Sel\u00e7uklu Sultan\u0131 IV. R\u00fckneddin K\u0131l\u0131\u00e7 Arslan ile Fatma Hatun\u2019un k\u0131z\u0131, \u0130lhanl\u0131 Abaka Han\u2019\u0131n gelini, Argun Han\u2019\u0131n e\u015fi; Anadolu Evliyas\u0131 Kad\u0131n, Erzurum Sultan\u0131, Tokat, Amasya, \u00c7ank\u0131r\u0131 ve Ni\u011fde Valisi (1312-1325).<\/p>\n\n\n\n
H\u00dcDAVEND HATUN <\/strong><\/p>\n\n\n\n (Anaerkil-Kam \u0130lk Kad\u0131n Vali)<\/strong><\/p>\n\n\n\n T\u00fcrk mitolojisi ve \u0130slam \u00f6ncesi T\u00fcrk ikonografisinin bir\u00e7ok unsurunu bar\u0131nd\u0131ran Ni\u011fde’deki H\u00fcdavend Hatun T\u00fcrbesi, Sel\u00e7uklular\u0131n h\u00fck\u00fcmdarl\u0131k sembol\u00fc olan \u00e7ift ba\u015fl\u0131 kartal, aslan, insan ba\u015fl\u0131 huma ku\u015fu gibi fig\u00fcrleriyle dikkati \u00e7ekiyor.. T\u00fcr i\u00e7indeki ve \u00e7evresindeki ta\u015f kabartmalar; Orta Asya \u015eaman (Kam) K\u00fclt\u00fcr\u00fc<\/strong>ne g\u00f6re, G\u00f6k Tanr\u0131 Umay Ana\u2019y\u0131 simgeleyen \u015fekiller; Yeralt\u0131 ve G\u00f6ky\u00fcz\u00fc yolculugunda, insanlara refakat eden kutsal Huma Ku\u015fu<\/strong> \u015feklinde, koruyucu yarat\u0131klar\u0131 ve \u015fifa kayna\u011f\u0131 pozitif enerji veren ate\u015fin alevinde zikir ve dans eden i\u00e7sel yolculu\u011fu, i\u00e7 g\u00fc\u00e7leri \u00e7a\u011fr\u0131\u015ft\u0131rmaktad\u0131r.<\/p>\n\n\n\n \u0130Ihanl\u0131 Hakan\u0131 Abaka Han\u2019\u0131n onay\u0131 ile \u00f6ld\u00fcr\u00fclen Anadolu Sel\u00e7uklu Sultan\u0131 IV. R\u00fckneddin K\u0131l\u0131\u00e7 Arslan\u2019\u0131n k\u0131z\u0131 olan H\u00fcdavend Hatun\u2019un 1312 y\u0131l\u0131nda, kendisi i\u00e7in Ni\u011fde\u2019de yapt\u0131rd\u0131\u011f\u0131 t\u00fcrbe<\/strong>, bu \u00e7al\u0131\u015fman\u0131n konusunu te\u015fkil etmektedir. Babas\u0131n\u0131n \u00f6l\u00fcm\u00fcn\u00fcn ard\u0131ndan, 1276 y\u0131l\u0131nda \u0130lhanl\u0131 Saray\u0131\u2019na Abaka Han\u2019\u0131n gelini olarak giden H\u00fcdavend Hatun, e\u015fi Argun Han\u2019<\/strong>\u0131n \u00f6l\u00fcm\u00fcnden (1291) sonra, yurda d\u00f6nm\u00fc\u015f ve Anadolu Sel\u00e7uklu Devleti\u2019ni y\u0131k\u0131l\u0131\u015fa g\u00f6t\u00fcren olaylara tan\u0131kl\u0131k etmi\u015ftir. Anadolu Sel\u00e7uklular\u0131n\u0131n tarih sahnesinden \u00e7ekildi\u011fi g\u00fcnlerde in\u015fa ettirdi\u011fi sekizgen prizma g\u00f6vdeli, piramidal k\u00fclahl\u0131, y\u00fcksek kaideli t\u00fcrbesi, mimari kurulu\u015fu ve bezemeleriyle; Ahlat ve Anadolu\u2019nun farkl\u0131 yerlerinde bulunan Sel\u00e7uklu mezar ta\u015flar\u0131 ve t\u00fcrbeleri yan\u0131 s\u0131ra; T\u00fcrk Mezar Mimarisi\u2019nin benzersiz \u00f6rneklerindendir. Ni\u011fde\u2019de bezemesiz olarak in\u015fa edilen Sungur Bey T\u00fcrbesi\u2019ne mimari kurulu\u015fuyla \u00f6rnek te\u015fkil eden H\u00fcdavend Hatun T\u00fcrbesi\u2019nin imge ve simgelerle y\u00fckl\u00fc farkl\u0131 konu ve i\u00e7erikli fig\u00fcrl\u00fc y\u00fcksek kabartmalar\u0131 bulunmaktad\u0131r.<\/strong> K\u0131vr\u0131ml\u0131 dallar aras\u0131na ve bitki saplar\u0131na i\u015flenmi\u015f \u00e7ok say\u0131da kabartma insan mask\u0131na ilk kez bu yap\u0131da rastlanmaktad\u0131r. T\u00fcrbenin kurulu\u015funda hemen hemen t\u00fcm k\u00fclt\u00fcrlerde cennetle ili\u015fkilendirilen sekiz say\u0131s\u0131n\u0131n temel al\u0131nd\u0131\u011f\u0131 ve t\u00fcrbenin titizlikle ana, ara ve ikincil ara y\u00f6nlere uygun olarak konumland\u0131r\u0131ld\u0131\u011f\u0131, hatta bi\u00e7imlendirildi\u011fi g\u00f6r\u00fclmektedir. Bu tasar\u0131m tam bir mandala olarak dikkat \u00e7ekmektedir. Kasnaktaki yana\u011f\u0131na g\u00f6z\u00fcnden akan bir damla ya\u015fla tasvir edilmi\u015f H\u00fcdavend Hatun\u2019u simgeleyen ta\u00e7l\u0131 kad\u0131n ba\u015f\u0131 <\/strong>ve hemen yan\u0131ndaki aslan kabartmas\u0131 t\u00fcrbenin bir hanedan \u00fcyesine ait oldu\u011funu ilan etmektedir. Cenazelik kat\u0131 gizlenmi\u015f yap\u0131s\u0131, Pencere ve portal d\u00fczeni, cepheleriyle b\u00fct\u00fcnle\u015fen kasnak y\u00fczeyleri ve de\u011fi\u015fik i\u00e7erik ve anlamlarda kullan\u0131lm\u0131\u015f zengin \u00e7e\u015fitlilikteki bezemeleri ile Ni\u011fde H\u00fcdavend Hatun T\u00fcrbesi,<\/em><\/strong> Anadolu Sel\u00e7uklularla Mo\u011follar\u0131n ortak eski k\u00fclt\u00fcrlerinden gelen imge ve simgeleri \u00e7a\u011f\u0131n\u0131n teknik ve sanatsal \u00f6zellikleriyle yepyeni bir yorum ve usl\u00fbpla b\u00fct\u00fcnle\u015ftirerek anlam b\u00fct\u00fcnl\u00fc\u011f\u00fc yakalam\u0131\u015f \u00f6nc\u00fcl\u00fc ve tekrar\u0131 olmayan \u00f6zg\u00fcn bir mimari eserdir.<\/em> Bu \u00e7al\u0131\u015fmada, Anadolu Sel\u00e7uklular\u0131n\u0131n iyice \u00e7\u00f6k\u00fc\u015fe ge\u00e7tikleri ve tarih sahnesinden \u00e7ekildikleri bir zaman diliminde ya\u015fayan Sel\u00e7uklu Sultan\u0131 IV. R\u00fckneddin K\u0131l\u0131\u00e7 Arslan ile Fatma Hatun\u2019un k\u0131z\u0131 H\u00dcDAVEND HATUN\u2019<\/strong>un tarihi kimli\u011fi ele al\u0131nmakta ve istedi\u011fi bi\u00e7imde varl\u0131k bulabilmesi i\u00e7in sa\u011fl\u0131\u011f\u0131nda yapt\u0131rd\u0131\u011f\u0131 t\u00fcrbesinin mimari kurulu\u015f ve bezemelerinde anlam aranmaktad\u0131r. <\/p>\n\n\n\n Kaynak: Canan Barla, www.dursunozden.com.tr<\/em><\/p>\n\n\n\n <\/p>\n\n\n\n \u015eiir nedir? \u015eair kimdir?<\/strong><\/p>\n\n\n\n Dursun \u00d6ZDEN (\u015eair)<\/strong><\/p>\n\n\n\n Yaz\u0131l\u0131 edebiyat \u00f6ncesi \u015fiir s\u00f6yleyen ve ezbere \u015fiir okuyan halk ozanlar\u0131n\u0131 iki ezellikte tan\u0131mlamak gereklidir. 10 bin y\u0131ldan bu yana; cemde, cenkte, hasatta, nevruzda, bayramda, d\u00fc\u011f\u00fcnde, toyda, ota\u011fda, kapal\u0131 ve a\u00e7\u0131k alanlarda, kahve ve sokaklarda saz ile s\u00f6z ile destan okuyan, at\u0131\u015fan ve hiciv yapan halk ozanlar\u0131 yan\u0131 s\u0131ra; s\u00f6zl\u00fc edebiyat\u0131m\u0131zda k\u00fclt\u00fcrel ta\u015f\u0131y\u0131l\u0131k g\u00f6revi \u00fcslenen kad\u0131n ozanlar\u0131n s\u00f6yledi\u011fi a\u011f\u0131t, mani, ninni, k\u0131na gecesi t\u00fcrk\u00fcs\u00fc, g\u00f6\u00e7 ve ayr\u0131l\u0131k ezgisi, ta\u015flama, mevl\u00fct, ilahi, tasavvufi, destan, ko\u00e7aklama, yi\u011fitleme ve sevda t\u00fcrk\u00fclerini; aruz vezinli divan tarz\u0131nda, halk m\u00fczi\u011fi \u00f6zelli\u011finde ve serbest dalda s\u00f6yleyen ve yazan \u015fair-ozanlar\u0131m\u0131za selam olsun!..<\/p>\n\n\n\n \u015eiir; <\/strong>kar\u0131nca ile c\u0131rc\u0131r b\u00f6ce\u011finin, semada semah d\u00f6nmesidir. <\/p>\n\n\n\n \u015eiirin dili;<\/strong> i\u00e7sel \u00e7\u0131\u011fl\u0131k. Yal\u0131nl\u0131k<\/strong>; \u015fiirin rahvan y\u00fcr\u00fcy\u00fc\u015f\u00fc. \u0130mge;<\/strong> \u015fiirin g\u00f6lgesi. T\u00fcrkuvaz;<\/strong> \u015fiirin g\u00f6\u011f\u00fc. \u015eiirin ritmi;<\/strong> iki nota aras\u0131ndaki son durakta yap\u0131lan kam dans\u0131-zikir. Su\u00e7 say\u0131lan ve yak\u0131lan \u015fiir;<\/strong> \u2018g\u00f6r\u00fcld\u00fc\u2019 damgal\u0131 son mektubun, \u2018gere\u011fi d\u00fc\u015f\u00fcn\u00fcld\u00fc\u2019<\/em> karar\u0131 ile k\u0131r\u0131lan kalemdir. Yoleri Gezgin Ozan \u00d6zden;<\/strong> \u015fiir d\u00fcnyas\u0131ndaki sessiz \u00e7\u0131\u011fl\u0131\u011fa y\u00f6nelen, Anadolu\u2019nun yeni \u015fiir dilini yaratan ve \u00f6zg\u00fcn yaz\u0131m-s\u00f6ylem tekni\u011fi ile; \u2018Dursun hi\u00e7 durmas\u0131n diye\u2019 <\/em>\u015fiir co\u011frafyas\u0131nda ke\u015ffedilmeyi bekleyen manzum hikayeleri, oya gibi i\u015fleyen ve duygu at\u00f6lyesinde-\u015fiir \u00e7eli\u011fine tav\u0131nda su veren, demirci ustas\u0131d\u0131r. <\/p>\n\n\n\n \u015eiir<\/strong> (ar. si\u2019r, fr. po\u00e9sie, ing. poem), en eski edebiyat<\/a> 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 imge<\/a>ye 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\n\n\n T\u00fcrk\u00e7ede \u015fiir kar\u015f\u0131l\u0131\u011f\u0131 \u201cko\u015fuk, y\u0131r, \u00f6z\u00fcn\u201d<\/strong> gibi s\u00f6zc\u00fckler \u00f6nerilmi\u015fse de hi\u00e7biri yayg\u0131nla\u015famam\u0131\u015ft\u0131r. Bug\u00fcn \u201cko\u015fuk, naz\u0131m\u201d<\/em><\/strong>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<\/a>, \u00f6l\u00e7\u00fc<\/a>, naz\u0131m bi\u00e7imleri<\/a> gibi bi\u00e7imsel \u00f6zelliklerden ayr\u0131 d\u00fc\u015f\u00fcn\u00fclemeyi\u015fi \u015fiirle nazm\u0131n e\u015f anlaml\u0131 say\u0131lmas\u0131na yol a\u00e7m\u0131\u015f, giderek \u015fiir \u00abmevzuu ve mukaffa (\u00f6l\u00e7\u00fcl\u00fc ve uyakl\u0131) <\/strong>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.<\/p>\n\n\n\n \u015eair; <\/strong>korkmayan, s\u00f6nmeyen, susmayan, kaymayan, sat\u0131lmayan, ayk\u0131r\u0131, u\u00e7uk, delice, \u00e7\u0131lg\u0131n, sevdal\u0131, yasaks\u0131z, vefal\u0131, insanc\u0131l, a\u00e7l\u0131k-g\u00f6\u00e7-yoksulluk-adaletsizlik-s\u00f6m\u00fcr\u00fc-bask\u0131-i\u015fkence ve zulme kar\u015f\u0131 direnen, kalemi-saban\u0131, yolda\u015f\u0131-can dostu, postu ve avaz\u0131yla sava\u015f\u0131m veren, \u00f6z\u00fcne ve s\u0131n\u0131f\u0131na yabanc\u0131-yalanc\u0131-yalaka-yaramaz-gaddar-nank\u00f6r-f\u0131r\u0131ldak-\u015feytan-firavun-zalimlerle sava\u015fan, s\u0131n\u0131r tan\u0131maz, \u00f6zg\u00fcr d\u00fc\u015flerin ard\u0131na d\u00fc\u015fen, mavi ve beyaz yakal\u0131, ya\u015fama dokunan, okuyan, yazan, gezen, tozan, soran-sorgulayan, do\u011fay\u0131 ve \u00e7evreyi koruyan, k\u00f6y\u00fcn delisi, kimsesizin kimsesi, \u015fak\u0131yan, \u00f6pt\u00fck\u00e7e a\u011flayan, a\u011f\u0131z dolusu g\u00fclendir. S\u00fcmerli \u00f6\u011fretmen \u015fair Ludingirra<\/strong>\u2019n\u0131n izinde, Simyac\u0131-kimyac\u0131, ho\u015fg\u00f6r\u00fcl\u00fc, sevgisi sebil, yoksul ama g\u00f6nl\u00fc vars\u0131l, umut ve \u00fctopyas\u0131n\u0131 yitirmeyen, \u2018hayatta en hakiki m\u00fcr\u015fit ilimdir\u2019<\/em> s\u00f6z\u00fcnden \u015fa\u015fmayan, d\u00fcnyan\u0131n ayd\u0131nl\u0131k y\u00fcz\u00fc, haklar\u0131 ve sorumluluklar\u0131 olan \u00e7a\u011fda\u015f-devrimci bir dervi\u015ftir \u015fair\u2026<\/p>\n\n\n\n \u015eair<\/strong> ya da ozan<\/strong>, \u015fiir<\/a> yazan veya s\u00f6yleyen kimsedir. \u015eair kelimesi Arap\u00e7a<\/a>‘dan gelir; do\u011fa\u00fcst\u00fc g\u00fc\u00e7lere sahip, deli<\/a>, k\u00e2hin<\/a> gibi anlamlar da y\u00fcklenmi\u015ftir.<\/p>\n\n\n\n \u015eair \u00f6ncelikle bir yaz\u0131n insan\u0131d\u0131r. <\/strong>\u015eiir yazan ve s\u00f6yleyen ki\u015fidir.\u0130lk\u00e7a\u011flardan g\u00fcn\u00fcm\u00fcze kadar toplumun ileri gelenlerinden, bilici ve s\u00f6zc\u00fc oldu\u011fu i\u00e7in toplumun kutsad\u0131\u011f\u0131, toplumun ortak duygu ve duyarl\u0131klar\u0131n\u0131n kayna\u011f\u0131 olarak g\u00f6r\u00fclen ilerici ve d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc bir ki\u015fidir. Ortak duyarl\u0131klar ve de\u011ferler toplumdan topluma de\u011fi\u015fece\u011fi i\u00e7in \u015fairlere evrensel \u00f6zel de\u011ferler y\u00fcklemek do\u011fru olmayabilir. Yine de \u015fair kendi toplumunda d\u00fc\u015f\u00fcnen, g\u00fczel s\u00f6z s\u00f6yleyen ve s\u00f6z\u00fc dinlenen bir ki\u015fi olarak kabul ve sayg\u0131 g\u00f6rm\u00fc\u015ft\u00fcr..<\/p>\n\n\n\n \u015eairin toplumdaki i\u015flevi ilkel \u00e7a\u011flarda daha keskin \u00e7izgilerle belirlenmi\u015f iken g\u00fcn\u00fcm\u00fczde belirli bir \u015fair rol\u00fcnden s\u00f6z etmek daha zordur. Bunun nedeni d\u00fc\u015f\u00fcncenin ve s\u00f6z\u00fcn yerini alan yeni de\u011ferlerdir diyebiliriz..<\/p>\n\n\n\n \u015eair ya\u015fad\u0131\u011f\u0131 d\u00fcnyay\u0131, olaylar\u0131 ve insanlar\u0131 herkesten farkl\u0131 alg\u0131layan bir ki\u015fidir ya da olmal\u0131d\u0131r. \u0130zlenimlerini halka aktar\u0131rken di\u011fer sanat\u00e7\u0131lar kadar rahat de\u011fildir \u00e7\u00fcnk\u00fc ne g\u00fcnl\u00fck konu\u015fma dilini kullanabilir ne de d\u00fczyaz\u0131 tekd\u00fczeli\u011fini. \u015eairin dili di\u011fer t\u00fcm yaz\u0131n t\u00fcrlerinin dilinden \u00fcst\u00fcn ve zahmet vericidir. Sadece kitaplarla de\u011fil, internet<\/a> ile de ge\u00e7mi\u015fin usta \u015fairleri ve g\u00fcn\u00fcm\u00fcz\u00fcn \u015fairleri okuyucular\u0131na ula\u015fmaktad\u0131rlar. <\/p>\n\n\n\n Yaz\u0131n al\u0131mlar\u0131ndan<\/a> en sonuncusu serbest \u015fiir<\/a> ak\u0131m\u0131 iyiden iyiye \u00f6zg\u00fcrl\u00fck\u00e7\u00fc \u015fiir ve \u015fair kavram\u0131na kavu\u015fmu\u015ftur. \u015eair, gerek insana, gerek do\u011faya, gerek olgu ve olaylara daha farkl\u0131 ve duyarl\u0131, sezgisel ve derinlikli bir a\u00e7\u0131dan bakan; bunu, bu ayr\u0131cal\u0131kl\u0131 stat\u00fcs\u00fcn\u00fcn bir sonucu olarak, en etkili ve dolays\u0131z belirtme bi\u00e7imi olarak, uyumlu ve y\u00fckl\u00fc m\u0131sralarla<\/a> dile getiren ki\u015fi diye nitelenmi\u015ftir. \u015eairler \u015fiir yazd\u0131klar\u0131nda genelde duygu ve d\u00fc\u015f\u00fcncelerini o \u015fiire katmak isterler. \u015eairlik taslayan, kendini \u015fair sanan kimselere, genellikle alay yollu olarak “m\u00fcte\u015fair”<\/strong> veya “te\u015faur”<\/strong> denir. Her iki kelime de Arap\u00e7adan T\u00fcrk\u00e7eye ge\u00e7mi\u015ftir.<\/p>\n\n\n\n \u015eiir nedir ve ne de\u011fildir?<\/strong><\/p>\n\n\n\n Edeb\u00ee t\u00fcrler<\/a>in en eskisi olan \u015fiir, insanl\u0131k tarihi boyunca duygu, d\u00fc\u015f\u00fcnce ve hayalleri etkili bi\u00e7imde anlatman\u0131n bir yolu olmu\u015ftur. \u015eiirin edeb\u00ee t\u00fcr olarak en \u00f6nemli \u00f6zelli\u011fi, \u00f6zel bir anlat\u0131m diline sahip olmas\u0131d\u0131r. \u201c\u015eiir dili\u201d<\/strong> olarak adland\u0131r\u0131lan bu \u00f6zel dil, g\u00fcndelik dilden farkl\u0131, \u00e7ok anlaml\u0131 ve katmanl\u0131 bir yap\u0131ya sahiptir. \u201cSembol ve mecazlara dayal\u0131 bir anlat\u0131m dili\u201d, \u201cahenkli bir ses ak\u0131\u015f\u0131\u201d ve \u201cduygu yo\u011funlu\u011funu \u00f6ne \u00e7\u0131karan s\u00f6yleyi\u015f\u201d <\/em>gibi \u00f6zellikler, \u015fiiri di\u011fer edeb\u00ee t\u00fcrlerden farkl\u0131 k\u0131lar. Her d\u00f6nemin kendine \u00f6zg\u00fc bir sesi, s\u00f6yleyi\u015fi ve d\u00fcnyaya bak\u0131\u015f tarz\u0131 oldu\u011fu i\u00e7in \u015fiir de tarih i\u00e7inde farkl\u0131 d\u00f6nemlerde, farkl\u0131 \u00f6zellikler g\u00f6stermektedir.<\/p>\n\n\n\n T\u00fcrk \u015fiirinin tarihi, \u0130slam \u00f6ncesinde din\u00ee t\u00f6renlerde s\u00f6ylenen \u015fiirlere kadar uzan\u0131r. \u0130slamiyet\u2019in kabul\u00fcyle birlikte aruz vezni<\/a>yle yaz\u0131lan ve kendine \u00f6zg\u00fc bir benzetmeler d\u00fcnyas\u0131 olan Divan \u015fiiri<\/a>, edebiyat tarihimizde uzun s\u00fcre varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr.<\/p>\n\n\n\n Hece vezni<\/a>yle yaz\u0131lan ve halk zevkine hitap eden halk \u015fiiri<\/a>, T\u00fcrk\u00e7enin konu\u015fuldu\u011fu b\u00fct\u00fcn co\u011frafyalarda s\u00f6ylenmeye devam etmektedir. \u0130slamiyet\u2019le birlikte tasavvuf d\u00fc\u015f\u00fcncesinin de T\u00fcrk \u015fiirine \u00f6nemli etkileri olmu\u015f, bu d\u00fc\u015f\u00fcnceleri yans\u0131tan bir \u015fiir gelene\u011fi de olu\u015fmu\u015ftur.<\/p>\n\n\n\n Yakla\u015f\u0131k alt\u0131 y\u00fcz y\u0131l varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcren Divan \u015fiiri, Tanzimat D\u00f6nemi<\/strong>\u2019nden itibaren yerini yava\u015f yava\u015f farkl\u0131 \u015fiir anlay\u0131\u015flar\u0131na b\u0131rakm\u0131\u015ft\u0131r. Bat\u0131l\u0131 \u015fiir anlay\u0131\u015f ve ak\u0131mlar\u0131n\u0131n etkisiyle yeni naz\u0131m \u015fekilleriyle \u015fiirler yaz\u0131lm\u0131\u015f, \u015fiirin i\u00e7eri\u011finde ise \u00f6nemli de\u011fi\u015fimler ya\u015fanm\u0131\u015ft\u0131r. \u015eiirin i\u00e7eri\u011fini de\u011fi\u015ftiren Tanzimat \u015fairleri<\/a>nin ard\u0131ndan,Servet-i F\u00fcn\u00fbn D\u00f6nemi\u2019nde \u015fiir<\/strong><\/a>in estetik yap\u0131s\u0131na \u00f6nem verilir.<\/p>\n\n\n\n 1910\u2019larda hece vezni, sade T\u00fcrk\u00e7eyle s\u00f6yleyi\u015f ve mill\u00ee konular \u015fiire h\u00e2kim olur ve bu \u015fiir e\u011filimi Cumhuriyet\u2019in ilan\u0131ndan sonra da devam eder. 1940\u2019larda \u015fiirin dili de\u011fi\u015fmeye ba\u015flar ve s\u0131radan insan\u0131n dertleri \u015fiirin merkezine ta\u015f\u0131n\u0131r. G\u00fcndelik konu\u015fma diline dayanan bu y\u00f6neli\u015f, 1950\u2019lerin sonuna do\u011fru ortaya \u00e7\u0131kan imgeci \u015fiiri anlay\u0131\u015f\u0131 ile etkisini kaybeder. T\u00fcrk \u015fiiri 1960\u2019lardan g\u00fcn\u00fcm\u00fcze hem tarih i\u00e7inde kazand\u0131\u011f\u0131 de\u011ferler hem de yenilik\u00e7i aray\u0131\u015flarla \u00e7ok farkl\u0131 ses ve s\u00f6yleyi\u015flere sahne olur.<\/p>\n\n\n\n \u015eiir; \u015fekil \u00f6zellikleri bak\u0131m\u0131ndan naz\u0131m birimi, vezin, kafiye, redif<\/a> ve ses tekrarlar\u0131 gibi unsurlar\u0131n birle\u015fmesiyle olu\u015fur. Mecazlar<\/strong><\/a>,<\/strong> edeb\u00ee sanatlar<\/a>, imgeler, sembol ve imaj gibi unsurlar ise \u015fiirin anlam katmanlar\u0131n\u0131 tamamlar. B\u00fct\u00fcn bu \u015fekil ve anlam unsurlar\u0131 \u015fiir denen b\u00fct\u00fcn\u00fc olu\u015fturur ve \u015fiir bunlar\u0131n bir toplam\u0131 olarak ortaya \u00e7\u0131kar. Bu sebeple \u015fiir denilen yap\u0131 bunlardan birisine indirgenemez.<\/p>\n\n\n\n Didaktik \u015eiir<\/strong><\/p>\n\n\n\n Didaktik<\/strong> (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<\/strong>, \u00ab\u00d6\u011fretici Edebiyat\u00bb<\/strong> 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<\/a>, \u00f6yk\u00fc<\/a>, roman<\/a> i\u00e7in de kullan\u0131lm\u0131\u015ft\u0131r. Dinsel \u015fiirlerin yan\u0131s\u0131ra Aisopos\u2019<\/strong>un hayvan \u00f6yk\u00fclerini (fabl<\/a>) de didaktik yap\u0131tlar\u0131n ilk \u00fcr\u00fcnleri aras\u0131nda sayabiliriz.<\/p>\n\n\n\n T\u00fcrk edebiyat\u0131nda didaktik yap\u0131tlar\u0131n ilk \u00f6rnekleri olarak Turfan kaz\u0131lar\u0131nda bulunan Uygur metinlerin<\/strong>i 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,<\/strong> Eski T\u00fcrk \u015eiiri<\/strong> adl\u0131 yap\u0131t\u0131nda ele ge\u00e7en metinleri \u00abMani, Burkan ve \u0130slam\u00bb<\/strong> \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 sonraYusuf Has Hacip<\/strong><\/a>Kutadgu Bilig<\/strong><\/a>, Edip Ahmet Atebet\u00fc\u2019l-Hakay\u0131k\u2019la<\/strong> t\u00fcr\u00fcn en iyi \u00f6rneklerini verirler. Orta Asya d\u00f6neminde Ahmet Yasevi<\/strong><\/a> Hikmet<\/strong>\u2019leri de didaktik yap\u0131tlar aras\u0131na girer.<\/p>\n\n\n\n T\u00fcrk edebiyat\u0131n\u0131n Anadolu\u2019daki geli\u015fimi ba\u015flang\u0131\u00e7ta didaktik bir nitelik ta\u015f\u0131r. \u00d6zellikle Anadolu\u2019ya gelen dervi\u015f\u2019le<\/strong>r Tasavvuf<\/a>la beslenen ve kimi tarikatlar\u0131n ilkelerini yaymay\u0131 ama\u00e7layan bir \u015fiirin geli\u015fmesine yol a\u00e7arlar. XIII. y\u00fczy\u0131l<\/a> Anadolusunda yaz\u0131lm\u0131\u015f yap\u0131tlar\u0131n hemen hepsi \u00f6\u011fretici niteliktedir. Bunlar aras\u0131nda en \u00fcnl\u00fc \u00f6rnek olarak Mevlana<\/strong><\/a>\u2018n\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\u2019<\/strong>si ba\u015fl\u0131ba\u015f\u0131na ders olarak, g\u00fcn\u00fcm\u00fczde lisans \u00f6\u011fretimi dedi\u011fimiz bi\u00e7imde okutulmu\u015ftur.<\/p>\n\n\n\n Bu d\u00f6nemde T\u00fcrk\u00e7e yaz\u0131lm\u0131\u015f yap\u0131tlar\u0131n ba\u015fl\u0131calar\u0131 olarak da Ahmet Fakih\u2019in \u00c7arhn\u00e2me\u2019si, A\u015f\u0131k Pa\u015fa\u2019n\u0131n Garipn\u00e2me\u2019si, <\/strong>Yunus Emre<\/strong><\/a>\u2018nin kimi \u015fiirleri,G\u00fclsehr\u00ee<\/strong><\/a>\u2018nin Mant\u0131ku\u2019t-Tayr\u2019\u0131 say\u0131labilir.<\/strong><\/p>\n\n\n\n Osmanl\u0131 d\u00f6nemi T\u00fcrk edebiyat\u0131<\/a>nda 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 <\/strong>gibi yap\u0131tlar, Kabusname <\/strong>benzeri ahlak kitaplar\u0131, Nabi<\/strong><\/a>\u2018nin Hayriyye\u2019si<\/strong> \u00f6\u011fretici bir amaca dayan\u0131rlar.<\/p>\n\n\n\n Tanzimat<\/a>\u2018tan 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<\/strong> bile \u00f6\u011fretici niteli\u011finden dolay\u0131 T\u00fcrk okuruna sunulur.Edebiyat-\u0131 Cedide<\/strong><\/a> ise, bu anlay\u0131\u015fa tepki olarak do\u011far.<\/p>\n\n\n\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\n\n\n \u00ab\u015eayet\u00bb isimli didaktik bir \u015fiir \u00f6rne\u011fi:<\/strong><\/p>\n\n\n\n \u201c\u00d6mr\u00fcn\u00fc vakfetti\u011fin i\u015fin mahvoldu\u011funu<\/em><\/p>\n\n\n\n G\u00f6r\u00fcp de hi\u00e7 y\u0131lmadan i\u015fe ba\u015ftan ba\u015flarsan<\/em><\/p>\n\n\n\n Y\u00fcz oyunluk kazanc\u0131 bir oyunda kaybedip<\/em><\/p>\n\n\n\n \u0130stifini bozmadan metanetle ba\u015flarsan<\/em><\/p>\n\n\n\n A\u015fka esir olmadan \u00e2\u015f\u0131k olup da e\u011fer<\/em><\/p>\n\n\n\n Her zaman hem kuvvetli hem de m\u00fc\u015ffik olursan<\/em><\/p>\n\n\n\n Sana kin g\u00fcdenlere vermeden hi\u00e7bir de\u011fer<\/em><\/p>\n\n\n\n Kin g\u00fctmeden kimseye sen kendini korursan<\/em><\/p>\n\n\n\n Safdilleri kand\u0131r\u0131p kurmak i\u00e7in bir tuzak<\/em><\/p>\n\n\n\n Sarfetti\u011fin s\u00f6zlerin hainlerin a\u011fz\u0131ndan<\/em><\/p>\n\n\n\n Bamba\u015fka bir \u015fekilde tekrar\u0131n\u0131 duyarak<\/em><\/p>\n\n\n\n Omuz silkip ge\u00e7ersen \u00fczerinde durmadan<\/em><\/p>\n\n\n\n Hi\u00e7bir zaman \u015f\u00fcpheci ve y\u0131k\u0131c\u0131 olmadan<\/em><\/p>\n\n\n\n \u0130nceler ve \u00f6\u011frenir, d\u00fc\u015f\u00fcn\u00fcr ve anlarsan<\/em><\/p>\n\n\n\n Kontrol\u00fc hi\u00e7bir zaman elinden b\u0131rakmadan<\/em><\/p>\n\n\n\n Bir m\u00fctefekkir gibi h\u00fclyalara dalarsan<\/em><\/p>\n\n\n\n B\u00fct\u00fcn kabahatleri sana y\u00fckleyerekten<\/em><\/p>\n\n\n\n Bir faniye kap\u0131l\u0131p herkes tel\u00e2\u015f ederken<\/em><\/p>\n\n\n\n Kendine h\u00e2kim olup so\u011fukkanl\u0131l\u0131kla sen<\/em><\/p>\n\n\n\n \u0130tidalini e\u011fer muhafaza edersen<\/em><\/p>\n\n\n\n Milleti unutmadan krallarla gezersen<\/em><\/p>\n\n\n\n Halkla temas edersen vakar\u0131n\u0131 bozmadan<\/em><\/p>\n\n\n\n Kay\u0131rmadan birini dostlar\u0131n\u0131 seversen<\/em><\/p>\n\n\n\n \u0130ncitmezse seni ne bir dost ne bir d\u00fc\u015fman<\/em><\/p>\n\n\n\n Bir fel\u00e2ketten sonra zaferle kar\u015f\u0131la\u015f\u0131p<\/em><\/p>\n\n\n\n Bu iki hilek\u00e2ra fazla k\u0131ymet vermeden<\/em><\/p>\n\n\n\n Bozmadan istifini hep ayn\u0131 g\u00f6zle bak\u0131p<\/em><\/p>\n\n\n\n Tebess\u00fcmle kar\u015f\u0131lar \u015fayet g\u00fcl\u00fcp ge\u00e7ersen<\/em><\/p>\n\n\n\n Ecelle v\u00e2ki olan niha\u00ee bulu\u015fmay\u0131<\/em><\/p>\n\n\n\n Ay\u0131ran son dakkay\u0131 ko\u015farak bitirirsen<\/em><\/p>\n\n\n\n Ab-\u0131 hayatla dolu \u00f6m\u00fcr denen kupay\u0131<\/em><\/p>\n\n\n\n Sevin\u00e7le ve kedersiz t\u00fcketip yitirirsen<\/em><\/p>\n\n\n\n Talihi ve zaferi, \u015fahlar\u0131, il\u00e2hlar\u0131<\/em><\/p>\n\n\n\n Sad\u0131k k\u00f6leler gibi hep yan\u0131nda bulursun<\/em><\/p>\n\n\n\n Fakat hepsinden m\u00fchim olan\u0131 \u015fu ki\u2026 <\/em><\/p>\n\n\n\n O\u011flum sen o zaman hakik\u00ee, tam bir insan olursun.\u201d <\/em><\/p>\n\n\n\n (Rudyard KIPLING)<\/strong><\/p>\n\n\n\n Dramatik \u015eiir<\/strong><\/p>\n\n\n\n Dramatik \u015eiir, ac\u0131kl\u0131 ya da korkun\u00e7 bir konuyu anlatan \u015fiir; insan\u0131n g\u00f6z\u00fcn\u00fcn \u00f6n\u00fcnde tiyatro gibi konuyu canland\u0131rabilen \u015fiir; opera i\u00e7in yaz\u0131lan man\u00adzum dramlardaki \u015fiir. Bat\u0131 edebiyat\u0131<\/a>nda Corneille, Racine, Shakespeare;<\/strong> bizim edebiyatta Nam\u0131k Kemal<\/strong><\/a>, <\/strong>Abd\u00fclhak Hamit Tarhan<\/strong><\/a>, <\/strong>Faruk Nafiz \u00c7aml\u0131bel<\/strong><\/a> dramatik \u015fiirin en g\u00fczel \u00f6rneklerini verirler.<\/p>\n\n\n\n \u00abE\u015fber\u00bb<\/strong>den bir par\u00e7a:<\/p>\n\n\n\n \u201cHalketsem esirlerle le\u015fker,<\/em><\/p>\n\n\n\n Mahveylesem ordularla asker,<\/em><\/p>\n\n\n\n Olsa bana hep m\u00fcl\u00fbk \u00e7\u00e2ker;<\/em><\/p>\n\n\n\n Cinsince o iktidar m\u00fcnker,<\/em><\/p>\n\n\n\n Fevkimde u\u00e7ar tuy\u00fbr-u kemter!<\/em><\/p>\n\n\n\n \u00c2v\u00e2ze-i dehr iken tan\u00eenim,<\/em><\/p>\n\n\n\n G\u00f6rd\u00fcm ana de\u011fmiyor en\u00eenim;<\/em><\/p>\n\n\n\n Milletlere kar\u015f\u0131 \u00e2hen\u00eenim;<\/em><\/p>\n\n\n\n Bir \u00e2fete kar\u015f\u0131 nazen\u00eenim.<\/em><\/p>\n\n\n\n Afetse de ey il\u00e2h g\u00f6ster!<\/em><\/p>\n\n\n\n Bilmem bana \u00e2n m\u0131, \u015f\u00e2n m\u0131 l\u00e2z\u0131m?<\/em><\/p>\n\n\n\n G\u00fclb\u00fcn m\u00fc ya kehke\u015f\u00e2n m\u0131 l\u00e2z\u0131m?<\/em><\/p>\n\n\n\n \u00c2guu\u015f-u vef\u00e2-ni\u015f\u00e2n m\u0131 l\u00e2z\u0131m?<\/em><\/p>\n\n\n\n Bir pen\u00e7e-i hun-fe\u015f\u00e2n m\u0131 l\u00e2z\u0131m?<\/em><\/p>\n\n\n\n Canan m\u0131 g\u00fczel, cihan m\u0131 ho\u015f-ter?\u201d<\/em><\/p>\n\n\n\n (Abd\u00fclhak H\u00e2mit TARHAN).<\/strong><\/p>\n\n\n\n Epik \u015eiir<\/strong><\/p>\n\n\n\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\u0131<\/a>nda ba\u015fl\u0131ca \u00f6rnek olarak \u0130lyada ve Odise<\/strong> kabul edilir. Vergilius\u2019in Aeneid<\/strong> adl\u0131 eseri Homeros\u2019<\/strong>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.