An Evaluation of the Poems in Which the Turkish Word for Night Occurs in Their Redif
Günay TulumA nazire [a poem modeled after another in terms of form and content] allows poets the opportunity to take part in the tradition with tools such as meter, rhyme and redif [words/suffixes with same meaning and function repeated after a rhyme] that mostly guide the subject, and is an essential idea of traditional Turkish literature. Diwan literature generally focuses on love, with night being a period of time that best reflects the psychology of the lover who lives with the hope of meeting their lover. This article is also an effort to evaluate the poems with the Turkish word gice/gece [night] in their redif. First of all, information about the terms nazire and redif is listed, then the conceptual area of the gece is described. Some 59 poets from nazire and matla [first couplet of ghazal] journals and from diwans were determined to have used the word gece in their redifs as a word on its own and as a part of phrases that include various grammatical elements. Due to the possibility of finding examples of redif variations in at least two ghazals from 59 poets, the material of the article is limited to the suffixes of -â, -eh, -em, -en, -er, -et bu gice [this night], -ân + bu gice and -ân + every gice [every night]. The redifs of bu gice and her gice in the form of adjectives have appeared adverbial element that reinforces the optimistic or pessimistic perspectives of poets always being considered in love in classical Turkish poetry and that is line with waiting to see one’s lover. The ghazals belonging to the rhyme + redif sequence -â bu gice, which appears with Ahmedî (1334/5- 1413) and Şeyhî (circa 1376-1431) are the first zemin [groundwork] examples of poetry from this chain. Another nazire chain is -ân her kiçe, which begins with Nevâyî's ghazal in “Garâ’ibü’s-Sıgar”. Ahmed Pasha (?-1496/97) was the Sultânü’ş-şu‘arâ of the Fâtih period and can furthermore be said to have expanded this nazire chain by using both bu gice and her gice redifs.
Redifinde Gice/Gece Kelimesi Geçen Şiirler Üzerinden Bir Değerlendirme
Günay TulumŞairlere veznin yanısıra çoğunlukla konuyu yönlendiren kafiye ve redif gibi araçlarla gelenek denen soyut kavramın içinde kendilerince yer alma imkânı veren nazire, klasik Türk şiirinin temel kavramlarından biridir. Ağırlık merkezi aşk olan Divan edebiyatında, sevgilisine kavuşma ümidiyle yaşayan âşığın psikolojisini en iyi yansıtan zaman dilimi gecedir. Bu makale ise redifinde gice/gece kelimesi geçen şiirler üzerinden bir değerlendirme çabasıdır. Öncelikle nazire ve redif terimleri hakkında bilgiler sıralanmış, akabinde gece kelimesinin kavram alanı tarif edilmiştir. Nazire ve matla mecmuaları ile divanlardan toplam 59 şairin redif içinde gice/gece kelimesine yer verdikleri belirlenmiştir. Redif çeşitlenmelerine 59 şairden en az iki gazelle örnek bulma ihtimalinden ötürü yazının malzemesi, “-â, -eh, -em, -en, -er, -et bu gice”, “-ân+ bu gice” ve “-ân+ her gice” kafiye+redif dizilişlerinin meydana getirdiği nazire ağlarıyla sınırlandırılmıştır. Sıfat takımı biçimindeki “bu gice” ve “her gice” redifleri, klasik Türk şiirinde daima âşık sayılan şairlerin sevgiliyi görmeyi bekleme mihverinde takındıkları iyimser ya da kötümser bakış açılarını zaman olarak pekiştiren zarflama göreviyle karşımıza çıkmıştır. XIV. yy. ile XV. yy.’ın ilk yarısında Ahmedî (1334/5-1413) ve Şeyhî (1371-1376-1431?) ile karşımıza çıkan “-â bu gice” kafiye+redif dizilişine ait gazeller, bu izleğin ilk zemin şiir örnekleridir. Mamafih Nevâyî (1441-1501)’nin Garâ’ibü’s-Sıgar’da “-ân her kiçe” kafiye ve redifiyle yazdığı gazeliyle başlayan ve Fâtih devrinin “sultânü’ş-şu‘arâ”sı Ahmed Paşa (?-1496/97)’nın hem “bu gice” hem de “her gice” redifli ve “-ân” mürdef kafiyeli gazelleriyle genişleyerek devam eden başka bir nazire izleği daha oluştuğu görülmüştür.
With physical, ontological, and theological dimensions, time is a vivid, distinctive, and transformative concept that has been used since Ancient Greece to both perceive reality and transform reality into a dream. The simple inability to understand time as a whole required thinking of it in terms of certain controllable parts, such as night, day, month, day, year, spring, summer, fall, and winter. Night best reflects the lover’s psychology who lives with the hope of meeting their lover and has a conceptual field that cannot be ignored for Diwan literature.
First of all, night is the symbol of separation, despair and heedlessness. Nights expressed with adjectives such as laciverdî [dark blue/ultramarine] or susenî [suse green] describe nights that are about separation and are depicted using similes for objects such as tar and coal. Masnavis are seen to talk about joyful, happy, and entertaining nights are told. A contrasting relationship has been established between the daytime and the full moon or nighttime Similarities have also been established between for night with the dark-skinned Hindus, crows and the hawks. While faces are likened to the sun and day, the night is likened to the niqab because of its color and covering, with the hair being likened to the night for the same reason.
Nazire is a kind of poetry practice, and is also an area of speech for poets to develop and protect their poetry writing skills. The fact that the poems composed in nazire journals are seen to be aimed at rhyme and redif, and that the vast majority of these are müreddef [verses with redif] make one say that redif in particular creates an undeniable activity in its own environment. In other words, the use of redif helped poets write poems with more harmonious and subjective integrity, while increasing the possibility of writing nazire for these poems.
This study is curious about the course of poems that mention the Turkish word gice/gece [night] in their redifs. To examine this, the study first scanned nazire and matla journals with known compilers and then scanned the diwans of 95 poets from the 14th-19th centuries. All of the scanned works are publications that have been translated into the Latin alphabet. Some 59 poets from nazire and matla journals or their diwans are seen to have used the word night in their redifs. In addition, the poets’ rhyme preferences favored the mücerred [single/lone] and mürdef rhyme patterns. These 59 poets use the word gice in redifs, exceeding the redif limits on syllable and suffix, with the redifs having one to four words and being in the form of suffix + word.
The possibility of finding examples of redif variations in at least two ghazals from 59 poets necessitated limiting the material of the article. In this case, the study chose redif of bu gice, which was the form the poets chose most often. Also, redif of bu gice was noted that in the nazire tradition to create a way with the mücerred rhymes of -â, -eh, -em, -en, -er, -et alongside the mürdef rhyme of -ân. Because this limitation provided sufficient material for this article, the article only included other rhyme + redif sequences that had been identified if they were in the same nazire network.
The ghazals belonging to the rhyme + redif sequence of -â bu gice, which appeared with Ahmedî (1334/5-1413) and Şeyhî (circa 1376-1431) in the middle of the 14th and 15th centuries, formed the first examples of zemin poetry in this chain. Another nazire chain is in the form -ân her kiçe which began with Nevâyî’s ghazal in “Garâ’ibü’s-Sıgar”. Furthermore Ahmed Pasha (?-1496/97) who was the Sultânü’ş-şu‘arâ” of the Fâtih period, can be said to have expanded this nazire chain by using both redifs of bu gice and her gice.
