| dc.description.abstract | Osmanlı edebiyatının manzum metinleri, realiteye olan aşırı bağlılıkları sebebiyle ait oldukları dönemin toplum hayatına ışık tutan önemli birer vesika niteliğindedir. Bu yazıda sadece manzum metinler kaynak alınarak gezginci bâtınî dervişlerin görünüş ve davranışları hakkında elde edilen ipuçları tasnif edilip değerlendirilmekte, bu vesileyle edebî metinlerin aynı zamanda birer tarih vesikası değeri taşıdıkları hususu araştırmacıların dikkatine sunulmaktadır. Konusu neredeyse tamamen aşk üzerine kurulmuş milyonlarca beyitle örülü bir edebiyat, dolaylı olarak toplumun gündelik hayatını en ince detayına kadar gözler önüne serme özelliğine sahiptir. Bu zenginlik şairlerin daha önce söylenmiş bir sözü tekrara düşmeme konusunda gösterdikleri titizlikten kaynaklanır. Tavizsiz kalıplarla sınırları belirlenmiş bir edebiyat geleneği çerçevesinde en yeniyi ve mükemmeli yakalamaya çalışan şair, eserine malzeme oluşturmak amacıyla çevresindeki her şeye dikkatle bakmaya ve daha önce başkalarının yakalayamadığı incelikleri bulmaya mecburdur. Bu sayede edebiyatı oluşturan her beyit, okuyucu için yüzyıllar öncesinden yansıyan bir sahne, bir tablo ve bir vesika değeri oluşturur. Öyle ki bazen bu vesikaları birleştirmek suretiyle toplum hayatının tarih kayıtlarına girmemiş en ince detaylarını bütün ayrıntılarıyla görmek mümkün olabilmektedir. Eski şiirin klişeleşmiş estetik değerleri arasında temel karakteri oluşturan "âşık" tipi, çoğu zaman "şâir"in şahsıyla özdeşleşmiş bir yapı arz eder ve hangi meşrepte olursa olsunlar bütün şairler kendilerini birer "abdal" olarak idealize ederler. Bu klişenin oluşmasında dini vasıta ederek toplumda güç ve konum oluşturmaya çalışan "sofu/zahit" tipine karşı duyulan tepkinin hatırı sayılır bir payı vardır. Sıra dışı davranışları, geleneklere aykırı dış görünüşü ve tavırları sebebiyle toplum tarafından kınanıp ayıplanmasına rağmen riya kirinden arınmışlık boyutunu yakalaması ve "Acaba insanlar hakkımda ne düşünürler?" endişesini geride bırakması bakımından "abdal", şiirde idealize edilen temel kahramanlardan biri olmuştur. Başka bir açıdan bakıldığında şairler abdal ve Kalenderleri anlatırken aslında dolaylı olarak idealize ettikleri "âşık" tipinin de ana hatlarını ortaya koymaktadırlar | en_US |
| dc.description.abstract | Each poetical text from Ottoman literature are considered as important exemplary documents which enlighten the social life of the era they belong because of their tight connection to the reality. This essay reveals the quality of the literary texts as historical exemplary documents by classifying and evaluating the hints obtained through poetical texts used as a source upon the appearances and behaviors of wanderer heterodox ascetics. Classical Ottoman Literature is extremely limited in terms of its vocabulary and in possibilities on poetic subject-matters, and an overly traditionalist one. Perhaps, this condition can be described by distinction between preparing various deserts from very rich ingredients and preparing deserts each more delicious than the other using merely flour, butter and sugar. According to the rules of the game: Poets must produce extraordinary dreams with very limited objects. While composing a work in this literature, all objects such as trees, flowers etc. that are likely to create a theme for the poem are extremely limited. No plant species other than a few flowers such as tulips, violets, hyacinths, sesame or trees such as cypress, sycamore, willow can be included into this literature by choice. No poet is allowed to say “I love chrysanthemum, so I want to treat it as a subject in my poetry”, or “Romeo and Juliet is a very famous love story, so I want to refer to this story in my poem.” Therefore Ottoman literature is a game of creating images and dreams with all this limited vocabulary under extremely narrow and conservative rules and forms. This, at the same time, have utilized as an opportunity for the poets in that era to prove their quick wit which is the reasoning behind offering gifts or some high ranking positions to the poets in exchange for poems written. These poems are the kind that makes one say that poets with ability to compose such humorous dreams could perfecly be fit to do the governor’s job in the city of so-and-so or clerk's work in a post of so-and-so. As a result of this, an expression which at first glance could be seen as a scenery is apt to reflect a battle scene or a snapshot from the livelyhood of a market place in the back ground. This is a situation somewhat commeasurable with detection capability of readers and is directly proportionate to the calibre and cultural level of the poetry reader. Under the circumstances, each poem takes on the value of a documentation with the power and capability of reflecting everyday life of that era to the extend of details that hidden in odd corners for today’s world. A literature, plotted with billions of verses on love, has the ability of indirectly raveling even the smallest details of the everyday social life. This substantiality originates from the meticulousness of the poets on not repeating any verse or statement. The poet, who thrives for finding the newest and the excellence within a pre-determined, uncompromising literature tradition boundaries, had to look carefully to his whereabouts and catch the details which no one mentioned before in order to create materials for his work of art. By this means, every verse creating the literature is worthy as a painting, a scene or a record reflected from hundreds of years ago. So much that sometimes through combining these records, it is possible to pace around the finest details of history. “Abdal” or “wandering dervish” is the most basic character of old poetry. It mostly presents a structure which identifies with the personality of the poet. All poets, regardless of which disposition they belong to, idealize themselves as “abdal” (wandering dervish). This cliché is mostly formed because of the hatred against the religionist “sufi/zahid” who uses religion to form some kind of a power and position above the society. Abdals are one of the idealized characters in the poetry due to their extraordinary behaviors, untraditional appearances, their lack of hypocrisy despite being denunciated and excluded by the society, and not caring about “What will others think of me?”. In another point of view, poets indirectly outlines the idealized “Minstrelsy” type by telling about Abdals and Philosophers. Literary texts are important exemplary records since they handle the smallest details of history which even the most reliable sources can’t or don’t enlighten because they don’t seem to be important enough to carry on to future generations. The main aim of this essay is to focus on the abdal/philosopher model as a representative of heterodox/esoteric dervish class by holding an important place at the Ottoman era by being the limelight of the society and the poets while analyzing the importance of the history-enlightening records. In addition to this, excluding the public adjectives such as “abdal” or “dervish”, it is possible to say that there is enough source to create an individual study on social classes such as Hayderîler, Edhemîler, Cavlakîler, Câmîler, Cemâlîler, Ezrâkîler, Gümânîler, Hânedânîler, İlâhîler, İmâmîler, Torlaklar, Kitâbîler / Sâbi‘îler, Şemsîler / Âfitâbîler, Ni‘metullahîler, Nurbahşîler, Kübrevîler, Türâbîler etc, even though they have distinctive characteristic features. As it can be seen in this article, when the tips obtained from the poetic texts of Ottoman poetry that are speaking of irrelevant and different topics are combined, the life style of a "Qalandar dervish" with his dress, behavior, traditions, passions and habits, status in society can be detected up to the finest details. Thus, appearence of a “tâc-i sadef”, namely, forty-sectioned “tâc-i Kalender” (Qalandar hat) which never mentioned by the sources comes to light by means of these poems. Again, only utilizing the poetic texts, one can bring a different point of view to the information about “the Shamsies” from a 16th century source which have been a matter of question for years | en_US |
