polatbekov wrote:and whats the answer for the question "what is the oldest kurdish text you know"?
I don't know, wikipedia says that the Yezidi holy book, Mishefa Reş, seems to be the oldest written in Kurdish no earlier than the 1100s. I place higher importance on cultural works like poetry, which you can find emerging in respectable numbers in 1500s onwards in the different Kurdish principalities, vassals either to the Ottoman Empire or Safavids. Problem is there were many Kurdish authors and poets, but many of them wrote in Arabic, Turkish, or Farsi because they were under the patronage of different Mirs and Sultans who wanted texts written in that language.
There's a good, lengthy exploration of that here:
http://www.kurdishacademy.org/?q=node/51Kurdish Literature
Kurdish is heir to a rich and extensive, but now mainly oral, literature extending back into pre-Islamic times. A large portion of the written literature has been lost to over eight centuries of nomadic dislocation into and through Kurdistan, leaving behind only fragments. Although now spoken by a minority of Kurds, Gurâni is claimant to the oldest extant literary pieces in Kurdish. Pahlawâni in general, and particularly Gurâni and its dialects, once enjoyed an unusual status as the language of high culture and literature. In all dialects of Kurmânji, Gurâni now simply means "lyric poetry" or "balladry." This vernacular, along with its dialect Awrâmani/Hewrâmi, was in fact until early modern times the language of polite society and belles lettres in most of Kurdistan, irrespective of the dominant spoken local dialect. The Kurdish princely house of Ardalân (1198-1867) spoke Gurâni until its final removal. Not surprisingly, all of the oldest surviving literary pieces in Kurdish are in Pahlawâni.
Bâbâ Tâhir (ca. 1000-1060) of Hamadân is one of the very first poets in the East to write rubaiyats, the medium of Omar Khayyam's fame. Bâbâ Tâhir's rusticity and mastery of both Laki/Gurâni, Persian (and Arabic) have rendered his works unusually dear to the common people of both nations. His particular poetic meter is perhaps a legacy of the pre-Islamic poetic tradition of southeastern and central Kurdistan, or the celebrated "Pahlawiyât/Fahlawiyât," or more specific the "Awrânat" style of balladry. Many Yârisân religious works and Jilwa, the holy hymns of the Yezidi prophet Shaykh Adi, are also in this Pahlawiyât style of verse. Bâbâ Tâhir himself has now ascended to a high station in the indigenous Kurdish religion of Yârisânism as one of the avatars of the Universal Spirit.
The lyricist Parishân Dinawari (d. ca. 1395), Mustafâ Bisârâni (1642-1701), Muhammad Kandulayi (late 17th century), Khânâ Qubâdi (ca. 1700-1759), Sarhang Almâs Khân and Mirzâ Shafi' Dinawari (mid- 18th century), Shaydâ Awrâmi (1784-1852), Ahmad Beg Kumâsi (1796-1889), Muhammad Zangana Ghamnâk-i Kirkuki (early 18th century), Muhammad Wali Kirmânshâhi (d. ca. 1901) and the grand poetess, Mastura Mâh-Sharaf Khâtun Qâdiri Zand (1805-1848) are just a few of the better-known poets in Gurâni and its dialects of Awrâmâni and Laki. Of the Gurâni poet Muhammad Faqih-Tayrân (1590-1660) of the town of Makas survive many witty folk tales in his book "In the Words of the Black Horse," as also a book of Sufi verse, "The Story of Shaykh of San'ân." Faqih-Tayrân also composed in Kurmânji, and engaged Ahmad Jaziri (see below) in a lively exchange of versified correspondence in that dialect.
Nevertheless, some of the greatest works of Kurdish secular literature presently extant in toto are in the North Kurmânji dialect. Except for Ali Hariri, all other Kurmânji poets of whom we know and whose works are extant today began their careers after the beginning of the wars and deportations of the 16th century in Kurdistan.
Although works in Kurmânji are generally of recent writing, a Yezidi religious work, the Mes'haf i Resh, is in a classic form of Kurmânji (closer to Bâhdinâni than Sorâni), and could well have been written sometime in the 13th century. It is held to have been written by Shaykh Hasan (born ca. AD 1195), a nephew of Shaykh Adi ibn Musâfir, the sacred prophet of the Yezidis. If this date can be further authenticated, Mes'haf will be the oldest piece of literature in Kurmânji, predating anything else in that vernacular by hundreds of years.
Some of the earliest Kurmânji poets and lyricists whose works are extant are Ali Hariri, from the town of Harir near Rewânduz in the Hakkâri (1425-1490?); Mullâh Ahmad (1417-1494) of Hakkâri, the author of Mawlud, a collection of verse and an anthology;
Salim Salmân, who composed his romance of Yusif u Zulaykha in 1586; Shaykh Ahmad Jaziri, better known as Mullâ-i Jaziri (or Malây Jaziri, 1570-1640) of Buhtân, who is considered one of the greatest of all Kurdish poets; and Ismâ'il of Bâyazid (1654-1710), who compiled a small Kurmânji-Arabic-Persian glossary for the use of the young, entitled Gulzhen, and several poems.
The epic drama of Mem o Zin (more properly, Mami Alân o Zini Buhtân), versified in 1694 by Ahmad Khâni (1651-1707) of the Khâniyân tribe of Hakkâri whose forefathers had settled early at Bâyazid in northeastern Kurdistan, embodies a wealth of mythological and historical events in the national life of the Kurds and idealizes their national aspirations.
Mem of the ålân clan and Zin of the rival Buhtân clan are two lovers whose union is prevented by a certain Bakr of the Bakrân clan. Mem eventually dies; then, while mourning the death of her lover on his grave, Zin falls dead of grief and is duly buried next to him. Fearing for his life when his role in the tragedy is revealed, Bakr takes sanctuary between the two graves. Unimpressed, the people slay Bakr. A thorn bush soon grows out of Bakr's blood, sending its roots of malice deep into the earth between the lovers' graves, separating the two even after their death.
The heroic epic Ballad of Dem Dem is a mythologized story of the actual siege of the fortress of Dem Dem in eastern Kurdistan, defended by the Kurdish prince of Barâdost, Khâni Lap-zerrin "the Khân with the Golden Arm," against the Safavid King Abbâs I in the 17th century. The epic is alive with vivid and graphic, but mostly symbolic, descriptions of the actual battles and the heroic resistance of the defenders. The association of the Khân with the siege is chronologically problematic, but the literary value of the epic stands out on its own. The spirit of the Dem Dem readily reminds one of the personal face-offs of the honor-bound heroes of the Trojan war, and of the stubborn and desperate resistance of the defenders of Massada to the last man and woman.
Charigars or bards, travel widely to bring to their audience the wealth of hundreds of chariga, versified epics like the Dem Dem and Mem o Zin, and other popular pieces of literature.
In comparison to North Kurmânji, South Kurmânji has only lately produced its own works of literature. In fact, none is known before the 'early 19th century and the works of Mustafâ Kurdi (1809-1866), coming at least 1000 years after the earliest extant Gurâni works. The first substantial works in South Kurmânji, beginning with those of Hâji Qadir Koy'i of Koy Sanjaq in central Kurdistan (1817-1897), capitalize more on their patriotic themes than their literary value, which is at any rate hardly comparable with the works of the giants of North Kurmânji, such as Hariri, Khâni, or Jaziri. A major exception is of course Shaykh Rizâ Tâlabâni (1835-1909) whose wit, playfulness, and lampooning of those who crossed him (of which, judging by his works, there happened to be many) renders him a delight to read (Edmonds 1935).