Ars poética- and poetic cries of Evin Çiçek

 

Dr. Ali KILIC

 

 

Since antiquity, poetic art, worries a place important in the philosophical and literary life like integral part esthetics and one analyze from the point of view of the differentiated standards poetically. On a side popular poetry, has a very long history resulting of an oral tradition which gave to the birth Iliade and of Odysséıa , and other dimensioned, area Koçgiri who constitutes a bridge geographically   where Strabon, wire of a woman of Mède origin was born, which became the largest scientist of the Universe and Arménie where people Armenian preserved many epic legends. But the poetry of Koçgiri, by its originality goes up at the centuries of the past. Under the occupation foreign forces the People of Koçgiri did not find freedom of expression like today, which was reflected by different proses by requiring the freedom interpreted by Hölderlin:

« I see shining the crowned term of freedom /  is there that with you, sovereign stars My lute will make hear accents more solemn "(3:Poems, (Dedichte), Translated by Genevieve Bianquis, Sapwood, Paris 1943, p.69). In the name of this freedom, " cries of the memories ", become the Epopee of Koçgiri like elegies of Pablo Neruda (4) in the blue sky of Chile:

« Only in lonelinesses/I want to cry like rivers. I want to extend in the stone from the night "(Song General, Gallimard, 1977, pp; 72-73)

 With Ars poética Awaza Serpêhatîyan (the poetic art of the cries of the memories) of Poétesse Evin Çiçek * poetry begins with itself "Çuçika Zer "" Gilded bird ".The event which justifies poetic creation passes in camps of the refugees in Switzerland following a wish of his/her son who wants to plant "a flower" in the garden of the camps of the refugees. Then that the Kurdish child in exile does not have a private property with Kurdistan neither in Switzerland, nor elsewhere.It is private freedom of existence at his place in its own country with Kurdistan and it cannot plant one flower in a country like Switzerland, so rich country, where Capital of criminals circulate. At the bottom it is the question of the human existence to the centre of an oppressed nation is posed poetically by the problems of exile in a real space starting from the claim of the exiled child. Whereas the Universal Declaration of the Rights of the Child was adopted by UNO what does not have feel for the Kurdish child in exile.

While crossing the fôrets of Switzerland, in a TGV at the edge of Lake Léman, towards the destinations of France I reflected on the poetry of Evin Cicek in particular and the poetry of the poets and poétesses Kurdish member PEN has Kurdish in general.

At the edge of the Lake Léman, two types of poetries meet: The poetry of Evin Cicek, and that of Lamartine. Evin, concretize its poetic thought directly :

ez dibêm, tê ji fêm kir/ tê xeribi û bêkesiya min dibini /Helina tê, bê maliya min/Azadiyê tê, Girtibuna min »

But the poetry of Lamartine remains romantic vis-a-vis with the realism of Evin. « Fleur which decorate the ruin, /sans a glance for y' to admire I gathered your white cheesecloth and I will carry on my chest, your perfumes to breathe them "(Open Poetic, Paris Hachette , 1916, pp;159 160).but, Lamartine(5) which spoke about Rusteme  Zal and Revoles Kurdish in a heroic way and of the curisification of tens of thousands of the disciples of DEDE SULTAN, who did not desist from the revolt against Othoman tyranny and who do not have ever moved back of which its revolted is based on the two principles: freedom and the equality which determines according to Lamartine the German revolution and the French revolution. Opposite this history, my people like his poetess Evin lays out anything. The colonialists removed it all its memory and as well as the feelings of the Kurdish child in exile is private rights of the flowers including the freedom of its country.

This poetic resistance made us remember with Satire against Mahmoud Ghaznavide by Firdoûsî (6) " I have returned by my worms the beautiful world like a paradise and anybody before me did not know to sow the seed of the word. »(..) « But the son of one slave cannot be worth large thing ». The injustice inflicted by the systematic oppression practised by Mahmoud Ghaznavide against the large one poet Firdousie, the force exile like Evin Cicek:

« Lê rastî/Kurmanc ji ber zilme bar dikin (.) Dilên wan ji welatên wan dûr dikin "(8) ACE, I, p.7). In its poem Evin, makes the comparison between a bird which is free, with the life of one Kurdish poetess in exile which is not free like a bird of its country. This sensitivity made us remember the poem Catulle on the oiseau( Luctus in dead passeris) « Lugete O Veneres Cupidinesque and quaantum is hominum venustiorum) ( Poetry of C.VCatulle, (7)Paris ED.Garnier 1860, p.4) opposite the Lake Léman. "Cry, Grâces, cry Amours, cry all pleasant men ". The human destiny is universally known like the destiny of the child and the Koçgirienne woman in exile.

At the edge of the Lake Léman, Léo Ferré (9) sings. « From where this wound comes? Where the sea like a sorrow dies " reflect the life in exile with the Kurdish manner within " This wound like a groundeil "" at the edge of the Lake Léman, as said Lamartine: « O time, suspend your flight.. suspend your run ». Evin Ciçek added to time with its manner the transposition ideal time in the image of freedom of the Kurdish woman who does not exist in richness of this world.

 « Cuçika zer, tê dixwînî/Qey cîh tunebû? /Hatî ser tayé serê min disekinî "by making the comparison with the Greek poetess Sapho or Catulle, Latin lyric poet paired with its poem as a citizen of Res Publica, based on system of slave, but in intended subjectivity

With the bird of a young woman of Rome.

« lugete, O Veneres, cupidiasque/And quantum is humanium venustiorum, to pass mortus is meae puellae »

If we make a comparison with lyric poetry of Evin Cicek with the poetry of the other people, for example, of the poets Greeks or of the Romans, or German and French, American Englishes, the aesthetic aspect of poetry, is very different from the others, we can to highlight that our birds did not die of natural death, but of chemical death.No poet in the world will be able to be interpreted the tragedy of Kurdistan. Indeed, Shakespeare, Milton, Hölderlin which has inspired of pindaric poetry do not have vecu suffering of the poets and Kurdish poétesses forced in exile. But its lyricism is not far from Kurdish poets: Pindaros starts with advanced element initial by Thales:

"First is water, and Gold, on fire which burns,/

Burst during the night with the roof of the richness alière /

(9) Pindare, Complete Works, Paris, 2004, p.64)

Ariston men udwr, O of CrusoV aiJomenon pure

ate diaprepei nukti meidnoroV exoCa ploutou

Recognized Virgile and Horace, these chiefs, these kings of poetic thought of their time, shared the two directions which follows any poetry.Horace known as " Pindare is an immense river retreaded of a divine source, (.) Its word immortalise also this courage and these virtues  the golden age "(10) Open of Horace, Translation of Jules Janin, 1878, p.229)

The poésıe of Koçgiri  after Ehmede Xan? vit the its golden age with Evin Çiçek, one can compare with lyric genius of the Greeks also throws an incomparable glare in the choruses tragedy.

“Ez dayik im

Kê got bar sivik im?

Bin giranîya dêbûnê

Bin giranîya jinbûyînê

Bin giraniya rew?enbîrîyê

Bin giranîya welatparêzîyê

Bin giranîya ramanên kevneperest

Bi hemû hêrs û kamên xwe gav davêm

Dagirker û dijminan Re

Ez qefilîm, teslîm, teslîm.....

Qet nabêm

Seba xwe û zarokên xwe wekhevîyê dixwez im

Helbestên xêrxwaziyê dibêm, dinivisîn im

Hêla ronahîyê ve dibez im

Ew zarok in

Xwedî heq in

Yêk destê min

Yê DIN pê?a min

Bi hev Re diki?în in

Hûr in

Barê Li Pa? stûyê min of nabîn in

Hezkirina min parve NAK in

Pevdiçin?er dikin "

Each poem of is Evin Çiçek a tragedy huma?ne qu? unıversalise the suffering of the People of Kurdistan and the Kurdish woman in her let us cond?t?ons huma?nes. There is a great resemblance between poés?e of Evin Çiçek and that Horace, in sound Poetic art, present the chorus only like one character of the drama in spite of one h?stor?que d?fférence on the character of the State bus Evin Çiçek is a poetess without State. To give the complete idea of it, it should it to show in turn pathetic, splendid, alarming in Eschyle, full with freshness, majesty, richness in Sophocle and in Euripide, ideal and shining even in Aristophane, when it lets appear the pure and serious beauty in the medium of the satires and buffooneries. All this poetry "bubble like that of Pindare, and escapes from great floods from these deep mouths, "for to borrow the splendid language of Horace.

Poetry lyric of Evin Çiçek, perhaps with the thought is what the song is with the word; and, by the width, the variety and the glare of the rate/rhythm and the sounds, it holds of close with the music, this enivrante translation and sensual of the passion and of the daydream, but in the reality of life. And poetries of Pindare, like choruses of the Greek tragedy, were accompanied by the instruments, and sometimes even appeared by the dance. We live this tragedy in songs composed by Alicher, its indivisible tragic death of the destiny of Populate of Koçgiri. References concerning the delayed assistance of Dêrsim, who becomes one of the causes of the defeat returns us to a music which is not other things only the prayer of our tragéd?e huma?ne. It is in this direction it that the lyric and trag?que poetry of Evin Çiçek appears at the first days of the Kurdish companies and it has the privilege to be appropriate for all times of their existence, when they preserved genius and style, because lyric and trag?que poetry is réal?té huma?ne of Koçgiri. Evin Çiçek, born with the medium of the beliefs of the crowned Mountain of equivalent Çengelli of Olympos of the Greeks or saw we it, of our days, to deeply stir up the modern generations of which the tragéd?e of the woman of Kurdistan interprétée in the following way.

 

“Welatê min bihu?tek E

Ez jî kurmanc im

Kêfxwe?î, rehetî....

Ew hest ji min to pir dûr in!

Ez Bi ê?an, ez Bi janan Re zelîqî me

Tengasîya dil bûye rêhevala min

Hemêzkera min E

Belê, belê, ez û jan, EM Bi hev Re dîjin

Ecêb jîyanên bê 4th?, bê jan çawa?

Ji beredayîtîya mezinên me

Ji me dûr mane

Rûyên xwe vegerandin E, qarîn E, suketin E

Loma rojên welatê me bê tamin E

Têkilî bê tîn mane "

There are poets who leave themselves, are spread with outside, merge with what they comb, nature and the company. It is what Virgile did, while letting appear the sensitivity, sadness melancholic person of his heart; it is what it did in the small scenes of its Eclogues, in the tables of its Géorgiques, the accounts of its Énéide: the epopee, the drama, the didactic and descriptive poem are the forms principal of this poetry where to some extent the personality is absorbed of poet who influenced Dante, in the Divine Comedy,

« Io cominciai; "Poeta semi che guidi,

guarda the mia virtu it possente

Ch' all' viola passo you semi fidi preceded "(11) DA, cd., p.26, Paris, The Difference, 2003)

N’hent  it ıs a  guide Evin Çiçek it is not such or such poet. With contra?re its poét?que consc?ence and pol?t?que which is not other thing of the engagement of Aîchêr gave its v?e for l?berté and the?ndépendance of its country. Indeed. Poetry is not always also not involved. There are poets who contain themselves in themselves, do not leave themselves, are caught themselves for their subject. Fact is needed a large différence enters the poémy italisch  of Dante and that of Evin Çiçek. It is truth what large the souc? of Dante ıs  the quest?i n of na?ssance of language?tal?enne: On the other hand Evin Çiçek explıcation  its responsabılity  poetic in the following way.

“Çima dinivisînim?

Çima dixwezim pênivis Li min dûr nekev E?

VOR tilliyên min of veger E

Çerm Li hemêzkirinê biqefil E

Gora xwastina min bê çalekî bimîn E

Hewceîya min Bi nivisandine heye

Dema yê gilded meran, meran fêmnekin

Bê naskirî, Bi kêm zanîn

Rabin, rûnin?îroveyên xelet bik in

Ya rind ew E

Meri tenebûne Re bibe rêheval

Rûpelên sîs Re deng ke

Xwastinên xwe Bi tîpên Re? owe hev of rêz ke

Xibirdank tê ziman

Gotin û xwastinan qebul dike

Dema ney bîstîn!

Çima meri zimanê xwe biqefilîn E

Çima ber pidiyan da bigerîn E

Çima VOR ava shooting? da vegerîn E ”

It is almost ident?que expér?ence of what Andre Chenier exclaimed, full with a virtuous rage, with quite sad time:

"If it is written with the skies that never a sword

Will not étincellera in my hands,

In ink and the bitterness another soaked weapon

Can encor serve the human ones.

To die without emptying my quiver!

Without boring, pressing, kneading in their mud,

These torturers daubers of laws,

These shameless tyrants of controlled France,

Cut the throat of!... ô my dear treasure,

O my feather! gall, bile, horror, gods of my life,

By you only I breathe encor.... »

(12)André Chénier, Iambes, III)

These worms of Andre Chénier offered to us well striking definition of the kind, and by the interlacing of unequal measurements, a liveliness carried and furious, they appeared to us to reproduce something fortunately ïambes of Evin Çiçek:

“Şirnex! 

Bajarekî biçûk

Bajar rûni?tiye ser kendalekî

Pi?ta xwe daye daristanan

Gundan, gilded bajêr dixemland

Îro Li dorê gund û gundî jî neman

Pa? sêrî of çîyayê sêv 4th

Li hêla xwarê û çepê dewlemendiya neft 4th

Bin lingan of de?ta Cizîr 4th

Destê çepê Qilab û çiyayê Cudî

Hember ve Gabar û gundên bê xwedî

Rojek havînê ye »

With the poém  of Evin Çiçek melts. Résistance is a poésie like that of

Paul Eluard qu? rédigé poems at the time of the résistance against the German occupation. Under the occupation it lives in Paris, where it publishes collections of poetry to restricted pulling. Towards 1942 it will begin its clandestine activity and will approach the Communist Party and the national committee of the writers of occupied zones will organize.

« On my book of schoolboy
On my desk and trees
On sand on snow
I write your name. »

Paul Eluard has redıng  only the name of "liberty". Its works start to appear in 1943 pennies various pseudonym (e.g. Jean Top) in clandestine reviews. Very quickly it will have to hide and "will exile itself" in Lozere then in Paris until A release of the capital. But Evin Çiçek réd?gé its open in l?bérées zones of Kurdish Rés?stance has Zele. France is only occupied by German, but Kurd?stan is d?v?sé initially by France and England in 1916, bad  colonısé by Turkey. Iran.Iraq and Syria. This is why the poetry of Evin Çiçek is a poésie rés?stance qu? obl?gent the Kurdish scientists and écr?va?ns to defend liberty and theindépendance of Kurdistan without condition. I do not want wrıng the cynisme my comrade Louis Aragon, to which I has? Wrıtıng  on February 17, 1980 and I read? has? envoy my poems for the publ?cat?on in so much that member of PCF until A this days, Ma?s Louıs Aragon does not have answered. On the?ntervent?on of the sıégé PCT Prague the group has of Kurdish language qu? effectua?t of let us publ?cat?ons in language Kurdish with the se?n of PCF was? nterdit contrairement with statute of PCF. But we founded the Kurdish sect?on of Free Rad?o K which defended the Kurdish cause and followed polıtıcal of solıdarıty ınternatıonl and after the Death of Louıs Aragon has fa?ct  émıssıons about it.

Our poetry with Evin Çiçek takes one dimension not only nationale, bad internationale my obliged  of fact  of does references have of two large Kurdish poets APO OSMAN SABR? and C?GERXWUN what I has? known personally at the time of the opening of the Kurdish?nst?tut of Par?s with Y?lmaz Güney.

Initially APO OSMAN SABR?., poet. Kurdish Rés?stant qu? was stopped and empr?sonné d?x has hu?t fo?s and qu? jama?s does not have given up the rés?stance and qu? écr?va?t in 1965

"Iro gelê min rabûye (..) J? bona doza nichtimani çûne bin sehpa ".

Devoted its v?e has the fight for liberty  and the?ndépendance of Kurd?stan Osman Sabri cro?t deeply has the cause of the Kurdish people at the time of traity of the autonomie the 12 03 1970 l term?na?t its poés?e.

Bıji Jibo serbılınd  her tubiji  serdarê kurdan

Bjji  serbılind gewreyê kurd  û Kurdistan ".

It seems to to me that?l devoted the poem "Serdarê Bılınd" with the General Molla M?stefa Barzanî:

"Serdarê bılınd. freezing tê gîhand warê azadî

Têko,şina tê ir o da wan rûmet û sad?

Neh salan d?gel dijmenê bê bext û stemkar

şer bû, bê eman agir di ezmen  hat xar

Gundên me Li  ser jav û zeç of h?ld?n we?and?n

Bombeyên napalm rel û devî tev ev tand?n. (130

From our century in the world no poet is not near with the Kurdish people that Osman Sabri in its engagement S? sol?de, S? cla?re. We find them caractér?st?ques part?cul?ers auss? at Cigerxw?n:

"Gula baxe bihişta rojhılatım

Di tarixa evê rojım hilatim

Jı ber  sınga demê pijkîme îro

Di  tarixê şıreh hatım.Feratım

Hemî jînim. Dıxazım xwe vejinim "(Kime ez 1973)

The large Cigerxwin poet poses its let us questions basically historıcals

Ta  kingî kole bin EM

Pî Di bend û mı  to nîr

Tim Lı benda koledaran. »

It goes to the lo?n:

Ta kengî emê kolê û Rswa û ebîd bin

i?ndestê mirovên wek? Bayar û Seid bin "(14)

In réalıty  the Kurdish poéms  is in a polıtıcal  space of populary  qu fights? Revendıcatıon for liberty and the ındépendance of Kurd?stan of which in the région of Koçgiri or the?ndépendant State is proclaimed in March 1921. Evin Çiçek is was  historian. It is the author of the Movement of Libératıon  of the  Koçgiri published by APEC in Stockholm into 1999 which will be the object of another study.

 

Dr. Ali KILIÇ

 

Paris 25.122004

 

BIBLIOGRAPHY

1. Lamartine, Mediations poetic, A a flower dried in an album, pp; 149, 150, Paris Hatchet, 1916

2.  Poetry of C.VCatulle, Paris ED.Garnier 1860, p.4

3 .Hölderlin: Poems, (Dedichte), Translated by Genevieve Bianquis, Sapwood, Paris 1943, p.69).

4 Pablo Neruda.General song, Gallimard, 1977, pp; 72-73)

5 Lamart?ne. Open Poétiques, Paris Hachette, 1916, pp; 159 160)

6 Pindare, Complete Works, Paris, 2004, p.64)

7 Fırdousıe. Schahname.Satire counters Mahmoud Ghaznavide

Traduct?on of Jules Moles

(8) Evin Çiçek HAVE, I, p.7).

(9)Léo Shoedsing. « From which does this wound come?

(10) Open of Horace, Translation of Jules Janin, 1878, p.229)

(11) Dante, Divine Comédie, p.26, Paris, The Difference, 2003)

(12)Andre Chénier, Iambes, III)

(13) My Memories with Apo Osman Sabri

By Jawad Mella. Lomdon. 2001 pp.64, 63,62

(14). Cigerxwin. Kime ez

(15). Evin Çiçek, Koçgiri Ulusal Kurtulu? Harekati Stockholm, 1999.

 

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