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Divan edebiyatı, başlangıcından 19. yüzyıla kadar oluşturduğu zengin edebî gelenek ile gerek halk edebiyatının gerekse Tanzimat döneminden itibaren yenileşme dönemi Türk edebiyatının şekillenmesine yardımcı olmuştur. Özellikle halk edebiyatını nazım birimi, nazım şekilleri, mazmunlar ve ölçü gibi hususlarda etkilemiş, pek çok halk şairi bu bakımdan divan edebiyatından beslenmişlerdir. Bu etki ters istikamette de hâsıl olmuş, belli başlı hususlarda divan şairleri de millî şiir geleneğinden etkilenmiş, halk edebiyatının karakteristik özelliklerinden faydalanmışlardır. Bazı divan şairlerinin hece ölçüsünü kullanmaları, türkü gibi nazım şekillerinin örneklerini vermeleri, dilde sadeleşme temayülleri bu müşterek noktalar arasında gösterilebilir. Klasik şairlerin halk şiirinden etkilenerek eserlerinde kullandıkları bir diğer üslup özelliği de “dedim-dedi” veya “mürâcaa” olarak ifade edilen söyleyiş tarzıdır. Erzurumlu Emrah, Âşık Ömer, Gevheri gibi pek çok halk âşığının sevgili ile karşılıklı konuşuluyormuş edasıyla söyledikleri şiirler ile geleneğe kattıkları bu samimi söyleyişin örneklerini divan edebiyatında da görmek mümkündür. Bu söyleyiş bazen beyitlerde sınırlı kalmış, bazen de tıpkı halk şiiri örneklerinde olduğu gibi şiirin tamamına hâkim olmuştur. Fuzûlî, Ahmedî, Şeyhî, Muhibbî gibi pek çok önemli divan şairinin dahi şiirlerinde bu söyleyişe yer vermeleri, divan ve halk edebiyatları arasındaki çizginin çok da keskin olmadığını, divan şairlerinin halktan ve halk şiirinden kopuk bir şiir anlayışı geliştirmediklerini göstermektedir. Bu çalışmada halk şiiri üslup özelliklerinden olan “dedim-dedi” söyleyiş tarzının divan edebiyatındaki yansıması ele alınmıştır. Halk edebiyatından örneklerle birlikte mürâcaa söyleyişi hakkında verilen genel bilginin akabinde beyit ve şiir bütünlüğü çerçevesinde bu söyleyiş özelliği taşıyan metinler verilmiş, bu şekilde “dedim-dedi” tarzının divan edebiyatındaki örnekleri derlenmiştir.
From the beginning to the 19th century, Divan literature with its rich literary tradition, has to shape both the folk literature and the Turkish literature from the Tanzimat period until the period of renewal. Especially it influenced folk literature on the verse unit, verse forms, themes and measure, and many folk poets have been fueled by divan literature in this respect. This effect has also taken place in the opposite direction, and the divan poets have also been influenced by the national poetry tradition and have benefited from the characteristics of folk literature. The use of syllabic meter, examples of verse forms such as ballad, tendency for language simplification of some divan poets can be shown as these common points. Another stylistic feature used by classical poets in their works, influenced by folk poetry, is the style of utterance expressed as "I said-she said" or "muracaa". It is also possible to see examples of this sincere expression added to the tradition by the poems of many folk poets such as Erzurumlu Emrah, Aşık Ömer and Gevheri as if they talk with their beloved ones face to face. This expression is sometimes limited in verses, and sometimes it dominates the poetry just like in folk poetry. The place of this expression in the poetry of many important divan poets such as Fuzûli, Ahmedî, Sheikhî, Muhibbî reveals that the line between divan and folk literature is not very sharp. It also shows that divan poets do not develop a sense of poetry that is disconnected from people and folk poetry. In this study, the reflection of the style of "I said-she said", which is one of the stylistic features of folk poetry, in the Divan literature is discussed. Following the general information about folk literature with the examples of the "muracaa" style, texts with this characteristic were given within the framework of couplet and poetry integrity. In this way, the samples of the style of "I said-she said" in the divan literature are compiled.
From the beginning until the 19th century, Divan literature with its rich literary tradition, has helped to shape both the folk literature and the Turkish literature from the Tanzimat period until the period of renewal. Especially it influenced folk literature on the verse unit, verse forms, themes and measure, and many folk poets have been fueled by divan literature in this respect. This effect has also taken place in the opposite direction, and the divan poets have also been influenced by the national poetry tradition and have benefited from the characteristics of folk literature. The use of syllabic meter, examples of verse forms such as ballad, tendency for language simplification of some divan poets can be shown as these common points. Another stylistic feature used by classical poets in their works, influenced by folk poetry, is the style of utterance expressed as "I said-she said" or "müracaa". It is also possible to see examples of this sincere expression added to the tradition by the poems of many folk poets such as Erzurumlu Emrah, Aşık Ömer and Gevheri as if they talk with their beloved ones face to face. This expression is sometimes limited in verses, and sometimes it dominates the poetry just like in folk poetry. The place of this expression in the poetry of many important divan poets such as Fuzûlî, Ahmedî, Şeyhî, Muhibbî reveals that the line between divan and folk literature is not very sharp. It also shows that divan poets do not develop a sense of poetry that is disconnected from people and folk poetry. In this study, the reflection of the style of ”I said-she said“, which is one of the stylistic features of folk poetry, in the Divan literature is discussed. Following the general information about folk literature with the examples of "müracaa" style, texts with this characteristic were given within the framework of couplet and poetry integrity. In this way, the samples of the style of "I said-she said" in the divan literature are compiled.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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