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Religious Poetry from Alqosh and Telkepe (North Iraq): Contacts Between Sureth-Speaking Communities and Europe in the 19Th Century

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Religious Poetry from Alqosh and Telkepe (North Iraq): Contacts Between Sureth-Speaking Communities and Europe in the 19Th Century ARAM, 21 (2009) 49-59. doi: 10.2143/ARAM.21.0.2047085 RELIGIOUS POETRY FROM ALQOSH AND TELKEPE (NORTH IRAQ): CONTACTS BETWEEN SURETH-SPEAKING COMMUNITIES AND EUROPE IN THE 19TH CENTURY Dr. ALESSANDRO MENGOZZI (University of Bergamo) In the present paper, firstly, I intend to survey the history of Modern Syriac religious literature from North Iraq – more precisely from Alqosh and Telkepe – and its reception in its homeland as well as in Europe. The term ‘Modern Syriac’ indicates a Christian variety of North-Eastern Neo-Aramaic, which has been called Sureth, FelliÌî, Vernacular Syriac and used for literary purposes in North Iraq since the last decade of the 16th cen- tury. This kind of Neo-Aramaic literature has been preserved throughout the centuries in manuscript form, with the remarkable exception of a couple of publications by the Dominican press in Mosul.1 Secondly, I will focus on the religious poetry of the 19th century and show how 19th-century texts bear witness to the contacts that were established between Sureth-speaking communities and Europe. Literary and scholarly exchanges moved in both directions: Sureth poets drew inspiration from Euro- pean authors and European scholars – especially in the last decades of the 19th and at the turn of the 20th century – became acquainted with Sureth literature. 1. RELIGIOUS POETRY IN MODERN SYRIAC FROM NORTH IRAQ The earliest attested texts in Sureth are religious poems belonging to the dorek†a genre. Probably deriving from the Semitic root *drk ‘to tread, step on’, the term dorek†a (pl. dorekya†a) seems to be related to the Mesopotamian Aramaic word ’drkt’ ‘song, hymn’. The spelling dureg (from Classical Syriac *drg ‘to step forward’) is common in Urmi Neo-Aramaic.2 1 The term ‘Sureth’ probably derives from sura}i† ‘in Syriac’ and refers to a number of North- Eastern Neo-Aramaic dialects spoken by East Syrians in North Iraq, especially in the villages of the Mosul plain (see Guidi 1883, Sachau 1895, Rhétoré 1912, Jastrow 1997, Coghill 2004, Mengozzi 2004). The manuscript transmission of Sureth texts is characterized by phonetic spelling, unlike the rather historico-etymological standard in use for Urmi Neo-Aramaic (Assyrian; see, e.g., Macuch 1976: 79 and Mengozzi 2002: vol. 590, 22-24). 2 In the mss. dorek†a is used as an equivalent of Classical Syriac mêmra, sogi†a or {oni†a. Kurdish etimologies have also been proposed: du- ‘two’ + rêk ‘in good order > ‘couplet’?; Arabic 11675-08_Aram21_03_Mengozzi.indd675-08_Aram21_03_Mengozzi.indd 4499 221/04/101/04/10 008:308:30 50 RELIGIOUS POETRY FROM ALQOSH AND TELKEPE (NORTH IRAQ) There has been little improvement in our knowledge of Sureth religious poetry since the last decades of the 19th century.3 A few dorekya†a have been published: a collection of poems by Israel of Alqosh and Joseph of Telkepe (Mengozzi 2002) gives us an insight into the Sureth literature of the 17th cen- tury; Poizat (1990 and 1993) published the 18th century poem Sur la peste de Pioz by Somo and Sur la répentance by Hnanisho of Rustaqa (Poizat 2002); Pennacchietti (1990a, 1993b, 1996) published two shorter poems On Arsanis Jimjimma and three Neo-Aramaic versions of the sogi†a of the Cherub and the Thief (Pennacchietti 1993a). In 2003 Poizat presented the manuscript of an unpublished – and uncom- pleted – work by Father Jaques Rhéthoré: La versification en Soureth, 1913 (Poizat 2005), which – besides the technical description of Sureth metrics, with commented samples – surveys genres and authors of Sureth literature. This document certainly deserves to be published in the near future, while Rhéthoré’s grammar of the Sureth language (Mosul 1912) should be reprinted or, even better, updated. 1.1. Israel of Alqosh and Joseph of Telkepe The 17th-century authors Israel of Alqosh4 and Joseph of Telkepe5 appear to remain faithful to the East-Syrian tradition. They seem to be conscious of their indebtedness towards Syriac sources, although motifs and themes drawn from the classical tradition are often barely recognizable in their modern, Sureth, adaptation (Mengozzi 2002: vol. 590, 107). The process of translation of the cultural heritage is not purely linguistic, from Classical Syriac into the Vernacular, but it also affects the literary form and content of the poems. The form of Sureth verses suits the requirements of an oral transmission perfectly: rhythmical figures and repetition (rhyme, complemen- tary distribution of anadiplosis (concatenatio) and anaphora in connecting the stanzas, and formulae) create texts which are at the same time easy to memorize and listener-friendly (Mengozzi 2002: vol. 590, 75-79, 83-84, 96-104). *dwr ‘be circular’ + Kurdish -ek (in the Jewish Neo-Aramaic of Dehok, its equivalent means ‘round bread, khallah’) > ‘cyclic poem’? (Mengozzi 2002: vol. 590, 67-69). 3 Macuch (1976: 98-106) and Brock (1977); Pennacchietti (1976, 1990b); Habbi (1978a, 1979-1980); Poizat (1982, 1990, 2005); Mengozzi (1999, 2003). 4 Israel of Alqosh was a priest of the Church of the East, active around the end of the 16th and the first decades of the 17th cent. A fine poet both in Classical Syriac and Sureth, scholar and scribe, founder of the Sikwana (or Qasa) family of scribes, he is considered the leader and inspirer of the so-called School of Alqosh (Murre-van den Berg 1998; Mengozzi 2002: vol. 590, 57-61). 5 Joseph (Yawsep) of Telkepe was a priest of the Church of the East, active in the 2nd half of the 17th cent. A prolific poet in Sureth, he was born in Telkepe, son of the priest Jamal al-Din and therefore also known as Yawsep Jemdani. He was married and had children, at least one of whom, named Isho{, became a priest and died young. His poems have been preserved as a more 11675-08_Aram21_03_Mengozzi.indd675-08_Aram21_03_Mengozzi.indd 5500 221/04/101/04/10 008:308:30 A. MENGOZZI 51 Being preserved by Chaldean communities, the earliest dated poems in Sureth may lead one to think that they were composed in the vernacular under the influence of Catholic missionary activities. As regards the content, however, the poems of the 17th century do not contain signs of European influence, as we can see, e.g., when we consider their free use of apocryphal sources: in his poem On revealed Truth ({al srara galya), Joseph of Telkepe gives an account of Adam’s fall as described in apocryphal sources such as the Cave of Treas- ures (Mengozzi 2005) and almost literally quotes the Syriac Apocalypse of Pseudo-Methodius (Mengozzi 2006b); Israel of Alqosh freely adapts the apoc- ryphal Revelation of Paul, dealing with intriguing descriptions of the other world (Mengozzi 2002: vol. 590, 107-110). Therefore, the emergence of Sureth literature in the 17th century can be connected with Western – i.e., Catholic – missionary activities in the region, only in terms of polemical reaction, since one can hardly imagine Catholic missionaries accepting texts of this kind, deeply rooted in the Eastern tradition. 2. SURETH RELIGIOUS POETRY IN THE 19TH CENTURY: SYRIAC TRADITION AND EUROPEAN INFLUENCE In the 19th century, on the contrary, the genre of the dorekya†a was cultivated by Catholic, Chaldean authors, such as Thomas Tektek Sindjari, David Kora, and Damyanos of Alqosh. Their poems generally deal with spiritual themes: repentance, the Holy Virgin Mary, Hell and Paradise, the ascetic life, etc. Most of them are hitherto unpublished. Thomas Tektek Sindjari6 was born in Telkepe and died around the year 1860. During his youth, he was much feared as a bandit who pillaged caravans in the Djebel Sindjar (hence his last name). He converted and went back to Telkepe, where he worked as a weaver (hence the surname Tektek, that would recall the sound of the weaving shuttle). From time to time he wandered through the Christian villages, singing his dorekya†a, to collect alms and sup- plement his rather scanty income. David Kora of Nuhadra7 also supported his numerous family partly in this way. He had lost his sight when he was nine years old (hence his surname or less unified corpus in at least 9 mss. and seem to correspond to a conscious plan of re-telling the Scriptures in the modern language. (Mengozzi 2002: vol. 590, 61-66, 121; Mengozzi 2006b). 6 Rhéthoré (1913: 55-56); Macuch (1976: 101-102). His dorek†a On Repentance was pub- lished in Socin (1882) and Sachau (1895), On the Monastic Life in Habbi (1978b). 7 Rhétoré (1913: 62-64); Macuch (1976: 104-106); Mengozzi (2002: vol. 590, 85-88). A number of metrical fables attributed to David Kora were printed by the Dominicains in Mosul (Daoud l’Aveugle 1896). The famous dorek†a On the Holy Virgin Mary (b-semma d-baba w-brona), attributed to David Kora or to the French Dominicain J. hétoré, has became a kind of national hymn for the Chaldeans of the plain of Mosul and was included in the manuscript collection Vatican Syr. 521 (120a-123b) and in the printed book Recueil (1896: 198-230; 1954: 214-247). 11675-08_Aram21_03_Mengozzi.indd675-08_Aram21_03_Mengozzi.indd 5511 221/04/101/04/10 008:308:30 52 RELIGIOUS POETRY FROM ALQOSH AND TELKEPE (NORTH IRAQ) Kora ‘blind’), studied at the Dominican school in Alqosh, and was appreciated as a talented poet, bard and story-teller. Every year, this ‘Chaldean Homer’, a blind poet, went down from Alqosh to Mosul to receive a written authorization from the Patriarch and start his summer tournée, wandering from village to village telling stories and singing hymns. People gathered on the terraces to listen to him and he was thus able to collect wheat, barley and raisins for his children. In 1870 he met the German orientalist Albert Socin and dictated to him the dorek†a On Repentance by Thomas Tektek Sindjari, which was the first Sureth poem published in Europe (Socin 1882).
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