurdan di kakila poetîka û siyaseta wî ye.

Dilê Cegerxwîn xwîn dibe ji ber ku kurd nezan û nexwende ne. Dilê wî diêşe ji ber ku ew mela ye.[77] Şêx û axa keda wan dixwin. Welatê wan Kurdistan di bin zordariya neyaran de ye û di nav eşîran de hatiye parvekirin. Haya wan jê tuneye ku him wek gundî him wek kurd di bin zilmê de ne. Lewma divê ji xewa kûr bên şiyarkirin û divê şiyar bin. Li vir lazim e mirov binxêz bike ku metafora şiyarbûnê di dawiya sedsala nozdemîn û destpêka sedsala bîstemîn de li Rojhilata Navîn tevî vejînên neteweperwer di nav peywenda modernîzasyona rewşa jinan a civakî û siyasî de jî bi berfirehî hatiye bikaranîn.[78] Ya din, hevçerxên Cegerxwîn ku metafora şiyarbûnê bi kar anîne jî hene.[79] Lêkolîna Martin Strohmeier ku berhemên entelîjensiya kurd ku ji dawiya Împeretoriya Osmanî ve heta salên 1930 û1940î de perwerdeya rojavayî dîtine, analîz kiriye qala bikaranîna wan a metafora şiyarbûnê dike.[80]

Weku bi awayê rasteqîn yekî ji xewa kûr şiyar bike, di dîwana xwe ya yekem,[81] duyem[82] û sêyem[83] de metafora şiyarbûnê li pey hev bi kar tîne. Dubarekirina li pey hev a vê metaforê ne tesaduf e: Bi bikaranîna li dû hev û bi israr, hewl dide kurdan şiyar bike. Gelo bi ser ketiye an na, ev ne diyar e: Carinan reşbîn e ku digel hemû gazîkirinan hê jî di xewa giran de ne. Carinan bêtir xweşbîn e ku ciwanên kurd şiyar bûne. Dîsa temayek dewra wî ye ku di wî de jî xuya dike ku ciwanên kurd hêviya wî ya bo rizgariya kurd û Kurdistanê ne. Celadet Bedirxan jî wek xilaskarên neteweya kurd û welatê wan xitabî ciwanên kurd dikir.[84] Şerif Mardin çavdêriya vê kiriye ku ji nîvê duyem î sedsala nozdemîn vir de di siyaseta osmanî-tirk de ciwantî û kelecan kirde û temayên nû ne.[85] Xuya ye ev çavdêrî bi giştî bo peywenda neteweperwerên kurd ên salên 1930 û1940î û bi taybetî bo helbestên Cegerxwîn rast e.

Xew ji bo nîşandana halê nezanî û nexwendebûnê tê bikaranîn; berevajiya wê, yanê şiyar jî bo şayesandina halê zanebûnê tê bikaranîn. Bi gotineke din, bi riya eşkerekirina encamên xirab ên nezaniyê be an bi dupatkirina potansiyela waadkirî yên wek pêşketin û hêza teknolojîk a bi riya fêrbûn û zanînê be, her bi çi awayî be, dilê bi xwîn ê Cegerxwîn ji bo vê lê dide: Şiyarkirina kurdan ji xewa giran. Lewma peyv û têgehên li jêr ên di risteyên wî de xuya dikin: Zana, zanîn, zanebûn, xwendin, xwenda, pêşveçûn, ronî wek berevajiya nezanîn û nexwendin, bêxwendin û nezanîn.[86]

Bi rastî bêxwendin û nezanî ji herdu neyaran, ango şêx û axayan jî xirabtir in: ‘Şêx û axa bûne mîkrob ketine laşê te yî zer’/Dijminê mezintir ji van bêxwendin û nezanî ye.’[87] Dîwanên duyem û sêyem jî gelek helbestên ku qala girîngiya zanîn, fêrbûn û zanabûnê dike, dihewînin.

Di helbestên Cegerxwîn de tevî arezûya zanîn û fêrbûnê, sê xalên girîng ên din hene. A yekem, fêrbûn û zanîn tê hêvîkirin ku rasterast bi riya hêza leşkerî were. Herweha, hêza neyar bi wê rastiya ku ew bi zanîna pêwîst techîz kirîne tê ravekirin. Lewma, mirov dikare gelek helbestan bibîne ku têde zanîn tevî çek, tiving û balafiran tê qalkirin;[88] an serdestiya neyaran li ser bingeha zanebûnê tê pêşkêşkirin.[89]

A duyem, wekhevkirina zanînê û çekan, yanê hêza leşkerî û teknolojîk gelek caran teqabilî xitabkirina kurdên ciwan ku wê heyfê hilînin, dike.[90] Her çiqas carinan xitabî keçên kurdan jî dike, piranî hedefa wî xortên kurdan e ku wek kirdeyên zanînê tên xitabkirin; wek encam, di riya azadkirina kurd û Kurdistanê de hêza leşkerî ji vê zanînê tê.

Xala sêyem, wek mirovekî xwenda ku li ser pirsgirêkên civak û gelê xwe serê xwe diêşîne, Cegerxwîn ji ber nezaniya kurdan aciz e. Lewma ji bo wan şiyar bike pir hewl dide. Lê Cegerxwîn bi helwesta xwe ya rexnegiriya radîkal di pêvajoya modernîzasyona kurdî de qadeke nû vedike, bi taybetî di nav melayên medreseyan de. Xuya ye tiştê ku Cegerxwîn kiriye helbestvanekî bijarte ew e ku wî fikrên xwe yên modern bi riya du qadên ji aliyê wêjeyî û civakî xwedîbandor, helbest û medreseyê, xistiye nav civakê. Mînakeke tomarkirî ya bandora wî ev e: Melayekî bi navê Beşîr Hesenî diyar dike ku rojekê li gundekî, ku ew lê mela ye, ji gundiya re waaz dide ku ji netewe û welatê xwe hez bikin. Û hedîseke Pêxember ku dibêje hezkirina netewe û welat ji îmanê ye, ji wan re neqil dike. Bersiva gundiyan hêjayî destnîşankirinê ye:

Seyda Xwedê dizane, ev fikra te ber bi a Cegerxwîn ve diçe. Û vê jî dibêjin: Tu ji riya seydatiyê derdikevî. Li Amûdê gelek şêx û mela hene; ew vê peyvê ji kesî re nakin. Tiştê ku me ji şêxên Amûdê dîtine: Dibêjin ‘kurd’ hevalên Cegerxwîn in û kurdên ku di riya dîn de diçin rojnameyên bi tîpên latînî naxwînin.[91]

Di helbestên Cegerxwîn ên evînî de jî, mirov dikare manendiya arezûya zanînê ku di helbestên wî yên civakî û siyasî de tên dîtin, bibîne. Baş tê zanîn ku helbestên wî yên evînî bi seksuwelîteya eşkere tên karakterîzekirin. A rast, hatiye dîtin ku di helbestên Cegerxwîn de, ‘bi kişifkirina seksuwelîteya hezkiriyê têgihiştineke materyalîst a evînê’ temsiliyeta evînê ya di helbesta kurdî ya klasîk de veguherandiye.[92] Îlaweten, tê dîtin ku dema behsa seksuwelîteya hezkiriyê dibe, wek di helbesta “Ev Perde Çi Ye”, bi awayekî rexneyî qala perde û çarşefê dike û baweriyên civakî û olî ku jin û seksuwelîteya wan bi sînor dikin, rexne dike.[93] Di dîwanên xwe yên yekem,[94] duyem[95] û sêyem[96] de ku tê de çarşef wek astenga di navbera hezkiriyan de tê sembolîzekirin, ji hezkiriya xwe dixwaze çarşefê ji ser xwe bavêje.

Lê gengaz e ku mirov bikaranîna sembola çarşefê bi metafora şiyarbûnê re jî ku di helbestên xwe yên civakî û siyasî de gelek caran bi kar tîne, bixwîne. A rast, her çiqas sembola çarşefê piranî di helbestên evînî de tê bikaranîn jî, di gelek helbestên siyasî û civakî de jî tê bikaranîn.[97] Ji ber vê, di helbestên evînî de bikaranîna metafora çarşefê xuya ye ew arezûya wî ya bi israr bo zanîn û şiyarbûnê ya di helbestên civakî û siyasî de temam dikin; digel vê, çarşefa di navbera du hezkiriyan de astengekê jî sembolîze dike, wek tunebûna zanîna derbarê rûyê evîndara xwe. Bi gotineke din, çarşef erka semboleke epîstemolojîk ku di navbera du hezkiriyan de sekiniye, dibîne.

Cegerxwîn bi qabiliyeta xwe ya helbestkî, modernîzasyona kurdî a ji hundir ve sembolîze dike. Helbestên wî navnîşanên xwe him di nav melayên medreseyan de û him jî bi riya muzîka Şivan Perwer di nav girseyên kurd de dîtin. Hokera sereke ya serkeftina Cegerxwîn di kombînasyona civakî û çandî ya lihevhatî ya helbest û medreseyê de ye. Bi taybetî dema mirov li Kurdistanê li hemberî bandora xurt a Cegerxwîn aciziya malbatên şêxan dibîne,[98] mirov bêtir qedrê rêbaza ku Cegerxwîn pê bûye dengê sêrbetalkirin û modernîzasyona kurdî, fam dike. Ev dengê ‘betalkirina sêrê’ îfadeya xwe di bikaranîna berdewamî û bi israr a metafora şiyarbûnê de dibîne. Xuya ye, bikaranîna peyv û têgehên çepitî û neteweperweriyê aliyê xuya yê vê endîşeyê ye ku di hişmendiya Cegerxwîn de gelekî kûrtir cî girtiye: Şiyarkirina kurd, karker û hemû çînên civakî ji xewa wan a giran a ji ber zordarî û îstismariyê.

Helbesta bi navê ‘Destê Te Maç Nakim’ ku di 1973yan de di Dîwana sêyem de hatiye weşandin, xuya ye mînaka herî baş a poetîka û siyaseta şiyarkirinê ya Cegerxwîn e, bi hemû temayên ku li jor hatine nîqaşkirin: Rexneya radîkal a binyada civaka kurd ku di desthilatdariya şêxan de şênber bûye; bi qîmetkirina zanîn û pêşketinê, rexnelêgirtina nezanînê; xort wek xilaskarên potansiyel ên neteweya kurd, avêtina çarşefê û şiyarbûna ji xewê:

Şêxê min destên te îdî maçî nakim ez bes e Kavil û wêran te hiştin ev sera û medrese
Şêxê Ewrupa binêre, wane hasin birne jor
Em bi xişt û def û dîlan, paşketin, tev mane kor Her keşakî deh zimana zanî rengê Efletun

Em çima hov û nezan in, ser di ber de paşveçûn Qet bi sîwaka te dijmin paşve naçin gavekê
Bo çi tev mane perîşan, dîl û bendê davekê Xortê kurdan tev şiyar bûn dil bi pêta agirî Bayê zanînê li wan da, gur dibî qet namirî

Dev ji vê paya xwe berde, ev tiralî ma çi ye
Ma ne şerm e, rût û xwas e, kurd e jar û tazîye Bes di pişt perdê de rûne, ey ciwanmêr xo bi nas Dijminê jîna welêtî, tim bi dest te tevr û das
Hêj bibêjim, tê bibêjî: Ev Cegerxwîn gawir e

Na, di bextê tew Xwedê de, dil bi pêt û agir e
Ez dizanim pir dirêj kir, min li te peyv û kelam
Ger tu kurd û kurdperest bî, em bira ne wesselam.[99]

Nîşe 1: Ev gotar xwe dispêre parçeyek ji beşên teza neçapkirî a doktorayê ya nivîskar: Metin Yüksel, Dengbêj, Mullah, Intelligentsia: the Survival and Revival of the Kurdish-Kurmanji Lan- guage in the Middle East, 1925–1960 [Dengbêj, Mela, Entelîjensiya: Xilasbûn û Vejîna Zimanê Kurdî-Kurmancî li Rojhilata Navîn, 1925-1960] (Chicago: Teza Doktorayê ya Neçapkirî li Zanîngeha Chicagoyê, 2011). Lêkolîna vê tezê ji aliyê Enstîtuya Lêkolînê ya Amerîkî li Tirkiyê (American Research Institute in Turkey, ARIT) û Bursa Honigbergê ya bo Xwendinê li Parîsê (Honigberg Fellowship for Study in Paris) hatiye destekkirin. Ez spasdar im bo xebatkarên Arşîvên Serokwezîriya Tirkiyeyê ya li Enqereyê (Başbakanlık Cumhuriyet Arşivleri, BCA), Arşîvên Dîplomatîk ên Wezarate Karên Derve yê Fransayê li Nantesê (Ministére des affaires étrangères, Centre des archives diplomatiques de Nantes, MAE, CADN), Enstituya Kurdî ya Parîsê û Celîlê Celîl, damezrênerê Enstîtuya Kurdolojiyê li Eichgraben, Wienê. Versiyonek ewil ya vê gotarê li Zanîngeha Boğaziçiyê û Kargeha Dîroka Rojhilata Navîn û Teoriyê ya li Zanîngeha Chicagoyê hatiye pêşkeşkirin. Ez minetdar im bo dersa mamosteyê xwe yî farisî Profesor Saeed Ghahremani ya bi navê ‘Poetîka û Siyaset li Îrana Modern’ ku bi saya wê fikrên min î derbarê siyasetê ên bi riya helbestê şikil girt.

Nîşe 2: Orîjînala vê gotarê ev e: Metin Yüksel, “I Cry Out So That You Wake up: Cegerxwîn’s Poetics and Politics of Awakening”, Middle Eastern Studies 50: 4 (2014),536-553. Em spas dikin ji edîtora kovara Middle Easern Studies ku destûr da me ku em wergerînin kurdî û di Zaremayê de çap bikin.

Pêvek 1: Belgeya tirkî a fermî, li Tirkiyeyê bo qedexekirina helbestên Cegerxwîn, 1955

Pêvek 2:

KURDISTAN

(1)
Dilên xelkê bi we re ne
Eger mûçek li çiyê bifirin
Çavên xelkê bi we re ne
Di ser stiriyan re dibûrin bê tirs Koleyên erdê bi we re ne
Ji newqa oqyanosê heta (Bakur*)
Ez bi we re me, bavê min jî, diya min jî Zeytûnên min û bêhna pirtuqalan Hestên me, helbestên me
Serbazin li gel we di şer de.
Ey parêzvanên rojê
Ji qeydên nîvmêran
Bayê em parçe nekirine
Têkoşîna gelê we têkoşîna min e
Eger siwarekî we bête xwarê
Werîs li stûyê min tê gerandin.

(2)
Her bijî erebayetî**
Gelo cahniyê te hatiye xwarê ey Selahedîn?
Ma al hatine xwarê?
Gelo ma şûrê te bûye çetayek?
Ji xaka Kurdistanê
Cihê şevîna tirs û şewatan
Mirin para karkeran e eger bibêjin:
buhayê keda me ê me ye
Mirin bo cotkaran e eger bibêjin:
Berên zevî ên me ne.
Mirin para zarokan e eger bibêjin ronahiya pirtûkê ji me re ye.
Û mirin para kurdan e eger bibêjin: henasên jiyanê ji mafê me ye. Û hîn jî em dibêjin: Bijî erebayetî!
De naxwe di xaka Kurdistanê re bibûre ey erebayetî
Ev berhema havînê ye ma tu dibînî?
Na, tu yê nebînî eger tu di lûleya topan re binêrî.

Gelê mino
Nîvmêran bi navê erebtiyê êrîşî dîroka te ya mirovayetiyê kirin. Bi navê erebayetiyê xwîn tê rijandin

Sertîr desthilatên te ne
Bi navê erebayetiyê mêjû li ser peravên Dicle û Ferat derban dixwe. Gelê mino
Ne bes bû ku em ji wan û
Ji tabûra wan bêrî ne
De bavêje wê pîstirîn gemara ku demê naskirî ye
Bavêje ser sergoya demê
Dijminê xwe bavêje ey erebayetî
……
….
(3)
Ey Şehrezad
Şev sibehan dixwe
Mûsimên baxçeyên Kurdistanê jî birîn in
Evîn qedexe ye
Pistepista cîran ji cîrên re jî
Tiştekî rewa ji bilî xwîna kurdan nîne
Ew xwîna ku bûye donê çirayên
Kesên ku çirayên şermezariya xwe
bi mirina kesên din geş dikin.
Ey Şehrezad!
Destanên lehengiyê di şevbuhêrkên te yên çeleng de zingarî bûn Her weha bîranînên sipî û cahniyê ku bûbû siwarê riman
Evîn û şikohdarî û şûrê ku ji têkoşînê bêzar bûye.
Şerm e ji Bexdayê re
ku tenê xwîna kurdan li wê rewa ye
Di radyoyê de. Di rojnameyên sibehê de
Li bajarê me murekeba rojnameyan xwîn e
“me ew qir kirin“
gur dikenin û bi payedarî dibêjin.
“me li xaka Kurdistanê goristanên rût li ser hev çandin
Qoqên seriyan bê jimar me çandin“
Ey Şehrezad
Şev sibehê dixwe

Û evîn qedexe ye.
Nivîna te ya nermik jî li ber lingên xwediyê te ê bênirx hatiye avêtin
Kesên ku xwîna Kurdistanê herikandine
wê noqî binî bibin
Û ew dînê ku bi êgir dilîst
wê di nav de bimre.
Ey Şehrezad!
Yê ku çiraya xwe
Bi donê xelkê geş kiribe
Ew ê tenê bimire.
De oxir be
Heta em careke din, di serpêhatiyekê de ku destên şoreşvanan ew li hev anî be, hevdu bibînin

Mehmûd Derwîş ji erebî: Jan Dost

* Mebest ji Bakur Başûrê Kurdistanê ye. (wer. J. D.)

** Erebayetî: me ew mîna kurdayetî lihev anî. Mebesta helbestvan ji vê “herbijîyê“ qerfpêkirin e. (wer. J. D.)

[1] Cegerxwîn, Dîwan 2: Sewra Azadî (Stenbol: Avesta, 2008), r.78.

[2] MAE, CADN, Beyrouth Cabinet Politique 570, ‘Traduction résumé d’une proclamation anonyme en langue kurde, répandue récemment parmi les populations kurdes d’Iraq (attribuée au cheikh Barzan – voir information no. 13165/SP/2 du 22/12/31)’. [Orîjînala vê risteyê ev e: Talî’ ku têt furset, muhlet li nik heram e. (Melayê Cizîrî, Dîwan (Ankara: Kültür ve Turizm Bakanlığı Yayınları, 2012), r. 100. Spas bo Ayhan Geverî ku orîjînala vê risteyê bo me peyda kir. wer. F. A.]

[3] M. van Bruinessen, ‘The Kurds and Islam’, di nav M. van Bruinessen (ed.), Mullas, Sufis and Heretics: The Role of Religion in Kurdish Society: Collected Articles (Istanbul: The Isis Press, 2000), r.47.

[4] J. Blau, ‘Kurdish Written Literature’, di nav P.G. Kreyenbroek û C. Allison (eds.), Kurdish Culture and Identity, (London: Zed, 1996), r.21.

[5] Ji bo analîza qasîdeyên Mela, bnr. F. Shakely, ‘The Kurdish Qasida’, di nav S. Sperl and C. Shackle (eds.), Qasida Poetry in Islamic Asia and Africa 1 (New York: Brill, 1996), rr.327–38. Hejmara 62. a kovara Nûbiharê ji gotarên derbarê helbestên Mela pêk tê. Hej.62 (Gulan 1998).

[6] Dîwana Mela tevî wergera bo tirkî, latînî-kurdiya wê ji nav weşanên Nûbiharê derket: Mela Ahmedê Cizîrî

[7] T. Bois û V. Minorsky, ‘Kurds, Kurdistan’, di nav C.E. Bosworth û yên din (eds.), Encyclopedia of Islam, Cild.5 (Leiden: E. J. Brill, 1986).

[8] X. Ewînî, ‘Seydayê Hecî Ebdulfettahê Hezroyî û Dîwana Wî ya Kurdî’, Nûbihar, No.96 (2005), rr.37–41

[9] S. E. Findikî, Dîwan (Stenbol: Nûbihar, 1999); Mela Zahirê Tendurekî, Dîwan (Stenbol: Nûbihar, 2007).

[10] Cegerxwîn, Dîwan 2: Sewra Azadî, r.151.

[11] Ehmedê Xanî, Mem û Zîn (amad. Jan Dost) (Istanbul: Avesta, 2010), rr. 132-136 [Di orîjînala miqaleyê de hemû jêgirtinên ji Mem û Zînê ji wergera îngilizî hatiye wergirtin: A. Khani, Mem and Zin (Istanbul: Avesta, 2008), rr.30–32. Lê me ji dewsa wergerek nû de ji kurdiya Jan Dost îstifade kir. wer, F. A.)].

[12] C.A. Bedirxan, Kürt Sorunu Üzerine/De La Question Kurde (İstanbul: Avesta, 1997); A. Hassanpour, ‘Kürt Medya Kültürünün Yaratılması’, di nav P. Kreyenbroek û C. Allison (eds.), Kürt Kimliği ve Kültürü (İstanbul: Avesta, 2003); M. van Bruinessen, ‘Ehmedê Xanî’s Mem û Zîn and Its Role in the Emergence of Kurdish National Awareness’, di nav A. Vali (ed.), Essays on the Origins of Kurdish Nationalism (Costa Mesa, CA: Mazda, 2003), rr.40–57.

[13] Xanî, Mem û Zîn, (amad. Jan Dost) rr. 141–42.

[14] M. van Bruinessen, Agha, Shaikh and State: Social and Political Organization in Kurdistan (London: Zed, 1992), r. 267. Bo serpêhatiya melayekî kurd ku Mem û Zîn ji ber derxistiye, bnr. S. Öztoprak, Şark Medreselerinde Bir Ömür (Istanbul: Beyan, 2003). Bo serpêhatiya destxeta Mem û Zîn a melayekî din ê kurd, bnr. pêşgotina veguhastina ji aliyê Mehmed Emîn Bozarslan: E. Xanî, Mem û Zîn (Uppsala: Deng, 1995), r.97.

[15] M.E. Bozarslan (ed.), Kurdistan: Rojnama Kurdi ya Pêşîn (ilk Kurdçe gazetesi) 1898–1902 (Uppsala: Deng, 1991).

[16] C.A. Bedirxan, Türkiye Reisicumhuru Gazi M. Kemal Hazretlerine Açık ̧ Mektup (İstanbul: Komal, 1977), rr.31–2.

[17] BCA Fon Kodu: 030. 18. 01. 02, Yer No: 122. 35. 18, 13/4/1950.

[18] E. Xanî, Mem û Zîn (Istanbul: Koral, 1975).

[19] Z. Zinar, ‘Pêşgotin’, di nav S .M. Can, Leyl û Mecnûn de (Stockholm: Pencînar, 1992), r.6.

[20] Can, Leyl û Mecnûn, rr.26–7.

[21] Ş .E. Axtepî, Rewdneîm (Stockholm, 1991), rr.41–2.

[22] Spas bo Mela Abdula ji Bazîdê ku kopiyek vê berhema giranbiha da min.

[23] Y. Topçuoğlu, Manzum Takriz (1961).

[24] N. Tapper û R. Tapper, ‘The Birth of the Prophet: Ritual and Gender in Turkish Islam’, Man (New Series), Cild.22, Hej.1 (1987), r.73.

[25] Divê bê gotin ku mewlûda kurdî jî li Tirkiyeyê hatibû qedexekirin: BCA Fon Kodu: 030. 18. 01. 02, Yer No: 126. 70. 16, 27/9/1951.

[26] Z. Zinar, ‘Medrese Education in Northern Kurdistan’, di nav M. van Bruinessen (ed.), Islam des Kurdes (Paris: INALCO-ERISM, 1998), r.41; Siyahpûş, Seyfulmuluk (Wien: Institüte für Kurdologie, 2000).

[27] C. Celîl, Hevpeyvîna nivîskar a bi Celîlê Celîl re, Eichgraben, Vienna, Adara 2010 û Pûşbera 2010. [Ev hevpeyvîn wek kitêb çap bû: Metin Yüksel, Kolana Weşengîra, Xaniyê 3, Apartamênta Hijmara 6, Êrîvan: Kurdolojî û Malbata Celîlan: Hevpeyvîn bi Celîlê Celîl û Cemîla Celîl ra (Stenbol: Avesta, 2014). (wer. F. A.)]

[28] Celîlê Celîl Şêxê Sen’aniya bi risteyên lê zêdekirî çap kiriye: F. Teyran, Şêxê Sen’aniya (Wien: Institüte für Kurdologie, 2003).

[29] C. Celîl, Keşkûla Kurmancî (Wien: Institüte für Kurdologie, 2004).

[30] K. Bedirxan, Tanin-i Harb (Dar’ül-Hilafe: Yeni Osmanlı Matbaası ve Kütübhanesi, 1331/1915); E.Rehmî, Gaziya Welat (Istanbul: Necm-i Istikbal Matbaası, 1919).

[31] K. Nezan, Hevpeyvîna Vîdeoyî bi Cegerxwîn re (Paris, 1983). Spas bo Abdullah Keskin ku bala min kişand ser vê. Spas bo kanala televizyonê KURD1ê jî ku li Parîsê kopiyek vê hevpeyvînê dan min.

[32] H. Bozarslan, ‘Kürd Milliyetçiliği ve Kürd Hareketi (1898–2000)’, di nav T. Bora (ed.), Modern Türkiye’de Siyasi Düşünce: Milliyetçilik, r.852. (İstanbul: Iletisim, 2002) Divê bê diyarkirin ku pirtûka Osman Sebrî a helbestan Bahoz jî li Tirkiyê ji aliyê dewletê hatibû qedexekirin: BCA Fon Kodu: 030. 18. 01. 02, Yer No: 139. 42. 2, 6/5/1955.

[33] M. Zana, Çarşiya Silîva (Stenbol: Avesta, 2002), rr.139–40.

[34] Cegerxwîn, Dîwan 1: Agir û Pirûsk (Stenbol: Avesta, 2003), rr.278–80.

[35] B.n.b., r. 278.

[36] K. Nezan, Hevpeyvîna Vîdeoyî bi Cegerxwîn re (Paris, 1983).

[37] B.n.b.

[38] B.n.b.; Cegerxwîn, Dîwan 1: Agir û Pirûsk, r.279; Cegerxwîn, Dîwan 3: Kî me Ez (Stenbol: Avesta, 2007), rr. 315–17. Bo bîranînên Cegerxwîn bnr., Cegerxwîn, Hayat Hikayem (İstanbul: Evrensel, 2003).

[39] http://www.iranicaonline.org/articles/jagarkwin (gihandin 30 Nîsan 2013).

[40] B.n.b.

[41] B.n.b.

[42] B.n.b.

[43] Cegerxwîn, Awa û Destûra Zimanê Kurdî (Bexda, 1961).

[44] http://www.iranicaonline.org/articles/jagarkwin (gihandin 30 Nîsan 2013).

[45] Ş. Cegerxwîn, Folklora Kurdî: Kurmancî (Stockholm: Roja Nû, 1988).

[46] http://www.iranicaonline.org/articles/jagarkwin (gihandin 30 Nîsan 2013).

[47] T. Bois, ‘Un Poete Kurde Contemporain: Cegerxwîn’, Roja Nû, No.53 (1945), r. 4. Referansên ji Roja Nû ji vê çapê ne: Roja Nû (Uppsala: Jîna Nû, 1985).

[48] Qedrîcan, ‘Cegerxwîn û Dîwana Wî’, di nav Cegerxwîn, Dîwana Cegerxwîn (Şam: Çapxana Tereqiyê, 1945), r.viii.

[49] Referansên ji Hawar û Ronahiyê ji van çapên jêr in: F. Cewerî (ed.), Hawar (Stockholm: Nûdem, 1998) û Jîna Nû (ed.), Ronahî (Uppsala: Jîna Nû, 1985).

[50] Cegerxwîn, Dîwana Cegerxwîn. Cegerxwîn serpêhatiya rêwitiya xwe ya bo Şamê û mala Celadet Bedrixan a ji bo çapkirina Dîwana xwe ya yekem, di helbesteke bi navê “Çûna Şamê” de vedibêje: Cegerxwîn, Dîwan 3: Kî me Ez, rr.116–18.

[51] [Ronahî], ‘Mizgîn: Dîwana Cegerxwîn Kete Çapê’, Ronahî, Hej.28 (1945), r.2.

[52] A. Namî, ‘Pîroznama Dîwana Cegerxwîn’, Roja Nû, Hej. 69 (1946), r.1.

[53] H. Emîn, ‘Cegerxwîn’, Ronahî, Hej.24 (1944), r.2.

[54] C. Celîl, Hevpeyvîna Nivîskar bi Celîlê Celîl re, Eichgraben, Wiena, Adara 2010 û Pûşbera 2010.

[55] K. Nezan, Hevpeyvîna Vîdeoyî bi Cegerxwîn re (Paris, 1983).

[56] B.n.b.

[57] Cegerxwîn, Dîwan 2: Sewra Azadî, rr.151–3.

[58] Cegerxwîn, Agir û Pirûsk, r. 59.

[59] Mela Ahmedê Cizîrî, Dîwan (Stenbol: Nûbihar, 2009), r.292.

[60] B.n.b.

[61] Cegerxwîn, Dîwan 1: Agir û Pirûsk, r.255.

[62] O. Celîl, Cegerxwin’in Yaşamı ve Şiir Anlayışı (İstanbul: Evrensel, 2004).

[63] B.n.b., rr.12, 14; M. Mokri, ‘Kurdologie et Enseignement de la Langue Kurde en URSS’, L’Ethnographie: Revue de la Société d’Ethnographie de Paris (1963), r.90.

[64] M.E. Bozarslan, Hilafet ve Ümmetçilik Sorunu (İstanbul: Ant, 1969); M. Yüksel, Kürdis- tan’da Değișim Süreci (Ankara: Sor, 1993).

[65] BCA Fon Kodu: 030. 18. 01. 02, Yer No: 110. 5. 15, 10/1/1946; BCA Fon Kodu: 030. 18. 01. 02, Yer No: 139.42. 2, 6/5/1955. Belgeya duyem di pêveka vê gotarê de ye.

[66] Ş. Cegerxwîn, Lenin Şafağı (Istanbul: Kaynak, 1991).

[67] K. Nezan, Hevpeyvîna Vîdeoyî bi Cegerxwîn re (Paris, 1983). Di vê hevpeyvînê de sehneye ke balkêş heye: Cegerxwîn li Parisê beşdarî konsereke Şivan Perwer dibe. Di vê konserê de Şivan helbesta Cegerxwîn a neteweperwer “Kî Ne Em” wek stran dibêje. Dawiya performansê de Cegerxwîn li çepikan dixe.

[68] Ö. F. Yekdeş ‘Nazım Hikmet ve Cegerxwin’de Aşk Şiirinin İdeolojisi’ (Enqere: Teza Masterê a Neçapkirî, li Zanîngeha Bilkentê,, 2008). Spasiya Ömer Faruk Yekdeş dikim ku kopiyek teza xwe da min.

[69] S. Gundî, ‘Ûsûla Medresên Şerqê’, Nûbihar, Hej.63–4 (1998), r.47.

[70] M.H. Çiçek, Şark Medreselerinin Serencamı (Istanbul: Beyan, 2009), r.49.

[71] C. Celîl, Hevpeyvîna Nivîskar bi Celîlê Celîl re, Eichgraben, Wiena, Adara 2010 û Pûşbera 2010.

[72] M.T. Nassar, ‘Affirmation and Resistance: Press, Poetry and the Formation of National Identity among Palestinian Citizens of Israel, 1948–1967’ (Chicago: Teza Doktorayê ya Neçapkirî li University of Chicago, 2006), rr. 88–90.

[73] B.n.b., r. 147.

[74] M. Derwîş, Splinters of Bone (New York: The Greenfield Review Press, 1974), r.16. Derwîş di 1963yan de helbesteke bi navê “Kurdistan” nivîsandiye. Nassar de derbas dibe, ‘Affirmation and Resistance’, r.273. [Herçend ev helbest di orîjînala miqaleyê de nebe jî, me xwest em vê helbestê bînin ber destê xwendevanên Zaremayê. Bo helbesta M. Derwîş “Kurdistan” bnr. Pêvek 1. Em spasdar in bo Jan Dost ku ev helbest bo kovara Zaremayê ji erebî wergerand bo kurdî. Divê ev jî bê destnîşankirin ku xuya ye piştre M. Derwîş li vê helbesta xwe xwedî derneketiye û ew nexistiye nav tu berhemên xwe yên berhevkirî. (wer. F.A.)]

[75] Cegerxwîn, Dîwan 2: Sewra Azadî, r.100.

[76] Cegerxwîn, Dîwan 1: Agir û Pirûsk, r.44.

[77] B.n.b., r. 44.

[78] B. Baron, The Women’s Awakening in Egypt: Culture, Society and the Press (New Haven, CT: Yale University Press, 1994); S. Çakır, Osmanlı Kadın Hareketi (İstanbul: Metis, 1996); G. Antonius, The Arab Awakening: the Story of the Arab National Movement (Bêrûd: Lebanon Bookshop, 1969); O. Bashkin, The Other Iraq: Pluralism and Culture in Hashemite Iraq (Stanford, CA: Stanford University Press, 2009).

[79] M. Enwer, ‘Xebat’, Ronahî, hej.15 (1943), r.20; M. Enwer, ‘Pirsa min ji Xwedê’, Ronahî, hej.16 (1943), r. 8; Hisênê Perîxanê, ‘Ziyaret’, Ronahî, hej.15 (1943), r.19; J.T. Gorgas, Le mouvement kurde de Turquie en exil: Continuités et discontinuités du nationalisme kurde sous le mandat français ̧ en Syrie et au Liban (1925–1946) (New York: Peter Lang, 2007), r.271.

[80] M. Strohmeier, Crucial Images in the Presentation of a Kurdish National Identity: Heroes and Patriots, Traitors and Foes (Leiden: Brill, 2003).

[81] Hemû helbestên li jêr ji Dîwana wî ya yekem: Agir û Pirûsk: ‘Dezgirtiya Xortan’, rr.16–17; ‘Ma Yek Ji We Nabe Beran’, rr.20–21; ‘Divê Em Bibin Yek’, r.29; ‘Le Xewî Xeflet Helse (Bi zarê soranî), r.35; ‘Pendname’, rr.39–42; ‘Riya Rast û Dirist’, r.44; ‘Hêj Dey Nakin’, r.45; ‘Ji Yewnana Bipirsin’, r.46; ‘Ev Awa Dom Nake’, r.50; ‘Ehmedê Xanî Kurd Nekir Hisyar’, r.60; ‘Heke Mezin Ranabin Em ê Hûr Rabin’, rr.66–8; ‘Ji Xameya Min Re’, rr.70–72; ‘Şehnama ̧ Şeh ̧ îdan’, rr.89–98; ‘Nezan Bê Ço ̧ Nabê Hişyar’, r.99; ‘Em Ne Kole ne’, r.119; ‘Kurdo Marş’, rr.123–4; ‘Navtêdan’, rr.131–2; ‘Serxwebûn’, r.134; ‘Keça Kurd’, r.136; ‘Şêrîn’, r.137; ‘Bersiva Ebedil-Xaliq Esîrî’ (bi zarê Soranî), rr.168–9; ‘Ji Hisênê Emînê re, r.171.

[82] Helbestên jêr ji Dîwan 2: Sewra Azadî ne: ‘Dîwana Min Derdê Milet e’, rr.11– 13; ‘Hey Qehreman Milletê Kurd’, rr.19–21; ‘Begim Xuya ye Hûn Natirsin’, rr.22–3; ‘Her Çend ̧ Tu Navdarî Hey Kurd’, rr.29–30; ‘Milletê Reben’, rr.31–2; ‘Begê Dijmin’, rr.33–4; ‘Ey Kurd ji Xew Rabe’, r.35; ‘Welatparêzî’, p.37; ‘Evîndarê Welat im’, r.43; ‘Segê Har’, r.44; ‘Çûna Qunsilxana Tirk Gunehkarî ye Begim’, rr.49–50; ‘Hevsar Bi Destê Dijmin e’, r.56; ‘Giryanim Bes’, r.57; ‘Tirsonek e Dijmin’, rr.58–9; ‘Millet ne Raza ye’, r.64; ‘Kurdistana Kurdan’, r.65; ‘Ey Kurd Çi ̧ Kes î Tu’, rr.68–9; ‘Naçin Şerê Qore’, rr.76–7; ‘Destê Ismet Şikandin’, rr.78–9; ‘Hûn Çi Zanin Şer Çi ye’, r.84; ‘Ilham ji Şairekî Ermen’, r.93; ‘Peymana Etlesî’, rr.94–6; ‘Heval Pol Robson’, rr.97–101; ‘Diyan-Biyan-Fû’, rr.103–4; ‘Peymana Tirk û Pakistan’, rr.105–7; ‘Şîna Heval Stalîn’, rr.109–10; ‘Serpêhatiya Ciwan û Dewlet’, rr.121–32; ‘Sîh û Sê Roj di Zindanê’, rr.133–6; ‘Agirê Sor’, r.142; ‘Ji Xwe Natirsî Berdidî Gundiya’, rr.163–4; ‘Ta Kengî Nexwes ̧ Bî’, r.165; ‘Mela Rabe’, r.166; ‘Van Rojan Intixab e’, r.167; ‘Reşo û Gundî’, r.183; ‘Xwesiya ̧ Welêt’, r.184; ‘Dewlemendê Bê Şeref’, rr.185–6; ‘Xwendin’, r.191; ‘Ax Tehtebes’, r.195; ‘Sermayedar’, rr.196–7; ‘Pembiwê Me ye Lê Em Tazî ne’, rr.198–9.

[83] Helbestên li jêr ji vir in, Dîwan 3: Kî me Ez: ‘Kî me Ez?’ rr.13–20; ‘Bê Te Hêç im Welat’, rr.21–2; ‘Banga Sibê’, rr.23–4; ‘Di Qeyd û Bendan Ranazin’, r.30; ‘Mela Rabe’, rr.51–2; ‘Partîzan im’, rr.62–3; ‘Wekhevî’, r.85; ‘Şîna Seîd Elçî’, rr.96–101; ‘Keça Kurd’, rr.105–6; ‘Lorî’, rr.110–11; ‘Kurd û Felestîn’, r.115; ‘Begim Here? Here’, r.125; ‘Çûna Mehrecanê’, r.127; ‘Destê Te Maç ̧ Nakim’, 129; ‘Em Şer Naxwazin’, rr.130–35; ‘Em ji Nû Berjor Diçin’, 138; ‘Ey Qata Perîşan’, rr.139–40; ‘Karker’, rr.148–9; ‘Layka Çûye Jor’, rr.157–9; ‘Mehrecan’, rr.160–61; ‘Marşa Haştî’, r.163; ‘Rençberê bi Rûmet’, rr.170–80; ‘Xêr û Şer’, rr.181–5.

[84] C. A. Bedirxan, ‘Xwe Binas. . .’, di F. Cewerî (ed.), Hawar, hej.18 (1998), r.552.

[85] Ş. Mardin, ‘Tanzimat ve Aydınlar’, di nav Ş. Mardin (ed.), Türkiye’de Din ve Siyaset: Makaleler 3 (İstanbul: İletişim 1991), r.287.

[86] Helbestên li jêr ji vir in, Dîwan 1: Agir û Pirûsk: ‘Xewa Birçiyan Nayê’, rr.22–3; ‘Li Dinya Bêserî’, r.24; ‘Destê Şêx Maçî Nakim’, r.25; ‘Xwediyê Miriyan Kor e’, r.33; ‘Pendname’, rr.39–42; ‘Riya Rast û Dirist’, r.44; ‘Em Cegerxwînên Her Çaxî ne’, r.49; ‘Ev Awa Dom Nake’, r.50; ‘Rêberê Me Seydayê Xanî’, rr.58–9; ‘Kurdistan im Ka!’ r.73; ‘Fala Qereçiyê’, rr.75–7; ‘Derwêş’, r.79; ‘Qulingê Perşikestî’, rr.80–81; ‘Pîra Torê’, r.82; ‘Dînê Me Tête Zanîn’, r.83; ‘Nezan Bê Ço Nabê Hişyar’, r.99; ‘Em Guhderz in’, rr.113–14; ‘Rêçika Xortan’, r.115; ‘Tutin’, r.116; ‘Ola Me Xortan’, r.118; ‘Hey Felek’, rr.120–21; ‘Roja Xwendevana’, r.122; ‘Herne Wa’, r.133; ‘Keça Kurd’, r.136; ‘Şêrîn’, r.137; ‘Dibistan’, r.140; ‘Bersiva Ebedil-Xaliq Esîrî (bi zarê soranî)’, rr.168–9; ‘Herfên Nû, rr.185–7; ‘Ehremen û Hurmiz’, rr.190–93.

[87] Cegerxwîn, Dîwan 1: Agir û Pirûsk, r.44.

[88] Ji b.n.b.: ‘Fala Qereçiyê’, rr.75–7; ‘Derwêş’, r.79; ‘Em Guhderz in’, rr.113–14; ‘Dibistan’, r.140. Bnr. ‘Naçin Şerê Qore’, di nav Cegerxwîn, Sewra Azadî, rr.76–7; ‘Keça ̧ Kurd’, di nav Cegerxwîn, Kî Me Ez, rr.105–6.

[89] Ji Kî me Ez: ‘Banga Sibê’, rr.23–4; ‘Bextreşiya ̧ Kurd’, rr.25–7; ‘Mela Rabê, rr.51–2; ‘Karker’, rr.148–9.

[90] Cegerxwîn, Dîwan 1: Agir û Pirûsk, rr.16–17.

[91] M.B. Hesenî, ‘Rê ji Ber Winda’, Ronahî, hej.17 (1943), r.32.

[92] Yekdeş, ‘Nazım Hikmet ve Cegerxwin’de Aşk Şiirinin İdeolojisi’, p.v.

[93] B.n.b., r.119.

[94] Helbestên li jêr ji Dîwan 1: Agir û Pirûsk in: ‘Gewrê’, r.202; ‘Çavbelekê’, r.203; ‘Daye Derê Evînê ye’, rr.209–10; ‘Were Yarê’, rr.218–19; ‘Dûr î Dijwar e’, rr.230–31; ‘Xesriwa Rinda’, r.232; ‘Li Seyranê’, r.244; ‘Ey Dîlber’, r.249; ‘Li Serayê’, rr.256–7; ‘Dîlbera Nazik’, r.268; ‘Surşirînê’, r.270; ‘Lavlav Çi ne’, r.272; ‘Te Zû Tê Deranî’, rr.273–5.

[95] Helbestên jêr ji Dîwan: Sewra Azadî ne: ‘Ev Perde Çi ye?’ r.208; ‘Kengî li Min Ro Hilê’, rr.209–10; ‘Geşt û Seyran’, r.216; ‘Kuştim Şêrînê, r.220; ‘Cejn û Cema’, r.223.

[96] Ji Kî Me Ez: ‘Bihara Dil’, rr.200–201; ‘Dinya Pêlê Evîn im’, rr.217–18; ‘Dawiya Peyalê’, rr.221– 26; ‘Herdu Çav, r.251; ‘Ji Sazê Dengê Ilhamê’, r.252; ‘Lev Şirîn’, rr.256–7; ‘Soza Yar’, r.286; ‘Xunce Leb’, r.312.

[97] Ji Sewra Azadî: ‘Ey Welat’, (‘perda şiyarî’) rr.27–8; ‘Evîna Welêt’, r.36; ‘Şêx û Axa û Beg Tucar Nabin Yek’, rr.47–8; ‘Ta Kengî Em ê Karker û Cotkarê Bega Bin’, rr.51–2; ‘Destê Ismet Şikandin’, rr.78–9; ‘Hûn Çi Zanin Şer Çi Ye’, r.84; ‘Seyda û Pîr Sitalîn’, rr.87–8; ‘Ilham ji Şairekî Ermen’ (‘perda bindestî’), r.93; ‘Sumbilê Ceh û Genim’ (‘perda bindestî, perda nezanî’), rr.177–8.

Ji Kî me Ez: ‘Peymana Bexda’, rr.59–61; ‘Zencîr ji Gerdenim Şikest’, rr.86–95; ‘Layka Çûye Jor’, rr.157–9.

[98] M. Yüksel, Kürdistan’da Değişim Süreci, (Ankara: Sor, 1993).

[99] Cegerxwîn, Dîwan 3: Kî me Ez, r.129.

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‘Qêrîn Dikim Da Ku Şiyar Bî’: Helbest û Siyaseta Şiyarkirinê Ya Cegerxwîn

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