Hayretî’nin Şiirlerinde Abdallık ve Abdallara Dair
Esma Şahin Öztaş13-14. yüzyıllardan itibaren İslam toplumlarında ortaya çıkan ve 14-15. yüzyıllarda Osmanlı sahasında görülmeye başlayan Abdallar ve Kalenderîler, din algısı ve yaşam biçimleri bakımından marjinalliği benimsemiş derviş gruplarıdır. Toplumun sıradan kesimi yanında şair ve müellif gibi okur-yazar kitle arasından mensuplarının da bulunduğu bu anlayış, edebî geleneğe, şiirin kurallarına uygunluk göstermesi ve şairlerin sosyal hayata dair gözlemlerinin bir parçası olarak şiire de girmiş; kendisi benimsemiş olsun veya olmasın hemen her şairin mısralarında hayat bulmuştur. 16. yüzyıl abdal şairlerinden Hayretî, gerek klâsik şiir geleneğinin bir takipçisi olarak gerekse kendi meşrebinin etkisiyle Abdalların inançları, düşünce yapıları ve yaşamlarına dair pek çok konuyu şiirlerinde işlemiştir. Bu çalışma için Hayretî’nin Divan’ı okunduğunda abdallık ile ilgili hususların Hz. Ali ile ilgili inanış ve söyleyişler, Abdalların meşrebi, sosyal ve kültürel yaşamları olmak üzere üç temel başlık altında toplanabileceği görülmüştür. Bu minvalde seçilen beyitler ilgili başlıklar altında incelenmiş ve şairin Abdalların inanış, düşünce ve yaşam biçimi ile ilgili hangi konulara ve detaylara yer verdiği ortaya çıkarılmaya çalışılmıştır. Ele alınan beyitlerde şairin ne söylediği ile birlikte nasıl ve hangi arka plandan hareketle söylediği üzerinde durulmuştur. Beyitler açıklanırken kelimelerin bağlamdaki yeri, anlamı ve kullanılış biçimi ile şairin sözcüklere yüklediği yeni manalar ele alınmıştır.
Abdal Order of Dervishes and Abdals in Hayreti’s Poetry
Esma Şahin ÖztaşThe emergence of Abdals and Kalenderis in Islamic societies from the 13th-14th centuries onward, and their subsequent presence in the Ottoman field from the 14th15th centuries, indicate the rise of dervish groups embracing marginality in both religious perception and way of life. This ideological stance, embraced by certain poets, found expression in poetry, aligning with literary traditions and offering insights into social dynamics. Hayretî, a 16th-century abdal poet, navigated these themes with a blend of classical poetry tradition and personal insight, exploring the beliefs, mentalities, and lives of the Abdals in his verses. Upon analyzing Hayretî’s Divan for this study, it became evident that his treatment of the Abdal order of dervishes could be categorized into three main themes: beliefs and sayings about Hz. Ali, the mentality of Abdals, and their social and cultural life. This analysis elucidates the topics and nuances that the poet delved into the beliefs, thoughts, and lifestyle of the Abdals. The selected couplets are examined under relevant dealings, shedding light on the poet’s expressions, rhetorical devices, and contextual backgrounds. Furthermore, consideration is given to the placement, meaning, and connotations of words within the verses, as well as the reinterpretations and nuances attributed to the poet.
In Ottoman poetry, the lifestyle, beliefs, and mindset of Abdal and Kalenderî dervishes serve as prominent themes through which poets express their emotions, dreams, and imagery. Hayretî, a distinguished abdal poet of 16th-century classical Turkish literature, intricately weaves elements related to the Abdal order of dervishes into his verses, reflecting his own life experiences.
Within Hayreti’s Divan, the theme of Abdal is notably underpinned by three main elements. First, the Divan abounds with couplets that delve into reverence for Hz. Ali portrays his love and certain beliefs associated with him. Second, many couplets encapsulate the mentality of Abdals, characterized by their indifference toward worldly matters, penchant for defying societal norms, and expressions laden with symbolism in this regard. Finally, some verses depict the social and cultural aspects of the Abdal order, referencing practices such as self-cauterization, wearing tattered clothes, indulging in hashish, and carrying axe (teber).
This study undertakes an evaluation of the poet’s works through these three contextual lenses. By selecting couplets from Hayretî’s Divan and categorizing them accordingly, we illuminate the emphasized issues regarding the beliefs, thoughts, and lifestyles of Abdals. Each couplet is carefully analyzed, focusing on the poet’s message and stylistic choices. Furthermore, the contextual background that informs the poet’s compositions is analyzed, elucidating the relationship between words, their placement, meanings, and nuances within the verses. Through this comprehensive analysis, we discern the new dimensions and interpretations that the poet bestows upon words, enriching our understanding of the Abdal ethos as portrayed in Hayretî’s poetry.
In the Divan, Hayretî meticulously explores the characteristics of which Hz. Ali is revered and his significance within the belief system of the Abdals. In addition, the literary expressions and contexts in which Hz. Ali is included or used in similes that are discerned.
Central to the identity of Abdals is their self-proclamation as “lovers,” a designation that signifies their detachment from worldly affairs. Hayretî employs mystical terms such as lamekani, ibn-i vakt, and uzlet to depict Abdals, reflecting his mentality. In the poet’s verses, the tension between the lover-zahit and ascetic is transmuted into that of abdal-zahit and ascetic, while the dynamic of lover-rakip and rival is portrayed as dervish-rakip and rival. Thus, the abdal assumes the role of the lover in Hayreti’s poetry.
In portraying the lifestyle of Abdals, emphasis is placed on their practices of self-injury, hashish consumption, carrying of axe (teber), and disregard for conventional clothing. The Divan features intriguing imagery surrounding rituals such as self-injury and hashish use. References to çar-darb (complete shaving of hair, beard, mustache, and eyebrows) and begging are often mentioned together with Kalenderis. While the term abdal predominantly denotes dervishes in the Divan, names such as ıshıq, Haydari, Bektashi, and Kalenderi are also used. The poet’s self-identification as the abdal of Rum ili, Haydari, and Bektashi across various couplets implies the fluidity and overlap of these concepts during his era.
Hayretî uses terms such as hırka, pashmina, nemed, buriya, shal, and chul to denote dervish attire. He frequently disparages luxurious fabrics, extolling nudity, and tattered clothing instead. The Divan also refers to rituals such as sacrifice, slaughter, and donations within tekkes, reminiscent of the “dîg- cûş” ceremony in Persian culture, implying a convergence of practices in Ottoman dervish lodges.
Innovatively, Hayretî imbues words such as fena, hayran, ihtiyar, kazak, kurban, nacak, naşi, and yek-reng, with new meanings not found in dictionaries, crafting his distinct lexicon and style. Thus, the Divan not only sheds light on the mentality and cultural world of 16th-century Abdals and the social life of the period but also enriches the Turkish language’s vocabulary, showcasing Hayretî’s literary contributions.
