Klasik Türk Şiirinde Dolab-nâme Hakkında Mülahazalar
Türkan AlvanEski Çağlardan beri kullanılan su dolapları günümüzde hâlâ mevcuttur. Günümüze on yedi tanesi ulaşsa da Suriye’nin Hama şehri Âsi Nehri üzerine kurulan su dolaplarıyla hala meşhurdur. Türlerine göre su çarklarının yaygın adları naʿura, dôlâb ve sâkiya’dır. Hama’daki su dolapları içinde en büyüğü olan Dolab-ı Muhammedî h. 763’te (m.1361) yapılmıştır. Dolab-ı Muhammedî’yi Hama hâkimi olan Türk asıllı Aydemir eş-Şeyhî yaptırmıştır. Ancak efsanelerde Dolab-ı Muhammedî’yi yapan marangozun Anadolu’daki ilk Hıristiyanlardan olan Antakyalı Habib-i Neccar olduğu anlatılır. Bu makalede dolabname türüne ilham veren Dolab-ı Muhammedî efsaneleri ve su dolaplarından bahseden örnek şiirler incelenmiştir. İnler gibi ses çıkararak yavaş yavaş döndüğü için su dolabı, klasik Türk şairlerinin vazgeçemediği bir mazmun olmuştur. Bu şiirlerde âşık kendini su dolabı ile özdeşleştirir. Âşığın sevgiliden ayrı kalışı ile ettiği âhları ve feryatları, su dolabının uzaklardan duyulan iniltisine benzer. Dolabnâme ise, su dolabının dilinden “Allah aşkının terennümünü ifade eden sorulu cevaplı manzume” demektir. Bundan başka bu çalışmada dolabname türünün tanımının yetersizliği üzerinde durulmuştur. Âşık Yunus’un ve Kaygusuz Abdal’ın dolab-nâme şiirlerinde muhtevasına göre farklılık vardır. Ayrıca klasik Türk şiirinde de dolabnâme özelliğine sahip şiirler vardırr. Dolab-nâme örneklerine sadece Tekke edebiyatı içinde değil; Anonim Halk edebiyatı, Âşık edebiyatı, hatta Dîvân edebiyatı içinde rastlanabilmektedir.
The Considerations about the Dolab-nama Genre in Classical Turkish Poetry
Türkan AlvanWaterwheels that have been used since ancient times are still available today. Notably, Hama, Syria, is still famous for its waterwheels built on the Orontes River. Common names for waterwheels are naura, dolab, and sâkiya. The Noria al-Muhammadiyya, constructed in 1361 by Sheikh Aydemir, is the largest waterwheel in Hama. Legends say that its carpenter was Habib-i Neccar from Antakya, one of the first Christians. We examined examples of the legends and poems about waterwheels that inspire a type of cupboard. The waterwheel has become an indispensable classic for Turkish poets because it turns slowly, making sounds similar to crying. In these poems, the lover identifies himself as a waterwheel. The love and the screams of the lover with the feeling of staying apart from their beloved are similar to the groans heard from far away Dolab-nama also means the verse in question from the language of the water closet with the question, “Expressing the chant of love of Allah.” Moreover, the insufficient definition of the dolab-nama was emphasized. There are differences between Âşık Yunus and Kaygusuz’s dolab-namas. Dolab-namas are found in Sufī literature, anonymous folk literature, minstrel literature, and Divan literature.
This work aims to study norias, which are an original type of water construction, and analyze their reflections on classical Turkish literature, founded along the Orontes River. Hama city of Syria is still famous for its waterwheels built on the Âsi River. Common names of waterwheels according to their types are naura, dolab, and sâkiya. The word asiyab (watermill) has been used in different forms with real meanings and reflects the symbols in these sources. Mill was used as a word that denoted the “heart.” However, the millstone was used for the characteristics of turning, moaning, grinding, spreading, and weight.
The Noria al-Muhammadiyya is the biggest waterwheel in Hama. However, legends say that the carpenter who designed the Noria al-Muhammadiyya was Habib-i Neccar, one of the first Christians in Anatolia, hailing from Antakya. In this article, examples of the legends of the Noria al-Muhammadiyya and poems about the waterwheel that inspire the type of cupboard are examined. The waterwheel has become an indispensable classic for Turkish poets because it turns slowly, making sounds similar to crying. In these poems, the lover identifies himself as a waterwheel. The love and the screams of the lover with the feeling of staying apart from their beloved are similar to the groans heard from far away. By contrast, Dolab-nama means the verse in question from the language of the waterwheel with the question, “Expressing the chant of the love of Allah.” Moreover, the insufficiency of the definition of the type of cabinet was emphasized. There are differences between Âşık Yunus and Qayghusuz Abdal’s dolab-namas. Mentions of the Dolab-nama are not only present in Sufī literature but also in anonymous folk literature, minstrel literature, and Divan literature.
This study produced the following results:
1. Hama has been known as the city of the waterwheels (Medinetü-Nevâʿir). Ibn Saîd Mağribî, İbn Battûta, Abdurrahman Hibrî, Evliya Çelebi, and Karacaoğlan, who traveled to Hama, discussed Hama’s waterwheels.
2. Dolab-nama had been written under the inspiration of moans of rotating a tool, called a dolab, which helps to draw water by cutting off a tree in the forest. It expressed in the poem the ephemerality and deceptiveness of the world’s blessings and stressed that an essential element for all people is the love of Allah. There is a resemblance to Qayghusuz Abdal’s poem in the means of form and content. His poem is an apt sample of the dolab-nama genre, a part of Turkish Sufī literature.
3. The literature has accepted that Âşık Yunus and Qayghusuz Abdal wrote the first dolab-namas. Since Kaygusuz Abdal’s dolab-nama is didactic, it differs from Âşık Yunus’s dolab-nama. The woeful waterwheel of Âşık Yunus is suffering the love of Allah. By contrast, Kaygusuz Abdal’s dolab-nama includes ego training. So we divide the dolab-nama genre into two types: a divine love-teller dolab-nama and a judge of selfishness and egoism. Âşıkâne Dolab-nama speaks of the love of Allah with an ambitious style. The pioneer of this genre is Âşık Yunus. In this type, there is a relationship between relief and witness and a yearning for Elest Bezmi. The dolab-nama was written in a narrative style, including the riyazât and mujahede, avoiding the pleasures of the world and gaining the love of God. The pioneer of this dolab-nama genre is Qayghusuz Abdal. By contrast, Sheyikh Emir Ahmed Hayâlî-i Gülşenî, who lived in the 16th century, wrote the longest dolab-nama poem (64 couplets).
4) There are some approaches to the definition and qualifications of the dolab-nama. A. Guzel describes dolab-nama as long poems with questions and answers, expressing the chant of the love of Allah. In this definition, the mention of the waterwheel is not observed. Thus, every creature can start to talk in the love of Allah. Dolab-namas require an incident that happened to the poet, a complaint stemming from this incident, and a longing for the past. The main thought in this type of literature is not forgetting the afterlife, the main life, and not being deceived by the charms of daily life. The waterwheel repents its sins crying. We observe that the waterwheel swears off its old and arrogant days. By contrast, divine love is emphasized in dolab-namas in a manner similar to that in Yunus Emre’s dolab-namas. However, dolabnamas are not merely a genre that exists in Sufī Literature. Dr. Edip Kızıldağlı (1920–2002), who wrote compositions on the folklore of Antakya, tells of a folk song about girls who work in fields. This folk song is proof that signs of dolab-namas have been observed in Tasavvuf literature, anonymous folk literature, and minstrel literature.
