The difficulties in scholarly studies on Turkish literature include the absence or incorporation of certain genre and style names from Western literature in Turkish literature, as well as the lack of corresponding terms. When consulting Turkish literary dictionaries and encyclopaedias, problems are not limited to genres or styles originating from Western literature. The root cause lies in the insufficient research and inaccurate filling of the literary concepts covered by dictionaries and encyclopaedias. Many Turkish literary dictionaries and encyclopaedias offer similar and inadequate definitions, often drawing inspiration from each other. Even in widely known and used genres in Turkish literature, there are issues with definitions. For instance, when looking at the definitions of genres like “masal” (fairy tale) or “söylence" (legend), they appear almost identical, such as” a story telling extraordinary events." Does this definition not lack specificity, and are there no distinguishing features between these two genres? Such definitions provide little benefit to readers or those seeking to learn.

This study explores the Turkish adaptation of the concept “Schwank,” classified as a genre in Western literature, and a Turkish name for it. The classification of the anecdotes or storeys of Nasreddin Hodja under this genre in foreign sources serves as the starting point for this study. Owing to the categorisation of Nasreddin Hodja narratives as anecdotes or storeys in Turkish sources, the characteristics of these genres are examined, and the term “neşeli öykü” (merry tale) is proposed as a suitable Turkish name.

Examining the features of the merry tale, it is observed that the narratives involve characters acting as distinct figures, often in pairs or groups with contrasting qualities based on factors like education, class, age, and experience. Generally, a character who considers themselves clever is outsmarted by someone more intelligent or cunning. The conclusion of a merry tale often portrays the supposedly superior character being defeated by the diligence, cunningness, indifference, disrespect, etc., of the opposing character. The characters in merry tales are typically anonymous individuals and common people from the community.

The themes of merry tales revolve around daily life’s deceit, mischief, tricks, wickedness, cleverness, and conflicts in marriage, presenting universally applicable events and current life situations. In addition to being instructional, merry tales may contain sharp, coarse, or mild expressions. The setting of the tale can be anywhere people gather, and the focus is on cleverly devised games.

The purpose of merry tales is to amuse, entertain, surprise, make people think, and provide enjoyment without creating problems. Examining their formal features, merry tales are typically short, presented in plain prose, using colloquial language that is easy to understand, and they are part of folk narratives.

Comparing merry tales to anecdotes, it is evident that the merry tale motif has a broader perceptual range, experiencing a stronger climax related to human experiences. In anecdotes, the motif is fragmented, deliberately breaking the integrity, leaving only the punchline. Anecdotes often have a stage of slowing down or weakening concerning content and subject.

The structure of the climax or punchline in merry tales emerges through the narrative plot, making it easily understandable. In anecdotes, the elements are suddenly clarified, connected with a surprise discovery, and unrelated components are brought together. The texture of merry tales is more realistic, based on reality, whereas anecdotes rely on a conflicting texture, often arising from the accidental misuse or perception of a word.

Merry tales address normal or slightly abnormal situations, whereas anecdotes tend to focus on the abnormal. Merry tales predominantly present humorous and strange events related to life, such as Nasreddin Hodja stealing yoghurt from the lake.

While foreign sources clearly distinguish between merry tales and anecdotes, there is confusion in Turkish dictionaries. The lack of an equivalent term for "merry tale" in Turkish has led to complexities in dictionary definitions. The attempt to categorise many characteristics under the label of anecdotes has caused confusion, especially for those unfamiliar with the structure of anecdotes. Considering the richness of the Turkish language, the inability to find equivalents for foreign words is not a valid excuse. With proper analysis and research, it is possible to adapt foreign words to Turkish in a logical and contextually appropriate manner. Although such efforts may be challenging, careful analysis can resolve contradictions found in foreign sources. The unique cultural value of Nasreddin Hodja anecdotes, categorised as merry tales under the term "Schwank" in foreign sources, adds to the complexity of the issue, highlighting the need for a more accurate and distinct classification in Turkish literature.