\u015eiir (ar. si’r, fr. po\u00e9sie, ing. poem), en eski edebiyat t\u00fcr\u00fcd\u00fcr. De\u011fi\u015fik sanat anlay\u0131\u015flar\u0131na ba\u011fl\u0131 olarak \u00e7e\u015fitli tan\u0131mlar\u0131 yap\u0131lm\u0131\u015f, \u015fiirin tan\u0131mlanamayaca\u011f\u0131 da \u00f6ne s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Yine de genelde, \u015fiirin ritime ve imgeye dayanan, kendine \u00f6zg\u00fc dili ve s\u00f6yleyi\u015f \u00f6zelli\u011fiyle estetik etkilenmeler yarat\u0131c\u0131 bir s\u00f6z sanat\u0131 oldu\u011funda birle\u015filmektedir.<\/p>\n
T\u00fcrk\u00e7ede \u015fiir kar\u015f\u0131l\u0131\u011f\u0131 ko\u015fuk, y\u0131r, \u00f6z\u00fcn gibi s\u00f6zc\u00fckler \u00f6nerilmi\u015fse de hi\u00e7 biri yayg\u0131nla\u015famam\u0131\u015ft\u0131r. Bug\u00fcn ko\u015fuk, naz\u0131m kar\u015f\u0131l\u0131\u011f\u0131 kullan\u0131lmaktad\u0131r. Ayr\u0131ca naz\u0131mla \u015fiiri birbirine kar\u0131\u015ft\u0131rmamak gerekir. Birincisi yaln\u0131zca bir anlat\u0131m yoludur. Ge\u00e7mi\u015fte \u015fiirin uyak, \u00f6l\u00e7\u00fc, naz\u0131m bi\u00e7imleri gibi bi\u00e7imsel \u00f6zelliklerden ayr\u0131 d\u00fc\u015f\u00fcn\u00fclemeyi\u015fi \u015fiirle nazm\u0131n e\u015fanlaml\u0131 say\u0131lmas\u0131na yol a\u00e7m\u0131\u015f, giderek \u015fiir \u00abmevzuu ve mukaffa (\u00f6l\u00e7\u00fcl\u00fc ve uyakl\u0131) bir s\u00f6z sanat\u0131\u00bb olarak tan\u0131mlanm\u0131\u015ft\u0131r. G\u00fcn\u00fcm\u00fczde bu anlay\u0131\u015f a\u015f\u0131lm\u0131\u015ft\u0131r. Nitekim \u015fiirin do\u011fu\u015funu, sanat olarak geli\u015fimini a\u00e7\u0131klamaya \u00e7al\u0131\u015fan a\u015fa\u011f\u0131daki \u00f6zet, bir bak\u0131ma \u015fiirin ne oldu\u011fu konusunu da ayd\u0131nlatmaktad\u0131r:<\/p>\n
\u00ab\u0130nsan, do\u011fay\u0131 denetim alt\u0131na almak i\u00e7in kullanmaya ba\u015flad\u0131 ara\u00e7lar\u0131n\u0131. Bunu ba\u015farmaya u\u011fra\u015f\u0131rken, do\u011fan\u0131n, insan iradesinin d\u0131\u015f\u0131nda, kendi yasalar\u0131na g\u00f6re y\u00f6netildi\u011fini anlad\u0131… zamanla do\u011fadaki yasalar\u0131n nesnel gereklili\u011fini tan\u0131yarak onlar\u0131 kendi ama\u00e7lar\u0131 u\u011frunda kullanma g\u00fcc\u00fcn\u00fc elde etti. Bu yasalar\u0131n k\u00f6lesi olmaktan kurtulup onlara h\u00fckmetmeyi ba\u015fard\u0131, \u00f6te yandan do\u011fal yasalar\u0131n nesnel gereklili\u011fini anl\u0131yamad\u0131\u011f\u0131 s\u00fcrece, \u00e7evresindeki d\u00fcnyay\u0131 kendi iste\u011fine kalm\u0131\u015f bir hareketle de\u011fi\u015ftirebilece\u011fini sand\u0131. B\u00fcy\u00fcn\u00fcn temeli budur. B\u00fcy\u00fcy\u00fc, ger\u00e7ek tekni\u011fin eksiklerini tamaml\u0131yan, aldat\u0131c\u0131 bir teknik olarak tan\u0131mlayabiliriz… \u00dcretim \u00e7al\u0131\u015fmalar\u0131 topluca iken bir ezginin e\u015fli\u011fi olmadan i\u015f yap\u0131lam\u0131yordu. B\u00f6ylece konu\u015fma, as\u0131l \u00fcretim tekni\u011finin bir par\u00e7as\u0131 olarak ortaya \u00e7\u0131kt\u0131… Vah\u015filerin bug\u00fcn bile yapt\u0131klar\u0131 yans\u0131lama (mimetic) danslar\u0131, buna \u00f6rnektir… B\u00f6ylece b\u00fct\u00fcn dillerde iki konu\u015fma bi\u00e7imi oldu\u011funu g\u00f6r\u00fcr\u00fcz: Biri, insanlar\u0131n birbirleriyle bildiri\u015fmelerine yarayan bildi\u011fimiz g\u00fcnl\u00fck konu\u015fma; \u00f6b\u00fcr\u00fc de toplu olarak t\u00f6renlerde kullan\u0131lan, daha yo\u011fun, ola\u011fan d\u0131\u015f\u0131, ritimli ve b\u00fcy\u00fcsel olan \u015fiirsel konu\u015fma.<\/p>\n
Bu a\u00e7\u0131klamaya g\u00f6re \u015fiir dili, genel olarak ritim, m\u00fczik ve d\u00fc\u015f niteli\u011fini daha \u00e7ok korudu\u011fu i\u00e7in konu\u015fma dilinden daha ilkeldir… \u0130lkel insanlar\u0131n konu\u015fmalar\u0131 ancak \u015fiir i\u00e7in d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fcz \u00f6l\u00e7\u00fcde ritimli, ezgisel ve ola\u011fan d\u0131\u015f\u0131d\u0131r. G\u00fcnl\u00fck konu\u015fma \u015fiirsel olunca, s\u00fcr de b\u00fcy\u00fcseldir. Bildikleri \u015fiir t\u00fcrk\u00fcd\u00fcr, t\u00fcrk\u00fc s\u00f6yleyi\u015fleri ise her zaman g\u00f6vdesel bir hareket e\u015fli\u00ad\u011findedir ve bir ba\u015fka b\u00fcy\u00fc g\u00f6revini yerine getirir. D\u0131\u015f d\u00fcnyay\u0131 taklit yoluyla etkileme, d\u00fc\u015f\u00fc ger\u00e7e\u011fe uygulama amac\u0131n\u0131 g\u00fcder… Hemen b\u00fct\u00fcn ilkel dualar\u0131n; ses\u00e7il ve ritimli, e\u011fretileme ve ses yineleme etmenleriyle zengin, garip titre\u015fimler ve tekrarlardan yararlanan bir yap\u0131da oldu\u011fu g\u00f6r\u00fclmektedir. Hepsinde ger\u00e7ekle\u015fmesini istedi\u011fin \u015feyin ger\u00e7ekli\u011fini \u00f6ne s\u00fcrerek onu ger\u00e7ekle\u015ftirmi\u015f olmak amac\u0131 vard\u0131r…<\/p>\n
B\u00f6ylece \u015fiir, b\u00fcy\u00fcden \u00e7\u0131km\u0131\u015f olur…<\/p>\n
Neden \u015fairler olmayacak \u015feyleri \u00f6zlerler? \u00c7\u00fcnk\u00fc \u015fiirin b\u00fcy\u00fcden ald\u0131\u011f\u0131, ba\u015fl\u0131ca g\u00f6revi budur da ondan. Vah\u015filer yans\u0131lama danslar\u0131nda insan\u00fcst\u00fc bir \u00e7abayla d\u00fc\u015flerini ger\u00e7ek\u00e7ili\u011fe d\u00f6n\u00fc\u015ft\u00fcrmeye \u00e7al\u0131\u015f\u0131rlar.. \u015eair de d\u00fcnyaya kar\u015f\u0131 \u00f6znel tutumuyla ayn\u0131 davran\u0131\u015ftad\u0131r. Ritim, perde ve temposu belli aral\u0131klarla d\u00fczenlenmi\u015f sesler dizisi diye tan\u0131mlanabilir. Fizyolojik bir ba\u015flang\u0131c\u0131 vard\u0131r; belki de y\u00fcre\u011fin vuru\u015funa ba\u011flanabilecek bir ba\u015flang\u0131\u00e7…<\/p>\n
\u0130nsan, ritmi, ara\u00e7lar\u0131n kullan\u0131lmas\u0131yla geli\u015ftirir. Bug\u00fcn de ya\u015fayan i\u015f t\u00fcrk\u00fclerinin g\u00f6revi, \u00fcretim i\u015fine ritimli, co\u015fturucu bir nitelik katarak onu h\u0131zland\u0131rmakt\u0131r.. K\u00fclt\u00fcr tarihinin her d\u00f6neminde, yery\u00fcz\u00fcn\u00fcn her yan\u0131nda i\u015f t\u00fcrk\u00fclerine raslan\u0131r. Sadece makinelerin u\u011fultusu baz\u0131 yerlerde bu t\u00fcrl\u00fc t\u00fcrk\u00fcleri bast\u0131rm\u0131\u015ft\u0131r …<\/p>\n
Zamanla t\u00fcrk\u00fcler \u00e7al\u0131\u015fma s\u00fcrecinden ayr\u0131larak bo\u015f zamanlarda, dinlenme saatlerinde uydurulmaya ba\u015flanm\u0131\u015ft\u0131r. \u00c7al\u0131\u015fma s\u00fcrecinden kopunca heyamolalar\u0131n de\u011fi\u015fmez \u00f6\u011fesi geni\u015flemeye ba\u015flayarak \u00abballad\u00bb d\u00f6rtl\u00fc\u011f\u00fc do\u011far. Ballad bi\u00e7iminde d\u00f6rtl\u00fck bir m\u00fczik c\u00fcmlesi, beyit bir m\u00fczik c\u00fcmleci\u011fi, dize de bir m\u00fczik birimi olur. \u00c7\u00fcnk\u00fc ba\u015flang\u0131\u00e7ta bir dans bi\u00e7imiymi\u015f ballad.. \u00f6zetlersek; dans, m\u00fczik ve \u015fiir dedi\u011fimiz \u00fc\u00e7 sanat, bir tek sanat olarak ba\u015flam\u0131\u015ft\u0131r…<\/p>\n
Bizim anlad\u0131\u011f\u0131m\u0131z anlamdaki \u015fiirin ger\u00e7ekle\u015fmesi i\u00e7in at\u0131lan ilk ad\u0131m dans\u0131n bir yana b\u0131rak\u0131lmas\u0131yd\u0131. B\u00f6ylece t\u00fcrk\u00fc ortaya \u00e7\u0131kt\u0131. T\u00fcrk\u00fcde \u015fiir m\u00fczi\u011fin \u00f6z\u00fc, m\u00fczik de \u015fiirin bi\u00e7imidir.<\/p>\n
Daha sonra bu ikisi de birbirinden ayr\u0131ld\u0131. \u015eiir t\u00fcrk\u00fcden ald\u0131\u011f\u0131 bi\u00e7imi kendi mant\u0131\u011f\u0131n\u0131n \u00f6z\u00fcne g\u00f6re yal\u0131nla\u015ft\u0131rarak korudu, ritim yap\u0131s\u0131 \u015fiirin bi\u00e7imi oldu. \u015eiir, ritim d\u00fczenine ba\u011fl\u0131 olmaks\u0131z\u0131n, kendi i\u00e7 b\u00fct\u00fcnl\u00fc\u011f\u00fc olan bir hik\u00e2ye anlat\u0131r. B\u00f6ylece, daha sonralar\u0131 \u015fiirden d\u00fczyaz\u0131 ile yaz\u0131lm\u0131\u015f hik\u00e2yeler ve romanlar do\u011fmu\u015f oldu.\u00bb<\/p>\n
Didaktik (fr. didaktique, os. talim\u00ee), \u00f6\u011fretici demektir. Amac\u0131 bilgi vermek olan edebiyat \u00fcr\u00fcnleri bu s\u00f6zc\u00fckle nitelenir. \u00abT\u00e2limi Edebiyat\u00bb, \u00ab\u00d6\u011fretici Edebiyat\u00bb da ayn\u0131 anlamdad\u0131r. Ba\u015flang\u0131\u00e7ta bu b\u00f6l\u00fcmleme yaln\u0131z \u015fiir i\u00e7in s\u00f6z konusuydu. Edebiyat t\u00fcr\u00fc olarak yaln\u0131z \u015fiir vard\u0131. Dualar, dinsel ama\u00e7l\u0131 metinler kolay ak\u0131lda tutulabilmesi i\u00e7in \u015fiir bi\u00e7iminde yaz\u0131l\u0131yordu. T\u00fcrklerin geli\u015fimi sonucu didaktik terimi tiyatro, \u00f6yk\u00fc, roman i\u00e7in de kullan\u0131lm\u0131\u015ft\u0131r. Dinsel \u015fiirlerin yan\u0131s\u0131ra Aisopos’un hayvan \u00f6yk\u00fclerini (fabl) de didaktik yap\u0131tlar\u0131n ilk \u00fcr\u00fcnleri aras\u0131nda sayabiliriz.<\/p>\n
T\u00fcrk edebiyat\u0131nda didaktik yap\u0131tlar\u0131n ilk \u00f6rnekleri olarak Turfan kaz\u0131lar\u0131nda bulunan Uygur metinlerini g\u00f6sterebiliriz. Eski \u015faman dualar\u0131 da bu t\u00fcre sokulabilir. Nitekim elimizdeki Uygur metinlerinin \u00e7o\u011fu da dinsel nitelik ta\u015f\u0131maktad\u0131r. Re\u015fit Rahmeti Arat, Eski T\u00fcrk \u015eiiri adl\u0131 yap\u0131t\u0131nda ele ge\u00e7en metinleri \u00abMani, Burkan ve islam\u00bb \u00e7evrelerinde yaz\u0131lanlar olarak \u00fc\u00e7 b\u00f6l\u00fcmde toplamaktad\u0131r. \u015eiirlerin amac\u0131 yeni kabullenilen dinlerin ilkelerini \u00f6\u011fretmektir. Bir b\u00f6l\u00fc\u011f\u00fc ise do\u011frudan do\u011fruya duad\u0131r. Daha sonra Yusuf Has Hacip Kutadgu Bilig, Edip Ahmet Atebet\u00fc’l-Hakay\u0131k’la t\u00fcr\u00fcn en iyi \u00f6rneklerini verirler. Orta Asya d\u00f6neminde Ahmet Yasevi Hikmet’leri de didaktik yap\u0131tlar aras\u0131na girer.<\/p>\n
T\u00fcrk edebiyat\u0131n\u0131n Anadolu’daki geli\u015fimi ba\u015flang\u0131\u00e7ta didaktik bir nitelik ta\u015f\u0131r. \u00d6zellikle Anadolu’ya gelen dervi\u015f’ler Tasavvufla beslenen ve kimi tarikatlar\u0131n ilkelerini yaymay\u0131 ama\u00e7layan bir \u015fiirin geli\u015fmesine yol a\u00e7arlar. XIII. y\u00fczy\u0131l Anadolusunda yaz\u0131lm\u0131\u015f yap\u0131tlar\u0131n hemen hepsi \u00f6\u011fretici niteliktedir. Bunlar aras\u0131nda en \u00fcnl\u00fc \u00f6rnek olarak Mevlana’n\u0131n yap\u0131tlar\u0131 g\u00f6sterilebilir. Ama Fars\u00e7a olu\u015flar\u0131 \u00f6\u011freticilikte g\u00fcd\u00fclen amac\u0131n ger\u00e7ekle\u015fmesini \u00f6nler. Sonradan yap\u0131tlar\u0131n\u0131n bir\u00e7ok \u00e7evirisinin yap\u0131lmas\u0131, \u015ferh edilmesi de bu niteli\u011finden \u00f6t\u00fcr\u00fcd\u00fcr. Eskilerin deyimiyle talim\u00ee bir nitelik ta\u015f\u0131yan Mesnevi’si ba\u015fl\u0131ba\u015f\u0131na ders olarak, g\u00fcn\u00fcm\u00fczde lisans \u00f6\u011fretimi dedi\u011fimiz bi\u00e7imde okutulmu\u015ftur.<\/p>\n
Bu d\u00f6nemde T\u00fcrk\u00e7e yaz\u0131lm\u0131\u015f yap\u0131tlar\u0131n ba\u015fl\u0131calar\u0131 olarak da Ahmet Fakih’in \u00c7arhn\u00e2me’si , A\u015f\u0131k Pa\u015fa’n\u0131n Garipn\u00e2me’si, Yunus Emre’nin kimi \u015fiirleri, G\u00fclsehr\u00ee’nin Mant\u0131ku’t-Tayr’\u0131 say\u0131labilir.<\/p>\n
Osmanl\u0131 d\u00f6nemi T\u00fcrk edebiyat\u0131nda dinsel ve tasavvuf\u00ee ama\u00e7larla yaz\u0131lm\u0131\u015f yap\u0131tlar\u0131n didaktik bir nitelik ta\u015f\u0131d\u0131klar\u0131n\u0131 s\u00f6ylemek yanl\u0131\u015f olmaz. Ahmediyye, Muhammediyye gibi yap\u0131tlar, Kabusname benzeri ahlak kitaplar\u0131, Nabi’nin Hayriyye’si \u00f6\u011fretici bir amaca dayan\u0131rlar.<\/p>\n
Tanzimat’tan sonra ise \u00f6\u011freticili\u011fin alan\u0131 b\u00fcsb\u00fct\u00fcn geni\u015fler. Edebiyat\u0131n toplumu, insanlar\u0131 e\u011fitmek i\u00e7in bir ara\u00e7 oldu\u011fu d\u00fc\u015f\u00fcncesi yazarlar\u0131, sanat\u00e7\u0131lar\u0131 bu yolda \u00fcr\u00fcn vermeye iter. \u0130lk \u00e7eviri roman olan Telemak bile \u00f6\u011fretici niteli\u011finden dolay\u0131 T\u00fcrk okuruna sunulur. Edebiyat-\u0131 Cedide ise bu anlay\u0131\u015fa tepki olarak do\u011far.<\/p>\n
G\u00fcn\u00fcm\u00fczde edebiyat yap\u0131t\u0131n\u0131n \u00f6\u011fretici olup olmamas\u0131 sorunu tart\u0131\u015fma konusu olmaktan \u00e7\u0131km\u0131\u015ft\u0131r. Ancak \u00e7ocuklar i\u00e7in yaz\u0131lan yap\u0131tlarda sanat kaygusunun yan\u0131s\u0131ra \u00f6\u011freticilik de g\u00f6zetilmektedir.<\/p>\n
\u00ab\u015eayet\u00bb isimli didaktik bir \u015fiir \u00f6rne\u011fi:<\/p>\n
\u00d6mr\u00fcn\u00fc vakfetti\u011fin i\u015fin mahvoldu\u011funu
G\u00f6r\u00fcp de hi\u00e7 y\u0131lmadan i\u015fe ba\u015ftan ba\u015flarsan
Y\u00fcz oyunluk kazanc\u0131 bir oyunda kaybedip
\u0130stifini bozmadan metanetle ba\u015flarsan<\/p>\n
A\u015fka esir olmadan \u00e2\u015f\u0131k olup da e\u011fer
Her zaman hem kuvvetli hem de m\u00fc\u015ffik olursan
Sana kin g\u00fcdenlere vermeden hi\u00e7bir de\u011fer
Kin g\u00fctmeden kimseye sen kendini korursan<\/p>\n
Safdilleri kand\u0131r\u0131p kurmak i\u00e7in bir tuzak
Sarfetti\u011fin s\u00f6zlerin hainlerin a\u011fz\u0131ndan
Bamba\u015fka bir \u015fekilde tekrar\u0131n\u0131 duyarak
Omuz silkip ge\u00e7ersen \u00fczerinde durmadan<\/p>\n
Hi\u00e7bir zaman \u015f\u00fcpheci ve y\u0131k\u0131c\u0131 olmadan
\u0130nceler ve \u00f6\u011frenir, d\u00fc\u015f\u00fcn\u00fcr ve anlarsan
Kontrol\u00fc hi\u00e7bir zaman elinden b\u0131rakmadan
Bir m\u00fctefekkir gibi h\u00fclyalara dalarsan<\/p>\n
B\u00fct\u00fcn kabahatleri sana y\u00fckleyerekten
Bir faniye kap\u0131l\u0131p herkes tel\u00e2\u015f ederken
Kendine h\u00e2kim olup so\u011fukkanl\u0131l\u0131kla sen
\u0130tidalini e\u011fer muhafaza edersen<\/p>\n
Milleti unutmadan krallarla gezersen
Halkla temas edersen vakar\u0131n\u0131 bozmadan
Kay\u0131rmadan birini dostlar\u0131n\u0131 seversen
\u0130ncitmezse seni ne bir dost ne bir d\u00fc\u015fman<\/p>\n
Bir fel\u00e2ketten sonra zaferle kar\u015f\u0131la\u015f\u0131p
Bu iki hilek\u00e2ra fazla k\u0131ymet vermeden
Bozmadan istifini hep ayn\u0131 g\u00f6zle bak\u0131p
Tebess\u00fcmle kar\u015f\u0131lar \u015fayet g\u00fcl\u00fcp ge\u00e7ersen<\/p>\n
Ecelle v\u00e2ki olan niha\u00ee bulu\u015fmay\u0131
Ay\u0131ran son dakkay\u0131 ko\u015farak bitirirsen
Ab-\u0131 hayatla dolu \u00f6m\u00fcr denen kupay\u0131
Sevin\u00e7le ve kedersiz t\u00fcketip yitirirsen<\/p>\n
Talihi ve zaferi, \u015fahlar\u0131, il\u00e2hlar\u0131
Sad\u0131k k\u00f6leler gibi hep yan\u0131nda bulursun
Fakat hepsinden m\u00fchim olan\u0131 \u015fu ki… O\u011flum
Sen o zaman hakik\u00ee, tam bir insan olursun. (Rudyard KIPLING)<\/p>\n
Dramatik \u015eiir, ac\u0131kl\u0131 ya da korkun\u00e7 bir konuyu anlatan \u015fiir; insan\u0131n g\u00f6z\u00fcn\u00fcn \u00f6n\u00fcnde tiyatro gibi\u00a0 konuyu canland\u0131rabilen \u015fiir;\u00a0 opera i\u00e7in yaz\u0131lan\u00a0 man\u00adzum dramlardaki \u015fiir. Bat\u0131 edebiyat\u0131nda Corneille, Racine, Shakespeare; bizim edebiyatta Nam\u0131k Kemal, Abd\u00fclhak Hamit Tarhan, Faruk Nafiz \u00c7aml\u0131bel dramatik \u015fiirin en g\u00fczel \u00f6rneklerini verirler. \u00abE\u015fber\u00bb den bir par\u00e7a:<\/p>\n
Halketsem esirlerle le\u015fker,
Mahveylesem ordularla asker,
Olsa bana hep m\u00fcl\u00fbk \u00e7\u00e2ker;
Cinsince o iktidar m\u00fcnker,
Fevkimde u\u00e7ar tuy\u00fbr-u kemter!<\/p>\n
\u00c2v\u00e2ze-i dehr iken tan\u00eenim,
G\u00f6rd\u00fcm ana de\u011fmiyor en\u00eenim;
Milletlere kar\u015f\u0131 \u00e2hen\u00eenim;
Bir \u00e2fete kar\u015f\u0131 nazen\u00eenim.
Afetse de ey il\u00e2h g\u00f6ster!<\/p>\n
Bilmem bana \u00e2n m\u0131, \u015f\u00e2n m\u0131 l\u00e2z\u0131m?
G\u00fclb\u00fcn m\u00fc ya kehke\u015f\u00e2n m\u0131 l\u00e2z\u0131m?
\u00c2guu\u015f-u vef\u00e2-ni\u015f\u00e2n m\u0131 l\u00e2z\u0131m?
Bir pen\u00e7e-i hun-fe\u015f\u00e2n m\u0131 l\u00e2z\u0131m?
Canan m\u0131 g\u00fczel, cihan m\u0131 ho\u015f-ter?( Abd\u00fclhak H\u00e2mit TARHAN)<\/p>\n
Epik kelimesi Yunanca kelime, konu\u015fma, hik\u00e2ye, \u015fark\u0131, kahramanl\u0131k \u015fiiri m\u00e2nas\u0131na gelen epos kelimesinden t\u00fcremi\u015ftir. Bat\u0131 edebiyat\u0131nda ba\u015fl\u0131ca \u00f6rnek olarak \u0130lyada ve Odise kabul edilir. Vergilius’in Aeneid adl\u0131 eseri Homeros’in tam bir taklididir. Bat\u0131 orta\u00e7a\u011f\u0131nda Vergilius tesiri Homeros gelene\u011fini canl\u0131 tutmu\u015ftur. Fakat orta\u00e7a\u011f yazarlar\u0131 klasik modellerin d\u0131\u015f\u0131nda epik eserler de v\u00fccuda getirmi\u015flerdir. Beowulf, Roland’\u0131n \u015fark\u0131s\u0131. Daha sonra yaz\u0131lan bu nevi eserlerde (mesel\u00e2 Cameons’un Luziat, Tasso’nun Kurtar\u0131lm\u0131\u015f Kud\u00fcs, Milton’un Kaybolmu\u015f cennet) bu gelenek devam ettirilmi\u015ftir.<\/p>\n
Epi\u011fin \u00e7e\u015fitli tarifleri yap\u0131lm\u0131\u015ft\u0131r. Bunlar\u0131n hepsinde ortak olan noktalar \u015funlard\u0131r: Epik yahut destan manzum olarak yaz\u0131lan uzun bir hik\u00e2yeye dayan\u0131r. Epik \u015fiirin ba\u015fka bir \u00f6zelli\u011fi g\u00fcnl\u00fck hayat\u0131 a\u015fmas\u0131d\u0131r. Alelade teferruat, hayat\u0131n par\u00e7as\u0131n\u0131 te\u015fkil etti\u011fi derecede \u00f6nem ve de\u011fer kazan\u0131r. Bununla beraber asl\u00ee kahraman d\u00fcz bir ovada tek bir da\u011f gibi y\u00fckselmez. Kendi \u00e7ap\u0131nda arkada\u015flar\u0131, d\u00fc\u015fmanlar\u0131 vard\u0131r. Destan i\u00e7in tabi\u00ee yahut uygun olan \u00e7evre genellikle b\u00fcy\u00fck hadiselerin cereyan etti\u011fi bir yer veya devir olarak d\u00fc\u015f\u00fcn\u00fcl\u00fcr: O \u00e7a\u011flarda, o g\u00fcnlerde devler varm\u0131\u015f. Yak\u0131n \u00e7a\u011f bir epik i\u00e7in nadiren elveri\u015fli bir konu olur. Camoens’in muas\u0131r\u0131 Tasso kendi epi\u011fini Ha\u00e7l\u0131lar devrine yerle\u015ftirir. Roland destan\u0131n\u0131n yazar\u0131 ise \u015earlman devrini esas al\u0131r. Epik \u015fairler hemen daima efsaneyi tarihin bir dal\u0131 olarak kabul etmi\u015flerdir.<\/p>\n
Genellikle zaman ve mek\u00e2nda uzakl\u0131k epik \u015fiirin bariz bir al\u00e2meti olur. Bu uzakl\u0131k epik eserin malzemesinin serbest bir \u015fekilde i\u015flenmesini m\u00fcmk\u00fcn k\u0131lar. Roland \u015fark\u0131s\u0131nda basit bir m\u00fcbareze, eserin m\u00e2na dolu merkezi haline gelir. Epikle ilgili nazariyede tabiat\u00fcst\u00fc varl\u0131klar\u0131n m\u00fcdahelesine b\u00fcy\u00fck yer verilir. Bunun sebebi Homeros ve Vergilius’in eserlerinde il\u00e2hlar\u0131n b\u00fcy\u00fck yer i\u015fgal etmesidir. Tabiat\u00fcst\u00fc varl\u0131klar adeta destan\u0131n vazge\u00e7ilemez \u00f6\u011feleri telakki edildi\u011fi i\u00e7in Camoens bile XV. y\u00fczy\u0131la ait olan epik eserinde klasik il\u00e2hlara b\u00fcy\u00fck yer verir. Epik azametin zirvesine y\u00fckseldi\u011fi Kaybolmu\u015f cennet’te \u00c2dem ile Havva hari\u00e7 b\u00fct\u00fcn karakterler tabiat\u00fcst\u00fc varl\u0131klard\u0131r. Malzemeyi i\u015fleyi\u015fte \u015fairin h\u00fcrriyeti s\u0131n\u0131rl\u0131d\u0131r, zira dinleyicisi hik\u00e2yeyi bilmektedir ve esasa ait de\u011fi\u015fikliklere kar\u015f\u0131 koyacakt\u0131r. Epik, geleneklik hik\u00e2yecili\u011fin geli\u015fmi\u015f \u015feklidir; geli\u015fmesi boyunca, kahramanlar ve i\u015fleri, insanlar aras\u0131ndaki \u015f\u00f6hretlerini y\u00fcceltme gayesiyle se\u00e7ilmi\u015ftir. \u0130cat, gerilimin kayd\u0131r\u0131lmas\u0131, s\u00fcsleme, teferruattaki de\u011fi\u015fmelerle s\u0131n\u0131rland\u0131r\u0131lm\u0131\u015ft\u0131r. \u015eairin g\u00fcc\u00fc, yeni bir hik\u00e2ye meydana getirme\u011fe de\u011fil, me\u015fhur bir hik\u00e2yeden bir epik \u00e7\u0131karma\u011fa hasredilmi\u015ftir.<\/p>\n
Epik \u015fekil ayr\u0131ca son derece geleneklikdir; basmakal\u0131p \u00f6zellikleri bol bol kullan\u0131r.<\/p>\n
Epik ad\u0131 bazan yukarda anlat\u0131lan \u015fiirlere de verilmi\u015ftir. Dante’nin. \u00eel\u00e2h\u00ee komedi’sine epik denmi\u015ftir. Bu \u015fiirin kahraman\u0131 yoktur. Asl\u00ee karakteri birinci \u015fah\u0131s olarak konu\u015fan \u015fairin kendisidir. Ayr\u0131ca hik\u00e2yeyi te\u015fkil eden \u015fairin seyahati, \u00f6ld\u00fckten sonra gidece\u011fimiz d\u00fcnyan\u0131n anlat\u0131lmas\u0131d\u0131r. Seyahatin epik m\u00fcnasebetleri vard\u0131r. Kahraman\u0131n cehenneme ini\u015fine dair olan epik oyuna dayan\u0131r ki Dante bunu kendine aktarm\u0131\u015f ve Araf ile cennete nakletmi\u015ftir. B\u00f6ylece epik gelene\u011fin bir episodik \u00f6zelli\u011fi b\u00fct\u00fcn bir \u015fiir olmu\u015ftur. \u0130l\u00e2h\u00ee komedi’nin \u00f6l\u00e7\u00fcs\u00fc, \u00fcslubu ve a\u011f\u0131rl\u0131\u011f\u0131, yazarlar\u0131n onu epik diye adland\u0131rmalar\u0131na sebep olmu\u015ftur. Baz\u0131 uzun didaktik \u015fiirler de (Hesiod’un Works and days); hatta kahramanl\u0131k \u00f6l\u00e7\u00fclerindeki mensur eserler de epi\u011fe uygunluklar\u0131 dolay\u0131s\u0131yla epik diye adland\u0131r\u0131lm\u0131\u015flard\u0131r.<\/p>\n
S\u00f6zl\u00fc destan ile yaz\u0131l\u0131 destanlar aras\u0131ndaki fark belirtilmemi\u015ftir. Birinciler anonimdir ve anla\u015f\u0131ld\u0131\u011f\u0131na g\u00f6re sadece e\u011flendirme maksad\u0131 g\u00fcderler, medeniyetin ilk safhalar\u0131n\u0131 aksettirirler (\u0130liad, Aeneid). Yap\u0131 olarak, epik, yeknesak m\u0131sralarla verilir. Deyimler, de\u011fi\u015fmeyen s\u0131fatlar dolamba\u00e7l\u0131 s\u00f6z ve tabirler tekrarlanan form\u00fcller bak\u0131m\u0131ndan zengindir; konu\u015fmaya geni\u015f yer verilir. Aksiyon k\u0131sa bir s\u00fcreyi i\u00e7ine al\u0131r, di\u011fer y\u0131llar hik\u00e2ye edilir (Odysseia’n\u0131n Phaeacian saray\u0131nda anlatt\u0131\u011f\u0131 gibi) veya aksiyon, birka\u00e7 m\u0131srada tamamlanan fas\u0131lalarla birka\u00e7 sahnede yo\u011funla\u015ft\u0131r\u0131l\u0131r. \u0130lyada 49 g\u00fcn\u00fc i\u00e7ine al\u0131r, 21 i birinci kitaptad\u0131r. Beowulf’un birinci b\u00f6l\u00fcm\u00fc be\u015f g\u00fcnd\u00fcr; ikinci b\u00f6l\u00fcm\u00fcn b\u00fcy\u00fck k\u0131sm\u0131 bir g\u00fcnde ge\u00e7er. \u0130lyada’da te\u015fbihler \u00e7o\u011funlukla m\u00fctevazi hayattan al\u0131nm\u0131\u015fsa da asl\u00ee temler prenslerin ve arkada\u015flar\u0131n\u0131n sava\u015f sahalar\u0131ndaki ve saraylardaki (ki buralarda ziyafet, \u00e7alg\u0131 ve i\u00e7ki \u00e7oktur) maceralar\u0131, kahramanl\u0131klar\u0131 ve \u0131st\u0131raplar\u0131d\u0131r. Harp, genellikle epik hayat tarz\u0131n\u0131n merkezidir.<\/p>\n
Avrupa d\u0131\u015f\u0131 epikler de ayn\u0131 \u00f6zellikleri g\u00f6sterir. M.\u00d6. III. y\u00fczy\u0131l sonlar\u0131na do\u011fru Akad epi\u011fi G\u0131lgam\u0131\u015f ortaya \u00e7\u0131km\u0131\u015ft\u0131r ki 3000 m\u0131sra\u0131 bize intikal etmi\u015ftir. Az sonra Enuma Elish (ilk kelimelerine g\u00f6re adland\u0131r\u0131lm\u0131\u015ft\u0131r) \u00e7\u0131kar, onun da he\u00admen hemen bin m\u0131sra\u0131 mevcuttur. Daha \u00f6nceki S\u00fcmer epik hik\u00e2yeleri de kahraman G\u0131lgam\u0131\u015f’\u0131n yeralt\u0131 d\u00fcnyas\u0131na seyahatini, tanr\u0131lar ve kahramanlarla sava\u015flar\u0131na dair hik\u00e2yeleri anlat\u0131r.<\/p>\n
Daha sonralar\u0131 M.\u00d6. 500 de iki b\u00fcy\u00fck Hint epi\u011fi gelir. Efsanev\u00ee Vyasa’ya atfedilen Hindistan’\u0131n mill\u00ee epi\u011fi M\u00e2h\u00e2b\u00e2rata \u00e7e\u015fitli \u015fairler taraf\u0131ndan yap\u0131lan il\u00e2velerle Odysseia’nin ve \u0130liad’\u0131n 8 misline y\u00fckselmi\u015ftir. Tanr\u0131lara (bilhassa Krishne) dair hik\u00e2yelerinde ve Barata kral ailesi hik\u00e2yelerinden, klasik Hint dram\u0131 konular\u0131 \u00e7\u0131kar, hik\u00e2yeler h\u00e2l\u00e2 Hint k\u00f6ylerinde s\u00f6ylenir ve bir\u00e7o\u011fu filme al\u0131nmaktad\u0131r. \u015eair Valmiki’nin Ramayana’s\u0131 da ayn\u0131 derecede me\u015fhurdur. Eserde s\u00fcrg\u00fcndeki kral Rama do\u011fu \u015feytanlar\u0131n\u0131 yener. Bu hik\u00e2yelerin alt\u0131nda, baz\u0131 \u00e2limler g\u00fcneye do\u011fru Aryan istil\u00e2s\u0131n\u0131n ve tar\u0131mla\u015fman\u0131n ba\u015flang\u0131c\u0131na dair Hint mitinin izini bulurlar. Puranas, daha k\u00fc\u00e7\u00fck Sanskrit epikleridir ki, Vishnu’nun on defa canlan\u0131\u015f\u0131n\u0131 k\u00e2inat\u0131n yarat\u0131l\u0131\u015f\u0131; Tanr\u0131lar\u0131n soyunu ve kral ailelerinin tarihlerini anlat\u0131r. Mit, efsane ve tarihin kar\u0131\u015fmas\u0131 ve ufak olaylar\u0131 kahramanl\u0131k \u00f6l\u00e7\u00fclerine y\u00fckseltmeleriyle, Do\u011fu epi\u011fi de \u015fahs\u00ee romans ve kahramanlar\u0131, Tanr\u0131lar\u0131n sava\u015f\u0131, mitlerin ve dinin yarat\u0131l\u0131\u015f\u0131 veya daha \u00f6\u011fretici maksatlarla – Bat\u0131 d\u00fcnyas\u0131ndakilere benzer. T\u00fcrk edebiyat\u0131nda O\u011fuz Ka\u011fan destan\u0131’ndan ba\u015flayarak, T\u00fcrk kahramanlar\u0131n\u0131n veya g\u00f6\u00e7 maceralar\u0131n\u0131n hik\u00e2yelerini anlatan destanlar vard\u0131r. \u0130sl\u00e2mi devreye girdikten sonra epik \u015fiirin en m\u00fckemmel \u00f6rne\u011fi Mevlid’dir. Geni\u015f m\u00e2nada epik \u015fiir tarifine dayanarak hik\u00e2yeye dayal\u0131 mesnev\u00eelerin bir\u00e7o\u011funu epik \u015fiir olarak nitelemek m\u00fcmk\u00fcnd\u00fcr. 1947 de modern devrin \u015fiiri epik olmal\u0131d\u0131r g\u00f6r\u00fc\u015f\u00fcn\u00fcn savunucusu olan Ahmet Kutsi Tecer’in bu g\u00f6r\u00fc\u015f\u00fcne Ahmet Hamdi Tanp\u0131nar kat\u0131lmaz. Zira ona g\u00f6re bug\u00fcn\u00fcn destan\u0131 romand\u0131r.<\/p>\n
Son devir \u015fairlerinden bir k\u0131sm\u0131 da \u015fiirlerine destan ad\u0131n\u0131 vererek onlar\u0131 kendiliklerinden epik \u015fiire dahil ederlerse de hen\u00fcz T\u00fcrkiye’de bu konuyu derinlemesine inceleyen bir ara\u015ft\u0131rma yap\u0131lmam\u0131\u015ft\u0131r.<\/p>\n
Yahya Kemal’in Selimn\u00e2me’si epik \u015fiirin bir \u00f6rne\u011fi say\u0131labilir. \u00c7ok k\u0131sa oldu\u011fu halde, muhtevas\u0131 ve tekni\u011fi itibariyle Tanp\u0131nar, Yahya Kemal’in istanbul’u fetheden yeni\u00e7eriye gazel’ini \u00abT\u00fcrk epik \u015fiirinin incisi\u00bb olarak niteler ve epik \u015fiiri yukarda anlat\u0131landan daha farkl\u0131 bir \u015fekilde yorumlar.<\/p>\n
\u00ab\u0130stanbul’u Fetheden Yeni\u00e7eri\u00bb i\u00e7in gazel tarz\u0131nda bir epik \u015fiir \u00f6rne\u011fi:
GAZEL<\/p>\n
Vur pen\u00e7e-i Ali’deki \u015fem\u015f\u00eer a\u015fk\u0131na
G\u00fclbangi asmam tutan p\u00eer a\u015fk\u0131na<\/p>\n
Ey le\u015fker-i m\u00fcfettih-\u00fcl-ebv\u00e2b vur bug\u00fcn
Feth-i m\u00fcb\u00eeni z\u00e2min o teb\u015fir a\u015fk\u0131na<\/p>\n
Vur deyr-\u00ee k\u00fcfr\u00fcn \u00fcst\u00fcne rekz-i hil\u00e2l i\u00e7\u00fcn
Gelmi\u015f bu \u015fehs\u00fcv\u00e2r-i cihangir a\u015fk\u0131na<\/p>\n
D\u00fc\u015fs\u00fcn \u00e7elengi R\u00fbm’un, e\u011filsin ser-i Firenk
Vur T\u00fcrk’\u00fc g\u00f6nderen yed-i takdir a\u015fk\u0131na<\/p>\n
Son savletinle vur ki a\u00e7\u0131ls\u0131n bu s\u00fbrlar
Fecr-i h\u00fccum i\u00e7indeki Tekbir a\u015fk\u0131na ( Yahya KEMAL )<\/p>\n
Lirik (yun. lyrikos, f. lyrique), duygular\u0131n co\u015fkun bir dille anlat\u0131ld\u0131\u011f\u0131 \u015fiirlerin genel ad\u0131d\u0131r. Bireysel duygular\u0131n i\u00e7ten geldi\u011fi gibi, co\u015fkulu, etkili bir dille anlat\u0131lmas\u0131na da lirizm denir.<\/p>\n
S\u0131fat olarak \u00abesin dolu, co\u015fkun, i\u00e7li bir dili bulunan\u00bb anlamlar\u0131nda kullan\u0131lan lirik s\u00f6z\u00fc, bu niteli\u011fi ta\u015f\u0131yan d\u00fczyaz\u0131 \u00fcr\u00fcnleri de niteler. Ayn\u0131 genellik lirizm i\u00e7in de s\u00f6z konusudur.<\/p>\n
\u00abEski Yunan edebiyat\u0131nda ozanlar \u015fiirlerini lyra (fr. lyre: lir) denen telli bir sazla s\u00f6yledikleri i\u00e7in, bu t\u00fcrl\u00fc \u015fiirlere lirik denmi\u015ftir. T\u00fcrk edebiyat\u0131nda da \u00e2\u015f\u0131k, ya da saz \u015fairi ad\u0131 verilen halk ozanlar\u0131 \u015fiirlerini h\u00e2l\u00e2 sazla s\u00f6ylemektedirler.<\/p>\n
Lirik \u015fiirde toplumsal mutluluk ya da fel\u00e2ketlerden duyulan sevin\u00e7 ya da ac\u0131 gibi ortak duygular; ya da a\u015fk, ayr\u0131l\u0131k, \u00f6zlem, \u00f6l\u00fcm ac\u0131s\u0131, vb. gibi bireysel duygular anlat\u0131l\u0131r.<\/p>\n
Lirik \u015fiir d\u00fcnya edebiyat\u0131nda en \u00e7ok i\u015flenen ve sevilen \u015fiir t\u00fcr\u00fcd\u00fcr. Bat\u0131 edebiyat\u0131nda R\u00f6nesans devri ozanlar\u0131n\u0131n (Petrarca, Ronsard, vb.); daha sonra da, ilke olarak i\u00e7e d\u00f6n\u00fckl\u00fc\u011f\u00fc benimseyen romantik ozanlar\u0131n (Lamartine, Hugo, Musset, vb.) duygusal ve \u00f6znel bir nitelik g\u00f6steren \u015fiirleri bu t\u00fcr\u00fcn ba\u015far\u0131l\u0131 \u00f6rnekleridir. Lirik \u015fiir, T\u00fcrk edebiyat\u0131nda da en \u00e7ok kullan\u0131lan \u015fiir t\u00fcrlerinden biri olmu\u015f; Divan edebiyat\u0131nda (Fuzuli, Nedim, vb.), Halk tasavvuf edebiyat\u0131nda (Yunus Emre, vb.), din-d\u0131\u015f\u0131 Halk edebiyat\u0131nda (Karacao\u011flan, vb.) ve yeni edebiyatta (Yahya Kemal, vb.) bu alanda b\u00fcy\u00fck ozanlar yeti\u015fmi\u015ftir. (Cevdet Kudret). Divan \u015fiirimizden lirizme \u00f6rnek:<\/p>\n
GAZEL<\/strong><\/p>\n Beni candan usand\u0131rd\u0131 cef\u00e2dan y\u00e2r usanmaz m\u0131 Kamu b\u00eemar\u0131na canan devay\u0131 dert eder ihsan \u015eebi hicran yanar can\u0131m d\u00f6ker kan \u00e7e\u015fmi giryan\u0131m G\u00fcli ruhsan\u0131na kar\u015fu g\u00f6z\u00fcmden kanlu akar su De\u011fildim ben sana mail sen ettin akl\u0131m\u0131 zail Fuzul\u00ee rindi \u015feydad\u0131r hemi\u015fe halka r\u00fcsvad\u0131r Pastoral (fr. Pastorale); k\u0131r, \u00e7oban hayat\u0131n\u0131, \u00e7\u0131plak tabiat g\u00fczelliklerini tan\u0131t\u0131p sevdirmek gayesini ta\u015f\u0131yan edeb\u00ee eserlere denir. \u015eiir roman, hik\u00e2ye, tiyatro, mektup, makale, seyahat; f\u0131kra; hayrat; sohbet gibi edeb\u00ee t\u00fcrlerin hepsi pastoral bir g\u00f6r\u00fc\u015fle yaz\u0131labilir.<\/p>\n Bat\u0131da, pastoral \u015fiirlerden do\u011frudan do\u011fruya tabiat manzaralar\u0131n\u0131 canland\u0131ran idil; kar\u015f\u0131l\u0131kl\u0131 konu\u015fma tarz\u0131nda yaz\u0131lan pastoral manzumelere eglog denilir. Yunan edebiyat\u0131ndan Theokritos (M.\u00d6. III. y\u00fczy\u0131l), L\u00e2tin edebiyat\u0131ndan Vergilius (M\u00d6. 70 – 19) en b\u00fcy\u00fck pastoral \u015fiir \u00f6rneklerini veren \u015fairlerdir.<\/p>\n \u00c7e\u015fit \u00e7e\u015fit \u00e7i\u00e7ek takm\u0131\u015f d\u00f6\u015f\u00fcne, Erimi\u015f karlar\u0131, \u00e7ekilmi\u015f duman, Y\u00fcce da\u011flar birbirine g\u00f6z eder, …\u015eiir, nesirden bamba\u015fka bir kimlikte\u00addir. Musikiden ba\u015fka t\u00fcrl\u00fc bir musikidir, diyece\u011fim. \u015eiirde \u00abnefes\u00bb ve \u00abses\u00bb iki temel \u00f6\u011fedir. Dizenin ayaklar\u0131 yerden kopmazsa ve u\u00e7mazsa, ya da ister en hafif perdeden olsun, ister israfil’in s\u00fbru (borusu) kadar g\u00fcr olsun, kula\u011f\u0131 bir ses gibi doldurmazsa halis \u015fiir de\u011fildir. Yahya Kemal\u00a0 BEYATLI, Yedig\u00fcn, c. V,\u00a0 1935,\u00a0 no.\u00a0 122<\/p>\n \u015eiir, s\u00f6zc\u00fcklerle g\u00fczel bi\u00e7imler kurmak sanat\u0131d\u0131r, ba\u015fka bir \u015fey de\u011fildir. Ama s\u00f6zc\u00fck nedir? Bir anlam\u0131, bir \u00e7a\u011fr\u0131\u015f\u0131m\u0131, bir g\u00f6lgesi, hatt\u00e2 bir rengi ve tad\u0131 olan nesnedir. S\u00f6zc\u00fck Insano\u011flundan haber verir. S\u00f6zc\u00fck bo\u015f bir kal\u0131p de\u011fil ki. Ozan\u0131n duygular\u0131, d\u00fc\u015f\u00fcnceleri, hayalleri, d\u00fcnya g\u00f6r\u00fc\u015f\u00fc, felsefesi, ki\u015fili\u011fi, her \u015feysi \u015fiirde belli olur. \u015eu var ki, s\u00f6zc\u00fckleri tan\u0131mak, sevmek, ok\u015famas\u0131n\u0131 bilmek gerek. Hangi s\u00f6zc\u00fck hangi s\u00f6zc\u00fckle yanyana geldi\u011finde nas\u0131l bir \u0131\u015f\u0131k ortaya \u00e7\u0131kar? Bunu bilmek gerek. Mallarm\u00e9’nin \u00ab\u015eiir, s\u00f6zc\u00fckler dinidir.\u00bb demesi bundand\u0131r. \u015eiir, b\u00f6ylece h\u00fcner ve marifet i\u015fi oluyor. \u00d6yledir de. Ata binmek, ok atmak, elbise dikmek, kundura yapmak hatt\u00e2 boyamak ne ise, \u015fiir de odur; yani ustal\u0131k ve uzmanl\u0131k i\u015fi. En zengin malzeme k\u00f6t\u00fc bir ozan\u0131n elinde berbat olup gider, t\u0131pk\u0131 \u00e7ok iyi bir \u0130ngiliz kuma\u015f\u0131n\u0131n k\u00f6t\u00fc bir terzi elinde \u00e7ar\u00e7ur olup gitmesi gibi. Sanat, terzilikte oldu\u011fu gibi, makas sorunudur. Makasdar olmak gerek. (Cahit S\u0131tk\u0131 TARANCI)<\/p>\n \u015eiirin genel tarifi \u00abvezinli s\u00f6z\u00bb d\u00fcr… Hatt\u00e2 kafiye usul\u00fc sonraki milletler aras\u0131nda sonradan meydana gelmi\u015ftir. Eski Yunanl\u0131’lar yaln\u0131z vezne riayetle, kafiyeye l\u00fczum g\u00f6rmezlerdi.<\/p>\n \u015eiir her kavimde tabi\u00eedir. Yery\u00fcz\u00fcne ne kadar milletler ve kavimler gelmi\u015fse, hepsinin kendilerine mahsus \u015fiirleri vard\u0131r. Osmanl\u0131’lar\u0131n \u015fiiri acaba nedir? Necati ve Baki ve Nef’i divanlar\u0131nda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz kasideler ve gazeller ve k\u0131talar ve mesneviler midir? Yoksa Hoca ve Itr\u00ee gibi musikicilerin besteledikleri Nedim ve V\u00e2s\u0131f \u015fark\u0131lar\u0131 m\u0131d\u0131r?<\/p>\n Hay\u0131r, bunlar\u0131n hi\u00e7biri Osmanl\u0131 \u015fiiri de\u011fildir. \u00c7\u00fcnki g\u00f6r\u00fcl\u00fcr ki, bu naz\u0131mlarda Osmanl\u0131 \u015fairleri iran \u015fairlerini ve iranl\u0131lar da Araplar\u0131 taklit ile melez bir \u015fey yap\u0131lm\u0131\u015ft\u0131r. Ve bu taklit yaln\u0131z naz\u0131m \u00fcsl\u00fbbuna de\u011fil, belki d\u00fc\u015f\u00fcncelere ve m\u00e2nalarda Arap ve Acem’i elden geldi\u011fi kadar taklide \u00e7al\u0131\u015fmay\u0131 bilimden saym\u0131\u015flar ve acaba bizim mensup oldu\u011fumuz milletin bir dili ve \u015fiiri var m\u0131d\u0131r ve bunu isl\u00e2h kabil midir? Hi\u00e7 buras\u0131n\u0131 d\u00fc\u015f\u00fcnmemi\u015flerdir.<\/p>\n Nesir yolunda da hal tamam\u0131yle b\u00f6yle olmu\u015ftur. Feridun’un M\u00fcn\u015fe\u00e2t’\u0131n, Veys\u00ee ve Nergis\u00ee’nin eserleri ve ba\u015fka be\u011fenilmi\u015f nesirler ele al\u0131nsa i\u00e7lerinde \u00fc\u00e7te bir T\u00fcrk\u00e7e kelime bulunmaz. Ve bir i\u015f anlat\u0131rken \u00abbed\u00ee\u00bb ve \u00abbeyan\u00bb fenleri kar\u0131\u015ft\u0131r\u0131larak, s\u00f6z ve yaz\u0131 h\u00fcneri g\u00f6stermek i\u00e7in \u00f6yle kar\u0131\u015f\u0131k ve zincirleme isim tamlamal\u0131 c\u00fcmleler yazm\u0131\u015flar ki, Kamus ve Ferheng beraber olmad\u0131k\u00e7a ve bir adam \u00abma\u00e2n\u00ee\u00bb fenninde ve Arap edebiyat\u0131nda \u00fcst\u00fcn bilgisi olduktan sonra, sanki bir ders okur gibi bir\u00e7ok zamanlar zihin yormad\u0131k\u00e7a \u00e7\u0131karma\u011fa g\u00fcc\u00fc yetmez.<\/p>\n …Garibi \u015furas\u0131 ki, b\u00f6yle anla\u015f\u0131lmayacak c\u00fcmle yazabilmek iyi yaz\u0131 yazmak say\u0131l\u0131yor.<\/p>\n …Ger\u00e7i \u015fiir ve nesrin bu hale girmesi bu devrin yapmas\u0131 de\u011fildir. Acem’ler isl\u00e2ml\u0131\u011f\u0131 kabulden sonra \u015feriat bilimlerin! \u00f6\u011frenmek i\u00e7in Arap dilini \u00f6\u011frenme\u011fe d\u00fc\u015ft\u00fckleri s\u0131rada kendi dillerinin \u015fiir ve nesrinde dahi onu taklit ettikleri gibi, biz de Osmanl\u0131 devletinin kurulu\u015funun ilk zamanlar\u0131nda iran bilginlerini getirme\u011fe muhta\u00e7 oldu\u011fumuzdan, onlar\u0131n e\u011fitimi \u00fczere kendi dilimizi b\u0131rak\u0131p Acem \u015fivesini taklit yanl\u0131\u015fl\u0131\u011f\u0131na d\u00fc\u015fm\u00fc\u015f\u00fczd\u00fcr ki, Osmanl\u0131 \u00fclkesi bilginlerinin bu hususta ettikleri ihmal ve kusur affolunmaz bir hat\u00e2d\u0131r. \u00c7\u00fcnk\u00fc insano\u011flu aras\u0131nda d\u00fc\u015f\u00fcnce al\u0131\u015f veri\u015finin vas\u0131tas\u0131 dildir. Bir milletin dili yaz\u0131lm\u0131\u015f kurallar alt\u0131nda olmay\u0131p da her eline kalem alan kimsenin keyfine uyar ve tabi\u00ee halinden \u00e7\u0131karsa, o millet aras\u0131nda kar\u015f\u0131l\u0131kl\u0131 i\u015f vas\u0131tas\u0131 bozulmu\u015f demek olur.<\/p>\n Bug\u00fcn resmen il\u00e2n olunan fermanlar ve emir-n\u00e2meler halk \u00f6n\u00fcnde okutuldukta bir \u015fey istifade ediliyor mu? Ya bu yaz\u0131lar yaln\u0131z yaz\u0131da al\u0131\u015fkanl\u0131\u011f\u0131 olanlara m\u0131 mahsustur, yoksa okumam\u0131\u015f halk tabakas\u0131 devletin emrini anlamak i\u00e7in midir?<\/p>\n …Vah bize! Yaz\u0131k bize! bu hale g\u00f6re bizim millete tabi\u00ee hal \u00fczere ne \u015fiir ve ne de nesir var demek olur.<\/p>\n Hay\u0131r, bizim tabi\u00ee olan \u015fiir ve nesrimiz ta\u015fra halk\u0131yla istanbul ahalisinin okumam\u0131\u015f k\u0131sm\u0131 aras\u0131nda h\u00e2l\u00e2 durmaktad\u0131r. Bizim \u015fiirimiz, hani \u015fairlerin vezinsiz diye be\u011fenmedikleri halk \u015fark\u0131lar\u0131 ve ta\u015fralarda \u00e7\u00f6\u011f\u00fcr \u015fairleri aras\u0131nda deyi\u015f ve \u00fc\u00e7leme ve kayaba\u015f\u0131 denen naz\u0131mlard\u0131r. Ve bizim tabi\u00ee nesrimiz, Kaam\u00fbs m\u00fcterciminin (M\u00fctercim As\u0131m Efendinin) ve sonradan Muhbir gazetesinin kulland\u0131\u011f\u0131 yaz\u0131 \u015fivesidir.<\/p>\n Ger\u00e7i bu naz\u0131m ve bu yaz\u0131 istenen derecede sanatl\u0131 ve g\u00f6steri\u015fli g\u00f6r\u00fcnmezse de, Osmanl\u0131 \u00fcmmeti ilerledi\u011fi s\u0131rada bunlara ra\u011fbet edilmedi\u011finden, olduklar\u0131 halde kalm\u0131\u015flar, b\u00fcy\u00fcmemi\u015flerdir. Hele bir kere ra\u011fbet o y\u00f6ne d\u00f6ns\u00fcn, az vakit i\u00e7inde ne \u015fairler, ne yazarlar yeti\u015fir ki ak\u0131llara hayret verir.<\/p>\n Z\u0130YA PA\u015eA<\/strong> Aysel Git Ba\u015f\u0131mdan Isl\u0131\u011f\u0131m\u0131 denesen hemen d\u00fc\u015f\u00fcr\u00fcrs\u00fcn Sevindi\u011fim anda sen \u00fcz\u00fcl\u00fcrs\u00fcn Tahirle Z\u00fchre Meselesi<\/p>\n Tahir olmak da ay\u0131p de\u011fil Z\u00fchre olmak da Mesel\u00e2 bir barikatta d\u00f6v\u00fc\u015ferek Tahir olmak da ay\u0131p de\u011fil Z\u00fchre olmak da Seversin d\u00fcnyay\u0131 doludizgin Tahir olmak da ay\u0131p de\u011fil Z\u00fchre olmak da \u015eiir (ar. si’r, fr. po\u00e9sie, ing. poem), en eski edebiyat t\u00fcr\u00fcd\u00fcr. De\u011fi\u015fik sanat anlay\u0131\u015flar\u0131na ba\u011fl\u0131 olarak \u00e7e\u015fitli tan\u0131mlar\u0131 yap\u0131lm\u0131\u015f, \u015fiirin tan\u0131mlanamayaca\u011f\u0131 da \u00f6ne s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Yine de genelde, \u015fiirin ritime ve imgeye dayanan, kendine \u00f6zg\u00fc dili ve s\u00f6yleyi\u015f \u00f6zelli\u011fiyle estetik etkilenmeler yarat\u0131c\u0131 bir s\u00f6z sanat\u0131 oldu\u011funda birle\u015filmektedir. T\u00fcrk\u00e7ede \u015fiir kar\u015f\u0131l\u0131\u011f\u0131 ko\u015fuk, y\u0131r, \u00f6z\u00fcn gibi s\u00f6zc\u00fckler \u00f6nerilmi\u015fse […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[120],"tags":[],"class_list":{"0":"post-3584","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-siir-uzerine-bilgiler"},"yoast_head":"\n
Felekler yand\u0131 ah\u0131mdan murad\u0131m \u015fem’i yanmaz m\u0131<\/p>\n
Ni\u00e7\u00fcn k\u0131lmaz bana derman beni b\u00eemar sanmaz m\u0131<\/p>\n
Uyan\u0131r halk\u0131 efgan\u0131m kara baht\u0131m uyanmaz m\u0131<\/p>\n
Habibim fasl\u0131 g\u00fcld\u00fcr bu akar sular bulanmaz m\u0131<\/p>\n
Bana ta’neyliyen gafil seni g\u00f6rge\u00e7 utanmaz m\u0131<\/p>\n
Sorun kim bu ne sevdad\u0131r bu sevdadan usanmaz m\u0131 (FUZUL\u00ce)<\/p>\nPastoral \u015eiir<\/h2>\n
\u00c7ekilir g\u00f6\u00e7leri pe\u015fin pe\u015fine
\u00c7\u0131kabilsem \u015fu yaylan\u0131n ba\u015f\u0131na,
Kuzulu kurbanl\u0131 \u015fi\u015feli da\u011flar.<\/p>\n
A\u00e7\u0131lm\u0131\u015f \u00e7i\u00e7ekler, y\u00fcr\u00fcm\u00fc\u015f \u00e7imen,
Hayali kafamda ya\u015far her zaman,
Ba\u015f\u0131 oylum oylum me\u015feli da\u011flar.<\/p>\n
R\u00fczg\u00e2r ile mektupla\u015f\u0131r, naz eder,
G\u00e2hi duman burur, g\u00e2hi yaz eder,
Dereli, tepeli, k\u00f6\u015feli da\u011flar. (\u00c2\u015f\u0131k VEYSEL)<\/p>\n\u015eiir \u00dczerine<\/h2>\n
…\u015eiir duygusunu dil haline getirinceye kadar yu\u011furmak, onu \u00e7ok toplu bir madde haline sokmak, o kadar ki, dize g\u00fcya duygunun ta kendisi imi\u015f gibi okuyucuda i\u00e7ten bir san\u0131 uyand\u0131rmak, i\u015fte bunu \u00f6zl\u00fcyorum.<\/p>\n\u015eiir ve \u0130n\u015fa<\/h2>\n
Klasik ve Modern \u015eiir \u00d6rnekleri<\/p>\n
Aysel git ba\u015f\u0131mdan ben sana g\u00f6re de\u011filim
\u00d6l\u00fcm\u00fcm birden olacak seziyorum
Hem k\u00f6t\u00fcy\u00fcm karanl\u0131\u011f\u0131m biraz \u00e7irkinim
Aysel git ba\u015f\u0131mdan istemiyorum
Benim ya\u011fmurumda gezinemezsin \u00fc\u015f\u00fcrs\u00fcn
Da\u011f\u0131t\u0131r gecelerim sar\u0131\u015f\u0131nl\u0131\u011f\u0131n\u0131
Uykular\u0131m\u0131 uyusan nas\u0131l korkars\u0131n
Hi\u00e7bir dakikam\u0131 ya\u015fayamazs\u0131n
Aysel git ba\u015f\u0131mdan ben sana g\u00f6re de\u011filim
Benim i\u00e7in kirletme ayd\u0131nl\u0131\u011f\u0131n\u0131
Hem k\u00f6t\u00fcy\u00fcm karanl\u0131\u011f\u0131m biraz \u00e7irkinim<\/p>\n
G\u00f6zlerim h\u0131zland\u0131r\u0131r tenhal\u0131\u011f\u0131n\u0131
Yanl\u0131\u015f \u015fehirlere g\u00f6t\u00fcr\u00fcr trenlerim
Ya \u00f6lmek ustal\u0131\u011f\u0131n\u0131 kazan\u0131rs\u0131n
Ya korku biriktirmek yetisini
Ac\u0131lar\u0131m iyice bol gelir sana
Sevincim bir t\u00fcrl\u00fc tutmaz sevincini
Aysel git ba\u015f\u0131mdan ben sana g\u00f6re de\u011filim
\u00dcmitsizli\u011fimi olsun anlasana
Hem k\u00f6t\u00fcy\u00fcm karanl\u0131\u011f\u0131m biraz \u00e7irkinim<\/p>\n
Sonbahar u\u011fultusu duymam\u0131\u015fs\u0131n ki
\u0130\u00e7inden bir gemi kalk\u0131p gitmemi\u015f
Uzak yaln\u0131zl\u0131k limanlar\u0131na
Ayk\u0131r\u0131 bir yolcuyum d\u00fcnya geni\u015f
B\u00fcy\u00fck bir kulak \u00e7\u0131nl\u0131yor i\u00e7imdeki
\u00c7etrefil yolculu\u011fum kesinle\u015fmi\u015f
Sak\u0131n ba\u015fka bir \u015fey getirme akl\u0131na
Aysel git ba\u015f\u0131mdan ben sana g\u00f6re de\u011filim
\u00d6l\u00fcm\u00fcm birden olacak seziyorum
Hem k\u00f6t\u00fcy\u00fcm karanl\u0131\u011f\u0131m biraz \u00e7irkinim
Aysel git ba\u015f\u0131mdan seni seviyorum ( Attila \u0130lhan )<\/p>\n
hatt\u00e2 sevda y\u00fcz\u00fcnden \u00f6lmek de ay\u0131p de\u011fil,
b\u00fct\u00fcn i\u015f Tahirle Z\u00fchre olabilmekte
yani y\u00fcrekte.<\/p>\n
mesel\u00e2 kuzey kutbunu ke\u015ffe giderken
mesel\u00e2 denerken damarlar\u0131nda bir serumu
\u00f6lmek ay\u0131p olur mu?<\/p>\n
hatt\u00e2 sevda y\u00fcz\u00fcnden \u00f6lmek de ay\u0131p de\u011fil.<\/p>\n
ama o bunun fark\u0131nda de\u011fildir
ayr\u0131lmak istemezsin d\u00fcnyadan
ama o senden ayr\u0131lacak
yani sen elmay\u0131 seviyorsun diye
elman\u0131n da seni sevmesi \u015fart m\u0131?
Yani Tahiri Z\u00fchre sevmeseydi art\u0131k
yahut hi\u00e7 sevmeseydi
Tahir ne kaybederdi Tahirli\u011finden?<\/p>\n
hatt\u00e2 sevda y\u00fcz\u00fcnden \u00f6lmek de ay\u0131p de\u011fil. ( Naz\u0131m Hikmet Ran )<\/p>\n","protected":false},"excerpt":{"rendered":"