To preserve the treasure of oral literature of our culture

According to Mehr reporter, the unveiling ceremony of the second volume of Kalhornameh, the folk literature of the Kurdish people, written by Nahid Mohammadi, was held in Arsbaran Library with the presence of people of culture and art.

Qutbuddin Sadeghi, writer and theater director, as the first speaker of this ceremony, read the message of Kurdish poet and resident of Helsinki, Abdullah Peshio, and said: Although our land has been through countless ups and downs for a long time and has been the home of various invaders and more Our written literature has been lost, but fortunately, a significant part of it is still left in the form of oral and oral literature. The transformations and growth of material and spiritual life, technological revolution, the wave of information and the urbanization of the village caused the oral literature to suffer a lot and continue to be attacked and threatened. Therefore, it is necessary and necessary to immediately collect this precious treasure and compile it into Kurdish for the dialect words of the Kurdish culture, so that it can be transformed from the heritage of the dialect to the heritage of the Kurdish language, which is the standard language.

He added: Undoubtedly, gathering the language and culture of the people is important for every nation. But for the Kurdish people, it is probably twice as much as ten times and a thousand times, because the people's culture in its entirety and depth is a reflection of people's life and the key to language and culture. The language and culture of Ilam and Kermashan in general and its Kalhori culture in particular is a precious treasure for the original Kurdish language, because it is full of valuable materials and signs to express the philosophy and worldview of the Kurdish people. From this point of view, it should be emphasized that Ilam and Kermashan are not on the sidelines at all, but are in the center of the homeland and are the treasury of the cultural, civil and governance heritage of Zargros. The stream and murmur of every dialect is reaching and flowing into the sea of ​​Kurdish language and in the direction of enriching the language of the Kurdish people. I am grateful to the author of the book Kalhornameh of the folkloric literature of the Kurdish people and to all those who are working to accelerate this movement and expand the width of this sea.

Sadeghi further said: Kurdish language has four main dialects. The first dialect is Horami, which belongs to the second century of literature. Another dialect is Kermanji, which is mostly related to the Kurdistan of Bakur (Türkiye and Syria). This type of accent flourished in the 15th and 16th centuries due to the historical and political opportunity it found. At this time, poets such as Khani, the jurist of Tirana were active. After that, in the 17th and 18th centuries, Horami Kurdish language was once again established as the official language in Kurdistan due to the political power of the Ardalans, followed by its literature.

He continued: Writers such as Maulvi Taghuzi and Mastoreh Ardalan were among the authors of the 17th and 18th centuries who wrote their works in the Kurdish Horami language. Also, this type of language was the official language of the government, which gained a unique scope.

This playwright said: In the 19th and 20th centuries, due to the political divisions of the Ottoman Empire and the selection of four cities, some attention was paid to the city of Sulaymaniyah. For this reason, the Sorani dialect became the official language and gained a lot of scope. Now this language is one of the most beautiful languages. “Kalhari” language never expanded due to political, regional and tribal reasons. Of course, there were poets and writers who created works in this language, but their works did not become mainstream.

Sadeghi said: Nahid Mohammadi was one of the writers who was able to revive the Kalhori language with his perseverance, creativity and sense of responsibility in these decades. Of course, there were other writers, but Mrs. Mohammadi was very persistent in this matter. Nahid Mohammadi's books have several features. One of the features of the book Kalhornameh, the folk literature of the Kurdish people, is that its author is a woman. A woman who never had a chance to show herself. Mastore Ardakan, Rabia, Mehsti, Forough and Parvin are an exception and a genius.

This playwright said: Mastoreh is a genius because she was the first woman historian in Kurdish culture, Iran, Middle East and the whole world about 220 years ago. We do not have an example. Nahid Mohammadi was able to talk about his secrets, feelings and thoughts, which were for half of the people of this land, in the book Kalhornameh of the folk literature of the Kurdish people. In this book, Nahid Mohammadi made everyone know that literature should not only be for men.

He added: The second characteristic of the book Kalhornameh was the poetic honesty of the folk literature of the Kurdish people. We see this sincerity in the layers of the poems. The first layer is the direct and immediate feelings of a woman towards society, country, culture and the expression of inner beauty in the form of emotional reactions. Nahid Mohammadi's social thoughts are among other things that were very valuable. In the layers of the poems of this book, we see social positions.

Sadeghi said: “In the book Kalhornameh of the folk literature of the Kurdish people, we see that Nahid Mohammadi loves his country and people.” She has her social stances on top of all these individual feminine feelings. His poems are three-dimensional and skillfully conquer us from the inside.

He continued: Another feature of the book Kalhornameh of the folk literature of the Kurdish people is sweet sadness, which can be compared to a human philosophical nostalgia. The religious people of Europe refer to it as aesthetics or aesthetics (man's effort on earth from the moment he was expelled from heaven and does everything to be revived). This aesthetics is not a superficial and superficial matter, but a spiritual matter. We can even consider it as an internal ritual education. Sweet sadness is not only the nostalgia of being kicked out of paradise, but this nostalgia is a constant desire for all poets in the world. If you review the works of Hafez, Rumi, Ferdowsi, Nima, Shamlou, Forough, Akhwan, you will realize that everyone dreams of a good life with justice and peace. Therefore, this kind of philosophical poetic nostalgia is the background of Nahid Mohammadi's poems.

In the end, this researcher said: the book Kalhornameh of the folk literature of the Kurdish people is a book that has more power to influence, and art means to be influential. If art does not affect, it is of no use. Ms. Nahid Mohammadi's poems are impressive.