Urmi, Jewish: Weddings

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Transcribed by	Source	Speakers	Place
Geoffrey Khan	Khan, Geoffrey. The Jewish Neo-Aramaic Dialect of Urmi. Gorgias Neo-Aramaic Studies vol. 2. Gorgias Press, 2008	Nisan Aviv	Tel Aviv, IL

	Transcription	Translation
0:00	abúlen xánči-š m-xlulə́t ay-gằban maqén,ˈ ki-mà-jur xlulá godíwa g-Urmí.ˈ kullán kyéxwa xlulá g-Urmí ⁺rába áy xazoè-wela.ˈ ⁺rába məllətyè-šˈ jur-ba-júr xlulyé əttù,ˈ bắle fkə́r wadén ki-didànˈ ⁺rába ⁺rába ay-xazoèˈ ⁺rába ay-šamoè ilá.ˈ elčyè gdéwa.ˈ kəmríwa ba-bratxùnˈ bélə d-áy ⁺flankás abúlu adèˈ elčulà.ˈ xábra kwìwa.ˈ kəmríwa imắnət abulètun,ˈ abúlu našé adé elčulàˈ bratxún abúlula ba-bronù.ˈ ⁺dallaltà gezáwa.ˈ elčyè gdéwa.ˈ ba-⁺daáw kəmríwa kìˈ bratáx abúləxxa ba-bronàn.ˈ bratá-inan broná-š əl-⁺də́ġde ⁺hal-kì lel-xlulá lá xazéwa.ˈ bas-⁺daát bratàˈ dadə́t bronà,ˈ o-dada-⁺dáat bráta baqrìwaˈ m-dada-⁺dáa ay-bronà:ˈ bróna mà gód?ˈ mà la-gód?ˈ šuléw mà-ile?ˈ mà lewé?ˈ má-t-wele kəmrìwaˈ ⁺rába taarìf godíwaˈ bronán xá bronèle.ˈ ⁺jəgára là garə́š.ˈ ⁺qumā́r là ⁺tā́lˈ gal-blané là gezél.ˈ kud-šabbát knəštà gezél.ˈ ⁺dáat ay-bratà-š máraˈ ⁺walla bratán-əš xa-bràtela.ˈ m-béla tára la-⁺pàlta.ˈ gal-nā́š là maqyá.ˈ jwā́n šəftè godá.ˈ jwā́n marqayè godá,ˈ jwā́n ⁺tòz antyá.ˈ áxča-š abyané əttà máyle.ˈ bắle áxni hála là-abulex brátan hawə́xxa l-góraˈ bod-ód hála zùrtela.ˈ ⁺dáat ⁺hatàn-əš máraˈ kúlla əsrà šənné tafáat ə́ttuˈ broní m-bratá ⁺rə̀wwa ba-hawé.ˈ əsrá šənné xa-⁺məndə̀ġ léwu.ˈ ó-jur-inan ⁺sawdaú xadóra gal-dəġdè.ˈ ⁺dáat ⁺kálo qyamàˈ kalleqànd madulá.ˈ hiwálu ba-d-áy elčyè,ˈ báat dáda ⁺dáa d-áy bronà,ˈ gal-⁺pasoxè-nanˈ gal-rə̀qla,ˈ gal-zamòre,ˈ izalù,ˈ ⁺hal-kìˈ léle d-áy xlulà.ˈ lélət xlùla,ˈ xlulá godíwa ušwá yomé ušwá lelawè.ˈ ⁺kálo madewalà.ˈ ⁺masəmxíwa gáat ⁺hayàtˈ gál marqolè,ˈ gál zamorè,ˈ gál šraè,ˈ gál ⁺šamalèˈ gál ⁺sandúq d-áy jehèz.ˈ ⁺masmxiwalà.ˈ brona-àyˈ ⁺hatā́n masqíwale reš-⁺garè.ˈ nurà godíwa lóka.ˈ ⁺hatā́n ⁺m-yān-núra perwà,ˈ kí ⁺yanìˈ behrà ⁺paloté,ˈ nurá behrá ⁺paloté ilà.ˈ tré xabušé smoqé kwíwa b-idèw.ˈ kəmrìwaˈ əl-d-áy xabušé dhúllu g-reš-⁺kalò,ˈ kí ayét kí ⁺kaló qəsməttòx-ila.ˈ bàra-šˈ košét təxyàˈ aqlàw ⁺lečəttáˈ ki-ā́t réšaw ⁺zòr hawét.ˈ yasə́qwa reš-⁺garè.ˈ xabušé dahə̀lwaluˈ g-reš-⁺kalò.ˈ kullú čapkè dahíwa,ˈ kullú raqlìwa,ˈ ki-⁺hatā́n xabušé ni⁺šanà widíle əl-⁺kaló,ˈ kí mən-d-ò leléˈ kalòˈ ay-nošèw-ila.ˈ ⁺hál ki-d-o-lelé-š ⁺kaló hála là xəzyáwale.ˈ ắgar abéwa-š lel-xlulá ⁺kaló maxlpiwalà,ˈ ⁺məssèwa.ˈ ⁺rába-š ayne-šúle xdìriwa,ˈ bod-ód ⁺hatā́n hála l-⁺kaló là xəzyáwale.ˈ ⁺hatā́n kwašé təxyà.ˈ daát ⁺kaló maràˈ attá ⁺hatā́n b-adé aqlàx ⁺lečlá.ˈ bălé ăgár ⁺məssát ā̀t aqléw ⁺lučláˈ ki-ā̀t rešéw ⁺zór hawyát.ˈ bắle hamméša ⁺hatā̀nˈ aqlə́t ⁺kalò ⁺léčwala.ˈ géna aqláw ⁺lyačə̀lla,ˈ čápke daholù,ˈ raqolù.ˈ izalú gáat ⁺otā̀ġ,ˈ ixalà,ˈ šatoè,ˈ raqolè,ˈ zamorè.ˈ kə́mma yomèˈ kullùˈ kùd-yomˈ kùd-lelˈ bél ⁺hatā̀nˈ xlulà kəwyáwa,ˈ ⁺hál kí-t idáyle léle d-áy pardìn šaroé.ˈ ⁺hatā́n masxoè godíwa.ˈ bár lel-xlulàˈ baqatyómət yōm-aròtaˈ ⁺hátān masxoè godíwa.ˈ maxyané zamranè madéwa.ˈ xá-danka ⁺m-baruxáwət ay-⁺hatā̀nˈ dawtalàb xadə́rwa,ˈ əl-mewanì gódwaˈ əl-⁺hatā̀nˈ yómət arotà.ˈ amblíwale ⁺hamā̀m.ˈ yàˈ baáw kəmrìwaˈ ⁺hatā́n masxoè.ˈ amblíwale ⁺hamā̀m.ˈ ⁺m-hamā́m dèrwaˈ ⁺ásər gal-⁺baruxawèw,ˈ gal-mùsikaˈ amblíwale knəštà.ˈ baqatyóm šabbàt,ˈ baqatyóm gènaˈ amblíwale knəštà,ˈ géna m-knəštá gal-mùsika madríwale belà.ˈ ba-kullú mewané šəftè kwíwa,ˈ šəftè kəxlíwa.ˈ yá xlúlət áy ⁺huppà.ˈ attá ⁺matéx réšə d-àyˈ pardín šaroè.ˈ pardín šaroèˈ lélə d-áy xošèba godíwala.ˈ xá-danka pardá ⁺yasríwa m-gudàˈ ušwà yomé,ˈ ušwà lelawéˈ ó pardá gărág ⁺ysə̀rta hawyáwa.ˈ ni⁺šā́n d-o-pardá yà-welaˈ ki-mắni-t ăgàrˈ pùč xabréˈ máqe bar-⁺kálo ⁺hatā̀nˈ ó pardàˈ ⁺qanšarú ⁺qatyàle,ˈ la-qablà,ˈ la-qablìˈ kí ya-šxinà,ˈ yá pardà,ˈ yá paròxetˈ áyne xabré qbìle xadrí.ˈ bára qemíwa zamrìwa.ˈ pardàˈ šarèwala.ˈ əl-⁺hatā̀nˈ m-otā́ġ partfíwale tára reš-syamè.ˈ bod-mà partfíwale tára?ˈ kəmríwa átta xén ā̀tˈ gorà xdirét.ˈ ba-nòšoxˈ ⁺fəssè ⁺b-haslétˈ máre baxtà xdirét.ˈ xén áxni ə́llux là-⁺msex ⁺tašéx.ˈ ā́t gezét nóšox əl-nòšox ⁺tašét.ˈ yá-wela kí m-otā́ġ partfíwale tàra.ˈ géna gdèwa,ˈ gèna partfíwale tára.ˈ tré-zae ⁺tahá-zae ya-šúla godìwale.ˈ o-párda šarèwala.ˈ kí yaní ăgàrˈ ⁺hál attá-š mănì-tˈ ⁺qətrà ⁺ysíra hawéˈ ⁺yā́n xa-pùč xábra míra hawéˈ o-pardá šarèwale,ˈ ayné šəryè xadóru.ˈ ⁺hatā̀nˈ ínan ⁺kálo béhra ⁺palotù.ˈ ⁺hal bahorè.ˈ ⁺rába ⁺ràbaˈ báte kwéwa ki-là damxíwa.ˈ jarimā̀nˈ gal-⁺də́ġde raqlìwa,ˈ zamrìwa,ˈ wàˈ xlulàˈ áy ušwá yomé ušwá lelawé parqàwa.ˈ ána xá xabrá ⁺rába ki-muhə̀m-ileˈ áy xlulə́t áy Urmì m-báli zə́lle amrənwà.ˈ lélət xlulàˈ mewanèˈ fəssè,ˈ čèk,ˈ là madéwa.ˈ yá xa-zóra dehwà madéwa.ˈ ya goryè madéwaˈ ya parčá báat jullè madéwa.ˈ ya amā̀n madéwa.ˈ ò-jurˈ ⁺xleè madéwa.ˈ bằleˈ ayné-š kí madewalùˈ xà năfárˈ m-famìl,ˈ yá šammā̀š,ˈ lélət ay-xlulàˈ ayné kullú ⁺xleèˈ kí madéwalu báat ⁺kalo ⁺hatā̀nˈ ⁺masrə̀xwalu.ˈ mà-jur gódwa?ˈ amréx mắsălan xaltə̀tˈ ⁺kalòˈ goryè mditá.ˈ goryé dóqwalu b-idèwˈ kmə̀rwaˈ bá bá bá bàˈ ⁺azíze mewanèˈ xzímun xáltət ⁺kaló mà wə́tta!ˈ xá-zoa goryə́t awuršùmˈ áy šušà,ˈ áy awuršúm sqilèˈ goryé mabruqé mditàˈ báat ⁺kalò.ˈ əlhá manté ⁺kaló ⁺hatā̀nˈ gal-xaltə̀tˈ áy ⁺kalòˈ ⁺talafyé šbirè odílu.ˈ ya xadə́r amón ⁺kalòˈ là ədyé,ˈ là xilé,ˈ lá šətyè,ˈ bắle xà dankáˈ dehwá šdiré ba-⁺kalò.ˈ əlhàˈ awāzyé šbirèˈ ⁺kaló ⁺hatā́n odílu gál amonà.ˈ ya ⁺doyít áy ⁺kalòˈ m-Tehrā̀nˈ xá ⁺qətta parčàˈ šdiré ba-⁺hatā̀nˈ ki-ódlu jarkèt-inanˈ ⁺šalwalè.ˈ ò-jur-inanˈ ayné ⁺xleè kúllu ⁺masrxìwalu.ˈ našé čapkè dahíwa.ˈ kúd xléta-š ⁺masroxèˈ bára xa-musìk maxéwa,ˈ čàpke dahíwa.ˈ ⁺rába ⁺rába ay-xazòe-inanˈ áy trəngà welá.ˈ ána ayné kəmmá qəsməttə́t áy xlulá kí mirilìˈ kullú aná namayšù kəlwawalí.ˈ làxxaˈ teatrù widená.ˈ wa-⁺rába náše-š teatrú xəzyùlaˈ wa-⁺rába náše ki-là xəzyúla ayolú ki-g-Urmí xlulyé mà-jur godíwalu.ˈ abúlen xánči-š m-xlulə́t ay-gằban maqén,ˈ ki-mà-jur xlulá godíwa g-Urmí.ˈ kullán kyéxwa xlulá g-Urmí ⁺rába áy xazoè-wela.ˈ ⁺rába məllətyè-šˈ jur-ba-júr xlulyé əttù,ˈ bắle fkə́r wadén ki-didànˈ ⁺rába ⁺rába ay-xazoèˈ ⁺rába ay-šamoè ilá.ˈ elčyè gdéwa.ˈ kəmríwa ba-bratxùnˈ bélə d-áy ⁺flankás abúlu adèˈ elčulà.ˈ xábra kwìwa.ˈ kəmríwa imắnət abulètun,ˈ abúlu našé adé elčulàˈ bratxún abúlula ba-bronù.ˈ ⁺dallaltà gezáwa.ˈ elčyè gdéwa.ˈ ba-⁺daáw kəmríwa kìˈ bratáx abúləxxa ba-bronàn.ˈ bratá-inan broná-š əl-⁺də́ġde ⁺hal-kì lel-xlulá lá xazéwa.ˈ bas-⁺daát bratàˈ dadə́t bronà,ˈ o-dada-⁺dáat bráta baqrìwaˈ m-dada-⁺dáa ay-bronà:ˈ bróna mà gód?ˈ mà la-gód?ˈ šuléw mà-ile?ˈ mà lewé?ˈ má-t-wele kəmrìwaˈ ⁺rába taarìf godíwaˈ bronán xá bronèle.ˈ ⁺jəgára là garə́š.ˈ ⁺qumā́r là ⁺tā́lˈ gal-blané là gezél.ˈ kud-šabbát knəštà gezél.ˈ ⁺dáat ay-bratà-š máraˈ ⁺walla bratán-əš xa-bràtela.ˈ m-béla tára la-⁺pàlta.ˈ gal-nā́š là maqyá.ˈ jwā́n šəftè godá.ˈ jwā́n marqayè godá,ˈ jwā́n ⁺tòz antyá.ˈ áxča-š abyané əttà máyle.ˈ bắle áxni hála là-abulex brátan hawə́xxa l-góraˈ bod-ód hála zùrtela.ˈ ⁺dáat ⁺hatàn-əš máraˈ kúlla əsrà šənné tafáat ə́ttuˈ broní m-bratá ⁺rə̀wwa ba-hawé.ˈ əsrá šənné xa-⁺məndə̀ġ léwu.ˈ ó-jur-inan ⁺sawdaú xadóra gal-dəġdè.ˈ ⁺dáat ⁺kálo qyamàˈ kalleqànd madulá.ˈ hiwálu ba-d-áy elčyè,ˈ báat dáda ⁺dáa d-áy bronà,ˈ gal-⁺pasoxè-nanˈ gal-rə̀qla,ˈ gal-zamòre,ˈ izalù,ˈ ⁺hal-kìˈ léle d-áy xlulà.ˈ lélət xlùla,ˈ xlulá godíwa ušwá yomé ušwá lelawè.ˈ ⁺kálo madewalà.ˈ ⁺masəmxíwa gáat ⁺hayàtˈ gál marqolè,ˈ gál zamorè,ˈ gál šraè,ˈ gál ⁺šamalèˈ gál ⁺sandúq d-áy jehèz.ˈ ⁺masmxiwalà.ˈ brona-àyˈ ⁺hatā́n masqíwale reš-⁺garè.ˈ nurà godíwa lóka.ˈ ⁺hatā́n ⁺m-yān-núra perwà,ˈ kí ⁺yanìˈ behrà ⁺paloté,ˈ nurá behrá ⁺paloté ilà.ˈ tré xabušé smoqé kwíwa b-idèw.ˈ kəmrìwaˈ əl-d-áy xabušé dhúllu g-reš-⁺kalò,ˈ kí ayét kí ⁺kaló qəsməttòx-ila.ˈ bàra-šˈ košét təxyàˈ aqlàw ⁺lečəttáˈ ki-ā́t réšaw ⁺zòr hawét.ˈ yasə́qwa reš-⁺garè.ˈ xabušé dahə̀lwaluˈ g-reš-⁺kalò.ˈ kullú čapkè dahíwa,ˈ kullú raqlìwa,ˈ ki-⁺hatā́n xabušé ni⁺šanà widíle əl-⁺kaló,ˈ kí mən-d-ò leléˈ kalòˈ ay-nošèw-ila.ˈ ⁺hál ki-d-o-lelé-š ⁺kaló hála là xəzyáwale.ˈ ắgar abéwa-š lel-xlulá ⁺kaló maxlpiwalà,ˈ ⁺məssèwa.ˈ ⁺rába-š ayne-šúle xdìriwa,ˈ bod-ód ⁺hatā́n hála l-⁺kaló là xəzyáwale.ˈ ⁺hatā́n kwašé təxyà.ˈ daát ⁺kaló maràˈ attá ⁺hatā́n b-adé aqlàx ⁺lečlá.ˈ bălé ăgár ⁺məssát ā̀t aqléw ⁺lučláˈ ki-ā̀t rešéw ⁺zór hawyát.ˈ bắle hamméša ⁺hatā̀nˈ aqlə́t ⁺kalò ⁺léčwala.ˈ géna aqláw ⁺lyačə̀lla,ˈ čápke daholù,ˈ raqolù.ˈ izalú gáat ⁺otā̀ġ,ˈ ixalà,ˈ šatoè,ˈ raqolè,ˈ zamorè.ˈ kə́mma yomèˈ kullùˈ kùd-yomˈ kùd-lelˈ bél ⁺hatā̀nˈ xlulà kəwyáwa,ˈ ⁺hál kí-t idáyle léle d-áy pardìn šaroé.ˈ ⁺hatā́n masxoè godíwa.ˈ bár lel-xlulàˈ baqatyómət yōm-aròtaˈ ⁺hátān masxoè godíwa.ˈ maxyané zamranè madéwa.ˈ xá-danka ⁺m-baruxáwət ay-⁺hatā̀nˈ dawtalàb xadə́rwa,ˈ əl-mewanì gódwaˈ əl-⁺hatā̀nˈ yómət arotà.ˈ amblíwale ⁺hamā̀m.ˈ yàˈ baáw kəmrìwaˈ ⁺hatā́n masxoè.ˈ amblíwale ⁺hamā̀m.ˈ ⁺m-hamā́m dèrwaˈ ⁺ásər gal-⁺baruxawèw,ˈ gal-mùsikaˈ amblíwale knəštà.ˈ baqatyóm šabbàt,ˈ baqatyóm gènaˈ amblíwale knəštà,ˈ géna m-knəštá gal-mùsika madríwale belà.ˈ ba-kullú mewané šəftè kwíwa,ˈ šəftè kəxlíwa.ˈ yá xlúlət áy ⁺huppà.ˈ attá ⁺matéx réšə d-àyˈ pardín šaroè.ˈ pardín šaroèˈ lélə d-áy xošèba godíwala.ˈ xá-danka pardá ⁺yasríwa m-gudàˈ ušwà yomé,ˈ ušwà lelawéˈ ó pardá gărág ⁺ysə̀rta hawyáwa.ˈ ni⁺šā́n d-o-pardá yà-welaˈ ki-mắni-t ăgàrˈ pùč xabréˈ máqe bar-⁺kálo ⁺hatā̀nˈ ó pardàˈ ⁺qanšarú ⁺qatyàle,ˈ la-qablà,ˈ la-qablìˈ kí ya-šxinà,ˈ yá pardà,ˈ yá paròxetˈ áyne xabré qbìle xadrí.ˈ bára qemíwa zamrìwa.ˈ pardàˈ šarèwala.ˈ əl-⁺hatā̀nˈ m-otā́ġ partfíwale tára reš-syamè.ˈ bod-mà partfíwale tára?ˈ kəmríwa átta xén ā̀tˈ gorà xdirét.ˈ ba-nòšoxˈ ⁺fəssè ⁺b-haslétˈ máre baxtà xdirét.ˈ xén áxni ə́llux là-⁺msex ⁺tašéx.ˈ ā́t gezét nóšox əl-nòšox ⁺tašét.ˈ yá-wela kí m-otā́ġ partfíwale tàra.ˈ géna gdèwa,ˈ gèna partfíwale tára.ˈ tré-zae ⁺tahá-zae ya-šúla godìwale.ˈ o-párda šarèwala.ˈ kí yaní ăgàrˈ ⁺hál attá-š mănì-tˈ ⁺qətrà ⁺ysíra hawéˈ ⁺yā́n xa-pùč xábra míra hawéˈ o-pardá šarèwale,ˈ ayné šəryè xadóru.ˈ ⁺hatā̀nˈ ínan ⁺kálo béhra ⁺palotù.ˈ ⁺hal bahorè.ˈ ⁺rába ⁺ràbaˈ báte kwéwa ki-là damxíwa.ˈ jarimā̀nˈ gal-⁺də́ġde raqlìwa,ˈ zamrìwa,ˈ wàˈ xlulàˈ áy ušwá yomé ušwá lelawé parqàwa.ˈ ána xá xabrá ⁺rába ki-muhə̀m-ileˈ áy xlulə́t áy Urmì m-báli zə́lle amrənwà.ˈ lélət xlulàˈ mewanèˈ fəssè,ˈ čèk,ˈ là madéwa.ˈ yá xa-zóra dehwà madéwa.ˈ ya goryè madéwaˈ ya parčá báat jullè madéwa.ˈ ya amā̀n madéwa.ˈ ò-jurˈ ⁺xleè madéwa.ˈ bằleˈ ayné-š kí madewalùˈ xà năfárˈ m-famìl,ˈ yá šammā̀š,ˈ lélət ay-xlulàˈ ayné kullú ⁺xleèˈ kí madéwalu báat ⁺kalo ⁺hatā̀nˈ ⁺masrə̀xwalu.ˈ mà-jur gódwa?ˈ amréx mắsălan xaltə̀tˈ ⁺kalòˈ goryè mditá.ˈ goryé dóqwalu b-idèwˈ kmə̀rwaˈ bá bá bá bàˈ ⁺azíze mewanèˈ xzímun xáltət ⁺kaló mà wə́tta!ˈ xá-zoa goryə́t awuršùmˈ áy šušà,ˈ áy awuršúm sqilèˈ goryé mabruqé mditàˈ báat ⁺kalò.ˈ əlhá manté ⁺kaló ⁺hatā̀nˈ gal-xaltə̀tˈ áy ⁺kalòˈ ⁺talafyé šbirè odílu.ˈ ya xadə́r amón ⁺kalòˈ là ədyé,ˈ là xilé,ˈ lá šətyè,ˈ bắle xà dankáˈ dehwá šdiré ba-⁺kalò.ˈ əlhàˈ awāzyé šbirèˈ ⁺kaló ⁺hatā́n odílu gál amonà.ˈ ya ⁺doyít áy ⁺kalòˈ m-Tehrā̀nˈ xá ⁺qətta parčàˈ šdiré ba-⁺hatā̀nˈ ki-ódlu jarkèt-inanˈ ⁺šalwalè.ˈ ò-jur-inanˈ ayné ⁺xleè kúllu ⁺masrxìwalu.ˈ našé čapkè dahíwa.ˈ kúd xléta-š ⁺masroxèˈ bára xa-musìk maxéwa,ˈ čàpke dahíwa.ˈ ⁺rába ⁺rába ay-xazòe-inanˈ áy trəngà welá.ˈ ána ayné kəmmá qəsməttə́t áy xlulá kí mirilìˈ kullú aná namayšù kəlwawalí.ˈ làxxaˈ teatrù widená.ˈ wa-⁺rába náše-š teatrú xəzyùlaˈ wa-⁺rába náše ki-là xəzyúla ayolú ki-g-Urmí xlulyé mà-jur godíwalu.ˈ	I want to talk a little about weddings in our community, how they would hold weddings in Urmi. We all knew that a wedding in Urmi was well worth seeing. Many nations have different types of wedding, but I think (one of) ours is very much worth seeing and hearing about. The messengers of the betrothal would come. They would say that the family of so-and-so want to come to ask for your daughter’s hand. They would give the message. They would say ‘When you agree, some people want to come to request a betrothal, they want your daughter for their son’. A matchmaker would go. The messengers would come. They would say to her mother ‘We want your daughter for our son’. The girl and the boy did not see each other until the night of the wedding. But the mother of the girl (asked) the father of the boy, the parents of the girl asked the parents of the boy: ‘What does the boy do?’ and so forth ‘What is his profession?’ and so forth. Whatever (type of person) he was, they praised him saying ‘Our son is an (exemplary) son. He does not smoke. He does not gamble. He does not go out with girls. Every Saturday he goes to synagogue. The mother of the girl says ‘Our daughter also is an exemplary daughter. She does not go out of the house. She does not speak with people. She makes dumplings well. She patches (clothes) well. She dusts well. Indeed, she has so many suitors. But we do not yet want to give our daughter away to a husband, since she is still young. The mother of the groom says ‘My son will be older than the girl, with a difference in all of ten years. Ten years are nothing’. In this way they negotiate with one another. The mother of the bride rises and brings a stick of sugar. They give it to the messengers and to the father and mother of the boy. They go off with merriment, dancing and singing, until the night of the wedding. The night of the wedding—they would hold a wedding for seven days and seven nights. They would bring the bride. They would make her stand in the courtyard, making her dance, with singing, with lamps, with candles, with the box of the dowry. They would make her stand. They would take the boy, the groom, up onto the roof. They would make a fire there. The groom would pass across the side of the fire, which signifies the bringing out of light, the fire is the bringing out of light. They would give him in his hand two red apples. They said ‘Knock these apples on the head of the bride, so that you know that the bride is your destined fortune. Then go downstairs and tread on her foot, so that you will be dominant over her’. He would go up onto the roof. He would knock the apples on the head of the bride. Everybody clapped hands and they all danced, when the groom threw the apples at the bride, because from that night the bride belonged to him. Until that night he had not yet seen the bride. Even if they wanted to change the bride on the night of the wedding, they could. Many such cases happened, since the groom had not yet seen the bride. The groom comes downstairs. The mother of the bride says ‘Now the groom will come and tread on your foot, but, if you can, _you_ tread on his foot, so that _you_ will be dominant. However, the groom always would tread on the bride’s foot. Now, he treads on her foot and they clap hands and they dance. They go into the room, to eat, drink, dance and sing. For several days all of them—every day, every night the wedding took place at the house of the groom, until the night of the releasing of the curtain came. They would perform the bathing of the groom. After the night of the wedding, on the Friday morning, they would perform the washing of the groom. They brought musicians and singers. One of the friends of the groom would volunteer to host the groom on the Friday. They took him to the baths. They called this the washing of the groom. They took him to the baths. He returned from the baths and in the evening they took him to synagogue with his friends and with music. On Saturday morning, again in the morning they took him to synagogue and again brought him back from synagogue to the house with music. They served wheat dumplings to all the guests and they ate the dumplings. This is the wedding of the canopy. Now we come to the releasing of the curtain. They would perform the releasing of the curtain on the Saturday night. They would draw a curtain over the wall. For seven days and seven nights the curtain had to be closed. The purpose of the curtain was this, that whenever somebody spoke bad words behind (the back) of the bride or the groom, the curtain would cut him off in front of them. It does not allow (this). For this tabernacle, this curtain, this covering does not allow these words to be accepted. Then they would rise and sing. They released the curtain. They threw the groom out of the room onto the shoes. Why did they throw him out? They would say ‘You have already become a husband. You must earn money for yourself. You have become the master of a wife. We cannot shelter you anymore. You should go and look after yourself’. This is why they threw him out of the room. Again they came and again threw him out of the room. They did this two or three times. They would release the curtain. This signifies that if until now somebody had tied a knot or said a bad word, the curtain would release him and these would become released. The groom and the bride go out into the light, until it became light. There were many houses in which (people) did not sleep, they danced line dancing and they sang, and the wedding, which (lasted) seven days and seven nights, came to an end. I forgot to say something regarding the weddings in Urmi that is very important. On the wedding night the guests did not bring money or cheques. They brought a small gold coin, or they brought stockings, or they brought material for clothes, or they brought a vessel. They brought gifts such as these. Now, a member of the family or a beadle would announce all the gifts that they brought for the bride and groom on the night of the wedding. How did he do this? Let us say, for example, that the maternal aunt of the bride had brought stockings. He would hold the stockings in his hand and say ‘Now, dear guests, see what the aunt of the bride has done! She has brought a beautiful pair of silk stockings, of nylon, of silk, shining stockings for the bride. God willing the bride and groom will reciprocate the aunt of the bride well’. It may happen that the paternal uncle of the bride has not come, has not eaten, has not drunk, but he has sent a gold coin to the bride. Indeed the bride and groom should reciprocate the uncle well. (It may happen that) the maternal uncle of the bride has sent a piece of material from Tehran to the groom for him to make into a jacket and trousers. In this way they would announce all the gifts. People would applaud. After announcing each gift, they would play some music and applaud. It was well worthwhile to see and very merry. I wrote a play about all these aspects of a wedding that I have described. I have staged it here in a theatre. Many people have seen the stage production. But many who have not seen it know how weddings were held in Urmi.

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Transcription:

abúlen xánči-š m-xlulə́t ay-gằban maqén,ˈ ki-mà-jur xlulá godíwa g-Urmí.ˈ kullán kyéxwa xlulá g-Urmí ⁺rába áy xazoè-wela.ˈ ⁺rába məllətyè-šˈ jur-ba-júr xlulyé əttù,ˈ bắle fkə́r wadén ki-didànˈ ⁺rába ⁺rába ay-xazoèˈ ⁺rába ay-šamoè ilá.ˈ

elčyè gdéwa.ˈ kəmríwa ba-bratxùnˈ bélə d-áy ⁺flankás abúlu adèˈ elčulà.ˈ xábra kwìwa.ˈ kəmríwa imắnət abulètun,ˈ abúlu našé adé elčulàˈ bratxún abúlula ba-bronù.ˈ ⁺dallaltà gezáwa.ˈ elčyè gdéwa.ˈ ba-⁺daáw kəmríwa kìˈ bratáx abúləxxa ba-bronàn.ˈ bratá-inan broná-š əl-⁺də́ġde ⁺hal-kì lel-xlulá lá xazéwa.ˈ bas-⁺daát bratàˈ dadə́t bronà,ˈ o-dada-⁺dáat bráta baqrìwaˈ m-dada-⁺dáa ay-bronà:ˈ bróna mà gód?ˈ mà la-gód?ˈ šuléw mà-ile?ˈ mà lewé?ˈ má-t-wele kəmrìwaˈ ⁺rába taarìf godíwaˈ bronán xá bronèle.ˈ ⁺jəgára là garə́š.ˈ ⁺qumā́r là ⁺tā́lˈ gal-blané là gezél.ˈ kud-šabbát knəštà gezél.ˈ

⁺dáat ay-bratà-š máraˈ ⁺walla bratán-əš xa-bràtela.ˈ m-béla tára la-⁺pàlta.ˈ gal-nā́š là maqyá.ˈ jwā́n šəftè godá.ˈ jwā́n marqayè godá,ˈ jwā́n ⁺tòz antyá.ˈ áxča-š abyané əttà máyle.ˈ bắle áxni hála là-abulex brátan hawə́xxa l-góraˈ bod-ód hála zùrtela.ˈ ⁺dáat ⁺hatàn-əš máraˈ kúlla əsrà šənné tafáat ə́ttuˈ broní m-bratá ⁺rə̀wwa ba-hawé.ˈ əsrá šənné xa-⁺məndə̀ġ léwu.ˈ ó-jur-inan ⁺sawdaú xadóra gal-dəġdè.ˈ ⁺dáat ⁺kálo qyamàˈ kalleqànd madulá.ˈ hiwálu ba-d-áy elčyè,ˈ báat dáda ⁺dáa d-áy bronà,ˈ gal-⁺pasoxè-nanˈ gal-rə̀qla,ˈ gal-zamòre,ˈ izalù,ˈ ⁺hal-kìˈ léle d-áy xlulà.ˈ

lélət xlùla,ˈ xlulá godíwa ušwá yomé ušwá lelawè.ˈ ⁺kálo madewalà.ˈ ⁺masəmxíwa gáat ⁺hayàtˈ gál marqolè,ˈ gál zamorè,ˈ gál šraè,ˈ gál ⁺šamalèˈ gál ⁺sandúq d-áy jehèz.ˈ ⁺masmxiwalà.ˈ brona-àyˈ ⁺hatā́n masqíwale reš-⁺garè.ˈ nurà godíwa lóka.ˈ ⁺hatā́n ⁺m-yān-núra perwà,ˈ kí ⁺yanìˈ behrà ⁺paloté,ˈ nurá behrá ⁺paloté ilà.ˈ tré xabušé smoqé kwíwa b-idèw.ˈ kəmrìwaˈ əl-d-áy xabušé dhúllu g-reš-⁺kalò,ˈ kí ayét kí ⁺kaló qəsməttòx-ila.ˈ bàra-šˈ košét təxyàˈ aqlàw ⁺lečəttáˈ ki-ā́t réšaw ⁺zòr hawét.ˈ yasə́qwa reš-⁺garè.ˈ xabušé dahə̀lwaluˈ g-reš-⁺kalò.ˈ kullú čapkè dahíwa,ˈ kullú raqlìwa,ˈ ki-⁺hatā́n xabušé ni⁺šanà widíle əl-⁺kaló,ˈ kí mən-d-ò leléˈ kalòˈ ay-nošèw-ila.ˈ ⁺hál ki-d-o-lelé-š ⁺kaló hála là xəzyáwale.ˈ ắgar abéwa-š lel-xlulá ⁺kaló maxlpiwalà,ˈ ⁺məssèwa.ˈ ⁺rába-š ayne-šúle xdìriwa,ˈ bod-ód ⁺hatā́n hála l-⁺kaló là xəzyáwale.ˈ ⁺hatā́n kwašé təxyà.ˈ daát ⁺kaló maràˈ attá ⁺hatā́n b-adé aqlàx ⁺lečlá.ˈ bălé ăgár ⁺məssát ā̀t aqléw ⁺lučláˈ ki-ā̀t rešéw ⁺zór hawyát.ˈ bắle hamméša ⁺hatā̀nˈ aqlə́t ⁺kalò ⁺léčwala.ˈ géna aqláw ⁺lyačə̀lla,ˈ čápke daholù,ˈ raqolù.ˈ izalú gáat ⁺otā̀ġ,ˈ ixalà,ˈ šatoè,ˈ raqolè,ˈ zamorè.ˈ kə́mma yomèˈ kullùˈ kùd-yomˈ kùd-lelˈ bél ⁺hatā̀nˈ xlulà kəwyáwa,ˈ ⁺hál kí-t idáyle léle d-áy pardìn šaroé.ˈ

⁺hatā́n masxoè godíwa.ˈ bár lel-xlulàˈ baqatyómət yōm-aròtaˈ ⁺hátān masxoè godíwa.ˈ maxyané zamranè madéwa.ˈ xá-danka ⁺m-baruxáwət ay-⁺hatā̀nˈ dawtalàb xadə́rwa,ˈ əl-mewanì gódwaˈ əl-⁺hatā̀nˈ yómət arotà.ˈ amblíwale ⁺hamā̀m.ˈ yàˈ baáw kəmrìwaˈ ⁺hatā́n masxoè.ˈ amblíwale ⁺hamā̀m.ˈ ⁺m-hamā́m dèrwaˈ ⁺ásər gal-⁺baruxawèw,ˈ gal-mùsikaˈ amblíwale knəštà.ˈ baqatyóm šabbàt,ˈ baqatyóm gènaˈ amblíwale knəštà,ˈ géna m-knəštá gal-mùsika madríwale belà.ˈ ba-kullú mewané šəftè kwíwa,ˈ šəftè kəxlíwa.ˈ yá xlúlət áy ⁺huppà.ˈ attá ⁺matéx réšə d-àyˈ pardín šaroè.ˈ pardín šaroèˈ lélə d-áy xošèba godíwala.ˈ xá-danka pardá ⁺yasríwa m-gudàˈ ušwà yomé,ˈ ušwà lelawéˈ ó pardá gărág ⁺ysə̀rta hawyáwa.ˈ ni⁺šā́n d-o-pardá yà-welaˈ ki-mắni-t ăgàrˈ pùč xabréˈ máqe bar-⁺kálo ⁺hatā̀nˈ ó pardàˈ ⁺qanšarú ⁺qatyàle,ˈ la-qablà,ˈ la-qablìˈ kí ya-šxinà,ˈ yá pardà,ˈ yá paròxetˈ áyne xabré qbìle xadrí.ˈ bára qemíwa zamrìwa.ˈ pardàˈ šarèwala.ˈ əl-⁺hatā̀nˈ m-otā́ġ partfíwale tára reš-syamè.ˈ bod-mà partfíwale tára?ˈ kəmríwa átta xén ā̀tˈ gorà xdirét.ˈ ba-nòšoxˈ ⁺fəssè ⁺b-haslétˈ máre baxtà xdirét.ˈ xén áxni ə́llux là-⁺msex ⁺tašéx.ˈ ā́t gezét nóšox əl-nòšox ⁺tašét.ˈ yá-wela kí m-otā́ġ partfíwale tàra.ˈ géna gdèwa,ˈ gèna partfíwale tára.ˈ tré-zae ⁺tahá-zae ya-šúla godìwale.ˈ o-párda šarèwala.ˈ kí yaní ăgàrˈ ⁺hál attá-š mănì-tˈ ⁺qətrà ⁺ysíra hawéˈ ⁺yā́n xa-pùč xábra míra hawéˈ o-pardá šarèwale,ˈ ayné šəryè xadóru.ˈ ⁺hatā̀nˈ ínan ⁺kálo béhra ⁺palotù.ˈ ⁺hal bahorè.ˈ ⁺rába ⁺ràbaˈ báte kwéwa ki-là damxíwa.ˈ jarimā̀nˈ gal-⁺də́ġde raqlìwa,ˈ zamrìwa,ˈ wàˈ xlulàˈ áy ušwá yomé ušwá lelawé parqàwa.ˈ

ána xá xabrá ⁺rába ki-muhə̀m-ileˈ áy xlulə́t áy Urmì m-báli zə́lle amrənwà.ˈ lélət xlulàˈ mewanèˈ fəssè,ˈ čèk,ˈ là madéwa.ˈ yá xa-zóra dehwà madéwa.ˈ ya goryè madéwaˈ ya parčá báat jullè madéwa.ˈ ya amā̀n madéwa.ˈ ò-jurˈ ⁺xleè madéwa.ˈ

bằleˈ ayné-š kí madewalùˈ xà năfárˈ m-famìl,ˈ yá šammā̀š,ˈ lélət ay-xlulàˈ ayné kullú ⁺xleèˈ kí madéwalu báat ⁺kalo ⁺hatā̀nˈ ⁺masrə̀xwalu.ˈ mà-jur gódwa?ˈ amréx mắsălan xaltə̀tˈ ⁺kalòˈ goryè mditá.ˈ goryé dóqwalu b-idèwˈ kmə̀rwaˈ bá bá bá bàˈ ⁺azíze mewanèˈ xzímun xáltət ⁺kaló mà wə́tta!ˈ xá-zoa goryə́t awuršùmˈ áy šušà,ˈ áy awuršúm sqilèˈ goryé mabruqé mditàˈ báat ⁺kalò.ˈ əlhá manté ⁺kaló ⁺hatā̀nˈ gal-xaltə̀tˈ áy ⁺kalòˈ ⁺talafyé šbirè odílu.ˈ ya xadə́r amón ⁺kalòˈ là ədyé,ˈ là xilé,ˈ lá šətyè,ˈ bắle xà dankáˈ dehwá šdiré ba-⁺kalò.ˈ əlhàˈ awāzyé šbirèˈ ⁺kaló ⁺hatā́n odílu gál amonà.ˈ ya ⁺doyít áy ⁺kalòˈ m-Tehrā̀nˈ xá ⁺qətta parčàˈ šdiré ba-⁺hatā̀nˈ ki-ódlu jarkèt-inanˈ ⁺šalwalè.ˈ ò-jur-inanˈ ayné ⁺xleè kúllu ⁺masrxìwalu.ˈ našé čapkè dahíwa.ˈ kúd xléta-š ⁺masroxèˈ bára xa-musìk maxéwa,ˈ čàpke dahíwa.ˈ ⁺rába ⁺rába ay-xazòe-inanˈ áy trəngà welá.ˈ ána ayné kəmmá qəsməttə́t áy xlulá kí mirilìˈ kullú aná namayšù kəlwawalí.ˈ làxxaˈ teatrù widená.ˈ wa-⁺rába náše-š teatrú xəzyùlaˈ wa-⁺rába náše ki-là xəzyúla ayolú ki-g-Urmí xlulyé mà-jur godíwalu.ˈ

Translation:

I want to talk a little about weddings in our community, how they would hold weddings in Urmi. We all knew that a wedding in Urmi was well worth seeing. Many nations have different types of wedding, but I think (one of) ours is very much worth seeing and hearing about.

The messengers of the betrothal would come. They would say that the family of so-and-so want to come to ask for your daughter’s hand. They would give the message. They would say ‘When you agree, some people want to come to request a betrothal, they want your daughter for their son’. A matchmaker would go. The messengers would come. They would say to her mother ‘We want your daughter for our son’. The girl and the boy did not see each other until the night of the wedding. But the mother of the girl (asked) the father of the boy, the parents of the girl asked the parents of the boy: ‘What does the boy do?’ and so forth ‘What is his profession?’ and so forth. Whatever (type of person) he was, they praised him saying ‘Our son is an (exemplary) son. He does not smoke. He does not gamble. He does not go out with girls. Every Saturday he goes to synagogue.

The mother of the girl says ‘Our daughter also is an exemplary daughter. She does not go out of the house. She does not speak with people. She makes dumplings well. She patches (clothes) well. She dusts well. Indeed, she has so many suitors. But we do not yet want to give our daughter away to a husband, since she is still young. The mother of the groom says ‘My son will be older than the girl, with a difference in all of ten years. Ten years are nothing’. In this way they negotiate with one another. The mother of the bride rises and brings a stick of sugar. They give it to the messengers and to the father and mother of the boy. They go off with merriment, dancing and singing, until the night of the wedding.

The night of the wedding—they would hold a wedding for seven days and seven nights. They would bring the bride. They would make her stand in the courtyard, making her dance, with singing, with lamps, with candles, with the box of the dowry. They would make her stand. They would take the boy, the groom, up onto the roof. They would make a fire there. The groom would pass across the side of the fire, which signifies the bringing out of light, the fire is the bringing out of light. They would give him in his hand two red apples. They said ‘Knock these apples on the head of the bride, so that you know that the bride is your destined fortune. Then go downstairs and tread on her foot, so that you will be dominant over her’. He would go up onto the roof. He would knock the apples on the head of the bride. Everybody clapped hands and they all danced, when the groom threw the apples at the bride, because from that night the bride belonged to him. Until that night he had not yet seen the bride. Even if they wanted to change the bride on the night of the wedding, they could. Many such cases happened, since the groom had not yet seen the bride. The groom comes downstairs. The mother of the bride says ‘Now the groom will come and tread on your foot, but, if you can, _you_ tread on his foot, so that _you_ will be dominant. However, the groom always would tread on the bride’s foot. Now, he treads on her foot and they clap hands and they dance. They go into the room, to eat, drink, dance and sing. For several days all of them—every day, every night the wedding took place at the house of the groom, until the night of the releasing of the curtain came.

They would perform the bathing of the groom. After the night of the wedding, on the Friday morning, they would perform the washing of the groom. They brought musicians and singers. One of the friends of the groom would volunteer to host the groom on the Friday. They took him to the baths. They called this the washing of the groom. They took him to the baths.

He returned from the baths and in the evening they took him to synagogue with his friends and with music. On Saturday morning, again in the morning they took him to synagogue and again brought him back from synagogue to the house with music. They served wheat dumplings to all the guests and they ate the dumplings. This is the wedding of the canopy. Now we come to the releasing of the curtain. They would perform the releasing of the curtain on the Saturday night. They would draw a curtain over the wall. For seven days and seven nights the curtain had to be closed. The purpose of the curtain was this, that whenever somebody spoke bad words behind (the back) of the bride or the groom, the curtain would cut him off in front of them. It does not allow (this). For this tabernacle, this curtain, this covering does not allow these words to be accepted. Then they would rise and sing. They released the curtain. They threw the groom out of the room onto the shoes. Why did they throw him out? They would say ‘You have already become a husband. You must earn money for yourself. You have become the master of a wife. We cannot shelter you anymore. You should go and look after yourself’. This is why they threw him out of the room. Again they came and again threw him out of the room. They did this two or three times. They would release the curtain. This signifies that if until now somebody had tied a knot or said a bad word, the curtain would release him and these would become released. The groom and the bride go out into the light, until it became light. There were many houses in which (people) did not sleep, they danced line dancing and they sang, and the wedding, which (lasted) seven days and seven nights, came to an end.

I forgot to say something regarding the weddings in Urmi that is very important. On the wedding night the guests did not bring money or cheques. They brought a small gold coin, or they brought stockings, or they brought material for clothes, or they brought a vessel. They brought gifts such as these.

Now, a member of the family or a beadle would announce all the gifts that they brought for the bride and groom on the night of the wedding. How did he do this? Let us say, for example, that the maternal aunt of the bride had brought stockings. He would hold the stockings in his hand and say ‘Now, dear guests, see what the aunt of the bride has done! She has brought a beautiful pair of silk stockings, of nylon, of silk, shining stockings for the bride. God willing the bride and groom will reciprocate the aunt of the bride well’. It may happen that the paternal uncle of the bride has not come, has not eaten, has not drunk, but he has sent a gold coin to the bride. Indeed the bride and groom should reciprocate the uncle well. (It may happen that) the maternal uncle of the bride has sent a piece of material from Tehran to the groom for him to make into a jacket and trousers. In this way they would announce all the gifts. People would applaud. After announcing each gift, they would play some music and applaud. It was well worthwhile to see and very merry. I wrote a play about all these aspects of a wedding that I have described. I have staged it here in a theatre. Many people have seen the stage production. But many who have not seen it know how weddings were held in Urmi.