Yazımdan Yayıma Hüsn ü Aşk’ın Serencâmı - II
Mehmet Akif GözitokYalnız devrinin değil, tüm Türk edebiyatının en kuvvetli temsilcilerinden sayılan Şeyh Gâlib, henüz yirmi altı yaşında iken Hüsn ü Aşk mesnevisini altı ay gibi kısa bir sürede telif etmiştir. Klasik şiirimizin ‘mükemmellik standardı’ ve ‘dönüm noktası’ olarak değerlendirilen Hüsn ü Aşk, klasik Türk edebiyatının en güzel ve orijinal mesnevilerinden kabul edilmektedir. Nitekim bu mühim eser üzerine bugüne değin pek çok ilmî yayın ve akademik çalışma neşredilmiştir. Bu çalışmaların bir kısmı Hüsn ü Aşk’ın Latin harfli metninin neşri ve dil içi çevirisi / açıklaması üzerine yoğunlaşırken bir diğer kısmı ise eserin muhtevasını, dil hususiyetlerini ve şekilsel özelliklerini incelemekte ve Hüsn ü Aşk’ın sanatsal yönü üzerinde durmaktadır. Fakat yapılan tüm bu çalışmalar incelendiğinde Hüsn ü Aşk’ın Süleymaniye Kütüphanesi Halet Efendi Bölümü 171 numarada bulunan müellif hattı müsvedde nüshasının, sadece metnin neşrinde kullanıldığı; eserin dil, üslup ve sanat değerinin belirlenmesinde bu nüshadan yararlanılmadığı görülmektedir. Oysaki bu nüsha, Hüsn ü Aşk’ın müsveddesidir -yani ham halidir- ve Şeyh Gâlib’in eserini yazarken metin üzerinde ne gibi tasarruflarda bulunduğunu göstermesi açısından oldukça önemlidir. Bu çalışmada, Hüsn ü Aşk’ın Süleymaniye Kütüphanesi’nde bulunan müsvedde nüshasının diğer en eski tarihli yazma nüshalarla mukabelesi yapılarak Şeyh Gâlib’in Hüsn ü Aşk’ı nasıl yazdığı, eseri yazarken hangi safhalardan geçirdiği ve eserine son şeklini verirken ne gibi tasarruflarda bulunduğu irdelenecek, bu tasarruflardan hareketle Şeyh Gâlib’in ve divan şairlerinin poetikalarına dair bazı tespitlerde bulunulacaktır.
The Consequence of Hüsn ü Aşk From Writing to Publication - II
Mehmet Akif GözitokConsidered to be one of the most powerful representatives of all Turkish literature, Sheikh Gâlib already authored the Hüsn ü Aşk mesnevi in six months when he was barely twenty six years old. Widely regarded as the ‘standard of excellence’ and ‘turning point’ of our classical poetry, Hüsn ü Aşk is hailed as being one of the finest and the most original mesnevi of classical Turkish literature. Indeed, many scientific publications and academic studies have been published on this important work. While some of these studies focus on the publication and interlanguage translation / explanation of the Hüsn ü Aşk text with the Latin alphabet, others examine the content, linguistic features and formal characteristics of the work as well as its artistic aspects. However, when all of these studies are examined, it is clear that it was the copy of the author’s manuscript found at Süleymaniye Library, Halet Efendi Department, No: 171, which was used for the transcription of the text into the Latin alphabet. But, this copy is a draft of Hüsn ü Aşk and it is very important for showing to what extent Sheikh Gâlib worked on the mesnevi while writing his work. The aim of this study, is to show how Sheikh Gâlib wrote Hüsn ü Aşk, what phases he used while writing the work, and what changes he made when he was nearing completion of the work with reference to the draft of Hüsn ü Aşk found at the Süleymaniye Library.
Classical Turkish literature is a literature that has taken almost all of its theoretical and aesthetic principles from the Persian poetry tradition, thus reshaping its ancient tradition with Islamic culture and creating a wide ranging influence for itself that has been shaped in all respects under its strong and permanent influence. For this reason, Classical Turkish literature poets, like the Persian poets who belong to the same tradition, wrote their poems according to the verse forms, rhythm, word staff, imagination and style determined by it, and never deviated from this. This situation shows that the divan poets, who were strictly bound to those narrow and certain criteria of the tradition, have a common understanding of poetry consisting of a common imagination, word staff and world of images. We believe that the understanding of poetry of the divan poets can be put forward by an inductive method, with reference to the literary texts from the author’s pen that have survived to the present day. We have reached this conclusion because there are often many signs about how the author wrote his work, which processes he went through, and what interventions he made, in the works that reach the present day with the handwriting of the author himself. We are of the opinion that more objective and practical information about the poetry understanding / poetics of the divan poet could be obtained if we were to analyze the literary texts of the author’s own handwritten texts, which have had the opportunity to reach the present day by overcoming the effect of time. We think that we can prove this theory with reference to the draft copy of Hüsn ü Aşk, which is accepted as one of the most beautiful and original masnavis of classical Turkish literature and has survived to the present day in the author’s handwriting. In so doing, we plan to compare the draft copy of Hüsn ü Aşk with the seven oldest copies and thereby determine and analyze what types of interventions Şeyh Galib made on the text of Hüsn ü Aşk on the basis of both verse and couplet as well as chapter.
When the draft copy of Hüsn ü Aşk and the seven ancient copies dated back to earliest dates are compared, it can be seen that Seyh Gâlib made two types of interventions on the text of Hüsn ü Aşk on the basis of both verse and couplet as well as chapterThe first of these is the intervention made by Seyh Gâlib himself on the draft copy and the second is that made during the drawing up of a fair copy of the draft copy. The first of these interventions can be seen in the amendments made mostly with red ink on the draft and the second one can only be determined by comparing the draft copy with the ancient copies. For this reason, it is possible to come to the conclusion that the phrase / verse / couplet / chapter usage shown in the seven ancient copies was different in the draft copy because of the fact that Şeyh Gâlib changed the phrase / verse / couplet / chapter patterns while making a fair copy of the text.
Furthermore, it is possible to classify additions, subtractions and changes made both on the text and during the making of a fair copy of the text under three main titles, namely Interventions Seen in Words and Word Groups, Interventions Seen in Chapter and Chapter Titles and Adscititious / Removed / Relocated Couplets. Given that evaluating the three main titles together will exceed the limits of this article, the determination and analysis of two of them will be left to another article, and only the Interventions Seen in Words and Word Groups will be dealt with here. This study will attempt to determine and analyze the differences made between the ancient copies and the draft copy on the basis of words and word groups.
In this study, the draft of Hüsn ü Aşk in Süleymaniye Library Halet Efendi number 171 and the ancient manuscripts will be compared. The comparison will show what kinds of interventions and changes Seyh Gâlib made on the text during the compilation process of Hüsn ü Aşk and what the reasons behind them could be. In addition, some evaluations will be made about Şeyh Gâlib’s language, style, art, and his poetics in general based on these literary and scientific evidences. This evaluation will be made after the draft copies and ancient copies to be used in the study have first been introduced. Following that, the types of interventions made by Gâlib Dede in the text on both the draft copy and while making a fair copy of the text will be discussed in general, and finally the interventions seen in the words and word groups in the text of Hüsn ü Aşk will be shown, and the possible reasons for these interventions will be examined.
