The study of architextualite in Se-kheshti lyrics of the North Khorasan’s Kurmanj

The Kurmanj people, a branch of the Kurdish ethnic group, are mainly settled in northern Khorasan, Iran. This study investigates one of their dominant oral poetic forms, known as Se-Kheshti (three-line folk poems), using Gérard Genette’s theory of transtextuality, with a specific emphasis on architextuality. The aim is to explore the structural and thematic affiliations of these poems within broader literary traditions. Drawing on approximately 1,400 translated Se-Kheshti texts, the research employs a qualitative, analytical-interpretive approach based on documentary sources. Structurally, the poems follow a syllabic-numerical meter, situating them within the tradition of Pahlaviyat - a non-aruzic poetic system - and, given their intrinsic musicality, linking them to Khosravaniyat. Thematically, the prominence of emotional tone, lyrical self-expression, and imaginative imagery aligns them with the genre of lyric poetry. By applying architextual analysis to a corpus of oral literature, this study contributes to the theoretical interpretation of folk poetry and highlights the deep-rooted literary and cultural significance of Se-Kheshti in the Kurdish poetic tradition.
 
Extended abstract

1.Introduction
Among the most prevalent poetic forms in the oral literature of the Kurds of North Khorasan are Lo and Seh-kheshti. While Lo resembles free verse with ancient roots, Seh-kheshti typically follows a three-line structure, with each line containing around eight syllables and performed alongside music. This integration of rhythm and melody reflects the deep historical bond between poetry and music in Iranian cultural traditions. Despite the rise of prosodic meter in Islamic periods, syllabic forms like Seh-kheshti persisted, particularly in Kurdish oral traditions. The term “khesht” in the Kurmanji dialect means “hemistich,” and Seh-kheshti thus refers to a three-line verse, equal in syllable count and rhyme.
Unlike quatrains or classical lyric forms, Seh-kheshti is a unique Kurdish form, with structural similarities to ancient khosrowānīs or even Japanese haikus. This research adopts Gérard Genette’s theory of architextuality - a subset of intertextuality - to determine the genre classification of Seh-kheshti within Persian literary taxonomy. Architextuality refers to the abstract conventions and expectations governing literary genres. By analyzing both structural and thematic features, this study identifies the underlying “genre rules” of Seh-kheshti and investigates its connections to earlier poetic traditions within Persian literature.
2.Theoretical Framework
Gérard Genette introduced the concept of transtextuality to describe the various relationships a text maintains with other texts. He identified five categories: intertextuality, hypertextuality, paratextuality, metatextuality, and architextuality. Architextuality, unlike other types, focuses not on the relation between two specific texts but on a text’s affiliation with overarching literary genres. It concerns the structural and thematic norms that classify texts into categories like novel, report, poem, or drama. According to Genette, these conventions shape readers’ expectations and contribute to the interpretation of literary works. Architextuality thus involves analyzing how texts align with or deviate from genre-based norms that define their literary identity.
    Genre theory further supports this approach. Scholars like Bakhtin, Wellek, and Warren emphasize that literary genres offer a framework for organizing content and style, shaping both the creation and interpretation of texts. Genres are not fixed; they evolve over time while retaining some stability, allowing texts to be meaningfully grouped. The distinction between genre and mode is essential: genre refers to form and content, while mode involves narrative voice or presentation. Genette considers genre a foundational component of literary systems, arguing that texts construct themselves by aligning with genre conventions. Thus, genre theory is central to understanding literary form, history, and cultural context.
3.Methodology
This research employs an analytical-interpretive approach and is categorized as developmental in purpose. Focusing on the Kurmanj community of North Khorasan, it adopts a case-study method to explore cultural features through the Seh-kheshti ballads. Gérard Genette’s theory of architextuality is applied - traditionally used in written literary texts - to analyze these oral poetic forms. This methodological innovation enables the identification of genre affiliations and intertextual links within literary traditions. Data collection was conducted through library research, and the corpus includes approximately 1,400 Seh-kheshti ballads drawn from four published sources between 1995 and 2016, all in Persian and focused on Khorasani Kurmanji folk poetry.
 
4.Results and Discussion
This study analyzes Seh-kheshti ballads of Khorasani Kurmanj from two perspectives: structural and thematic, using Gérard Genette’s theory of architextuality. Structurally, these poems belong to the category of syllabic meter, where the number of syllables per hemistich is constant, though syllable length may vary. Despite slight variations in syllable duration, the rhythmic integrity remains, placing Seh-kheshti within the lineage of fahlaviyat - early Iranian folk poetry composed in local dialects before the dominance of prosodic meters. Historical records suggest fahlaviyat had emotional power and deep roots in oral culture, especially in regions like Fahlah (ancient Media). Kurdish dialects, including Kurmanji, are linguistically connected to these early poetic traditions. Seh-kheshti also resembles khosrowani, lyrical and musical poems performed in Sassanid courts, indicating a long-standing link between syllabic poetry and music in Iran.
Thematically, Seh-kheshti poems belong to the lyrical genre, emphasizing emotion, individual experience, and a subjective view of the world. These ballads serve as cultural vessels, expressing love, sorrow, exile, longing, and devotional sentiments. Nature imagery is prevalent, often functioning as metaphor for human emotion. With first-person perspective and personal tone, Seh-kheshti poems echo the inward focus of classical lyrical poetry. About 72% of the analyzed corpus centers on themes of love and emotional longing, establishing Seh-kheshti as a continuation of Iran’s folk and mystical poetic traditions. The brevity of the form precludes narrative development, instead concentrating on emotional intensity. Other common themes include complaints about fate (baths al-shakwa), expressions of suffering, or appeals to divine figures, especially Imam Reza. These features confirm Seh-kheshti’s position within the Persian lyrical tradition, rooted in collective memory, oral transmission, and emotional authenticity.
5.Conclusion & Suggestion
This study applies Gérard Genette’s theory of architextuality to examine the position of Seh-kheshti ballads of the Khorasani Kurmanj within Persian poetic genres. Unlike previous research that relied on descriptive or ethnographic approaches, this study uses a rarely applied theoretical framework to bring deeper insight into oral and ethnic literature. Focusing on genre-based connections, the research analyzes 1,400 Seh-kheshti poems, demonstrating their use of syllabic meter rather than classical prosody. This metrical structure links them to pre-Islamic traditions such as fahlaviyat and khosrowani - forms that were musical, oral, and non-prosodic - positioning Seh-kheshti as a remnant of ancient Iranian lyrical forms rather than simply folk poetry. Thematically, Seh-kheshti aligns with early lyrical poetry like ghazal-e-melhun, emphasizing emotion, personal experience, and a subjective worldview. Around 70% of the poems center on themes of love and longing, with other recurring topics including prayer, exile, complaints about fate, and moral advice. The use of first-person voice and natural imagery reinforces their lyrical and pastoral nature. This study advances theoretical understanding of Iranian oral poetry and suggests future research should explore Seh-kheshti through semiotic, narratological, and gender-focused analyses - particularly examining women’s narratives and the cultural functions of these ballads in Kurmanji-speaking communities.
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