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Sözlü gelenek kadim bir geçmişe sahip olup temsilcisi/aktarıcısı olan özneleri geçmişten beri farklı adlar ve niteliklerle var olagelir. Halk edebiyatı ve şiiri odağında başka coğrafyalarda farklı adlarla bilinse de, Anadolu sahasında çoğunlukla saz şairi, âşık ve halk şairi terimlerinin tercih edildiği görülür. Bu terimlerin her biri kültürel birikimin yansıması olarak önemli bir yere sahiptir. Bu çalışmada adı geçen terimler değerlendirilerek saz şairi adının neden tercih edildiği ve karakteristik özellik olarak neler taşıdığı irdelenmiştir. Saz şiirinin müzikle bağlantılı olarak icra edilmesi, şiirlerde müzikalitenin dikkat çekmesi, sazın ilham ve hünerin taşıyıcısı olarak konumlanması bu şiir geleneğinin saz şiiri olarak tanımlanmasına imkân sunmaktadır. Saz şairinin yanı sıra “âşıklık geleneği” çerçevesinde âşık ve aidiyet bağlamında halka atıfta bulunarak halk şairi adının kullanımı değerlendirilmektedir. Ayrıca söz konusu sözlü gelenek öznesinin, geçmiş kültürel birikimi aktarırken belli başlı bazı karakteristik özelliklere haiz olduğu dikkatlere sunulmaktadır. Bu bağlamda âşıklık geleneği çerçevesinde şekillenen saz-söz ustalığı, doğaçlama söylemek, telden-dilden atışmak, mahlas kullanmak gibi bazı niteliklerin yanında, gönül ehli olmak, doğruluk, kanaatkârlık, kadre rıza göstermek gibi özellikler saz şairi/âşık/halk şairi öznesinin tamamlayıcı ögeleri olarak değer kazanmaktadır.
The verbal tradition has an ancient history and the subjects who are representative/representative from the past may exist with different names and qualities. Although popular literature and poetry are focused on different names in other geographies, it appears that in the Anatolian field mostly the poets, lovers and popular poets are preferred. Each of these terms has an important place as a reflection of cultural accumulation. The term referred to in this study is assessed by why the poet's name is preferred and what characteristic characteristics it carries. The performance of the Saz poetry in connection with music, the attraction of musicality in poems, the positioning of the Saz as the carrier of inspiration and honour, enables this poetry tradition to be defined as the Saz poetry. In addition to the Saz poet, the use of the popular poet's name in the context of love and belief is assessed in the framework of the "tradition of belief". It is also presented to the attention that the verbal tradition essence, while transmitting past cultural accumulation, has some characteristic characteristics of a particular head. In this context, in the framework of love tradition formed sad-word skill, naturalization speaking, throwing out of the telden-language, using mahlas, in addition to some qualities, characteristics such as being heart-friendly, truthfulness, canathering, showing personal consent gain value as complementary objects of the sad poet/love/people poet essence.
The oral tradition has an archaic history and its subjects as the representative/narrator have been called with different names and with different characteristics over time. Although it is called with different names in different geographies in terms of folk literature and poetry, it is seen that most of the time the terms such as bard, wandering minstrel, and minstrel are used in Anatolia. Each of these terms has an important place as the reflection of cultural accumulation. The stated terms were analyzed and why the term bard was used as well as its characteristics were discussed. The fact that bards perform their art through music, that musicality is drawn attention in poems, and that saz (a traditional musical instrument) is positioned as the representative of inspiration and talent, makes it possible to call those performing it as bards. In addition, the use of the term minstrel was addressed by referring to the public within the context of minstrel and belonging in “the tradition of being a minstrel”. Moreover, the fact that the subject of oral tradition has some certain characteristics while narrating the cultural accumulation is discussed. In this context, characteristics such as mastery in saz/lyrics, improvisation, call-and-response duet, using pseudonyms as well as competence in feelings, righteousness, being content with what one has, and bowing to the inevitable, become valuable as complementary elements of the subjects of bards, minstrels, and wandering minstrels.
Alan : Eğitim Bilimleri; Güzel Sanatlar; İlahiyat; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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