Contradictory Binaries in the Sufi Poetry of Jiziri
Dualiyên Dijberî di Helbeste Sufi ye Cizirî de
Prepared by the researche : Dr. Safia Zivingi (Prof.h.c) – College of Applied Interdisciplinary LTD– London- UK
Democratic Arabic Center
International Journal of Kurdish Studies : Tenth Issue – July 2025
A Periodical International Journal published by the “Democratic Arab Center” Germany – Berlin
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Abstract
Jiziri’s diwan is a masterpiece of classical Kurdish literature. It showcases the Poet Jiziri’s genius through the creation of stunning imagery and scenes, demonstrating an astonishing harmony between form and content. The structure of his poems is characterized by an integrated and harmonious design of artistic images, consistent with his ideas and emotions. This analysis of Jiziri’s Sufi poetry reveals a central theme of paradoxical juxtapositions, particularly the duality of suffering and joy within the context of love. The poem explores the contradictory nature of the beloved, simultaneously possessing captivating beauty and cruel indifference. This duality is manifested both spiritually (inner turmoil alongside yearning for divine connection) and physically (descriptions of intense physical pain alongside a longing for union). The study employs a close reading method, interpreting Jiziri’s descriptions of physical and emotional pain within a Sufi framework, identifying symbolic meanings beyond the literal. The key finding highlights the deliberate use of contradictory imagery to express the complex emotional and spiritual landscape of the Sufi mystical experience. The article’s significance lies in its contribution to understanding the use of literary devices to convey the profound complexities of Sufi mysticism. This article analyzes contradictory binaries in the Sufi poetry of al-Jazari, exploring the interplay of opposing concepts. Key thematic pairs examined include: beginning and end, life and annihilation, manifestation and concealment, exoteric and esoteric knowledge, unity and separation, and connection and disconnection. Furthermore, the study delves into aesthetic qualities within al-Jazari’s work, specifically contrasting beauty and majesty, and exploring the significance of both harsh and soft beauty in the depiction of the beloved, alongside the symbolic representation of sacred elements within these aesthetic descriptions. Finally, the article considers the presence of contradictory moral attributes in the poetry. The study reveals that the contradictory nature of the beloved, which reflects the inner turmoil and suffering inherent in the pursuit of love, is not merely an expression of romantic longing but rather a symbolic representation of the seeker’s journey toward spiritual enlightenment.
- Kurtehî:
Dîwana Melayê Cizîrî wekî şahesereke edebiyata kurdî ya klasîk tê dîtin, ji ber ku jêhatîbûna helbestvan bi wênesaziya wî ya afirîner, ku bi ahengek ecêb di navbera form û naverokê de diyar dibe. Struktura helbestên Melayê Cizîrî bi sêwirana yekgirtî û lihevhatî ya wêneyên hunerî, li gorî raman û hestên wî, diyar dibe. Ev vekolîna helbesta tesewufî ya Melayê Cizîrî di berhevoka wî de mijara dualîzmê, bi taybetî dualîteya êş û şahiyê di çarçoveya evînê de eşkere dike. Helbest cewherê nakokî yê evîndar vedikole, ku bedewiya dîlgirtî bi xemsariya hovane re dike yek. Ev dualîtî ji hêla giyanî ve (tevliheviya hundurîn ku bi hesreta girêdana xwedayî re pê re ye) û ji hêla laşî ve (danasîna êşa laşî ya giran li gel hesreta yekîtiyê) diyar dibe. Lêkolîn xwe dispêre metodolojiya xwendina bi baldarî ku şiroveyên Melayê Cizîrî yên der barê êşa laşî û hestyarî de di çarçoveyeke sûfî de şîrove dike û wateyên sembolîk ên ku ji wateya wêjeyî wêdetir nas dike. Lêkolîn ronî dike ku di vê helbestê de bikaranîna bi qestî îmajên dijberî hev ji bo derbirîna perestgeha hestyarî û giyanî ya tevlihev a serpêhatiya sufiyan. Girîngiya vê lêkolînê di tevkariya wê de ye ji bo têgihîştina bikaranîna teknîkên edebî ji bo eşkerekirina tevliheviyên kûr ên mîstîsîzma sûfî. Ew dualîteyên nakok ên di helbesta Sufî ya Melayê Cizîrî de analîz dike, têkiliya di navbera têgehên dijber de vedikole. Di lêkolînê de dualîteyên nakok ên destpêk û dawiyê, jiyan û mirin, xuyabûn û windabûn, zanîna xuya û veşartî, yekîtî û veqetîn, girêdan û veqetandin, tê vegotin. Ew her weha li taybetmendiyên estetîk ên di berhemên Cizîrî de, bi taybetî berovajîkirina bedewî û heybetê, vedikole û girîngiya bedewiya hişk û nerm di teswîra delalê de, ligel temsîla sembolîk a hêmanên pîroz di van wesfên estetîk de vedikole. Di dawiyê de, gotar behsa hebûna xisletên exlaqî yên nakok di helbestê de dik. Lêkolîn eşkere dike ku xwezaya nakok a evîndar, ku alozî û êşa hundirîn a di lêgerîna evînê de nîşan dide, ne tenê îfadeyek hesreta romantîk e, lê belê temsîlek sembolîk a rêwîtiya lêgerîner ber bi ronakbîriya giyanî ve ye.
- Introduction:
Jiziri’s diwan is a masterpiece of classical Kurdish literature. It showcases the Poet Jiziri’s genius through the creation of stunning imagery and scenes, demonstrating an astonishing harmony between form and content. The structure of his poems is characterized by an integrated and harmonious design of artistic images, consistent with his ideas and emotions.
This study is based on the explanations of the book: Al-‘Aqad al-Jawhari fi Sharh Diwan Jiziri (The Jewel Necklace in the Explanation of Jiziri’s Diwan”), which Mela Ahmad Zivingi undertook significant efforts to clarify the challenging aspects of Jiziri’s work, both linguistically and conceptually.
Several difficulties arose during this study. The inherent ambiguity of poetic language presents a challenge, requiring careful consideration of multiple interpretations and the nuanced meanings within the Sufi tradition. Accessing and authenticating Jiziri’s complete works have posed logistical hurdles. Furthermore, establishing a clear connection between the symbolic usage and its grounding in Sufi doctrine requires a deep understanding of both poetic and religious contexts. The potential for multiple, valid interpretations of the symbolism adds to the complexity of the research.
The researchers have demonstrated that mystical experience and Qur’anic interpretation are inseparable at first, and the language of mystical experience merely uses Qur’anic words, but gradually, mystical experience becomes independent and adopts the Qur’anic language/language of religion and acquires its very own language. One of the lexical features of the language of Qur’an/religion is the use of binary opposition. Binary oppositions such as Paradise/Hell, Good/Evil, this world/the Hereafter, among the basic religious and Quranic teachings and are used with high frequency in Sufi texts. [1]
This article analyzes contradictory binaries in the Sufi poetry of al-Jazari, exploring the interplay of opposing concepts. Key thematic pairs examined include: beginning and end, life and annihilation, manifestation and concealment, exoteric and esoteric knowledge, unity and separation, and connection and disconnection. Furthermore, the study delves into aesthetic qualities within al-Jazari’s work, specifically contrasting beauty and majesty and exploring the significance of both harsh and soft beauty in the depiction of the beloved, alongside the symbolic representation of sacred elements within these aesthetic descriptions. Finally, the article considers the presence of contradictory moral attributes in the poetry.
Some Sufis worshipped God because He unites opposites, based on the Quranic verse (He is the First and the Last, the Manifest and the Hidden). Among the attributes of the divine essence are those indicating both beginning and end. The beginning, or the First, or the Prior, signifies eternal care, while the end signifies knowledge. There is the ancient, that which preceded existence, and which is permanent. It is important to note the distinction between eternity and immortality: eternity is a life with a beginning and an end, while immortality is a divine attribute.[2]
Jiziri describes the beauty of the beloved as eternally ancient, possessing neither beginning nor end.
Ḥusn û cemala canan na dȇritin tu payan
Herçȋ nebit bidayet Eṡla ne hin nihayet[3]
It is noteworthy that Jiziri employed vocabulary and synonyms denoting the “end” more frequently than those indicating the “beginning.”
Among the attributes of the divine essence are those indicating existence, which refers to the inherent existence of God. All existent things originate from God’s word (“Be, and it is”).
Eşkel û xeţȇn da ‘ireya nuqţeyȇ ‘ilm in
Av neqş û miŝalȇn di xeyalatȇ ‘edem da[4]
Jiziri viewed the patterns and examples found in the imaginings of nothingness as the cosmic entities of the upper and lower worlds, forms and lines emanating from the point of God’s ancient knowledge from eternity.
Me ji le‘le lebȇ yarȇ xwer vexwar ava ḥeyat
Aẍyari bila tȇki biҫin darȋnȇ [5]
For Jiziri, life was confined to the existence, love, and vision of the beloved. He believed that access to eternal life is achieved through true divine love, leading to ascension to the pure, luminous spiritual world. In contrast, worldly, animalistic, metaphorical love is destined for annihilation.
Advocating for pure love of God to achieve eternal spiritual life, he condemned the well of water reached by Prophet Khidr (peace be upon him), representing ephemeral, material worldly life.
Ez giham ava ḥeyatê xef ji dil
Xuḍri vajî çûey ḥeywanê ẍeleţ [6]
He attributed the secret of continued existence to the vision of the beloved and burning in the flame of His love.
Min tu ye meqṡûd ji jȋnȇ min ji ber mewca evȋnȇ
Ṡed dikem dȋdar û dȋnȇ meżher e bes zȇde ye [7]
Through union, life and permanence arise, joy and happiness radiate after sorrow and worries.
Weṡla te li can û dil ḥeyat e
Men ẓaqe merarete n- newa ṭaḥ [8]
To achieve this life filled with connection and permanence, he contemplated miracles that could heal the wounds and pains of lovers, enabling their return to life. He awaited the miraculous white hand of Moses (peace be upon him), hoped for the miracle of Christ in raising the dead, and the miracle of Ibn Sina’s medical skill.
Connected to life is the soul, which for Sufis signifies the light with which God gave life to creation. The soul is an inherently complete and living essence, a subtle being existing within the dense.
Related to worldly life, which Sufis rejected, preferring asceticism, as they considered it a barrier between the servant and his Lord, Jiziri viewed the cosmos, time, and the world as harsh and unjust. He compared the harshness of the cosmos, with its successive calamities and misfortunes, to a deceitful, treacherous, and fickle human being oscillating between joy and sorrow. He portrays its treachery as a snare that ensnares people, leading them to perdition in its misery and pain. He likened the ruthlessness of time, which ravages humanity, to deadly weapons—spears and arrows that tear and shatter the body—and to the claws of predatory birds that devour and attack the soul.
Ṡed baziyan ev ḥuqqebaz Tȋnit bi ḥȋle kari saz
Geh geh ko naz e û geh niyaz Seḥḥar û pir mekkarȇ ҫerx [9]
Annihilation contrasts with life and existence. If union brings forth life and permanence, separation and absence cause annihilation. If permanence is presence with the truth, annihilation is absence from things and disappearance. Annihilation also symbolizes the annihilation of ignorance and the permanence of knowledge, the annihilation of sin and the permanence of obedience: to perish from what belongs to oneself and remain with what belongs to God. The perishable does not become permanent until union occurs, and the permanent does not become perishable until proximity happens. Annihilation is said to be fading, and permanence is presence with the truth.
Annihilation is the lack of self-awareness, seeing only God. After this comes permanence, through the annihilation of reprehensible qualities and the permanence of virtuous ones. Annihilation from creation, or the state of oblivion they imagine to be in the truth, is called “annihilation in God,” the feeling of the ecstatic with divinity. This was the annihilation of Moses when his Lord manifested Himself on the mountain. There is also annihilation, meaning the effacement of the servant in the glory of the Lord, until he and God become one, known among philosophers as “union.”
Death, for Sufis, symbolizes the suppression of the ego and the extinguishing of the instinctual fire that causes life in this world. Death also represents the transition from darkness to light.
Mela Jiziri refers to the station of annihilation he reached, as did Mansur al-Hallaj (who transgressed by saying, “I am the Truth”), with the whole world becoming annihilated. But Mela concludes by saying in Arabic (Don’t annihilate yourselves, for I am a humble servant), meaning less significant than any servant.
Gerҫi di ҫehvȇn (Ena) ‘alem (Mela) kir fena
( Dûne fena babikum innhu ‘ebdun eqel ) [10]
The traveler does not reach the station of vision and permanence before progressing through the stages of inner annihilation.
Salik kȋ ye hatȋ ji mecazȇ bi Ḥeqȋqet
Ṡuret ne Şinasȋ yû bi me’na ne fena girt [11]
For Jiziri, annihilation is more merciful than separation from the beloved, and union with the beloved is life and soul.
Derdȇ ẍedar bȇm firqet e Firqet ji can pir zeḥmet e
Ya sehl ko ‘aşiq riḥ dite Feryad ji destȇ firqet e [12]
Jiziri believed that the desired goal of permanence can be achieved by following the path of love and drinking the wine of true love. The traveler who perishes in the station of annihilation does so because of his weakness and inability. He who reached permanence is like a moth that burned in the fire of love without screaming or crying for help, while the annihilated one is like a nightingale that moans all night and cannot bear it.
Ềk ji wan perwane bû ṡoht û fiẍanek jê nehat
Ềk ji wan teşbîhê goyînê bi ah û nale bû [13]
He believed that to reach permanence, the self (the veil) must be abandoned for union and connection to occur, so that the permanent beloved is realized and the perishable lover fades and disappears.
3- Manifestation and Concealment (Revelation and Veiling):
Manifestation (tajalli) is the revelation of truth and realities. These realities exist, but the soul and heart are often incapable of comprehending them. Manifestation is the unveiling of hidden lights to the heart, involving the emulation of the righteous in words, deeds, and divine attributes. Jiziri suggests that when divine power lifted the veil and revealed the beauty of the beloved, it simultaneously unveiled all of existence, manifesting hidden secrets. It is noteworthy that the vocabulary of manifestation and concealment is predominantly Arabic.
Destȇ qudret ko hilavȇt ji bejna te niqab
Bi cemala ceberûtȋ me neman perde û ḥicab [14]
Concealment (hijab or khafa): In contrast to manifestation and revelation, concealment, veiling, and screening hold particular significance for Sufis. The veil represents the heart and soul’s inability to accept the manifestation of truth. There is also the veil pertaining to the human physical form, situated between the worlds of the unseen and the seen. Absence refers to the heart’s detachment from worldly affairs.
Jiziri states that the veil concealing his love, through a dense screen of secrecy, was consumed by the intensity of his passion. There is no point in concealing a love that has been consumed by the fire of passion and scorched by grief and rejection, for his soul and heart were torn apart by the manifestation of the beloved, making it impossible to hide this love.
Xal û xetê şox qametê me ji vê kitib û destxetê
Her dem ji new dil feyḍ e ew ev ‘işq û sewda mewhebe
Min bêqedar ev sir veşar ‘işqa ẍedar ṡohtî sitar
Mihra butan xal û xetan ṡendûqexan û meqleb e [15]
Associated with concealment is the secret (sir), which signifies the hidden realm between non-existence and existence, and the concealment of the state of love. The secret is the secret of knowledge and truth, a subtle light from God deposited in the heart. Secrets unveil and clarify the obscure. Among Sufis, concealing the secret represents patience.
Herdema dilber diyar bit Can û dil tȇk tar û mar bit
Dȇ ҫi reng muḥbet sitar bit Xefkirin bȇ feyde ye[16]
4- Exoteric and Esoteric Knowledge (Apparent and Hidden Knowledge):
The knowledge of Sharia calls for both exoteric and esoteric actions. Exoteric actions include outward observances (prayer, fasting, charity, pilgrimage, and jihad). Esoteric actions comprise the faith of the heart, encompassing spiritual states and experiences such as certainty, belief, gratitude, loyalty, fear, and hope, among others. These classifications and definitions vary according to spiritual rank. While Sufi schools may differ in their approaches and methods, most agree that exoteric knowledge is intellectual and transmitted, employing reason as its tool, while esoteric knowledge is spiritual and inspirational, using the soul as its instrument, conditioned by asceticism and detachment from desires and pleasures.
The source of knowledge lies in pure souls and cleansed hearts, guided by divine grace from the world of the manifest and dense to the world of the hidden and subtle. Knowledge is the purity of the soul and heart, its detachment from desires. The soul is the source of knowledge and the overflowing fountain of love. There is a close relationship between knowledge and love, but the question of which precedes the other remains a point of difference.
Knowledge is achieved through annihilation (fana). After traversing spiritual states and experiences, the Sufi attains the revelation of truth, becoming a gnostic. He arrives at an awareness of his own reality as a lover of the divine essence, feeling a unity with the beloved.
Jiziri alluded to some of his thoughts and philosophies regarding exoteric and esoteric knowledge. He saw that lovers who cling to outward appearances through adherence to external practices are unable to penetrate the inner truth, which must be obtained from the wine-seller (i.e., the experienced guide) to reach the stage of annihilation and then permanence.
Hin ji nik dêrê ve tên qesta keniştê hin dikin
Ney ji van im ney ji wan im min derê xemmari bes [17]
Jiziri depicted the state of those who do not distinguish between the apparent and the hidden, like bubbles on water, or those who are self-satisfied with their attainment of diligence and legislation through their focus on exoteric knowledge. He considered this self-conceit a sign of ignorance and shallowness, similar to those who focus on esoteric knowledge, pretending to be among the close intimates of God without understanding the etiquette of conduct. Both wander aimlessly, chasing mirages.
Bi ḥebabȇ mebe meẍrûr wiha sergeşte Mela
Ba vi ber keftiye wȇ beyhude sergeşte ḥebab [18]
He believed that true asceticism and genuine worship require purity of both the outward and inward, abandoning falsehood and following the path of love. Outward appearances cannot deceive or conceal a bad inner nature, however adorned. This refers to both exoteric and esoteric knowledge.
Zȇr û Zȇwer dikrin celbi qulûban ḥaşa
Ḥusn û sor ẓatȋ ne bit qameta meyyadi ҫi kit [19]
There is no benefit in clinging to outward appearances of beauty—beauty of stature, mole, or temples—without understanding true inner beauty. This is like worshipping idols without understanding their hidden mysteries, relying on narration and transmission rather than direct knowledge and understanding of the true inner meaning.
Ḥusn û sur ẓati ne bit ceẓbe li dil dit meḥbûb
Me ji zulf û xeţ û xal û qedȇ meyyali ҫi ḥeż
‘Imȇ ‘işqa but û latan bi riwayet na bitin
Qedrek ḥal ko ne bit şubhetȇ her qali ҫi ḥeż [20]
However, he believed that the presence or absence of faith is the same in terms of truth and inner reality, even if they differ outwardly. Both take the beloved’s eyebrows as a place of worship and prayer. This awe of God’s creation causes both to prostrate, regardless of the reality of inner matters.
Herdu birhȇn te ne miḥrabi ҫi ȋman û ҫi kufr
Bûd û nabûd ko yekin ev ҫi ŝewab û ҫi ‘iqab[21]
Unity signifies the unification of the Creator and the created, witnessing that God, the Almighty, encompasses all things and beings. It is the essence of annihilation in God, achieved through union with and proximity to God, manifested in various forms such as obedience, contemplation, love, and passionate devotion.
Separation, conversely, is the differentiation between the Creator and the created. It involves a closer connection to creation than to the Creator, and a prioritization of the worldly over the hereafter.
In Jiziri’s poetic imagery, manifestations of unity are evident in the recurring scenes of lovers meeting in gatherings of companionship and intimacy, symbolizing the gatherings of remembrance for the people of truth. Further manifestations of unity appear through images of soaring and singing birds.
Scenes of separation and isolation in Jiziri’s poetry are highlighted through the lover’s prolonged suffering from the beloved’s absence, coldness, and abandonment. Solitude—in contrast to gatherings of companionship—represents a form of isolation, symbolizing private communion with the divine without the presence of others. Separation is also depicted through scenes of beating, killing, and slaughter, which tear the soul and rend the heart due to burning love. Separation is further manifested in his depiction of spears and arrows launched from the beloved’s eyelashes and eyebrows, striking and tearing the heart asunder. Jiziri considered these agonizing manifestations as prerequisites for traversing the paths of those seeking love and union. Separation and fragmentation are also portrayed through various images, such as dewdrops scattered across the beloved’s face, the flowing and scattering of the beloved’s hair, the dispersal of strands of her hair, increasing the lover’s disarray, and scattered golden and metallic ornaments on her face. These and other images reflect the state of fragmentation and disarray experienced by the lover.
Kifş mecum‘ û perȋşaniyȇ ḥalȇ me di dil
Ji serȇ zulfa perȋşan û ji biska te ye şeng [22]
Unity and separation may appear intertwined in some of Jiziri’s imagery. Unity is depicted through scenes of intertwined strands of the beloved’s hair, resembling the entanglement of swords and spears on battlefields, appearing like interlocked fingers. However, this entangled scene tears his body and shatters his innards. Similarly, he depicts a scene combining entanglement and tearing, portraying the beloved’s hair flying and vying for space on either side of her face, like a war between Arab armies in a battle. He likens the entanglement of her hair to swords and arrows clashing and colliding, depicting its entanglement like the interlocking of a hand and its grip.
Şȋr û riman vȇki ran pence birin tȇki ran
Lew me dikin jȇki ran qȋme dikin dil digel[23]
Through these contrasting images, Jiziri suggests that the scattering of the strands, locks, and metallic ornaments around the beloved’s head, juxtaposed against the steadfastness of his heart, hard as iron, may outwardly suggest a scattering of his thoughts and a multiplicity of external appearances, but this does not reflect the reality of his unified inner self. That is, the apparent scattering of thoughts due to attachment to physical attributes and material things does not correspond to the reality of his inner self, which is unified with and centered on the beloved.
Hon ne bȇn meşşaţeyȇ xef daniya
Hemqeran kir xal û nȋşanȇ ẍeleţ[24]
He argues that the arrangement of this exquisite world did not occur by chance, but rather emerged from an extraordinary, creative, and wise intellect.
6- Connection and Disconnection:
Related to unity and separation are connection and disconnection. Connection means severing dealings with creation and opening dealings with the truth. Connection is such that the servant witnesses only his Creator, and his essence is separated from all but God. His essence sees nothing but Him, and hears only from Him. Approximation is achieved when the sincere seeker enters solitude with conditions and persistence.
Jiziri believes that spiritual union is the origin and foundation, and physical, bodily connection is built upon it.
Neko Peyweste bi yek bin ji surȇ ‘işqȇ du rûḥ
Dȇ bi eşbaḥi bibin waṡil û Peyweste bi yek[25]
Union, for the Sufis, is a station of unity. Jiziri constantly hoped for and aspired to union, to be consumed by the beloved’s light and fire.
Gelo dȋsa bibȇnim ez Ҫiraya weṡletȇ hil bit
Bi ṡojim şubhȇ perwanȇ Di ber wȇ nûr û şewqȇ da[26]
He considered the meeting and union with the beloved as the means to attain permanence, which is the highest of the stations.
Da weqtȇ liqayȇ bi te ḥey bin di beqayȇ
Min neqdȇ dil û can di fenayȇ bi selem da [27]
In the poet’s view, seeing the beloved signifies permanence, life, joy, and health, while separation, coldness, and abandonment signify annihilation, illness, and sorrow. He portrays manifestation and union with light and radiance, while coldness and separation are depicted with darkness.
Firaqȇ şev bi axir çû Spȇde kifşi bû dȋsa
Merȋxa neḥsȇ ava bû Xwiya bû roj di şerqȇ da [28]
7- Contradictory binaries in aesthetic qualities:
Through in-depth readings, the researchers found that Sufi thought tends to be symbolic and unconventional. They exist in a sort of semantic intensity that is organized by open spiritual experience, which by nature is in alignment with various symbolic objects and their various manifestations by a strong spiritual sense, equipped with imagination and intuition that emanates from the depths of their being.[29]
There are numerous sign systems used in the Sufi language that, in terms of functionality, go beyond those used in conventional language. The symbols have the following qualities in the intuitive dimension: First, mystical knowledge produces symbols (Gnosticism). The foundation of sufi symbols is the integration of mental, emotional, and spiritual intelligence. Second, the symbolism that Sufis understand is very extensive. The Sufi is endowed with the power to reveal different secrets and inner truths when he reaches the state of mukafah and muhadah. He is capable of understanding sign language’s symbolic expressions. Third, symbols offer a wide range of possible interpretations. Symbolism is based on an approach to interpretation that, by accurately reproducing meaning, broadens thought. This talent shows how the Sufi’s spiritual level evolved from the sensory level to the level of infinite totality.[30]
The Sufi philosophy embodies principles of love, compassion, and spiritual enlightenment, potent antidotes to the rhetoric of hatred and violence propagated by extremist groups. Sufi teachings emphasize the interconnectedness of humanity, fostering a culture of tolerance, understanding, and mutual respect.[31]
7-1- Beauty and Majesty in Sufism and Jiziri’s Poetry:
The aesthetic phenomenon occupied a significant space in the interest of the Sufis, based on the saying of the Prophet (peace be upon him): “God is beautiful and loves beauty.” God is beautiful because He created everything beautiful. Beauty became a strong foundation adopted by the Sufis in their poetic descriptions.
The aesthetic experience lived by the Sufi does not deal with outward beauty in its actual, literal form, borrowed from divine beauty. Rather, the Sufis seek the inner essence, not relying much on the outward appearance; for it does not lead to true knowledge, nor to poetic expression that satisfies their imagination and expands the meanings of their words, opening the way for different interpretations and readings.
There are two types of beauty among the Sufis: absolute beauty, belonging to God alone, is His majesty; this beauty is constant. Limited beauty encompasses everything besides God: intellect, soul, celestial sphere, nature, minerals, animals, plants, body, and planets. This beauty is contingent, changeable, and variable; it is an attribute of the world, and is embodied in human perfection manifested in this world through the beauty of skillful and wise craftsmanship. The ideal image of perfection, which is the origin and hidden secret of existence, is what humanity seeks on its long path of knowledge and the pursuit of truth.
Beauty and art in Sufism and Islam in general are characterized by centrality and unity. God, for the Sufis, is the center of the universe, representing absolute beauty and absolute majesty, from which the beauty of the particulars in the universe branches out.
Aesthetic inquiry demonstrates majesty and beauty in divine perfection, and the manifestation of beauty emanating from it, through what is beloved and majestic in divine perfection. That is, either God’s beauty is a reflection of the world’s beauty, or vice versa, the world’s beauty is a reflection of God’s beauty.
True beauty, for the Sufis, is an eternal attribute of God Almighty, and an expression of His supreme attributes and beautiful names in general, and of the attributes of mercy, knowledge, kindness, blessings, generosity, and others. Beauty, for the Sufis, is also the manifestation of hearts with lights, kindnesses, and joy. Any beauty whose appearance intensifies is called majesty. Majesty is the concealment of the divine truth from us by His majesty, and our failure to know Him in His reality and identity as He knows Himself. The majesty of God Almighty is His essence as it appears in His names and attributes as they are, in general terms. As for the details, majesty consists of the attributes of greatness, pride, glory, and praise. Majesty is the attributes of power from the divine presence, in which existence resides.
Jiziri elaborated on the description of the beloved’s beauty in most of his poetry, employing his five senses to perceive the aspects of beauty and majesty. His poems are full of diverse sensory images imbued with suggestive connotations related to symbolism. He shared with Sufi poets a diverse repertoire of material expressions to describe beauty: moles, tresses and hair, the nightingale enamored with the rose, and the butterfly consumed by love. But Jiziri presented them according to his own vision.
Although Jiziri adopted the Sufi poetic tradition of elaborating on external physical beauty and perceptible manifestations of adornment, the beauty he intended was the eternal, divine spiritual beauty.
Ḥusn û sur ẓati ne bit ceẓbe li dil dit meḥbûb
Me ji zulf û xeţ û xal û qedȇ meyyali ҫi ḥeż
‘Imȇ ‘işqa but û latan bi riwayet na bitin
Qedrek ḥal ko ne bit şubhetȇ her qali ҫi ḥeż [32]
Jiziri believed that there is no benefit in attachment to outward manifestations of beauty, such as the beauty of stature, mole, and temples, if one does not understand true spiritual beauty. It is like someone who is led to the worship of idols and does not understand their mysterious secrets through narration and transmission, not through knowledge and understanding of the true inner meaning.
Ḥusn û sur ẓati ne bit ceẓbe li dil dit meḥbûb
Me ji zulf û xeţ û xal û qedȇ meyyali ҫi ḥeż
‘Imȇ ‘işqa but û latan bi riwayet na bitin
Qedrek ḥal ko ne bit şubhetȇ her qali ҫi ḥeż [33]
7-2- Physical aesthetics in Jiziriri’s poetry:
Sufism views the sensation of beauty as intrinsically linked to happiness, with happiness signifying pleasure, the antithesis of pain. Descriptions of the human body, its organs, senses, and desires hold special significance for Sufis. Humans, in this view, possess a dual nature: an outward manifestation mirroring the physical world, and an inward essence mirroring the divine presence. The Sufi conception of human composition comprises three elements: the spirit (ruh), the soul (nafs), and the body (jism). Each possesses a defining characteristic: reason (aql) for the spirit, desire (hawa) for the soul, and sensation (ḥiss) for the body.
Jiziri expands upon this sensory and material description, distributing beauty across various external body parts. Each body part symbolizes a specific Sufi concept. The body as a whole represents every spirit manifested in a luminous or fiery form. The chest is the entry point for anxieties and afflictions, the source of malice and desires, yet also symbolizes knowledge. The heart, a pure luminous essence, mediates between the spirit and the articulate soul. Because God resides within the heart, it represents the “House of God,” the red ruby in which the divine presence is manifested. The tongue articulates the knowledge of truths; the utterance itself represents divine revelation to receptive ears, whether through direct divine communication or through a prophet, saint, or friend. The mouth symbolizes the inner aspect of speech and the essence of life; the lips represent the dervish’s heart. The hands represent opposing divine names, such as the active and passive principles; some interpret them as the divine attributes of obligation and possibility. The forearm symbolizes strength and available power.[34]
Jiziri predominantly employs external physical body parts in describing the beloved’s beauty.
7- 3- Contrasting Physical Aesthetic Qualities in Jiziri’s Poetry:
Despite some theologians and Sufis’ reluctance to embrace the concept of opposites, and its absence in certain Sufi stages of spiritual development, other Sufis believed that divine majesty unites opposing forces, such as enrichment and impoverishment, life and annihilation, mercy and severity.
Jiziri incorporates contrasting binaries in his descriptions of the beloved, possibly reflecting lingering influences of Zoroastrian beliefs within Kurdish culture. This does not refer to descriptions of beauty and ugliness, but rather to the presentation of beauty from various perspectives, incorporating harsh, gentle, or sacred attributes. Majesty, with its connotations of concealment and grandeur, necessitates elevation and dominance from the divine presence. Beauty, with its connotations of closeness and revelation, necessitates gentleness, mercy, and compassion from the divine presence.
The beloved portrayed by Jiziri embodies contradictions: appearing harsh in features and heart, yet merciful and compassionate in stature. She combines uprightness in posture with swaying movements and coquetry, and the trembling and scattering of her hair and ornaments. He describes her as having sugary lips and a pearly complexion. These outwardly contradictory physical descriptions conceal profound intellectual meanings, the secrets of which will be revealed in subsequent analysis.
The beloved’s hair is a source of intensely symbolic imagery, employing complex and intertwined artistic and intellectual forms and meanings that express the grandeur of divine beauty. Harsh features emerge in the depiction of the beloved’s locks, likened to sharp hooks piercing the liver and chest.
Rast û ҫep tȇn ceger û sȋne kulab
‘Er‘erȇn şengi dimestin ҫep û rast [35]
Her temples are portrayed as snares and traps, where the strands of her hair and the intricacies of her curls ensnare him in the trap of her love.
Dil bendȇ dava zulfekȇ Keftȋ kemenda ulfekȇ
Hal fȋ yedi l- meftûni şey? Ew keyfe eṡne‘ ya feta? [36]
He suggests that humanity is captivated by the snare of divine beauty, ensnared by the unkempt strands of her wavy hair, resembling hunting hooks.
Muşşateyȇ ḥusna ezel Ҫengal zulfan tabi da
Da ‘işqi hil bit pȇli pȇl Qelbȇ me bȇ cellabi da[37]
He consistently portrays her temples as deadly and merciless, affecting lovers of all levels indiscriminately.
Zulfȇ siyahȇ bȇ wefa Qeṭ me nedȋ ji wȇ ṡefa
Kuştime ez bi ṡed cefa Ahi ji dest cefayȇ zulf [38]
Among these harsh images is the depiction of her dark, flowing temples as opposing armies of black people engaged in battle, their meeting point resembling a banner.
Zengiyan cewşen ve bestin pȇşberȇ coqa ḥebeş
Daberistin yek bi yek ҫûn ber liwayȇ rast û ҫe [39]
Several poems evoke scenes of deadly warfare, such as the depiction of the competition between elements of the beloved’s beauty.
Tûx û ‘ala ko xwiya bûn ji ‘ecem
‘Ereban Tȋpi şikestin ҫep û rast[40]
Such as:
Şebê qedrê li me rewşen ke tu rûḥî wer xweş
Me ji nû xweş ke li ser çevê şehîd bin xwe bi meş[41]
This presents a theatrical scene where the armies of the Persians and Romans (represented by the beloved’s temples, headband, and adornments) triumph over the Abyssinian-Zanj army (the mole) due to the first party’s superior numbers and ability to conceal the mole.
Ṡef bi ṡef Tirk û Muẍul doguş û Hindȋ di kemȋn
Bi ‘eceb hatine cengȇ Ḥebeş û Rom û Fireng[42]
The swaying and trembling locks of her hair are depicted as two opposing lines in a battle or a mace-playing contest between Kurds and Arabs.
Ṡef ṡef ne tinȇ gezme dibarin ji kevanan
Dil kagul û zulfan di kemendȇ bi teba girt[43]
Among the harsh features in the depiction of the beloved’s hair is the portrayal of her locks as arrows striking the heart. Her black braids are likened to a large serpent (“Ȇlan”) coiled around her upright cypress-like form.
Şetrȋ û zulf û belg û per Hemiyan li dȇm de‘wa û şer
Ȇlan li selwa bûne ger ‘Eqreb xwiyan ez her ṭeref[44]
Her temples are compared to the feathers of the mythical “huma” bird.
Pal û perên ṡifet huma Saye li cebhetê numa
Xemrî û lef çûne sema Yek bi yek ew li bayê zulf [45]
Or like a black raven poised to devour:
Fetl û taban da ẍuraban Ebleq û cohtȇ şebaban
Dame ber pence û kulaban Dil ji min bir dil ji min[46]
These harsh images extend beyond the description of her hair to other features. The intense blackness of the beloved’s eyes is likened at times to ravens, and at other times to warring Abyssinian armies.
Min dî bi xewab ew mahitab da dil kulab cohtê ẍurab
Dil şewwişand xwê lê reşand Xweş harişand têk hûri bû [47]
Her killer beauty is described as having spilled more blood than Genghis Khan’s wars. Her dominance and cruelty are compared to the harshness of Turkic rulers.
Sewaşek rȇhte dȋsa ‘alema dil
Bi cadoyȇ du ҫeşim fitne engȋz [48]
Her eyebrows and eyelashes are depicted as deadly arrows and spears aimed at his liver and heart to wound, torment, and kill him.
Pewwes du Fȇris ji ma ra daberizȋn dil
Zulfan bi ҫep û rasti li oẍilme cema girt[49]
Her eyelashes are compared to flocks of predatory birds that wound his heart, leaving it like a sieve.
Ne ko wek ţeyr mijên te bibarin peykan
Ji birînên di dilê şubhetê ẍirbali çi ḥeż [50]
Her eyes are portrayed as lions poised to devour his chest and heart, shattering his bones.
Cohtȇ esedan pence li ser sȋne nihandin
Kullabi gihandin dil û hestȋ herişandin[51]
These harsh images, deadly scenes, and brutal depictions of the beloved’s beauty reflect aspects of the lover’s harshness, and convey the poet’s inner world, visions, and adopted philosophies. The disarray and scattering of her hair indicate the poet’s turbulent and scattered thoughts; the harshness of her eyes reflects the beloved’s harshness and severity toward her lover and surroundings.
Counterpointing the harsh imagery used to describe the hair, eyes, and eyelashes—described as arrows, daggers, knives, swords, spears, hunting traps, ferocious black animals, and warring armies—are softer images depicting other aspects of the beloved’s beauty. These contrasting images utilize traditional metaphorical language common in ghazal poetry. Delicate features are highlighted through the luminosity of her crescent-shaped eyebrows, the brilliance of her face likened to scattered pearls, the softness of her skin compared to velvet and silk, the whiteness of her neck, hands, and legs, and her fragrant scent reminiscent of musk and ambergris. Her black hair cascades over her face, vying for attention with the gold and silver ornaments adorning her head and hair.
‘Er‘era qamet elif neyşekera şox û şepal
Nazik sȋmi ten û xwisr û zerrȋn kulehȇ[52]
Contrasting with the previously mentioned harsh similes for the mouth and lips, the mouth is compared to the Zamzam well, a source of pure words, life-giving water that heals and revives, and a wellspring of sweetness, contrasting with the venom of snakes and scorpions previously associated with the temples, sideburns, and lips. The red lips are likened to red ruby and fresh roses, arousing desire like wine. The teeth are described as pearls, sometimes diamonds and jewels. Numerous other material metaphors and traditional similes are employed to describe the beloved’s beauty.
Thus, Jiziri describes beauty through contrasting images, presenting two opposing scenes. The blackness of her hair, harshness of her eyelashes, and severity of her eyes are juxtaposed with the whiteness of her face, sweetness of her mouth, and beauty and softness of her hands and legs. Perhaps he intends to embody the severity of thought, harshness of vision, and turmoil of the soul, contrasted with the mercy of divine power, the gentleness of inspiration, and the grace of speech.
7-3-3- Sacred symbols in the features of the beloved’s beauty:
A divine sanctity is bestowed upon the beloved’s beauty through various techniques and imagery. Circular and curved shapes, symbolizing the divine self—without beginning or end—a timeless quality existing from eternity and enduring forever, are emphasized. Circular shapes are evident in various similes used by Jiziri. The lover is depicted as lost and dizzy in various circles and rings, from the circles of the face, compared to the sun, moon, and full moon in their roundness and divine illumination, to the circular, intertwined curls of the beloved’s hair, forming a complex snare or hunting trap from which escape is difficult. Jiziri provides a spiritual explanation for these waves and circular curls, seeing them as bowed in deep submission and obedience.
Other religious and sacred projections are present in Jiziri’s imagery. A scene depicts the intertwined black sideburns and temples wrestling with the headband adorned with various jewels and gold. This scene portrays a war between black and blond, reminiscent of the Crusades, which involved conflicts between dark-skinned Muslims and blond Crusaders, bearing a sacred religious character at the time.
Tûx û ‘ala ko xwiya bûn ji ‘ecem
‘Ereban Tȋpi şikestin ҫep û rast[53]
Among the religious connotations Jiziri employs to depict the sacredness of the beloved’s divine beauty is a scene depicting the black, circular sideburns and temples circling, dancing, and revolving around the Black Stone (Kaaba), represented by a mole or beauty spot on the beloved’s cheek.
Ṡofiyȇn her di ţewafȇ ḥeceri l- eswed e qeṡd
Gul û sunbul bi sema tȇn ḥemiyan zimzim û ҫerx [54]
The sacred features are highlighted in a verse through several religiously significant elements: the choice of the pre-dawn hour (sahr), the first appearance of divine light; the sideburns dancing in circles as if intoxicated; the prostration and bowing before the mole, representing the Kaaba; and the arched eyebrows, likened to a mihrab (prayer niche).
Xali eger bi wechekȇ bȇte qeranȇ ebrûyan
Şubhetȇ beyti meqdes û Ke’be dibin du qible ferḍ[55]
The verse thus combines several religious symbols—the pre-dawn hour, pilgrimage rites, prostration, and the prayer niche—all conveying reverence and glorification of the Creator’s greatness.
Da ji miḥraba du nûnan secde bit Eswed – ḥecer
Dil bi mȋzan mahȇ new ebrû numayȇ rast û ҫep[56]
Other scenes embody the sacredness of the beloved’s beauty by portraying the crescent-shaped eyebrows and the mole on the cheek as points of worship, similar to the Temple Mount, which was the Qibla (direction of prayer) for Muslims before the Kaaba. The eyebrows and the light of the eyes are consistently presented as a point of reverence deserving bowing and prostration in awe of the Creator’s magnificence.
Ṡenema sur ji ṡemed neyşekera leb ji nebat
(Eḥsene l-lah û tebarek) ji sura wȇ ṡenemȇ [57]
Further intensification of sacred symbols in depicting beauty is found in another poem where a scene opens with the beloved standing like an idol, her stature straight like sugarcane. The poet intends to attend a dance performance, but her severe eyes prevent him from circling her face, visiting the Black Stone (mole), drinking the Zamzam water dripping from her sweet mouth, and hearing the invocations of pilgrims emanating from the ornaments adorning her hair. This takes place during the Hajj and Umrah pilgrimages, the Day of Arafah, and Eid al-Adha.
This religiously symbolic portrayal is not limited to the face but also extends to the description of the fervent lover’s heart. At times, this heart is likened to Mount Sinai; the heart, burning with love and passion, transforms its fire into radiant light, like the fire of Mount Sinai where God revealed His light to Moses. At other times, the beloved’s heart becomes the Kaaba, the Qibla towards which lovers or pilgrims turn.
Bangȇ ( Ena l-lah ) daye lȇ Hem Ke‘be û hem Ṯor dil [58]
It is noteworthy that when describing the beloved’s soft, physical beauty, the poet employs direct vocabulary and structures. However, when expressing harsh or sacred beauty, he resorts to allusions, pictorial and dramatic scenes more than direct vocabulary and structures.
Despite the numerous descriptions and expressions of the beloved’s harsh beauty, the vocabulary and structures surrounding it are limited. He rarely uses harsh words or phrases expressing ugliness or filth; these are rare exceptions.
7-3-4- Contradictory Moral Attributes
Beauty, in Sufi thought, encompasses not only sublime qualities such as loftiness, dominance, gentleness, mercy, and compassion, but also their opposites: baseness and ugliness. Ugliness, in the Sufi lexicon, signifies that which contradicts divine order ( amr), while beauty represents conformity to it. The philosophy of the Unity of Being (Wahdat al-Wujud), where the created is indistinguishable from the Creator, gives rise to actions outwardly painful yet inwardly merciful. This inherent contradiction is not limited to the depiction of the beloved, who embodies both cruelty and compassion, reflecting facets of the divine attributes, but extends to the contrasting descriptions employed by al-Jaziri in his poetry.
Despite the poet’s acute sensory perception of love and beauty, he does not shy away from acknowledging their opposites, detailing that which contradicts his heightened senses and the intense pain it inflicts upon the soul. These contradictory attributes hold specific connotations within Sufi literature. For instance, ‘ama’ (blindness) symbolizes the delicate veil between heaven and earth, while balah (simplicity) represents a profound, inherent wisdom.
- References:
- Al-Ajam, Rafiq. Encyclopedia of Islamic Sufism Terms, Lebanon Publishers Library, 1999.
- Al-Kashani, Abdul Razzaq. Dictionary of Sufi Terminology, – Investigation and Commentary: Abdul Aal Shaheen, Dar Al-Manar, Cairo, 1992.
- Ghorbani Cheraghtappeh , Akram and Nasergholi Sarli, Deconstructing and going far beyond the binary oppositions in Sufi texts (data from Persian prose books), Journal: Persian Language and Literature calender icon Publication Date: Jun 1, 2023
- Mir , Sarosh, Kanz Philosophia: A Journal for Islamic Philosophy and Mysticism THE DOCTRINE OF SUFI PHILOSOPHY AS A POWERFUL ANTIDOTE TO GLOBAL TERRORISM, September 2024 , DOI: 20871/kpjipm.v10i1.247
- Muhammad Farid AbdullahAhmad Agus Suaidi, Binyat ar-Ramz al-Lugawiyyah fī at-Tafsīr aṣ-Ṣūfī, LISANIA Journal of Arabic Education and Literature, December 2022
- Zivingi, Mela Ahmed, Al‘eqidu -Ccewheri fi Sherh Diwani Jiziri (The Essential Necklace in Explaining the Diwan of Sheikh Jiziri), Al-Sabah Press, Aleppo, 2nd ed., 1987.
- Ziving, Safia, Ferhenga Ravekirinȇ ya Melayȇ Zivingî li ser Helbestȇn Melayȇ Cizîrî (Dictionary of Explanation of Mela Zivingi for the Diwan of Mela Jiziri ), Publications of the College of Applied Interdisciplinary LTD, London, United Kingdom, 2024.
- Zivingi , Safia , The Interwoven Realism in the Artistic Depiction of the Cosmos and Nature in Jeziri’s Sufi Poetry, International Journal of Kurdish Studies, Arabic Democratic Center – Berlin and College of Applied Interdisciplinary LTD, London, United Kingdom, No: 8, January 2025
[1] – Ghorbani Cheraghtappeh , Akram and Nasergholi Sarli, Deconstructing and going far beyond the binary oppositions in Sufi texts (data from Persian prose books), Journal: Persian Language and Literature calender icon Publication Date: Jun 1, 2023
[2] – Zivingi, Safia, Ferhenga Ravekirinȇ ya Melayȇ Zivingî li ser Helbestȇn Melayȇ Cizîrî (Dictionary of Explanation of Mela Zivingi for the Diwan of Mela Jiziri ), Publications of the College of Applied Interdisciplinary LTD, London, United Kingdom, 2024. P. 99…..
[3] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 137
[4] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 11
[5] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 762
[6] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 329
[7] – Zivingi, Mela Ahmed, ipid, p 264
[8] – Zivingi, Mela Ahmed, ipid, p 194
[9]– Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 200
[10] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 406
[11] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 114
[12] – Zivingi, Mela Ahmed, ipid, p 751
[13] – Zivingi, Mela Ahmed, ipid, p 619
[14] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 59
[15] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 588
[16] Zivingi, Mela Ahmed, ipid, p 556
[17]Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 287
[18] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 63
[19] Zivingi, Mela Ahmed, ipid, p 133
[20] Zivingi, Mela Ahmed, ipid, p 341- 342
[21] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 64
[22] – Zivingi, Mela Ahmed, ipid, p 390
[23] Zivingi, Mela Ahmed, ipid, p 405
[24] Zivingi, Mela Ahmed, ipid, p 331
[25] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 373
[26] Zivingi, Mela Ahmed, ipid, p 40
[27] – Zivingi, Mela Ahmed, ipid, p 13
[28] – Zivingi, Mela Ahmed, ipid, p 46
[29] Muhammad Farid AbdullahAhmad Agus Suaidi, Binyat ar-Ramz al-Lugawiyyah fī at-Tafsīr aṣ-Ṣūfī, LISANIA Journal of Arabic Education and Literature, December 2022
[30] – Muhammad Farid AbdullahAhmad Agus Suaidi, Binyat ar-Ramz al-Lugawiyyah fī at-Tafsīr aṣ-Ṣūfī, LISANIA Journal of Arabic Education and Literature, December 2022
[31] – Mir , Sarosh, Kanz Philosophia: A Journal for Islamic Philosophy and Mysticism THE DOCTRINE OF SUFI PHILOSOPHY AS A POWERFUL ANTIDOTE TO GLOBAL TERRORISM, September 2024 , DOI: 10.20871/kpjipm.v10i1.247
[32] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 341- 342
[33] Zivingi, Mela Ahmed, ipid, p 341- 342
[34] Al-Kashani, Abdul Razzaq. Dictionary of Sufi Terminology, – Investigation and Commentary: Abdul Aal Shaheen, Dar Al-Manar, Cairo, 1992 & . Al-Ajam, Rafiq. Encyclopedia of Islamic Sufism Terms, Lebanon Publishers Library, 1999.
[35] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 9
[36] Zivingi, Mela Ahmed, ipid, p 33
[37] Zivingi, Mela Ahmed, ipid, p 14
[38]، Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 348
[39] Zivingi, Mela Ahmed, ipid, p 94
[40] – Zivingi, Mela Ahmed, ipid, p 99
[41] – Zivingi, Mela Ahmed, ipid, p 300
[42] Zivingi, Mela Ahmed, ipid, p 392- 393
[43] Zivingi, Mela Ahmed, ipid, p 120
[44]Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 350
[45] Zivingi, Mela Ahmed, ipid, p 345
[46] – Zivingi, Mela Ahmed, ipid, p 483.
[47] Zivingi, Mela Ahmed, ipid, p 602
[48] – Zivingi, Mela Ahmed, ipid, p 270
[49] – Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 122
[50] Zivingi, Mela Ahmed, ipid, p 341
[51] – Zivingi, Mela Ahmed, ipid, p 478
[52] Zivingi, Mela Ahmed, ipid, p 711
[53]– Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p99
[54] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 212
[55] – Zivingi, Mela Ahmed, ipid, p 312
[56] Zivingi, Mela Ahmed, ipid p 90
[57] Zivingi, Mela Ahmed, ipid, p 794-795
[58] Zivingi, Mela Ahmed, Al‘eqidu Ccewhri, p 410
