y uv : > z o nn 6 g 2 c oO £ £ =} wn ° ae > £ a 2 G 2 < = v £ © = nn 2 c= ° OSU ILLiad TN: 1760358 TT Request Date: 20200904 Borrower: WEL. Lender String: CLU,"OSU,ZCU,ZYU Borrower's ILLiad TN: 423774 ILL Number: 204226587 Call #: PL235 .K37 2012 Location: Thompson Library Stacks 9th Floor Journal Title: Kasideye medhiye : bigime, igleve ve muhtevaya dair tespitler / Volume: Issue: Month/Year: , 2013 Pages: 188-314, Article Author: Dedes, Yorgos and Sper, Stefan Article Title: ‘in the Rosebower every Leaf is a Page of Delicate Meaning’: An Arabic Perspective on Three Ottoman Kasides." OCLC Number: 855052834 Notes: Billing Notes: IFM Preferred Maxcost: 60.00IFM Default ILLiad Odyssey : 206.107.42.179 Email: ILL@WELLESLEY.EDU Library: [LLWellesley College/Clapp Library 106 Central Street Wellesley, Massachusetts 02481-8275 Please send resend requests to liblend@osu.edu or call 614-292-6211. Notice: This material may be protected by Copyright Law (Title 17 U.S.C.)“Her varak bir niktedir giilsende”: ig Osmanli kasidesine Arap Qasidesi acisindan bir bakis* Yorgo Dedes* — Stefan Spert** Geviren: Didem Z. Havlioglu 1. Bashk, Hayali’nin ‘gill kas icin makalenin ekine bakiniz. inin altinct beyitinden alnmistur. Kastdenin tamami Londra Universitesi. SOAS. “Londra Universitesi, SOAS. 188Londra Kaside Konferansr'nda, Osmanhi kasidesi tize- ] 9 9 4 rine bir bildiri sunan Walter Andrews konusmasina, Batt bilim diinyasinda Osman: edebiyatina ikinci sinif bir konum at- feden sdylemin altini cizdigi, olduk¢a sasirtici yorumlartyla basladi. ‘iktidardan Bahsetmisken’ bas: altinda yay:mlanan bu bildirisinde Andrews, ézellikle Osmanh: siirinin uzunca bir siiredir, ‘sadece Arap ve Fars kaynaklarina dayandirildigint’ ve baylelikle biiyiik ‘evrimei ts- lami anlatida’ daha az 6nemli bulundugunu belirtmisti? Andrews, bi sézkonusu Snyargiyla yiizlesmeyi secmig ve ‘Osmanli kasidesini bil- hassa Osmanh ihtiyaclarint karstlayan, ayri bir Osmanli diriinii olarak ele almists. ‘Bu noktadan bakildiginda, geleneksel, tarihsel ve kokensel olanla alakasinin bir temel teskil etmediZi gibi organik veya genetik de olmadiginr’ vurgulamist..? Béylelikle, bu Osmanh nazim ti yaraticiligimi ve ‘birey ve imparatorluk arasindaki iletisim" agisindan in islamf kéken anlatilarim bir tarafa birakarak, in 4 Gevriyazim alfabest kullanilmat tanumlarken, ‘qastde’ Arap, ‘kas stir. Bundan béyle, ‘aside’ terimi siirtirtind ise Osmanlt siirlerini belirtmek icin kullamilacaktar. 2Walter Andrews, “Speaking of power: The ‘Ottoman kaside,” Qasida poetry in Islamic Asia and Africa: classical traditions and modern meanings, edited by Stefan Sperl and Christopher Shackle, vol. 1 (Leiden-New York-Kéln:E. J. Brill, 1996), 281. Sage, 282. 4age, 297. Yorgo Dedes — Stefan Sperl ‘Her varak bir nukteddr gilsende* 189SIVAT GALIGMALARI Vill_Kasideye medhiye; bigime,igleve ve muhtevaya datrtespitier F Ski “URK ED! & 0 tagidigi dnemi géstermek icin, Osmanh: gelenegini temsilen sectigi iki siiri déneminin sosyal, tarihsel ve edeb? baglaminda sunmustu. Bu makale ise aynt iki kastdeyi, farkh bir acidan ele aliyor. Ama- cimiz bu iki siirin edebt ecdadi olan Arap qasidesi ile ortakliklarim ta- nimlayarak Andrews'un incelemesine bir katkida bulunmak. Marjinallik sdylemini desteklemek bir tarafa, tam tersini yapmak niyetindeyiz. Bu iki Osmanli siirinin Arapca kékleri ile baglarim ortaya koymakla, kdkenleri tarafindan gélgelenmelerini degil, onlari antik bir gelenegin unsurlari- nm bir edebf buluslar altn caginmn derinlik ve ustalygayla yeniden diizen- lendigi bir gelisme siirecinin neticeleri olarak sunmak istiyoruz. Giinkit Osman sairlerinin yaraticiliktaki basarlarmin ancak kasfde tiiriiniin kokensel ézellikleri tizerinden tespit edilebilecegi inancindayiz. Andrews'un sectigi bu iki kastde, birinin digerine nazire olarak yazilmis olmasindan dolayi, bu tiir bir inceleme igin cok uygun g6- riindiyor. Giinkii ikisi bir arada, basindan itibaren bu tire damgasint vuran devamlthk ve degisim, gelenekselcilik ve yenilik arasindaki agik oyunu gosteriyor. ilk siir NecAt? (6. 1509) tarafindan, Sultan II. Bayezid'i (salt. 1481-1512) 6vmek i¢in yazilmis. Daha sonra ona nazire olan siir ise Hayali (6. 1557) tarafindan Sultan Siileyman (salt. 1520- 1566) icin yazilmus. Biz bu iki siirin yamisira, Fuztili’nin (6. 1556) yine Sultan Siileym4n’a yazilmis ve hem Necati’nin hem de Hayéli’nin siir- lerine nazire oldugu anlasilan bir kasidesini de ele aldik. Bu siirlerin metinlerini de makalenin sonunda ek olarak verdik.* Uc siir de ayn: aruz vezni (remel), ayns kafiye (-dr) ve aymi redif, ‘gill’ ile yazilmmis. Bu yiizden, cicek her beyitte karsimiza cikiyor ve ge- nellikle onun miiptelas: biilbill ile birlikte zikredilmis. Anne-Marie 5 FuzGlinin sliri Atilla Sentiirk’tin Osman sir antolois (istanbul: YKY, 1999), 296- 313'den alimmistie.Schimmel’in Tiirk ve Fars edebiyatlarinda giil ve biilbiil motifi tara~ masina bakildiginda, sézkonusu tig kasidedeki motiflerin Fars kay- naklarina dayanmakta oldugu farkedilecektir.§ inceledigimiz tig siir- den daha nce yazilmis ‘gol’ redifli Farsca siirler vardir ve bunlardan Celaleddin-i RAmi (6. 1273)'ye ait olanlar 6nemli olmakla birlikte gazel olduklar: icin daha kisa siirlerdir”” Bu redifle yazilmis ve Osmanlica siirlere énciiliik etmis olabilecek Farsca bir medhiyeye ise heniiz rast- lamadik. Osmanl: gairlerinin Fars kiiltiir mirasim nasil uyarladiklart bu tartismanin disinda kalan bir sorudur ve ayrica ayrintih olarak in- celenmesi gerekir. Giil ve biilbiil motifini tartigmaktaki amacimiz, Os- manlt sairlerinin bu motifi nasil kékleri kaside tiiriintin baslangicina giden en eski unsurlarim icinde barindiran karmasik ve oldukca uzun eserler tiretme yolunda kullandiklarini tartismaktir. Fikirlerimizi sunmaya islamiyet éncesi dénemden baslayip is- lamilestirme siirecindeki diizenlemeleri de kapsayan bir bigimde Arap gelenefi balamindaki kasidenin bu kéksel ézelliklerini tannmlayarak baslayacagiz. Arap qasidesinin yapist ve sosyal islevine odaklanacak olan tartismamuizin Osmanh: gelene§ ile de baflantisi bulunmaktadur. Arap tarzi bir tarafa, islmi medhiyenin bir drnegi olarak, Abbasi dé- nemi sairlerinden Ebd Temmam'n (6. 845) mevsimin yenilenmesiyle isimsiz bir Abbasi halifesinin faziletini karsilastirdigi bahar kasidesi birok defa zikredilecektir, Dofa tasviri ve medhiyeyi birlestiren bu siirdeki bircok tema Osmanh: giil kasidelerinde de bulunmaktadir.® 6 Bkz, Anne-Marie Schimmel, “Rose and nachtigal,” Numen 5 (1958): 85-109. 7 Bkz. Jala al-Din Rumi, Kulfyat-i Shams ya Divan. Kebir, ed. B. Furuzanfar, c.3 (Tehran: Amir Kabir, 1977), nr. 1348, 8 Metin Julia Ashtiany'nin cevirisidir. Bkz. Qasida poetry in Islamic Asia and Africa: ceulogy’s bounty, meaning’s abundance an antology, M, 80-5. Yorgo Dedes ~ Stefan Spert ‘Her varak bir nuktedur guigende” 191leve ve muhtevaya d I; Kasidaye medhiye: blgime, EDEBIVATI GALIGMALART Arapca kéken-6zellikleri ve kaside turi Bicimsel ve kavramsal olarak adalet arayisi Bu nazim tiiriiniin kokenlerini arastirirken, kaside kelimesinin tiretildi- #i Arapca kasada kelimesinden baslamak gerekir. Daha once birgok defa ifade edilmis oldugu gibi, kasada kelimesinin anlam ‘kastetmek’ olup, kaside de belirli bir amagla yazilmus siirdir. islam Ansiklopedistbu amacin, ‘sairin asiretini éverken digerlerini yermek’ oldugunu ifade ediyor? Di- gerleri ise bu tiiriin amacinin, daha inceliksiz bir Arap siiri olan recezin tam tersine, igeriginden ¢ok bigiminde oldugunu, kasidenin sanatkarane bir kurguyla tasarlandigint vurgulamuslardh. Bu tiiriin bicimsel bir unsu- ru olan, beytin iki misraya bélinmesi, kasada kelimesinin tizerinde daha az durulan ‘ikiye bélmek’ anlamindan yola ¢ikarak agiklanmustir° Eger k-s-d kokiiniin tiim anlamlarim: incelemeye tabi tutarsak, bu tiiriin dzellikleri hakkinda daha derin bir bilgiye ulasabiliriz. fbn Man- zQr'un Lisdn al-Arab adh Arapca sdzliigiinde, kasada sadece ve genel ola- rak ‘kastetmek’ olarak yer almaz. Daha cok, évgtiye deger, olumlu ve asirthgi olmayant kastetmek anlamlar1 verilir. Yazar dzellikle, bir isim fiil olarak kasd’mn ‘adalet’, fiil olarak kasada’nin ise ‘adaletli ve faziletli davranmak’ anlamlariiizerinde durur-” Yazar, kelimenin temel anlam- sal boyutunu, Kur‘an’da gecen wa‘ala allahi qasdu s-sabil (Yolu dogrultmak 98. Krenkow et Encyclopaedia of islam, second edition Brill, 2012. Brill agi online.. Aw ww.encislam,brill.n /lentry=Islam_COM-« [Erisim 09 Ekim 2012] 10 Bu ve bunun gibi kuramlarin bir taramas1 iin bkz. Renate Jacobi, Studien zur Poetik der altarabischen Qaside (Wiesbaden: Franz Steiner, 1971), 1-2. ‘LL bn Manzir, Lisan al‘Arab,c. 5 (Cairo: Dar al-Ma‘arif, 1984), 3642-43.da Allah’a aittir, 16:9)" sézciik grubu ile érneklendirerek agikga belirtir. Kelimeyi, tabyin al-tariq al-mustaqim, ‘faziletli davramisin dogru yolunun aydinlatilmasr’ olarak karsihyor. Kelime kokiintin bu temel anlami, kasi- de teriminin etimolojisine uygulanabilir gériiniiyor. ibn Manzir, “siirin ‘kastdi’, yani amaci, her beytinin miikemmel bir sekilde ikiye ayrilmasi- dur; bu sekilde adlandirilmasinin nedeni vezninin dogru ve miikemmel olmasidir” diye agikliyor. (al-gasid min al-shi'r ma tamma shatru abyatih ... summiya bi-dhalika li-kamalih wa sihhat waznih). Yukaridaki aciklamalardan séyle bir cikarimda bulunabiliriz: temel anlamuyla kasada ‘adaletli olan amaclamaktir’ Kaside terimi, anistirma yoluyla, bu amaca ulasmak igin gecilecek yolu temsil eden bir sézel ifadeye isaret eder. Bu da hem bicim hem de igerik acisin- dan kaside tiiriiniin bir biitiin olarak éziinii en kisa bigimde yansitan tam da bu ézelligidir. Beyitlerin ikiye béliinmesi ve veznin miikemmel bir esitlik ve dengede ikiye ayrilmasi, siirin yapsmda da adaletin yeri- ni buldugunu gésteriyor. Dosdogru giden ve sapmaya yer vermeyen ‘dogru yol’ kavrami, tiiriin degismeyen bicimsel odaginin belirledigi siirsel gelisme cizgisince belirlenir: Sir ne kadar uzun olursa olsun sadece bir vezin ve bir kafiye kullamlir. iin teme- igerik s6z konusu oldugundaysa, adalet kavrami ti linde yatan ahlak dizgesinde ortaya kar. islamiyet Sncesi muru‘a olarak bilinen Arap kabile yasalarinda sinirsiz cémertlik ve dliime meydan okuma gibi ézelliklerle tammlamir.? Adalet burada kisisel 12 Geviride Kur alutilanmstar, Kurn-1 Ker 6zel (istanbul: Asir, 2007) 11 Kerin'den alintilar, Elmalils Hamdi Yazir mealinden renkli kelime meali(giintimuz Turkgesiyle), haz. Mustafa 13 Bu kavram ve dzellikle Islamiyet Sncesi slirlerde tezahiirii konusunda bkz. A. Hamori, The art of Medieval Arabic literature (Princeton: Princeton University Press, 1974), 1. Boliim, Yorgo Dedes — Stefan Spert ‘Her varak bir nuktedur gulseride* 193SK! TORK EDEBIVATI GALISMALAR! Vil: Kasideye medhiye: bigime, Ileve ve muhtevaya dair tespitler 8 onurdan ayristirilamaz ve onur zedelendiginde kosulsuz bir bigim- de yerine getirilen misillemeyle korunur, islamin gelmesiyle, mu- ru‘a'nin évgiiye defer boyutlart artik kendi baslarma yeterli olma- digindan Kur‘én’dan alinan askin idealler tarafindan belirlenirler. Adalet ve beraberindeki biitiin diger degerler, artik sadece insan onurunun islevleri degil, Allah’in ézelliklerinin sosyal alandaki yansimalaridir. . islamt dénem Arapca qastdede var olan kabile ve din deer sis- temlerinin kaynasmasim ifade eden terimler daha sonraki yiizyillar- da ortaya cikan cok dilli siirsel tiiriin diigiinsel hammaddesini olus- turacaktir. Bu durum, Kaside Konferansi Antolojisi‘nde yay:mlanan Arapga ve Arapca olmayan siirlerde gériilen Arapga kékenli kelime- lerden anlasilabilir. On bes dilde ve 1500 yildan uzun bir zaman dili- mi igerisinde yazilmis siirler arasindaki genis kavramsal baglar agina isaret eden etik, estetik ve din? terimlerin bollugu kitabin dizininden izlenebilir.* Grnegin adalet anlamindaki ‘ad! kelimesi ve tiirevleri, Arapca, Fars¢a, Tiirkce, Urduca ve Endonezce yazilan siirlerde gériilii- yor Her birinde, sairin fiziksel diinyanin dogasinda ve siirin atfedildi- Sikisinin karakterinde bulundugunu géstermeye cahistigi adaleti kut- sal bir kokene baghi bir kavram olarak belirliyor. Eb Temmam, adaleti c&mertlik ve yeseren bahar ile iliskilendiriyor: (23) Fil-ardi min ‘adli l-imami wa jaidihi Wa mina n-nabéti I-ghaddi surjun tazharw (23) Diinyada, imam'm adaleti ve cémertligi, Ve verimili yesillikler parlak isiklardir. 14 Qasida poetry in Islamic Asia and Africa: eulogy’s bounty, meaning’s abundance an antology, Il, 500-10.Ayni motif diizenei, yaklasim farkl da olsa, Hayalf’nin gill kasi- desinde de gériiliiyor: (18) Gikmazilla ‘adlin evsafi dehan-1 gonceden Etmez illa zikr-i ihsdnuf seniifi her bar giil Ebfi Temmam ahlaki degerler ile verimli yesillikleri yol gésterici kutsal sik baglaminda tasvir ediyor. Hayall ise tam tersine, doganin ifade yetisiyle donanmis oldugunu ve béylece kutsal degerlere sahitlik ettigini séyliiyor. Burada sairin gérevi sadece bir sahneyi tasvir et- mek deil, yaratilisin dilini gézmektir. Bu iki beyit, kaside tiiriindeki gelenek ve degisimin kesisim noktasim gisterir: siirsel motifler gibi medhiyenin konumlandirilisi da birbirine benzer, Siirsel bakis agist ise, asagida daha ayrintili incelenen siirin epistemolojik islevine ka- dar degisiklik gésteren ufuklara isaret ediyor. Adalet, bir parcast oldugu tiim ahlakt olgularla beraber, kaside tiiriinde sadece bireysel motifler olarak ortaya cikmaz. Tiiriin temel islevi bu olgular bi in kurgusal eylemine dogru giden yolu ta- nimlamakta yatar. Stir, sézel enerji patlamasi olarak yalmizca gergek- ligi yansitmay: degil, onu de¥istirmeyi de amaclar. Bunu da seslendigi kisinin ifade ettigi idealleri gerceklestirmeye zorlayarak gerceklesti- rir. Bu durum mitik-siirsel bir bicim ve dramatik, temsile dayal: bir sunus gibi iki sekilde gerceklesir. Bunlar asagida kisaca aciklanmistir, Bicimsel dzellikler islamiyet dncesi kasidelerde ilk térensel modellerin etkisi, Suzanne Stetkevych tarafindan derinlemesine arasturildi, Stetkevych, kaybedil- mis sevgiliye dzlemden (nasib), mesakkatli bir él yolculuguyla (rabil) medhiye veya fahriye (madih) gibi geleneksel tematik agilmlarm, Van Gennep ve Victor Turner'n tanimladigi térensel yolculugun ayrihk, Yorgo Dedes - Stefan Spert ‘Her varak by nukteaur guisende” 195love ve muhtevaya dair tespitter Kasideye medhiye:bigime, EBIVATI GAL SMALARIV TURK ED) Sk 196 mahrumiyet ve yeniden biraraya gelme gibi tig ana asamasina tekabiil ettigini farketti.”’ Bu gOsteriyor ki, tiirtin bicimi, sembolik olarak igsel ve ruhant bir yolculugun izlerini siirtiyordu. Bilincin cile cekerek fant ve fiziksel zevklerden armmasi yoluyla ézgiirlesmesi, bireysel onur ve toplu kurtulusu temin eden ahlakf degerleri kazanmasim yansitir. Kasidenin efsanelerle sekillenen siirsel yapisinin bicim tutarhhg, yazilan her siirdeki birgok motif arasindaki iligkiye dayanur, Bir anlatt diizeni takip edilmedigi halde, biling olugurken gecilen sembolik asa- malar bir diizen yaratir, Bu yazinsal asamalar, kisa bir siire once Ray- mond Farrin’in galismasina da konu olmus ve Farrin, bir parcast oldugu ‘Klasik Arap siirinde defaetie meydana gelen bicimsel bir model olarak halka diizeninin’ énemini géstermisti.'* Gercekten de birgok siirin basi, ortasi ve sonu arasindaki iliski rahatlikla farkedilebilir. Siirin basinda sunulan temalar, gecirilen deXisimin bir géstergesi olarak bambaska bir baglama oturtulup, siirin sonunda tekrar ortaya gikar.”’ Orta béliim, is- lamiyet éncesi siirlerde cl yolculugunda karsilasilan dliimciil tehlikele- reayrilan, yapidaki merkezt déniim noktasini dile getirir. Bu durumda, sterdi izeninin, kaside icin de gecerli oldugu anlasiliyor.* Mary Douglas'in daha nce kullanilan halka i gibi, eskiden cok yaygm olarak 15 Bkz. Suzanne stetkevych, “Structuralist analyses of pre-Islamic poetry: critique and new directions,” journal of Near Eastern Studies 43 (1983): 85-107 ve daha sonraki yayinlart, 6zellikle, The poetics of islamic legitimacy: myth, gender and ceremony in the Classical Arabic ode (Bloomington: Indiana University Press, 2002). 16 Raymund Farrin, Abundance from the desert: classical Arabic poetry (Syracuse: Syracuse University Press, 2011), xvii. 17 Bu tiir diizenlemenin, Ibn al-Farid’in siirleri tizerinden tartigmast igin bkz. Stefan Sperl, “Qasida form and mystic path in 13th century Egypt,” Qasida poetry in Islamic Asia and Africa: classical traditions and modern meanings, I, 66 ve sontasi. 18 Bkz. Mary Douglas, Thinking in circles: an essay on ring composition (New Haven: Yale University Press, 2007), 1-16.islamt medhiyenin yaygmlasmasiyla kasidenin orta kismint olusturan rahil, yani él seyahati baliimii yok olur. $iir iki béltim- lik bir yapiya déniisiir: bir cok deisik geleneksel temalardan olu- 1m (strophe) ve medhiye (antistrophe).}? Bu eserlerin yapilarinda merkezi bir ‘déniim noktast’ yine de farkedilebilir, Ge- san birinci bi nellikle bu déniim noktasi sonunda yeni baslangiclarin dogacagi céziim ve vukufun meydana geldigi, gerilimin céziildiigii nokta olarak, hangisi daha uzunsa, birinci ya da ikinci béliimde buluna- bil bir drnegidir. ilk 13 beyitte anlatilan, baharin getirdigi yeniden dogus tanimlamasi, ikinci béliimiin son 12 beytinde, Halifenin adil saltanat: siiresince meydana gelen bollukla karsilastirihr. Orta Eb@ Temmam’n bahar qasidesi baylesi halka diizeninin giizel kismi olusturan ve birinci béliimiin bir parcasi olan 8 beyitte, dé- niistiiriicii etkisiyle siirin kilit noktas: bulunur: Giizellikleriyle Ya- raticr'nin bilincini uyandiran bahar ciceklerinin giizelligi tizerine coskun bir odaklanma ve béylece onun bu diinyadaki temsilcisinin kim oldugunun anlasilmass: Halife.° Giil imgesinde sergilenen doga, tpki sectigimiz tig Osmanli si- irinde oldugu gibi hikiimdarm erdemlerini yansilayan bir benzet- medir, Bu esdesligin kasidelerin yapilarina yansiyip yansimadigint ve onlarin da halka diizeni ile yazilip yazilmadiklan gibi sorularin ce- vaplarint asafida arastiracagiz. 19 Bu kavramlar icin bkz, Stefan perl, “islamic kingship and Arabic panegyric poetry in the early ninth century," journal of Arabic Literature 8 (1979): 20-35. 20 Bu gaside ile ilgili bkz. Julia Ashtiany, “Aba Tammam’s ‘spring’ qasid Hawashi'l-Dahri,” Journal of Arabic Literature 25 (1994): 213-19, “Raggat Yorgo Dedes ~ Stefan Sperl ‘Her varak by nukedur gulzende* 197ideye medhiye: bigime, igteve ve muhtevaya dair tespitier S SKI TURK EDEBIVATI CAlISMALARI 8 Sézeylem kipi Bu tiirtin beyana dayali dramatik dzelligi, Beatrice Gruendler’in Abba- si sairi ibn ar-Rumf (6, 896) calismasinda sézeylem kuramimi kullan- masi ile vurgulanmisti.” John Searle ve Emile Benveniste tarafindan gelistirildigi bigimiyle bu kuram kelime, eylem ve baglamin birbirleri- ne bagimlihgin: incelediginden sair ve hamt arasimdaki yakin iliskiyi ve bunun medhiyenin bigim ve temalarmda nasil yansitildigint ince- leme yolunda en uygun kuram oldugu ortadadir. Hiikiimdarm davra- nislari medhiyeci tarafindan siirsel séyleme déniistiriildiigii halde, évgiiler yalnizca beyan edilmez. Karstlk olarak, genellikle saire su- nulan cémert bir édiil seklinde, pratik bir erdem gésterisi beklenir. Ekonomik aligveris, siirdeki mesajin dogrulugunu kanitlar. Gruendler, ibn ar-Rumi'nin ustaca kurguladigi ‘sahne tipolo- jilerine’ dikkat cekiyor. Burada sair ve haminin karsilikli bagimli- hiklart cesitli kurgusal karsilasmalarla gésteriliyor. Gruendler'in vardigi sonuglar, sadece bu sairin siirleri igin gecerli olmayrp, genel olarak tiiriin, istenilen bir eylemi gerceklestirmek iizere yapilmis bir konugma olusu gibi temel bazt ézelliklerinden kaynaklamyor. Bu yiizden, kasidede daha cok emir kipi ile hitap ve nida imleri kullamil- mast sasirtici degildir. Bunlar daha cok bicimsel igaretlerdir ve siirin énemli noktalarim: belirlerler. EbG Temmam'in bahar qasidesinde oldugu gibi, emir kipindeki tigiincti tekil kisi, kapanis béliimiindeki dwaya igaret eder: (32) Fa-l-ya'suranna ‘ala I-layali ba‘dahu An yubtala bi-surafihinna l-mu'siru 21.Bkz. Beatrice Gruendler, Medieval Arabic praise poetry: Ibn al-Riimi and the patron's redemption (London: Routledge, 2003).(32) Biitiin yaptiklarindan sonra, birak zor olsun kader gecelerinin talihsizlik oklarim yagdirmasi ve insana cileler cektirmesi. Hayali’nin giil kasidesi de, emir kipindeki iigiincii tekil kiside, benzer bir istekle bitiyor: (27) Devletifi giilzarimii olsun sa‘Gdet goncast Giil gibi sen her nefes ey rublari giilzar giil Doganin keremi ile hiikiimranligin adaletini birlestiren bu tir siirlerin sonunda biyle isteklerin dile geti ilmesi, akla siirsel sd: en énemli roliinii getiriyor: Biiyiilii bir dille gérevini yapmak, olayla- rin gelisimini degistirecek dogaiistii bir gig sergilemek ve kasidenin medhiye formiiliinde hala uzaktan da olsa yankilanan bir inang or- taya koymak. Bu iki beyitteki mesaj aym: olmakla kalmuyor, ikisi de kafiyeyi gagnistiran aym retorik modeli uyguluyorlar.” Bu yiizden, Eb Tem- mamin beytindeki kafiye kelimesi mu‘sir (zorlukla kargilagmis kisi) ya‘suranna (zor olsun) kelimesini cagirir. Hayali’nin beytinde gil, her iki misrada da kelimenin hem cigek olarak isim, hem de giiliimsemek olarak fiil anlamlar: cagristirilarak yapilan séz oyununun etkisiyle kullanihr. Her iki beyitteki sdyleyis bigimi, Ebd Temmam’n Sncille- rinden oldugu Abbasi déneminde gelistirilen bir retorik kipi tipik 6zellikleridir.Bu retorik kipi bedi, yani ‘muhtesem’ veya ‘énciilsiiz’ ola- rak bilinir ve cok-dilli bir siir térii olarak kasidenin gok etkili Arap k6- ken-dzelliklerinden biri say:lmaldir. Bu bicemin ézellikleri ve énemi asagida kasaca agiklanmistir. 22 Arapca radd al-‘ajuz ‘ald s-sadr yani,‘arkay1 éne cevirmek’. Yorgo Dedes ~ Stefan Spert “Her varak bir ndktedir gdlgende" 199USK EDEE YA"I CALISMALAS’VIl_Kasideye medhiye: bigime, Iteve ve muhtevaya dar tesptler 200 Retorik kipi ve tesbth poetikasi Bedi tarzinin ortaya cikis1 genellikle erken Abbasi Halifelerinin kar- masik meclis kiiltiiriiniin bir iriinii olarak kabul edilir. Stetkevych’e gre, o zamanlarda Mu’tezile akrminin kuskucu teoloji anlayisinm be- raberinde getirdigi ‘mantrksal miinazara ve rasyonel inceleme ruhu biitiin sanat ve bilim dallarin: etkilemisti.”* Bunun sonucu olarak, ‘soyut, diyalektik ve mecazi’ diigiinme tarzi ortaya cikti ve etkisini siir de dahil olmak iizere biitiin edebi sanatlarda gésterdi. Bu diistince tarzinda iiretilen siirler islamiyet ncesi kéken-dzellikleri ve gelenek- sel temalart siirdiiriirken, simdi retorik araglari daha genis bir bigim- de uygulayan edebt ifade araclarini gerektiren tamamiyle degisik bir gerceklik anlayisim1 dillendiriyorlardi. Retorik kipi, siradigi bir bicimde direngendi. Fars ve Tiirk giysi- leri altinda, yiiceltilmis edeb? kelimelere damgasini vuracak ve Babiir meclislerinde meshur Sebk-i Hind? tarzi olarak zirvesine ulasarak, Muttezile teolojisi ve Abbasi hilafetinden daha cok yasayacakti.™ 19, yiizyilda ise, Avrupa ile karsilasmani bir etkisi olarak hem siir hem diizyazida, yapay ve kéhnemis oldugu gerekcesiyle bir tarafa birakil- masina ragmen, Arap qasidesi hayatta kalmay1 basardi. Cogunlukla, ‘asiri yapay ve si genligi geleneksel modellere mekanik baghilikla birlikte ‘asir1 yapaylik cambazlig’ ile sugland..®* Bu yazin tarzinin diren- ve sézel akrobasi” sevdas olarak agiklandi. Bu gerekceler bir noktaya 23 Suzanne Stetkevych, “Towards a redefinition of “Badi poetry,” Journal of Arabic Literature 12 (1981): 29. 24 Sebk-i Mindi tarzi qasideler icin bkz. Christopher Shackle, “Settings of panegyri the secular qasida in Mughal and British India,” Qasida poetry in islamic Asia and Africa: classical traditions and modern meanings, I, 205-48. 25 M.M. Badawi, “From primary to secondary qasidas: thoughts on the development of classical Arabic poetry,” Journal of Arabic Literature 11 (1980): 30.kadar dogru olsa da, bu olgunun uzun émriinii agiklamaya yetmiyor. Nedenleri daha derinde olmali. Bu durumun bir agiklamas! iki degisik ancak akraba diinya gorii- siinde bulunabilir: bir yanda Kur‘én’daki yaratilis anlayigi, diger yanda Neoplatonik kozmoloji. Her ikisinin de hemfikir oldugu kavram, cis- mani gercekligin tiim tezahiirlerinde, onlar1 meydana getiren kutsal ire, yaratilmig olan her nesne, yaraticiyi gésteren bir ‘Ayet/isarettir’. insanin gérevi kudretin izlerinin bulunmasidir. Bu nedenle, Kur‘én’a ise, anlam kesfetmek, cok zor da olsa, mantigim: kullanarak bu isaret- lerdeki gizli iletiyi kavrayabilmek icin zihinsel yetilerini kullanmak- tr, giinkii bu isaretler kaypaktir: varlik yoktur, Fakat siz, onlarin tesbihlerini iyi anlamazsiniz.’ (in min shay?in ila yusabbihu bi-hamdihi wa lakin 1a tafhamina tasbihah, 17:44). Neoplatonizmde de, cismanf nesnelerin askin anlam: ifade edil- "nu hamd ile tesbih etmeyen higbir mistir, Fakat burada anlam, bu nesnelerin, en diistik yaratiklardan ulvi feleklere ve sonunda hepsinin kaynagi olan Vahdete ulasan ke- sintisiz bir zincirleme olarak gerilen birbirini yansitan benzetmeler hiyerarsisi iginde birer parca olmalarindan kaynaklamur, Béylelikle, goriinen diinyay: olusturan bilesenlerin her biri, bulundugu seviyeye gore, makrokozmosun tinsel ve gériinmez olan bir cephesini yansitan sayisiz mikrokozmosu olusturur, tslamiyet kiiltiirii olugurken bu koz- molojinin yaygin oldugu bilinen bir olgudur. Bunun énemi ve islam? teolojik diisiince ile kesintisiz kaynasmasi, Arapcadaki adalet, yani ‘adl kavramina geri dénerek gésterilebilir. {lahiyat agisindan ‘adl, dok- san dokuz kutsal isimden biridir ve bu yiizden Allah’n ézelliklerinden 26 Bu konuda bilhassa bkz. Aaron W. Hughes, The texture ofthe divine: imagination in Medieval Islamic and Jewish thought (Bloomington: Indiana University Press, 2004), dizin “Neoplatonizm. Yorgo Dedes — Stefan Sperl ‘Her varak bir noktedir gulsende” 201: i i g E : : i SK! TURK EDEBIVATI GALISMALA\ x biridir. Felsefe acisindan ise ‘adl, ism Neoplatonizmin temel kaynak eserlerinden biri olan al-Farabi’nin miikemmel konum konulu risa- lesinde agiklandigi gibi, Vahdetin miikemmel diizeni yénetmesinde ve makrokozmosun tutarlihgini saglamasinda etkin olan niteliktir.” Gérsel diinyada bu askin adaletin tezahiirii, insanin ahlak? dogrulu- gundan, oranl: bir nesnenin bilesenleri arasindaki denklesime kadar ok cesitli bicimler alabilir. kinci 6 orantili dengesi, feleklerin ahenkli diizeni, kusursuz sekil verilmis bir harfin dengesi ya da iki musranin miikemmel paralelliginde oldugu gibi, Arapgada i'tidal kavram: ile belirtilir.”* i*tidal terimi ‘adl kelime- si ile ayn kékten gelir ve dilbilimsel baglamda bile tinsel ve fiziksel nek, Galenci bedensel sivilarin diinyalar arasindaki benzetmeye dayali kékeni vurgular, Adalet igin gegerli olan, ayn: derecede diger kutsal nitelikler igin de gecerlidir. Hepsi de kutsal éziin ayrilmaz parcalaridir ve ayni zamanda gériinen diinyada sayisiz bicimde yer almaktadirlar. Kéinatin, zahirde farkli gértinen nesneler arasindaki gizli bag- lart agiga gikaran ve karsiliginda anlamlarinin, insan dimaginda, var- lklarinin kaynagin: ve onun kozmik diizendeki yerini gisteren ‘isa- retler’ olarak algilanmasina izin veren engin bir benzetme sistem ile yénetildigini gormek, klasik islam sanat ve diigiince diinyasinda derin epistomolojik sonuclara neden oldu, Dint ilimlerde, kiyas olarak bili- nen, benzetmelere dayali mantiksal diisiince yéntemi gelisti ve ‘yeni bir cikarima neden olan her tiirli zihinsel eylem ve fikir yiiriitmenin 27 Bke, al-Farabt, The Perfect state: Mabadi Ard? Ahl al-Madina al-Fagila, edition, translation and commentary by Richard Walzer (Oxford: Clarendon Press, 1985), 357. 28 Bu kavramin érneklerle incelenmes{igin bkz. Christoph J. Biirgel, “Adab und tidal in ar-Ruhawis Adab at-Tabib: Studie zur Bedeutungsgeschichte weier Begriff Zeitschrift der deutschen morgenlindischen Gesellschaft, 117 (1967): 90-102.ortak terimi’ haline geldi.” Edebiyatta, Meisami’nin Fars meclis siiri- ni tanmmlamak icin kullandigs ancak kaynagini Arap siirindeki bedt tarzina kadar izleyebilecegimiz ‘benzetmeler poetikasr’ ortaya ¢ikti, Gergekten de, ‘benzetmeler poetikasr'nin temel araclari, tesbih, istiare, tezad ve sec? gibi edeb? sanatlardir. Bunlarin her biri, degisik 6geler arasindaki belli bir iliskiye isaret eder. Bu araclar, yaratiligin nesnelerinin hem birbirleriyle hem de askin kaynaklartyla baglarini gésteren sakli anlamlarin ortaya cikmasina yardimci olurlar. Meisa- mi’nin de dedi§i gibi, ‘benzetmeye dayal: bir anlati kipinde, istiare “seylerin igsel éziinit imleme yolunda tutarli bir ara”, “herseyin bir suret” oldugu bir diinyada yaratiligin birlik igindeki ve birlestirici dii- zenini gésteren bir gésterge olarak bir mecaz konumunun étesine ge- cer. Aymi sey diger biitiin edeb? sanatlar icin de gecerlidir, Bu agidan bakildiginda, bu belirli diinya gériisii gecerli oldugu stirece retorigin Islami edebiyatlarm yiiksek ifade biciminin kalici- hin: neden korudugu anlagir, Edeb? sanatlar yoluyla benzetmelerin ortaya gikarilmasi arayisinda birbirinden ayirdedilmesi gereken iki Snemli ydnelim oldugunu belirtmemiz gerekiyor. Bu aray1s, temel ola- rak dilin betimledigi gergeklik iizerine yénelmisse de, siirsel dilin ya- pisini da arastirir. ilk yénelim, tesbih, istiare, sect ve tezad gibi gerce¥i betimleyen edebf sanatlarla iliskilidir. ikincisi ise cok daha karmasik ve bircok mertebesi olan bir arayistir. Oncelikle cinas ve sect gibi dilin temel yapisim, yapibilimini ve sézdizimini ilgilendiren biitiin edeb? sanatlarla ilgilidir. ikinci olarak, metinlerarasilik ve bununla birlik- te, edebi gelenekteki, en énemlisi Kur‘an olan, biitiin tevariis edilmis 29 J. van Ess'den alinteliyan Julie Scott Meisami, Medieval Persian court poetry (Princeton: Princeton University Press, 1987), 32. 30age.,37-8. Yorgo Dedes ~ Stefan Spert ‘Hier varok bir nuktediir guisende* 203SKI TURK EDEBIVATI GALIGMALARIVII_ Kasideye medhiye:bicime, igleve ve muhtevaya dalrtespitier 8 g tema ve bicimlere telmihleri de kapsar. Bu gelenegin hafizasi ne kadar bilingli olur ve ne kadar cok gelistirilirse, onu meydana getiren dilsel doku o kadar zengin olur. 6zellikle bu doku bir degil, birbirinden cok farkl gruplardan gelen ig dilin kelime ve edebi mirasi ile dokunmus- sa. Bu durum, simdi yakndan inceleyecegimiz. Osmanh: siirinin dili sz konusu oldugunda ortaya cikar. Uc gill kasidesinde ortak kaside kéken-6zellikleri Yukarida kasidenin kéken-dzelliklerinin ortaya konuldugu ézette dort temel dge tizerinde durulmustur. ilk olarak, adalet kavramina odaklanan ve ideolojik temeli olusturan bir ahlaki-dint dizge. ikinci olarak, bu adaletin gerceklesmesi yolunu agrklayan mitik-siirsel halka diizen yapisi. Ugiincii olarak, sairin ve cemaatin ctkarlarmt korumak igin hamiye adaletin temel prensiplerine gére davranmasin hatirla- tan dramatik hitap sekli. Son olarak da, siirin konusuyla iliskili koz- molojik oldugu gibi edebt ve dilsel dzellikleri irdeleyen ‘retoriklesmis’ bir poetika. Bu dort ézellik, tig Osmanh: giil kasidesinde de bulunmaktadir. Walter Andrews Necatf ve Hay4lf’nin siirlerini incelerken en éne gikan 8zellik kastdeyi ‘sézeyleme’ déniistiiren, yéneten ile yénetilen arasin- daki iligkiyi etkileyen, dramatik hitap sekilleridir, Andrews makale- sinde bu siirlerdeki ve genel olarak Osmanl: kasidesindeki belirgin Osmanh ézelliklerini bu iliski tizerinden ortaya koymaya galismistir. Kasidelerdeki imgelerin, bu iliskinin nitelik ve karmasikligim, saray ritiiellerinde ve onu kusatan meclis-i hiimayunda yer alan somut ko- numunu nasil yansittigini géstermistir. imparatorlugun yonetildigi ve genel olarak bir sessizligin korundugu bu sarayda, yersiz konusma ve giiriiltii kesinlikle yasaktir. Andrews'un ifadesine gore kaside,birinin kariyerini yapyp, hayatim kurtabilecegi gibi, yikabilir de. [Giinkii kaside,] hicbir sdze izin verilmeyen bir mekanda konusmak demekti. (..) {k- tidari ve bir kisinin iktidarla iliskisini anlatirdi. imparatorluk ve birey ara- sindaki konugmantn yarsim olustururdu. Bundan daha énemline olabilir?* Tiiriin bu islevinin yeni degil, seceresini olusturan kéken ézel- liklerinden biri oldugunu gormiistiik. Fakat Walter Andrews’un ince- lemesi, kasidenin Osmanhi zamaninda da siiregiden sosyo-politik ve edebi gecerliliginin sézkonusu zamanin ilgilerini biitiiniiyle bir Os- init olacak derecede Sziimsedi; manl: edebt ve bu ilgileri konu- larinda ve séz oyunlarinda yansittigini gésteriyor. Andrews Osmanh kasidesini ele alirken, tiiriin dért kéken 6zelligin- den sadece birine odaklanmistir. Bu yiizden, incelemesinde diger iig dzel- lik daha az irdelenmis, ve siirlerin yapisi konusunda cok az deginmede bulunulmustur. Ahlak dizgesi, adaletle iliskilendirme, baz: siirsel muka- yeselerin Neoplatonik boyutlart belirtilmis olmakla birlikte, incelemesi- nin odak noktasi baska oldugundan, siirlerin tematik gelisimleri bagla- minda islevleri belirtilmemistir, Bu yiizden, biz burada onun caligmasia bir katkida bulunmak amaciyla, Necdti, Hayalf ve Fuzdilt'nin kasidelerin- deki siirsel iligkinin nasil yapslandirildygint anlamaya calisacagiz. Her tigtinde de bulunan belli ézelliklerin gemasim cikaracak ve daha sonra her birinin dzgiin yazinsal ézellikleri tizerinde duracagiz. Gillin baskalasimi Bu iig siirin en carpici 6zelliklerinden birisi toplam 132 beytinin de ‘giil’ kelimesi ile bitmesi. Giiliin nasil bu kadar cok anlami olabilir? 31 Andrews, a.g.n., 297, Yorgo Dedes — Stefan Sperl “Her vera bir nukiedir guigende” 205ES TURK EDEB YATIGALISMALARI Vit Kasideye medhive: bigime,isleve ve muhtevaya dalrtespitler x 8 a Yanit, kelimenin giirsel diizlemde, Kur‘én'daki anlamuyla bir yet, ‘gésterge’ giiciinde yatiyor. Bu gésterge giiciiniin nasil anlastlacagi ve simirlari konusunda, asagida alintilanan Kur‘én ayetinde ipucu bulunuyor: Gece, giindiiz, giines ve ay O'nun (varliginin) delillerindendir. Giinese, aya secde etmeyin. Eger gercekten Allah’a ibadet edecekseniz, onlari yaratan O'na secde edin. (41:37) Béylelikle her ne kadar yaratilmis olanlar yaratana ve dola- yisiyla kainatin yiicelik, fazilet ve ebediyetine isaret ediyorlarsa da, kendi i¢lerinde onun bir pargas: degil, her hangi bir nesne gibi daha diisiik mertebede, eksik ve fani olduklari icin tapinilmayt hakketmezler. Dogru anlasildiginda, ayet’in anlamlart isaret ettigi stiphesiz ululuk ile isaret etmedigi mutlak fanilik arasimdaki genis alanda yer alir. Bu anlay1s, her nesnenin iginde barindirdig1 bircok anlam ile gairlerin adalete ulasmak icin giil imgesi yardimiyla kes- fettikleri yolu agar. Her iig siirde de, gill dzerinden tasman anlam dért asamalt bir baskalasimdan gecer. Once giil, askin gésterge konumunda orta- ya cikar. Buradaki benzetme, cigegin baharda acisiyla, peygamberin sézlerinin belirmesi arasinda kurulur: Her ikisi de aydinlanma kay- naklarichr, Biri fiziksel géndergeleri aynidir. Béylece, Necati syle bashyor: geri tinsel oldugu halde, ikisinin de kutsal (i) Yilda bir kere menar-1 sajdan didar giil Géstertir nite ki niir-1 Ahmed-i Mubtar giil Necétt ve Hayalt, giliin tipla bir kitabm sayfalarindaki yazilar gibi agita vu- ran imleme giiciinii tasvir ederek imgeyi gticlendirmislerdir. Hayalf, din- sigeklerin yapraklarina ve tag yapraklarina islenmis olan leyicisinin verdigi mesaja dikkat etmest icin emir kipine basvurmustur:(©) Her varak bir niiktediir giilsende fehm et olal Mahzen-i Esrar gonce Matla‘1 Envar giil Burada gonca ve yaprak, iki 6nemli mutasavvif sairin, Nizamt Gencevi (6. 1209) ve Emir Husrev’in (6, 1325), semavt iletileri giiliin bir ayet olarak yansittigindan farkl olmayan iki eserine benzetiliyor. Fuzdilf uzun giris béliimiinde (1-13. beyitler) giiliin agiklama gii- ciiniin en derin ve en genis halini ortaya koyar. Daha ilk beyitte, béyle bir agiklayiciligin izleyenin zihninde yarattigi carpici etki dile getirilir: () Gibdt yastl perdeden ‘aré eyledi rubsar giil Sildi mir‘at-1 Zamir-i pakden jengar giil Retorik kipe sadik bir bigimde, beyit bir karsithik dizerine kurul- mustur: giiliin ortaya ¢ikmasi kargisinda ortadan kaybolan pas. Aaron Hudgesin da belirttigi gibi, kalbin paslardan armmus bir ayna olarak imgesi Neoplatonizmin tarihi kadar eskidir: ‘sadece parlatilmis bir ayna gibi likle ruh da kainatin daha ulvi ilkelerini yansitabilecek bir wkonuma ulasir.”* Bu imge benzetmeler poetikasinin dztinii yakalar: bir ayet ola~ rak kabul edilen giil, tasavvufi vukuf mutlulugunun mikrokozmik bir yansimasidir, Bu yiizden, onun sadece gériinmesi bile kalpleri arindinir ide duran seyi hem ortaya koyar hem de yansitir, biyle- ve yaraticinin makrokozmik ulviliginin anlasilmasim saglar. Fuzdiltise, antik felsefi bir motif olarak kalp aynasini, islamf anlayista bir imgeye, halis kalbe (zamir-i pakden) benzetiyor ve Kur‘an’da gecen ruhlarin arin- masina génderme yapiyor (tazkiyat an-nafs, érne%in bkz. Kur‘én 91:9). Bu beyit, Kur‘én ve Neoplatonik tinselligin bilesiminin siirsel alemde ektigi tohumlar sayesinde bir istiarenin nasil yeserdigini gésteriyor, 32 Hughes, agee.,55. Yorgo Dedes ~ Stefan Spert ‘Her varak bir miktedur quisende* 207SK TUR¢ EDEB YATIGALSWALAR VII Kasideye medhiye: bigime, itave ve muhtevaya dar tespitler 8 8 Bu noktada, agan cigeklere bakmanin insan ruhunda yarattig etkiyi anlamak icin, Eb@ Temmam'n bahar qasidesinden agafida alin- tuladigimmiz beytini hatirlamak gerekiyor: (14) Adhat buydinuha li-zuhairiha nawran Takddu lau I-quldibu tunawwiru (14) [Ote diinyanin] ici, digi igin dyle cicekler yesertti ki Onlari gérmekle, kalpler yesermeye baslar. Motif aynt olmakla birlikte, Fuzdilt'nin beytinde éne cikan, g6- riintiiniin manevi énemi burada sadece hatirlatiliyor. Beyitte kur- gulanan, zihinsel ve fiziksel/i¢ ve dis diizlemler arasindaki karsit- lagtsrma, nawr (acan cicekler) ve kalplere vuran tunawwiru (agilmak, parlamak) fiili arasindaki cinas ile vurgulamyor. Béylece nwr kokii, aydinhik/isik (nur) kavramini cagristirarak, agilan cigeklerde gériilen ve onlara bakmakla kalplerde olusan saadetle, Kur’an'da gegen manevi sia gnderme yapiyor. Eb Temmam’in beyti daha derin bir kutsal manaya isaret derken, Fuz@li’de bu mana, bin yillik felsefi ve mistik gelenekten yankilanan imgelerle merkezt odak halini alyyor. Fuzdli antik Arap motifini, Andrews'un ‘muazzam diinyevi ve yaratici alan’ olarak tanmmladigi Osmanh: siirine aktariyor.” Fuzdli’nin agilis beytindeki tezada, daha derin bir yorum getir- mek gerekiyor. Giliin bu kadar anlam verici giicti varken ve ona bir bakmanin bile kalpleri arindirmasi séz konusu oldugu halde, yiizii (ruhsér) tomurcugundan daha yiiksek bir iktidara karg1 teslimiyet du- rusu ile aciligtyla (arz eyledi) yaratilmis bir dzne olarak Acizliginin far- kimdadir, Fu: , bagindan itibaren giiliin kutsal simgeligi ve diinyevi 33 Andrews, a.g.m., 296,varligi arasindaki tezata dikkat ceker. Bu sekilde imge biitiin giiciiyle, diger tig siirde de gecirdigi baskalasimin ikinci mertebesinde kendini gésterir. Burada cicek biitiin tevazusunu kaybeder ve Kur‘én'da zinat al-hayat ad-dunya (18:28) olarak gegen, géniil celici oldugu kadar yamil- tict da olan diinyevi var olus siislerinin en miikemmel érnegi haline gelir. Béylece Nectf’nin de dedigi gibi: (9) Bade-i hamra ile ceng ii neye virdi ‘amel Tevbe vii ziihd-ii- salahu eyledi bi-kar giil leri’ (zinet ... sehri-var, 16) ile stis- lenip giyinerek nazh bir sekilde kendini herkese gisterse de, trpk: zavall: mertebedeki yasantinin sii biilbil gibi cazibesinin magduru olanlarm, acisi dinmez, Haya séyle der: (9) Ates-i gayret n’ola yakup kiil etse biilbiilit Salinup boynina her shui giiler oynar giil Daha Gnceki gibi temanin tam hakkini veren Fuz(ilf'dir. Giiliin ahlak diisitkliigiinii biitiin agikliguyla sergiler. 0 bir serseri (‘ayydr, 16) alcak bir Snde gelendir (miin'im-i ndkes, 16), siislerini dikenlerden alir ama sadece yoldasini terk etmek ve digerlerine sevgili olmak icin (gay- ra olur yar). Gercekten de séyle ki: (19) Bi-vefalig “Gdetin dutmus anun'ciindiir bu kim ‘Omrden olmaz cihan baginda berhordar giil Fakat giiliin davramslarinm muzip havailigi, étediinya sembo- lizminin ipuclarini verir. Onun giizelliginde ve elde edilemezliginde kutsal varhgm ve onun bu diinyadaki gélgesi olan Padisahmn daha cok elde edilebilir olmayan cazibesinin yansimast bulunur, Gil, diinyev?- lik kisvesi altinda, semavi kutsalligin Gzelliklerini saklar ve béylece mistik bilincin uyum sagladigi celiskiyi ifade eder. Yorgo Dedes — Stefan Spert “Hor varak bu nuktedur gulsende” 209SRI TORK E x DESIVAT GALISMALARI VII. Kasideye medhiye: bigime, igleve ve muntevaya dairtespitler 0 Ancak siirlerin gelisimi baglaminda, giiliin bu diinyaltk zaaflari. ve bunlarin neden oldugu sikintilar, karsilksiz kalamaz. Giil imge- sindeki baskalasimin ticiincii asamasinda hakkaniyeti sergilenen hii- kiimdarhgin erdemleri araciligiyla misilleme yoldadir. Bu agamada, ki lig siirde de en uzun kisimdir, kaside tiiriiniin ahlak dizgesini Arapca kaynakh yillanmis terimlerle dile getirilerek merkezi konuma tasinir: cémertlik (cd), inayet/ihsan (lutf), erdem (hulk), asalet (kerem), ve hep- sinden de étesi adalet (‘adl). Bu terimlerin kullanimi, séz aktarimi ve emir kipinin bolca bulundugu, dramatik bir hitabetle baslar. Necati, Dogu riizgarim adalet adina muzip giilii terbiye etmesi igin gagirir. (7) $ah- Biilbiile cevr eylemekden etsiin istigfar giil dil devridir var giig-mal et ey saba Hayalf motifi daha cok dramatize etmek icin gercekdisi bir ne- densellikle gilliin giinahini bir cinayet ve hirstzlik olarak tanumliyor: (17) Bilbiliin kanan alup siirmekten ey $eh yitzine ‘Adlist eyyimmnda demdiir Kede istigfar gi Her iki siirde de dikbash giiliin paylanmasi gérkemli yaraticilik- taki istiarelerle anlatilmistir. Gill, herkesin arzuladig: bir oyuncak ol- maktan, giizelligini, iyiligini, mevkiini ve hatta biitiin varhgint borglu oldugu sultanin esiri olmaya kadar ilmiistiir. Andrews, her iki siirde de bircok beyitte ‘ic kafiye ve misralar arasindaki ritmik dengenin fuzuli siislemelerinin™ sergilendigine dikkat cekmisti. Andrews'un drneklerinin de ortaya koydugu gibi, bu ézellikleri gésteren beyitler ayn: zamanda padisahin erdemlerinin iyilestirici giiciinii de ifade ediyor. Tipki asaida Necati’nin beytinde 34 Andrews, a.g.m., 299,oldugu gibi, iki misra arasindaki miikemmel paralellik, sultanin sag- ladigi adil diizenin yansimasidir: (30) Ab-1 ‘adliifiden humarint eder tsl@h miil Bay-1 hulkufidan suda'ina kilur timar gil Bu beyit ibn ManzGr'un, miikemmel ikili-karsit béliinme ve ku- sursuz vezin olarak tanimladigi kasid terimini hatirlatiyor. Ayrica, ‘siislii bir giizellik imgesinin dzenli yaratist olarak sir zanaatinin,® kendi basina bir amag olmadiZini gésteriyor. Tesbihin poetikasinda retorik, dilin dokusunu mikroskopik imgenin makroskopik miikem- mellik kalibina dékmesine yardimei olur. Fuztilf de adalet temasin bir iinlemle sunar. Dofrudan padisaha degil, Andrews'un da gisterdifi gibi, sultanin hakimiyetini simgele- yen bahcenin muhafizina seslenir. Fuzdilf'nin sectigi szctiklerde gii- lin giinahinin ash aciga gkarilmistir: (35) Bagban Sultan-1 ‘dil devridir tenbih kal Urmasin giil-zare ates zulm ediip zinhér giil (36) Cevr eliyle gonceves piraheniifi cak etmesiin Ciinbis-i nd-mu‘tedilden kulsun istigfar giil (37) Yoksa n@-geh siiret-i hali olur Sultana ‘aré Kahra ugrar mukteid-yt vad 1 na-hemvar giil Yukarida Necat? ve Hayali’den alintilanan beyitlerde oldugu gibi, Fuzdli de gilliin affedilmek igin yalvarmasm1 istese de, keli- meleri giiliin giinahinin gercek yiiziinii daha genig ve kozmolojik baglamda ortaya koyar. Bu diinyalslik kisvesi altinda, giiliin davra- 35 aga. Yorgo Dedes ~ Stefan Sperl "Her varak bir ndktedar gilgende" 2aSEBIVATI GAL SALAH vi Kasideye medhiye: bigime,isleve ve muhtevaya dairtespitier FSKITARK E 212 nislar1 na-mutedil’ dir; diinyevt varliklarm fitratinda ve kutsal adale- tin prensiplerine uygun davranislarinda kendini gésteren, i‘tidal’in ahenginden yoksunluktur. 37. beyitte, vaii nd-hemvar ibaresi, ayni eligin eksik kalisi, esitlik ve den- ge. Béylelikle, giiliin asirilzi, ilahi diizeni bozar ve kutsal rahmetin (istigfar) talep edilmesiyle sonuglanan, adaletsizlik (cevr) ve zulme (zulm) neden olur. Medhiyenin Neoplatonik alaninda, giil sadece, iliskiler agin: anustirir, yani tekdi ayni durumla karsilasirlarsa diye uyarilan padisahin kullarin: degil, bunun da étesinde, kisitlanan ve padigahin keremiyle diizene soku- lan étediinyanin (ad-dunyd) kesmekesini de temsil eder.°6 Giil imgesinin dérdiincii baskalasim asamasi siirlerin sonug bd- liimlerinde belirir. islamiyet éncesinden beri bu béliim medhiyenin, sairin ‘hamflik temasinda, kendini bir karakter olarak kurgulama- sina” yarayan béliimiidiir. Sair sdyledigi medhiyeyi éver ve kisisel ‘amacina’ (gasd) ses verir: ‘haklari, ihtiyaclart ve taleplerinin™ karsi- lanmasim ister. Eserin sézeylem tarzi en cok bu béliimde kendini gésterir. Yine bu béliimde, tic kasidemizde de, giil imgesi, ayet, kutsal bir igaret olarak, ortaya cikarma islevi ile tekrar belirir. Fakat bir farkla. Baska- lasimin ilk asamasinda, giil mesajin kend “kutsal 1911 ortaya gikarir’ Son béliimde, anliyoruz ki, bu anlama sa- dece sairin aracihgryla ulasmak miimkiindiir, NecAtf'nin deyimiyle, Necati, Hayalt ve Fuz(ilt’nin, hepsi ayn: tema iizerinde durduk- lart halde, farklhiklar1 yukarida incelenen diizen baglaminda kendini gésterir, Necati siir ve giil arasindaki dogrudan benzetmeyi kurgu- 36 Arap qasidesinin geleneksel medhiye temalarindan bii de, hiimayunun giiciiniin zamanin (al-dahr) kisitlamasi ve ona meydan okumasidir. 37 Gruendler, age, 59; Islamiyet éncesi drnekler icin bkz. Qasida poetry in Islamic Asia and Africa: eulogy’s bounty, meaning’s abundance an antology, 11, Qasida 3, 47-48 satirlar. 38 Gruendler, a.g. 59.lar: her biri kendi diizleminde padisahin bir sifatin: (vasf), anigtirma ve benzetme yoluyla ilahi sifatlar1 (evsdf), ki padigahin adaleti bunun diinyevi tezahiiriidiir, yansitir: (41) Giilsen-i vasfurida her beyti Necati gakeriiri Befizer ol mevatin nihale kim ucmnda var giil Hayali’nin siirt ise, siir ve giil arasindaki basit benzetmenin dte- sine gecerek Necatt'yi asmak iizere diizenlenmise benzer. Hayali siiri- nin gulden ve kendisinden daha uzun émiirlii olacagimin altim cizer. Fakat yine de, cigegin bir ayet olarak kutsal mesaji degismiyor, sadece yeni bir mecazt kisveye biirtiniiyor: (23) Ben fend bulsam si bakidir ey Cemsid-fer Kendi mahv oldi gitlébindan kod: asar gil FuzGlf ise konunun felsefi ve kavramsal dziine inip, dilin ortaya cikarma islevini gésteriyor: (59) Kil Fuzalimedhin ol Sah’uft ki bag-1 medhiniit Biilbiilé olurdt bulsa kuvvet-i giiftar giil Siir, emir kipindeki kil medhin (‘medhiye sdyle’) ile basliyor. Bu kelime, Osmanhica imlada, daha standart bir qyl yerine, ql seklinde yazilabilirdi, © zaman, gértintiisii, Kur‘én’da 332 defa tekrarlanan ve peygambere kendisine vahyedilenleri séylemesi emredilirken kulla- nilan, emir kipindeki Arapga qu! (konus) gibi olurdu. Bilinen Kur‘’én kelimesi qul ve kil arasindaki iliski, beyitte anlatilan ve aralarinda bircok karsslastirmalar yapilan tig gift konusmaci ve hitap edilen bag- laminda anlamlidir: giil ve biilbiil, sair ve hami, peygamber ve Allah. Her diizeyde, verilen mesaj farkli bir sekil alir: ‘kusun sarkisr, siir ve vahiy sdzleri. Fakat 6zii hep birdir ve aynidir: sevgilinin medhi ve ona Yorgo Dedes ~ Stefan Sperl “Her varak bir nuktedut quisende” 213SIVAT CALISMALARI Vi_Kasideye medhiye: Bigime,isleve ve muhtevaya dair tespitler SKI 7URK FO: g 5 adanmak. Burada sai ‘ara, yani séziin giiciine hiikmeden odur. Bu yiizden, Neoplatonik anlamiy- ‘in islevi cok 6nemlidir ciinkii, kuvvet-i g la, sair vahyin sesini ‘yansitir’ ve giliin bir dyet olarak kutsal mesajint kelimelere déker. Giiliin dért asamal: baskalasimu, siirlerin dokusu iginde cok daha cesitli imgelerle islendigi gercegini gélgeleyerek bir yanilsama- yameydan vermemeli. Bu dirt asama, biitiin siirlerde griilmekte ve onlarin bicimsel gelisimini belirlemektedir. Hepsi gozdniine alindi- ginda, simetrik bir diizen olusturduklari gdzlemlenebilir. ilk ve son asamalar, giiliin énce iletinin tasiyicist olarak dogrudan ve sonra da sair araciligryla belirmesi, birbirini tamamlar, Ikinci ve tigiincii aga- malarda ise, giiliin énce dikbash ve muzaffer hali, sonra terbiye edilmis ve burnu siirtiilmiis hali tezat teskil eder. Sonu olarak ortaya cikan simetri, iig siirin de diizeninde kendini gésterir. Bu simetriyi, Necati mitkemmel incelikte bir halka diizeni kurabilmek i¢in kullanmusti. Hayalf'de ise, kendinden énce gelen rakibinin motif ve belli beyit- de kendisine yardimer olacak, cok yaratic: bir bulusa hizmet etmisti. Fuzdlf'nin lerini daha iyi séyleyebilme ve onu gecebilme prati; siirinde ise gok daha genis bir tualde, daha biiyiik bir amaca hizmet etmis, kasidenin antik Arap mitik-siirsel yapisina Osmanli sekli ve- rebilmek igin kullanilmistir. Necati; mikemmel halka Walter Andrews elektronik bir veritaban: kullanarak, Necati'nin kasidesini sairin diger siirleri ile karsilastinyor. Necati'nin gazel- lerindeki imge kullanimt ve ifade tarzinda benzerlikler ve tekrar- lari farkeden Andrews, giil kasidesindeki beyitlerde bir siirprizle karsilagir:[Bunlarin] diger siirleri baglammda birgok durumda essiz bir yeri bu- lunur. Bu durum kasidenin ancak iyi okumus dinleyicilerinin deger- lendirebilecegi bicimde ‘ayrikst’ yapmak icin bliyiik caba harcandigimt gésteriyor.” Arap selefleri ile karsilastirildiginda, bu siirin yapisal ézellikle- rinin, 6zellikle halka diizenindeki tutarlihgin, gercekten de ézgiin ol- dugu gériiliir. siirlerin baslangic, orta ve sonundaki dairesel tekabiille Arap geleneginde cokca karsilasildigi halde, dairesel bigime karsilik gelen beyitleri ile tematik paralelliklerin, ayrintilara bu denli sistemli bir sekilde 6nem veren ve bu ayrintilarin incelikli olarak ortaya ko- yuldugu bir Arap gasidesiyle heniiz karsilasmadik. Birinci tabloda da gésterildi gibi, siirin ilk yarisim olusturan 22 beyitteki tema ve imgeler miinasebet ve tezad yoluyla ikinci yarinin 22 beytine tekabiil ediyor. Bu durum, Necati’nin bu siirinde digerlerinden kopyalama malzemeleri neden kullanamadigim acikhyor. Bu siirde, her beytin, 22 cift diizenine uyabilmesi icin kendine has bir bicimde diizenlenme- si gerekiyor. Bunlar1 tek tek incelemek yerine, beyit eslerinin arasin- daki tipik iliskiyi asaida géstermeye calisacaziz. Siirin basi ve sonu olan 1-6 ve 44-38 numarali misralar tena- siib yoluyla iliskilendiriliyor. Yukarida bahsedilen gil ve peygam- ber arasindaki tesbih ilk misrada yer alyor ve son misradaki (44) giil ve padisah arasindaki tesbihte kargiligin: buluyor. {kisi arasin- da kozmik hiyerarsi kuruluyor. Siirde en bastan, ruhant ve fiziksel, kutsal ve dindisi alanlar arasinda tezat olugturuluyor ve dvgiiniin son asamasinda padisaha bu alanlar arasindaki arabulucu insan olarak yer veriliyor. 39 Andrews, a.g.m,, 298, Yorgo Dedes ~ Stefan Spert ‘Her voya% by nukiedur gulyerde" 215i R a 2-4 ve 41-43 beyitleri arasindaki uyum, giiliin ilk ve son baskala- sim asamalart arasindaki paralellikten kaynaklamiyor. Daha nce gér- diigiimiiz gibi, iki asama da dil temasi ve giiliin bir ayet olarak islevi merkezinde odaklamyyor. ilk olarak giil bir gésterge olarak betimlen- mis, son olarak da sair onun adina konusan biri olarak tantmlanmis. 3. ve 42, beyitleri karsilastirarak, birbirlerini nasil yansittiklarini ortaya koymaya caligacagiz: (3) Cem‘ ediip evrak-t al iistine etmis zer-fisan Yazmis ol mecmit‘aya vasf-1 ruhun ey yar giil (42) Zineti eyyamidur hatt ile si*riifi sdyle kim Reng ii bly ile olur drayis-i giil-zar giil Her iki beyitte de merkezde yazi yazma motifi bulunmaktadir. 3. beyitte, iizerinde polenleriyle cigek, varakl: sayfalariyla altin piiskiir- tillmiig bir hat mecmuasina benzetiliyor. Bu beyit, kendisinde kaside tiriiniin en temel tiplemesini, nesib kisminda adlandirilmamis bir sev- gilinin giizelligini tantmliyor (vasf). Sevgili, islimiyet éncesi siirlerden beri sairin kayip esi olarak ortaya cikar. Burada ise istiarenin sihri ve Neoplatonik hiyerarsinin yansimalara dayali derecelendirmesi ile cok daha genig cagrisimlar barindiran bir simgeye déniisiiyor. Sairin gergek sevgilisi olabilecegi gibi, bir pece arkasindaki ve tebdil kiyafetindeki pa- disah, Peygamber ve hatta Nihat Sevgili de kastedilmis olabilir. Fakat yine de, diinyevi giizellifi icinde, dliimlii bedenin bastan gikarici ve ya~ multici cazibesi de bulunmaktadir, Siirin derinligi, siir boyunca degisik sekillerde ortaya cikan birgok zitligin, tek bir imgenin, yani giiliin ayet olarak yansimalarinda yatmaktadir, Bu ‘tekrar ortaya cikislar’ halka diizeninde beyitlerin simetrik olarak eslestirilmesiyle bicimlendiril- mistir. Bu yiizden 42. beyitte, yazma motifi, hatt teriminin sadece yazianlamim vermez, 3. beyitte bahsedilen hat sanatina da génderme ya- par.” Artik burada siisleme (zinet), diinyevi kisvesi altmndaki giilde oldu- Bu gibi gereksiz ve bastan gikarici defildir, tam tersine, artik cok daha olarak betimlenen ve ‘renk ve koku'da Padisah, 4, ve 41, beyitler arasindaki ortiigme de benzer bir riintiidedi ulvi bir amaci vardir, ‘Hat ve si yansitilanin kim oldugu artik bellidi aralarindaki baglanti tekrarlanan vasf (tanimlama, sifat) terimi ile kurgulanur. Bu Srtiisme, énce sair ve sevgilisi (5-6), daha sonra da sair ve padisah (40-39) arasinda ask iliskisinde benzer gerilimlere odakla- nan iki beyit ciftini de birbirine baglar. 7-19. ve 38-26. beyitler arasindaki iliski tezad teskil eder ciinkii her beyit ciftinde digerindekiyle bir zithk iliskisine konulmus belirli bir tema veya imge bulunur, Bunlardan ilki 7 ve 38. beyitlerde yer alan el imgesi olup, burada miitevazi ve muhtag olan gair figiirii, Hz. Masa’nin heybetli sureti ile tezat teskil eder. 7, beyitte Hz. Ms4’nin “beyaz eli’ mucizevi bir sekilde yasemin cicekleri tarafindan yansi- tilirken, 38. beyitte selvinin ‘bos eli’, caresiz gair-asik’ temsil eder. Fakat zit beyit iflerinin cogu, giiliin, muzaffer ve bastan cikarici giizelligi ile terbiye edilmis hizmetli oldugu ikinci ve tigiincii asama- daki hallerine odaklanir, Burada kisa tutmak zorunda oldugumuz- dan sadece bir Srnek verece$iz. 12 ve 33. beyitlerin her ikisinde de kan dékiilir: konuya ayirdigin: anlayabiliriz, Arapca harflerin temel geometrik sekillerin aldigi dairesel bicim elif harfinden kaynaklanir. Standard elif, yedi noktadan olustugu icin, api bir elif olan cemberin cevresi 22 noktadir. Cinki, 7 (n) =21.99, Hat agisindan, 22 sayist halka diizeni kurmak igin anlamlidir. 22:7 béliimi, antik caglardan beri (pi) saytsinaen yakin olan degerdir. Elif'in 7 noktast hakkinda bir Osman kaynag olarak bkz. Mizdnil-hatt, derleyen] Hakkak-2ade Mustafa Hilmi Efendi, bsk. haz. Abdillkadir Dedeoflu (Istanbul: Osmanl Yayinevi, 1986), 15. Yorgo Dedes ~ Stefan Sperl “Her varak tw nuktedur guigende" 217(12) Gonce gibi gam dikenlerinde biilbil kan yudar Karsusunda bad- subh ile giler oynar gil (33) Bad-1 hulkufi etmeyince ta‘n ile bagrint kan Virmedi giilsende biiy-1 nafe-i tatar gitl Bu beyitlerde sug ve ceza tezat teskil eder. Once giilii kan iginde birakir. Daha sonra burnu si mutsuz biilbi ‘Imig gil, kanla dolar, Gercekiistti bir nedensellik, giiliin cazibesini aciklar: Ren- gi utancinin kizarikliindandir, kandan gikarilmis misk olan kokusu yiiziiné utangla kizartir. Olaylarin carpict Srgiisi, giiliin neseli oyun- larini sergiledigi ‘sabah esintisi’ ile onu kendine getiren sert ‘ahlak riizgart’ arasindaki ince yankilamadan kaynaklamir. Mary Douglas'in da belirttigi gibi, miikemmel bir halka diizen yapisi, ‘karistirilmayacak, iyice belirlenmis bir déniim noktasina da- yanur." Necat?’nin siirinde bu yapisal dayanak noktasi 20-25. beyitler- dedir. Tam ortada bulunan bu beyitler, imparatorluk aleminin gok ve yerini anistiran beyitlerin iki tarafta eslestirilmesiyle cercevelenmis bir boliim olusturur: 19. beyitte, giiller, padisahin géZiindeki giines gibi parlarken, 26. beyitte iktidar bahesinde onun ayaklarina para sagarlar (saltanat kelimesinin defaetle kullanildigina dikkat ediniz.) ‘Alani uzamsal sinirlari arasinda bulunan alti merkezi beyit Padisa- hin sihirli déntistiiriici giiciinii anlatir. Bu siireg, her biri tiger beyitlik karsit acilarda gérsellestirilir. Béylelikle dayanak noktasi olusturan asideye medhiye: bicime,isleve ve muntevaya dair merkez beyitler eslestirilen beyitlerle kurulan simetrik dokuya uyum saglamis olur. ilk tiglii olan 20-22. beyitler, soyut bir bakis agisiyla, padisahin ahlaki niteliklerine ve onlarin déniistiiriicii giiciine odaklanir. Bun- AL Douglas, age.,37. z 8lar sadece bereket getirmekle kalmaz, dogay1 ‘sahn-1 cin?’ icinde sunar, normalde cigeklenmeyen serviye bile cigek actirirlar. Bunun karsilt- $inda ikinci ii¢lii olan 23-25. beyitlerde, ati, tazilari, kilici ve hizmetli bahgesi gibi padisahin somut simgelerine odaklanilir, Gil artik sadece bir cigek olarak belirmez, kendisini tigliiniin her bir beytinde degisik bir nesneye déniistiirmiistiir: padisahin tazilarinin ayak izlerine, kilt- cina islenmis bir nisana ve hizmetlisinin yanagina. Bircok déniisiimiin gergeklestigi bu merkezi alt beyit, déniim noktas1 olup, bundan sonra gelecek olan beyitlerde adaletin yeni- den temini igin zemin hazirlar. Aynt zamanda burada cok énemli bir degisiklik olmustur. 24. beyitte sair Padisaha dogrudan sesle- nir, Bu seslenis bi¢imi siirin bundan sonraki béliimlerinde de ge- cerli olacaktir. Séz ettigimiz siirin yazinsal miikemmel yapida paralel ko- numlart olan, 1. ve 23. beyitler arasindaki tematik yankilamalardan miz siirece yarim kalacaktir. Bu beyitlerin her biri siirin baslangicina isaret eder ve cami imgesiyle birbirlerine baglamirlar. 1. beyitte minare belirirken, 23. beyitte mihrap kendini - 1, beyitteki imge, goriilmemis olant ima eden giiliin kinaye- inden kaynaklanirken, 23. beyitte Padisahin saltanati ile fiilen meydana gelen islamin yay:hgini temsil eden cami imgesiyle mikrokozmozun somut gercekliginde buluruz kendimizi. Ciinkii fetih ile ‘diinyay: bir dua alanina ceviren atin nal izleri mihraptadir’. Bu, siirin ortasmnda ortaya gikan déniisiim giiciiniin yine bir baska ve bel- ki de en énemli géstergesidir. Yorgo Dedes ~ Stefan Spert “Her varak tir nuktedur guisende” 219fe ve muhtevaya dale tespitler : 5 z i : 2 220 Tablo 1: Necati'nin giil kasidesinin halka diizeni: 1-22. beyitlerin 23-44, beyitleri yansitmast 1 | Gil Peygamberi yansitir Giil padisahi yansitir 44 2 | Glilsenkutsal sehriyansitir | Siir padisahin letafetini yansitir. | 43, / lath 3 | Giil sevgilinin suretini ‘yazar’ | Padigah i¢in yazilmis hat ve siir | 42 4 | Giil sevgilinin yanaginin air padigahin betimlemesini a betimlemesini (vasf) kaydeder| (vasf) kaydeder 5 | ‘Servi'den talep edilen Sairin sevgilisi olarak padisahin | 40 sadakat (yani, sevgili) sadakatinin talep edilmesi 6 | Giiltin sevgilinin gizelligi _| Sairin / gitlin sevgili olan 2 karsisinda gélgede kalmas: | padisahtn parlakhigi kargisinda yanip kiil olmast 7 | Hz, Mdsa'nin beyaz eli Sevgilinin bos eli (kef-dest) 38 (yed-i beyza) Hz, Masa'nm yanan yesi Goncanin altin hazinesi a | Giil tarafindan getirilen Sairinin padisaha sikayeti a igretin (‘gret) nimetleri (sikyet) 9 | Giiliin sarap ve miizik Herkesin arzuladigi padigahin 36 kurallarinda israr etmesi ilgisi 10 | Cazibeli giizelik olarak Padisah tarafindan terbiye edilen | 35 giiliin stislenmesi giiltin paramparca etekler iginde olmasi 11 | Hileci giiliin sarhoslugu Yoksul birakilmis giiliin padigah | 34 ve acik sacik dalindan kargisinda, etegi actk, dilenci sarkmast olmasi 12 | Giiliin oyunculugusonucu | Padisahin fazileti (hulk) sonucu | 33 __[ biilbiiliin kan (kan) dékmesi_| giiliip kan (kan) dékmesi13 | Gillin dikenlerinden Padisahmn adaleti (‘adl) tarafindan | 32 hangerlerle kusanmast ve burnu siirtiilmiis giiliin irtidat savasa gitmesi kemeri (zunnér) kusanmasi 14 | Gili kiskanan ricacilar Padisahi kiskanan giil 31 45 | Act igindeki asigin gilli i (hulk) tarafindan | 30 arzulamasi (ice gekigler, i acisi (basagrist) agitlar) 16 | Giiliin diisiik yagam Gillin papagan kahginda 29 giysisini giyinmesi eGlendirmesi 17 | Adil (dil) saltanat Gillin taglandirilmasi ve 28 tarafindan giiliin terbiye padisahin hizmetine verilmesi edilmesi ve caresiz birakilmast 18 | Padisahin adaletiyle (déd-ger) | Padisah tarafindan serdar 27 dogan giiller tayin edilen giil 19 | Saltanatin gékytiziinde Saltanatin bahcesinde 26 (Gsumén- saltanat) gitlin (bag-t saltanat) padisahin giines gibi parlamasi ayaklarina giiliin sadaka sagmasi (yani, yapraklar1) 20 | Padisahin erdemleri: Padisahin iktidarmin sembolleri: | 25 letafeti (uff) ve gtizel huyu _| sarayin bahcesi onun giil yanaklt (bulk) bahgelerde giiller hizmetli agmasina neden olur 21 | Padisahin erdemleri: Padigahmn iktidarinm sembolleri: | 24 letafeti (lutf) ve keremi Giines onun kilcmin keskin (Kerem) diinyay:bir servis _| tarafindaki giildir tabagina (sahn-1 ¢inf) cevirir 22 | Padisahin dzellikleri: Padisahin iktidarimin sembolleri: | 23 cémertligi (cid) ve himmeti (himmet) servinin gigek agmasina neden olur atlart, giil gibi [ayak] izleri olan tazilari Yorgo Dedes ~ Stefan Sperl “Her varak bir nuktedur gulsende" 221SKI "URK EDEBIVAT! GA.ISMALARI Vill Kasldeye medhiye: bicime, Iteve ve muhtevaya dairtespitler x B Hayali: sikilastirilmis halka Hayalf'nin siirinde rekabet amaci acik acik ifade edilmistir. Hayalf ve se- lefi Necdti’nin arasindaki iliski, giil ve dikenin arasindaki tiirdendir: Giil dikenden yeserdigi halde, giizellik bakimmndan onu gecer (24. beyit). Bu rekabetin nasil gerceklestiginden daha énce bahsetmistik, Necati’nin ya rattigi sayssiz imge ve semboller, Hayalf'nin giirinde zekice bir miibalaga, gercekiistii nedensellikler ya da yeni bir mecaz alanina déntisiiyor ve tek- rar kendini var ediyor. Fakat burada bizi en cok, bir motifin ya da misranin akibeti degil,siirin bir biitiin olarak yaps ilgilendiriyor. Hayalf, Necatf'nin ortaya koydugu mucizevi yazinsal diizeni de gecmeye caligiyor mu? Hayali’nin giiri cok daha kisa ve tek sayida beyitten olustugundan (27) énceki siir gibi tam olarak ikiye béliinemiyor. Yakin bir incelemede, siirin daha cok, stkisturilmus bir halka diizeni oldugu ancak Necatf'nin es- lestirme yoluyla kurdugu miitenasi Buna ramen, tematik tekabiili olan ve agikca isaretlenmis, simirh sayida beyit ciftleri de bulunuyor. Bu tiir bir eslesme, ilk ve son beyitlerde kuru- luyor ve bir biitiin olarak siirin dramatik, zene sahip olmadigi ortaya cikar. imiinti Szetliyor: (i) Bagda olup siikife hayline serdar giil Od birakdt haniimén- biilbiile tekrar giil (27) Devletiif giilzarmufi olsun se‘adet goncesi Giil gibi sen her nefes ey rublart giilzar giil Birinci beyit bizi savasla karsilasturiyor. Gill bir askeri liderdir ve onun askerleri, yani diger cigekler biilbiiliin evini yakrmistir. Yangin karsisinda kaderinde lin igindeki keder yan- ginina isaret eder. Bu yiizden beyit, giiliin diinyevi kiyafetinden dolayr imgesi, dogast geregi agiveren giiliin giize iginde uyanan askin acisim gekmek olan biilbii ortaya cikan adaletsizligine isaret eder.Buna karsilik son beyit seving ve huzuru sezdirir. Bir asker ola- rak giilden kurtulunmus, onun yerine padisah gegmistir. B yangindan harabeye dénmiis evi, onun yesermekte olan saltanatina tezat teskil eder ve bylece kederin ‘yangininin’ yerini padisahin ge- tirdigi refah ve mutluluk (sa%@det) alr. Sahnenin tamamen degismesi, gil redifinin tasidigi yeni anlamla taclanir: Bu noktada ilk defa giil ke- limesi, bir cigek ismi deZil, ‘giilmek’ eylemi olarak kullanihir. iin musrasindaki kelimeyle déniisiim tamamlanir, Padisah giiliin eksik- ine yollamns, giiliin biitiin cazibesini tizerine almistir. Béylece Hayalt, zengin bir sekilde kurgulanmis simetrik muhalif temalar sayesinde, kasidesini beceriyle savas ve baris arasinda birak- mistir, Bunlarm canlihklari ve duygusal yogunluklar1, Necatf'nin rinin daha durgun imgelerle baslayip bitmesi karsisinda, onu gecmek icin diizenlenmistir, Siirin gelisimi yine ayni sekilde daha bir cok et- kili beyit eslestirmeleriyle devam eder. Bu savimuzi aciklamak igin iki drnek yeterli gelecektir: 4. ve 24. beyitlerinde (yani, sondan 4. beyit) Necati'nin gill ve sair arasinda, agiga cikarma ézellikleri iizerinden 4. beyitte gill, Attar’in risalesini yo- rumlayan bir alim olarak belirir. 24. beyitte ise sair, tipki giiliin di- kenini gecmesi gibi, selefleri NecAtt ve Nevai’den geri kalmayacak sekilde kendisini gésterir. Giil ve sairi iliskilendirirken, Hayal? tipa- tip kopyaladig: rakibinin motifini, kendi iistiinliigiinti gdstermek igin kullamyor. Motif, 6. ve 22. beyitlerde (sondan 6. beyit) tekrar ortaya cikarken carpict bir sekilde farklilasiyor. fkisinde de giil, konulari cok farkh olsa da, sairlerin mesajlarint iletiyor: birinde, Emir Hiisrev'in Aydinlanmanun Safagi [Matla‘-1 Envar], digerinde HayAli’nin kara bahtrdir. Eslestirmenin diger bir rne$i de, yukarida dramatik alanmi an- lattugimiz 17. beyitte (sondan 11. beyit) gerceklesir. ‘Yiiziine allik siir- mek icin’ biilbiiltin kanim akitan giil, padisahmn adaletinden merhamet kurdugu benzetmeyi genisleti Yorgo Dedes ~ Stefan Spert ‘Her varak bir naktediir gilsende” 2235 i 5 z I< EDEB YATICALISWALATW VI Kasideye medi 6c istemek icin yalvarmak zorunda kalir. Beyit gi renginin biilbiilden geldigini agiklarken, onun karstt1, 11. beyit, biilbiiliin sarkisini giile at- fetmek icin yine cok gercekiistii bir nedensellik kurgular. Bu beyitte biilbiiltin yuvast, yavru biilbiillerin caldigi cobanin kavalina déniisiir. Burada giil ve biilbiil birbirlerine nedensel ancak seving ve keder gibi zat kavramlarla baglidirlar. {ki beyitte anlatilan olaylarn ikisi arasinda- ki tematik baglantinmn altin: cizen, ortak bir ézellik vardir. Her ikisi de "tam zamaninda’ meydana gelir: vaktidiir (11) ve demdiir (17). Bu ve bunun gibi bircok beyit arasinda kurgulanan tenasiip ilig- kisi, siirin ortasindaki beyitlere ézel bir nem vermeyi gerektiriyor. Selefi tarafindan ortaya atilan motifleri pekistirme ve dramatik ola- rak yoXunlastirma teknigiyle Hayalf, Necatf‘nin siirinin déniim nok- tasint olusturan sekiz beytini, ii¢ beyite indirmistir: Jealb kim Tak-s eyvanunda hursid oldt bir zerkar gill (13) Nice Seh Sultan Stileyman-t selim (14) Bity-1 hulkindan eserdiir nefha-i bazar-1 Gin Fasl-t ctidindan varakdur daver-i ezhar giil (15) Yilda bir kez ayagi topragina yiiz siirmese Lal tacm jaleden kilmazdi cevherdar git Stirin merkez beyti, 14. beyit, yukaridaki giinesten (hursid) asagida- ki topraga (toprak) imparatorluk aleminin yiiceltilisini gevreleyen beyit- lerin ortasinda yer alir. Hayalf burada, siirinin odagima giinesle toprag kapsayan imparatorluk alemini alarak Necati’yi taklit etmektedir (19-25. beyitler, yukariya bkz,). Tipki Necdtf gibi HayAli de, odak beyitlerinin ilk iig grubunda, kasidenin ahlak dizgesini yakalamaya caligmustir, Hayirse- verlikleri iki misra arasinda kurulan, kelime ve veznin miikemme] den- gesinde somut bir bigimde dile getirilen erdem (hulk) ve cémertlik (ciid) ,bu beyitlerde belirir. Andrews'un belirttigi gibi Hayalt, bizim de yukarida alintiladigimuz Necati'nin siirinde dilsel ve etik diizen arasindaki benzet- menin bicimlendirildigi 30. beyte gonderme yapar. HayAli’de ayn: ben- zetmeyi hedefler, ancak daha da dteye giderek odak beytini, ilk misrada bulunan -dr kafiyesini sezdiren bir ig kafiye ile taglandirir. Siirdeki dramatik hikaye diizeni igin odak beyti gercekten de cok énemlidir. Hakiki déniim noktasim belirler. Basta giil, diger cigeklerin tartismasiz lideriyken, ortada ise yine de bir bey olmasina (daver) rag- men beyligi bir yapraktan daha degerli degildir. Sonunda da giil tama- miyle yok olarak, padisahin giiliimsemesinde maddi bir varlik kazanur. Fuzali: genisletilmis halka Hayalf ve Fuztlt birbirinin cagdast oldugu icin, hangisinin siirini daha ‘nce yazdigin tahmin etmek gok giig. Fakat yine de, Fuzili’nin stiri daha sonra yazilmis gibi goriiniiyor. Hayalt selefi Necdtf'nin kasidesine nazire yazarak ondan altetmek istedigi bir rakibi olarak séz ediyor ve basarisi- nin bir esi daha olamazmis gibi davramiyor. Ancak kasidesi Necdtt'ninkin- den 17 beyit daha kisayken, Fuzdili’nin siiri 18 beyit daha uzun olup, ii¢ siir arasinda en zengin ve en derin olandir. Bu yiizden, Fuztili’nin selefle- rininkinden daha parlak bir eser ortaya koymayi hedefleyen en son sair oldugu diisiiniilebilir. Ayrica iki kasidede de benzer tesbihler bulunmast Fuzdilf'nin, Hayalfnin siirinden haberdar oldugunu gésteriyor. ilk bahsedilmesi gereken nokta, Fuzalf'nin ini diger ikisin- den ayiran temel yapisal ézelligidir. Bunu géstermenin en iyi yolu, tig stiri de iki temel parcasina ayiran bir karstlastirma yapmaktir: ilki, nestb ve tegazziil béliimlerinden olusan giris kismu, ikincisi ise gelisme kism1, yani, padisahin amilmasiyla dvgiiniin basladig med- hiye, sairin kendini évdiigii fahriye ve kapants niyetlerinin belirtil- Yorgo Dedes ~ Stafan Sperl “Her varak bir nuktedur gillsende 225{sleve ve muhtevaya dair tespitier 3 i 2 2 226 digi dua alt béliimleri.*? Birgok klasik Arap medhiyesinde de oldugu gibi, Necat? ve HayAli’nin siirlerindeki girig kismt, gelismeden daha kisadir, Dolayisiyla, dairesel yapmin déniim noktasi beyitlerinin de bulundugu merkezi béliim, gelismenin ilk kismint olusturur, Daha Snce de gérdiigiimiiz gibi, iki siirde de déniim noktasimin sonucu adaletin yeniden yerini bulmasidir. Bu konuyla gelismenin ikinci kismt baslar. iki sair de, Necati yukarida belirttigimiz gibi 30. beyit- teki miikemmel paralel yapnya isledigi ‘adaletin suyu’, HayAlf ise 17. beyitte ‘adalet dénemindeki’ padisaha yénelttigi hitap ile, baslangi- cin altini cizerler. 2. tabloda gésterildigi gibi, altb: orta ve son arasindaki dengeli yapiy: ortaya gikarir, Hayali’de bu bé- m, baslangig, lim tam olarak simetriktir. Tablo 2: Necati ve Hayali'nin kasidelerinin giris ve gelisme imlerine ayrilmast Necatt | Necatt Hayalt beyitler | her béliim beyitler igin beyit sayist beyit sayist Giris 116 16 EET nL Gelisme I 17-29 413 12-16 5 (merkezi béliim) Geligme JI 30-44 15 17-27 i 42 Buterimler igin Abdiilkadir Karahan'mn Tirk kasidesi hakkindaki metnine bkz. Krenkow et al, “Kasida,” Encyclopaedia of slam, http://www.encislam.brill.nl/ subscriber/entry?entrysIslam_COM-0461. (Erisim 30 Ekim 2012]. Burada belirt mek gerekir ki, Arap qasidesinde nasib terimi, stirin ‘erotik giris'ine tekabiil eder. Tiirk kasidesinde sadece girig halini almis olup, asktan tegazziil kisminda bahsedilir.Buna karsilik Fuzdli’nin siirinde, giris gelisgmeden daha uzun ol- dugundan, iginde déniim noktasinin da oldugu merkez boliimii, med- hiyenin bir parcasi olacagi yerde ondan once gelir. Merkez boylece girisi tamamlarken, ondan tematik olarak ayrilir ve alti beyitten olu- san, belirgin bir altmetin olusturur. Bunun sonucu olarak, Hayal’nin siirinde oldugu gibi ancak bu sefer merkezin iki kanadinda 28 beyit kadar daha uzun, baslangic, orta ve son arasinda miikemmel bir si- metri olugur. (bkz. Tablo 3) Tablo 3: Girig ve gelisme béliimlerine ayritmrs Fuzali’nin kasidesi beyitler her béliimdeki beyit sayist Girig 1 1-28 28 Girig 1! (merkezt béliim) 29-34 6 Gelisme 35-62 28 Fuzdilf’nin siirinin diger iki sifrle ortak olan yani, altbéliimlerin 6nemli bir yapisal detaya isaret etmesidir. Burada da, adaletin yeniden yerini bulma temas: edebi sanatlarla alti cizilerek merkezden hemen sonra ortaya cikar, Nec&tf'nin 30. beytinin ve Hayali’nin 17, beyitinin karsiligs, 35. beyitte ‘Adil Padisahr’ dinlemek icin bir uyari niteliginde- ki hitaptir. Ug siirde de bulunan, adalet temasinm yapisal éneroi bir kez daha kanitlanmis olur. © halde siirinin déniim noktasinda Fuztilt hangi temay: kullan- misti? Bunu takip edebilmek igin siirin basina dénmemiz ve ona ézel bir ya da iki yazinsal dzelligi de belirtmemiz gerekiyor. Daha énce Ne- cati’nin beyitleri eslestirmek suretiyle halka diizeni kurguladigin: ve Yorgo Dedes ~ Stefan Spert ‘Her varak bir nuktedur guisende” 227'SKU-TJRK EDEBIVATI GALISMALARI vil_Kasideye medhiye: bigime, fjeve ve muntevaya dairtespitler 228 bunun bir sekilde Hayalftarafindan da yapildigimi gormistiik. Fuzdilt'de ise, bu tip eslesmis beyitler azinliktadir. Dairesel yapiya uygun olarak, basta sunulan imge ve ibareler sonunda da ortaya gikar ama bu sayisal olarak eslesen beyitler halinde olmaz.” Fuzall’nin siirindeki uyum bas- ka bir etmen ile saglamtr. Sdyle ki, basindan sonuna biitiin sire hakim olan ve odaklanilan ana tema, birgok anahtar kelime ve imgenin tekrar tekrar kullanilmasi yoluyla éne cikarilir. Soyut olarak, bu tema en ok acilma ve onun tersi kapanma ile tanmlaniyor. Bunun temelinde acilma- nin en iyi aract olarak dilin semiyotik iglevi ve bunun en yiice konusu olan vahiyle, ve de siirle iliskili haber bulunmaktadir. Kapanmanin simgesi, giiliin yapraklarmin sikisarak kapandig ve bakislardan kagtigr gonca halidir. Actlmanm simgesi ise cicegin agilip yapraklarn kendini gésterdigi halidir. Gonca ve ¢icek arasinda, anlam ve kelime arasindaki gibi bir iliski vardir. Giinkii anlam kapali- dir ve kelime yoksa gizli kalir. Aniam, sadece kelime yoluyla anlasilir. Bu imgenin izi, Fars Edebiyat yoluyla Ebd Temmam'’m miiridi, Abba- si sair al-Buhturi’nin (6. 897) dinlii bahar tasvirine kadar siiriilebilir. al-Buhturf baharin ilk giillerini diisiintirken sunu ifade eder: Yufattiquha bardu n-nadé fa-ka‘annahu Yabuththu hadithan kana amsi mukattama Onlani agan ¢igin serinligiydi Saklanmis olan séztin aciga gikmasi gibi.* 43 Grnegin bkz. 1. beyitteki ‘arz , sondan bir Snceki beyitte tekrar ortaya cikar. Ayni sekilde, 2. beyittekiizhér, sondan tig Snceki beyitte tekrar ortaya gikar. 44 Bkz. al-Bujturi, Diwan, haz. Hasan Kamil al-Sitafi,c4 (Cairo: Dar al-Me‘Rrif, 1972), 2090, Arap glirinde gilli tema olarak kullanilmasi konusunda bkz. W.P. Heinrichs, “ward,” Encyclopaedia of Islam, Second Edition. Brill, 2012. Brill Online. http://www. enclslam brll.nl/subscriber/entry?entry-islam_COM-1467 [Erigim 12 Kasim 2012].Osmanli siirinin benzetmeler alani, Puziilf'nin bu imgeyi en ge- lismis haliyle kullanmasin: saglamistir, Sanatsal ifadenin temelinde, ‘mananin sezilebilecek sekilde acilmasr’ oldugu igin, siirinde agilan giil mecazi, sadece siir ve hatta degil, miizik, mimari, ve yemek sa- natlar: igin de gecerlidir. Giil, yazmanin sayfalarini ‘agar’ (mecmi‘a, 21), siir ‘ezberler’ (21), bir kagit tomarim: ‘sarar’ (tdmdr, 50), ve hatta efsanev? levhayt ‘yazar’ (levh, 29). Bu son imge, Kurlin'da gecen ve diin- yanin kaderinin yazilmis oldugu séylenen ‘yarattlg levhasina’ gon- derme yapmaktadir (levh, 22:85) Musikiyi dgrenir (fen-i edvar, 47) ve giil bahcesinin de mimaridir (mi‘mér, 52). Biitiin bu ifade sekillerinde agia cakacak olan mana éztinde birdir: Yaraticiy: ve onun diinyadaki yigidi padisaha duyulan ask ve yapzlan dvgiiler. Béylelikle Fuzi , acilan giiliin kutsal bir gésterge, bir yet olarak yaratici sanatlarda yansitildigim onaylar. Doga ve kiiltiir ile bir cigegin agmasi ve sanatin gelismesi arasinda kayda deger bir iliski kuru- lur, Bu baglanti, seleflerinin siirlerinde sadece birkac beyitle simirhdir. Oysa bu eserin tiimiinde temel bir konu olarak degerlendirilir. Fuztilf’nin dzellikle odaklandigi konu, goncanin agilmast sembo- liyle, yaratuligin ve agia cikmanin olustugu andir. Temel motif, a¢- mak fiili ve benzer sesteki giiliin agmas1 i¢in kullanilan ¢ak (yirtmak, catlamak) kelimelerinden olusur, Her ikisi de bu baglamda Necati’nin siirinde (35 and 38) de yer almis olmakla birlikte, agmak HayAlf’nin siirinde (3 ve 11) de, gi agmas1 ile ilgilidir. Fakat Fuzdlf’nin kaside- sinde, her defasinda biiyiilti agma anim: defisik bir acidan izah eden, acmak yedi defa (4, 13, 41, 50, 51, 62) ve cak da dort defa (9, 10, 22, 36) kullanilir. Ana temay: destekleyen diger sézcitkler de, vukufu daha cok derinlestirmeye yarar. Bunlarin basinda, siirin basin ve sonunu dairesel bir bigimde (1-3 ve 59-60. beyitlerle) birbirine baglayan izhar (‘gésterme’) ve ‘aré (‘sunma’) vardir. Ayni sekilde, cikmak siirin ilk ke- Yorgo Dedes ~ Stefan Sperl “Her vara’ bir nuktedur gulgende" 229ES4 TURK EDEBIVATICALISMA ARIV Il Kestdeye medhiye: bicime, igleve ve muhtevaya dair tespitler y g é limesidir ve 9, beyitte acan ilk cigek Hz, Yasuf'la karsilastirildiginda tekrar belirir. Bunlardan baska, sadece bir kez ortaya gikan ve daha az énemli olmayan birgok motif daha vardir. Bunlarin basinda, Kur‘én'la iliskilendirildiginde (1:94) Allah’in Peygamberin gégsiinti acmasi ve arindirmasinin giiliin agmasma benzetildigi insirdh-i sadr (g6Bsiin acilmast, 3) ibaresi bulunur. Acilmanin temel motifleri, kapanmaninkilerle eslesir. Ornegin, perde (1, 22, 33) ve pinhdn (‘gizli, sakh’, 15, 24), ya da jengdr (‘pas’, 1), tar (karanlik, 31, 32) ve halvet (‘tenha, basbasa kalma’, 42) gibi birbiriyle ili birgok kavram bulunur, Kargilikh alakalt imgelerin yarattigs motifler, aglma ve kapanma temas cergevesinde dyle cok gésterge olusturmaktadir yevi ve yaratici alan'indaki yansimalarim izleyecek olursak, cildi doldurabiliriz, Bu motifleri olusturan kelimeler Arapca, Farsca ve Tiirkce kaynakhi olup,* kendi edebt miraslarim uyandirdigi metinle- zellikle Osmanh siirinin ‘son derece genis raras1 iliskileri bu alana tasirlar, Asagida bir iki 6rnek tizerinden bu temanin nasil gelistirildigini, nasil anistirmaya hizmet ettigini, 6nceki siirlerdeki manay: nasil de- rinlestirdigini ve siirdeki déniim noktasini nasil olusturdugunu gés- termeye calisacagiz, Siirin basinda (1-14. beyitler) giiliin kutsal géster- ge ve aciga cikarma islevi gésterilir. Sadece iki beyi cok kisveye biiriindiigiinti géstermek igin yeterli olacaktir. ilk olarak, gilliin ne kadar Hayalf’nin siirinin agiligmnda giceklerin lideri (serdar) olarak belirme- sinden miilhem olmasi dolayisiyla 4. beyit secilmistir. Burada da aym sekilde belirse de, asker? hirsi bu sefer biilbiil yerine baska bir hedefe yénelmistir, 45 Acmak ve cikmak Tirkce olup, gk Farsca, izhar ve ingirah Arapca'dir.(4) Yetdi ol mevsim ki agmaga géniiller miilkini Ola giilsende reyahin hayline ser-dar gil Fuzali, Hayali’nin imgesini tam anlamuyla igsellestirmistir Gii- liin akin bu sefer disardaki diismana de; kehanet mesajini duymak iizere ‘acilmis’ insan kalbine dogru gevir- mistir. 1. beyitte sunulan ‘arinmis kalp’ motifi, 3. beyitteki Hz. Pey- , igeriye, fethedilmis ve gamberin ‘acilmis gégsiine’ telmihle gelistirilmistir. ikinci érnegimiz olan 11. beyitte, cigeklerin, ona bakanlarin acilmis kalplerine ilettigi mesajin ne oldugu aciklanir. Aynt zamanda, daha énceki siirlerde ima edilen giiliin kutsal bir gésterge olmasi, bu- rada acikca belirtilir: (11) Sebnem-i giil-zar-1 ruhsar-1 Resiilu'lahdur Nesr-i ‘triyle kilar her dem am is‘@r giil Giiliin ‘séyleyisi’ ve bizim de aklimizda tutmamuz gereken is‘@r kilmak (‘iletmek, bildirmek’) ibaresiyle aktariliyor. Ctinkii is“@r kelime- si, hem Arapga hem de Tiirkce siir (shi'r ve sir) kelimesinin de kokii olan Arapca $-r (bilmek, hissetmek)’den tiiremistir. ir kelime: ile giiliin kokusu vasitasiyla iletilen mesajtn iliskilendirilmesini sagli- yor ve béylece kasidenin sonug kismini sezdiriyor: sairin, ve ima yo- luyla her tiirlii sanatsal tiretiminin gérevi, giiliin kutsal mesajint ver- meye yarayacak malzemeyi tiretmek ve bunu anlasilabilir kilmaktir. Siirin baslangig kismmun tiimiinde, giil, giil bahcesini cennete déniistiirme giiciinde olan yari-kutsal bir elgidir (5). Fakat giil, diin- yevi kisvesine girdigi anda artik cennet kaybolur. Gizlenme ézelligiyle (pinhan kil-, 15), basibosluguyla dikeni vefasizca terkeder (15-20), ancak sonra kendisi mutsuz bir askin pencesine diiger (21-28). Daha bircok kapanma/saklanma ve acilma eylemiyle arzusunun nesnesine kur Yorgo Dedes ~ Stefan Spert “Her varak bir nukiedur quisende” 231SKI TURK EDESIVAT® CALISMALARI vil. Kasidaye medhiye: bicime, igleve ve muhtevaya dar tespitier yapmaya calisir: gill herkese acilmis olmakla kendisini ucuza satar- ken, cok degerli sevgili gézlerden saklanir (23); oysa aski kalbinde sak- hidir (24), ‘altin dolu bir hazine’ seklinde ‘renkli tuglalar’a benzeyen yapraklarla korunur (27). Giiliin sakh sevgilisi, biie-i perde-nisin ‘peceli put’ olarak tasvir edilir (23). Bu ibare, siirin basindaki, goncanin ‘perde'sini (1) cigegin ilaht agilig: igin yirtip atmasindan kaynaklanan mutluluk noktasi- ni cagristirir, Fakat bu biit-i perde-nisin, antik Arap nesibinin sevgili- sinden, heniiz adlandiriimamis Padisah yoluyla, kutsal Gériinmezin varligina - ki, biit mistik dilde Allah'tir- kadar, tatmin edilemeyen bir arzuyu animsatan iliskilendirmelerle yine de kapali kalir, Bununla birlikte, ask sancilarinin incelenip giil ve biilbiiliin anlam yiiklii karsilagmalariyla (29-34) yeni derinlikler kazanan siirin orta béliimiine ulasmis bulunuyoruz. Siirin tam ortasim teskil eden bu iki beyit, baslangictaki tasasiz aydinliktan ne denli uzaklastigi- muzi gosteriyor: (31) Bunca kandili fiirizan eyledi ammd ne siid Diid-1 dilden kaldt biilbiil ritzgarin tar giil (32) Dar-1 diinyayt fezd-y1 cennete dénderdi lik Gonce kimi biilbiile diinyay: kulds tar giil Endise verici bir celiski ile karsilagmis bulunmaktayiz. Agi- ga vurma ézelligiyle kalpleri arindirmasi gereken gill, sevgilisinin yiiregini masi, digerinin hapsedilmesi ve istirab: anlamma geliyor. Giiliin intiiyle lekelemistir. Birinin dzgiirligi ve olgunlas- varliginin biitiin amaci tartigmaya agik goriiniiyor. Asagidaki beyit ise bu duruma aciklik getirirken, siirin merkezi déniim noktasm belirliyor:(33) Bir zeban-1 Perde-dar-t hak olanlardan verir ahbar gil aldiir her yapragu fehm etseler Giiltin ikili dogas1, yani diinyevi varligi ve kutsal gésterge olma 6zellikleri tehlikede gériiniiyor. Yeni ortaya cikan giil yapraklari, hdl’in sessiz dilleridir. Tam anlamuyla bir ‘durum’ bildiren hal terimi, tasavvufta ruhant aydimlanmanin cosku iginde yasanan asamala- rin gésterir. Topraktan dogmas dolayisiyla, giil yeraltindan, yani, éliimden, ‘toz pecesinin’ (perde-dar-i hak, 33) ardinda sakli olandan haber verir, Bu yiizden, giil hem 6liimsiizliige hem de fanilige sahit- lik eder. Agilma ve kapanma olarak ikili islevi, doZum ve éliim dev- relerini temsil eder. Buradan, giiliin varligin: haklt gésteren énemi yeni bir anlam kazanrr, Biilbiiliin acisina o sebep olmamistir. Hatta tam tersi daha dogrudur: (34). Biilbilin zar ettigi feryadlar te'siridiir Bi-sebeb h'ab-t ‘ademden olmamis bidar gill Siirin biittinéi baglaminda diisiiniildtigiinde, bu beyit tasavvuf agisindan insan yaraticihginin anlammr icerir, Kusun azabi, ruhun fani bir diinyaya hapsedilmesi ve Yaraticisimdan uzak diigmesinden kaynaklanan sonsuz acidir. Gil, bu acini sanat araciliyla insan ta- rafindan giil benzeri bir giizellige déniisttiriilmiis halidir. Bu yiizden, biilbiiliin acisi giilii meydana getirir. Ve yine bu yiizden, giil biilbiilii mutlu edemez. Ciinkii onun arzu ettigi sey degildir bu cicek; bu gigek sadece onun acisinin yeniden dogusundan meydana gelen bir isaret- tir. Gi verilmek istenen mesajin altini cizmektedir. siir boyunca, siirden mimariye, sanatla ugrasmasi burada Bu siirin istiareler diinyasinda, varolugcu azapla giizelligin yara- tilmasi arasindaki celisik bagumlibk, bircok kademede isler. Sair-hamt Yorgo Dedes - Stefan Spert "Her varak bir nuxtedur guigende” 233z : 5 SKI TURK EDEDIVAT: GALISMALARI VII Kasideye medhiye: biglme, g arasindaki iliski cercevesinde, siirin sairin Padisaha olan isturaph ihtiyaci ile ortaya koyulmus oldugunu géreiiriiz. Fakat Fuzili’nin misralari bize, kutuplasmanin cok daha derine gittigini ve insanin i¢indeki gecicilikle sonsuz hesaplasmayt ve étediinyah bir giizelligin ortaya cikaracak yara- tuci eylemierle bu geciciligin tistesinden gelme istegini gésteriyor. Fuzdili siirini dliim ve yeniden dogum merkezi temasi gevresin- de diizenleyerek, Arap qasidesinin antik mitik-siirsel bicimini izliyor. Yukarida da bahsedildigi gibi, islamiyet dncesi medhiyenin ortasinda, rabil, yani ana karakterin dliimciil zorluklarla karsilastigi ve daha cok yasam savas veren vahsi hayvanlarm karmasik tesbihleriyle anlati- lan ¢él seyahati yer alir."* Her ne kadar bu siirlerde insanin éliim ve yeniden dogum karsisindaki caresizlifi dofanmn bir gercegi olarak su- nulsa da, Fuzdli’nin eseri bu caresizligin varolussal koklerini ve Allah arayisinda kendi sonuyla yiizyiize yasayan yaratici bir varlik olarak insan igin bunun énemini zihinsel olarak kavrayistan yola ikuyor. . Bu yeni anlayisla siirin déniis noktasina gelinir. Bu baltimde ada- letli diizen tekrar kurulur. Siirin uzun girisindeki kargasa ve hiizntin tistesinden gelinir, Padisahin varhgiyla cennet (54) tekrar kazanilir ve saflik onun lekesiz giysisiyle tekrar hiikiim siirmeye baslar. (1. ve 54. beyitlerdeki pak kelimesini karsilastiriniz). Birgok sahnede gercekle- sen uyumlu biitiinlesmede, giil hem biilbiil hem de diken ile barisir. Ana temanin sonraki degisimleri, okuru sair tarafindan kurgulanan sanat eserinin kokensel acilma eylemi olarak belirdigi sonug kismina iletir. Bu acilma eylemi padisahin dvgiisiintin ‘agiga vurulmasr’ (izhér, 60) ve bu dvgiiniin icinde tiim diger agiga vuruslarin yansitilmasi ve gelecek nesillere aktarilmasi. 46 Andrews'un da belirttigi gibi asidesi bir jest yaparak’ rahili hatirlatir. Bkz. Andrews, a.g.m., in 10. beytinde, ‘qaside gelenegine 98.Son olarak, temani bir degiskeni daha, iki dilli hiinerli bir de- yisle siiri bitirir: (62) Feth bagindan aria her dem hilaf-1 bag-1dehr Taze taze aca lutf-1 Izid-i Cebbar giil Burada feth fethetmek anlaminda kullanilmakla birlikte, keli- menin asil manas1 Arapga ‘agilmak’ anlamindadhr. Bu yiizden, ‘fethin bahcesi’ sadece saltanat alanini degil, aym zamanda ‘fethetmek’ ve dolayisiyla siirin basindaki giiliin kumandanliginda kalbin ‘agilmas:’ anlamlarini gagristirir. Benzer sekilde, Allah tarafindan ‘acilacak’ iyi- lik giillerinin tazeligi (taze taze), ilk acilan igeklerin kalpte uyandir- digi safligi (pak) yansitir. Siir boyunca siiren, insanin ig diinyasindan imparatorluga uzanan giiliin aynali yoldaki seyahati tamamlanir ve devir son bulur. Sonug: Arap kékler ve Osmanli goncalari Baslangicta bu tig kasideyi okumamuzin smnirli bir amact vardh. Biittin yapmak istedigimiz, Arap qasidesinin ‘koken-Ozellikleri’nin bu ig kasidedeki izlerini bulmakt1, Bu kéken ézellikleri galismamizin girisinde tanimladigimiz, baslangict islémiyet Oncesi déneme kadar giden ahlak dizgesi, halka diizeni, sézeylem kipi ve tiir islimflestirildikten sonra gelisen retorik ile benzetmeler poetikastydi. Fakat bu dzellikleri izler- ken olaganiistii incelikli ve derinlikli bir siir dinyasiyla karsilastik. Genis anlamh: bir kavram olan adaletin merkezde oldugu bir halka diizeni, iktidara hitap edilen bir sézeylem tarzi, retorigin araclariyla kurulmus mecazlari yansitan bir kainatin ortaya gikarilmast gibi ‘ké- ken-ézellikler’ bu tig siirde de gercekten bulunmaktaydi. Fakat yine de bu iig siir, Arap modelinden tiiretilmis ya da onun taklidi degillerdi. Yorgo Dedes — Stefan Sperl “Her varak tur ruktedur guigende" 235Arap ‘koken-6zelliklerinin’ siirekliligi yalmizca, Abbasi qasidesinin ge- lismesine yol agan islam dini tarafindan yogrulmus Neoplatonist koz~ molojinin Osmanli devirlerinde de anlamh ve gecerli kaldig anlamina gelir. Korunmus olmalarmin ana nedeni de budur Uc Osmanhi sairinin bu antik temelleri nasil gelistirdiklerini énceki sayfalarda géstermeye calistik. Belki de en dikkat cekici dzel- likler, tig sairin de bir tek motiften yola cikarak diinyeviden ruhant olana kadar genis bir yelpazede insan deneyimini gisteren, ince ince isledikleri birbirine bagh bir dizi imge ile ulastiklari mimarf deha ve buluslarindaki zenginliktir. Necatf’nin siiri, bazen biittinleyici bazen de ters diigen mecazlarla birbirleriyle iliskilendirmis 22 beyitten olu- san miikemmel bir halka diizeninde yazilmistir, Merkezinde, kaside- nin antik ahlak dizgesi ve Osmanh taraiyla tekrar ortaya ¢ikan pa- disahin erdemleri bulunuyor. Hayalt’nin kasidesinin ise, yine padisahm erdemlerinin siirin merkezt déniim noktasint olusturmasi nedeniyle, Necati'ninkinin yogunlastirilmis hali oldugunu diigiiniiyoruz, Fuztili’nin eseri ise belki de herseyden gok, Osmanh kasidesinin Arap mirasini alip nasil baska ufuklara tasidigim gésteriyor. Siir, ilk : z é : i olarak Arap sair Al-Buhturi’nin si gizli bir bilginin ortaya cikmasina benzeten belli bir tema iizerinden hal- ka diizene sahiptir. Fuztili’nin siirinde ‘agilis ve kapamis’ biitiin siiri inga eden soyut kavramsal bir temaya déniigerek temelinde dilin ve beraberinde tiim sanatlarin, iletiyi ortaya gikarma islevi olan bir dizi degisik baglami birlestirmeye yarar. Siirin merkezinde, islamiyet én- | Kasideye medhi cesinde rahilde temel bir tecriibe olan éliim ve yeniden dogum tema- ¢ siyla kargilasmustik. Fakat Fuzdilf bunu, yiizyillarm felseft ve mistik z geleneinin izlerini tayryan mecazt bir dille ifade eder ve bu tecriibeyi 3 cok daha entellektiiel bir diizleme tasir. Ug siirde de acik bir sekilde, 5 sifrin epistemolojik iglevine taniklik ederken hilkatin gizli dilini orta- g 6ya cikarma itikatiyle, giictintin dorugundaki bir imparatorlugun ken- dine giiveni ve canlihg: yansitihr. Bueserlerin ortaya cikarmaya calistigt istiareler evrenine tekrar bakildiginda, bizim zamanimuza ne sdyleyebilecekleri merak edilebi- lir. Giinkii edebf bir eserin degeri, sadece estetik degil, diger nesillere tasimakla yiikiimlii oldugu dogruluk degerine de dayanur. iste tam da bu anlamda kaside, dzellikle de medhiye gelenegi modern zaman- larda énemini kaybetti. Neoplatonik diisiincenin yerini Newton fizik kanunlaria birakmasiyla, maddi gerceklige getirilen akile: ve olgucu yaklasim bu siir tiirtiniin yiizyillardir gelistirdigi benzetmeler diinya- sim, destekledigi teokratik ideal kadar gecersiz buldu. 19. yiizyildan beri Batr'da gittikce daha yaygin olan olgucu perspektiften bakildi- Binda, benzerlik iliskileri arayist ve olagandisinin tiretilisi, gizli iliski- leri agiklamak iizere kurgulanan, cogunlukla mantikdisi nedensellik- ler, eglenceli ancak ‘gercek diinya’yla bir bag bulunamayan bir siirsel kabuller diizeneginde yiirtitiilen anlamstz hayaller gibi gelmis olmalt. Bu baglamda gelistirilen bu edebiyatin sinirli bir dogruluk-degerine sahip oldugu izleniminin, Batih arastirmacilarm, yalmizca Tiirkse de- Bil Arapca ve Farsca kaside gelenekleri hakkinda da verdikleri olum- suzeelestirel yargilara katkisi olmug olmah.*” Fakat 21. yiizyilla birlikte, ‘gergek diinya’ algimiz, énceki basit olgucu yaklasimin étesine ge¢ti. Modern astronomi ve atomalti zer- recik fiziginin getirdigi yeni anlayislar sayesinde mantiga aykiri g6- riinen kanunlara boyun egen ve en biiyiik ve en kiigiik dlgekte igleyen ve siirekli tekrarlanan matematiksel denklemlerin cesitliligince dii- 47 Arapca gaside konusundaki olumsuz degerlendirmeler igin bkz. Michael Sells, “The Qagida and the West: self-reflective stereotype and critical encounter,” Al- ‘Arabiyya 20 (1987): 307-35, Yorgo Dedes ~ Stefan Spert ‘Hier varak bu nuk‘edur guiyenice” 237-ALISMALARI VII Kasideye medhiye: bigime, ileve ve muhtevaya Si TURK EDERIVAL g 8 zenlenen muazzam karmasiklikta maddesel alemlerin farkina vardik. Yercekimi merkezi etrafinda dairesel hareketler, atom cekirdegini cevreleyen elektronlar, yildizlarm cevresindeki gezegenler, yildiz sis- temlerini cevreleyen galaksiler tarafindan gerceklesti sarmallar, deniz kabuklarinmn, aycigeklerinin ve yildiz olusumlarinm bigimini belirliyor. Yakin zamanda gekilen bir molekiil fotografinda, tek tek atomlarm birbirlerine bir balkovaninda oldugu gil bigiminde ba¥landig anlasildi® Ortaya cikan ‘benzerliklerin’ dlgii- lemez olmas1, biitiiniin her parcada kendini gostermesi demek olan, Neoplatonik kozmozun dogrulanmast gibi griiniiyor, Fuzfilf’nin siirine bu aidan bakildiginda, istiarelerinin olustur- altigen dugu ‘gergeklik’ algisinin, bugiin bilimin ortaya koydugundan farkli olmadigi anlagilr, Grnegin sectigi kelime ve imgelerle, Fuztilf giiliin dairesel sekliyle (da'ire, 29), tamburunkini (d@'ire 47), miizik notalarim belirleyen dairelerle (edvar, 47), gokteki kiiresel hareketleri (cerh, 44) ve kader garkinin déniisiinti (mada, 61) iliskilendirdigi farkedilir. Bu ilis- kilendirmeler dogal olarak hayal iirtiniidiir, ancak yarattiklar yansi- malar coklugunca ve birbirleriyle iligkili dokularca yénlendirilen bir diinya anlayisi bugiin her zamankinden daha cok anlam tagryor. Bu tiir bir anlayisla giiniimiiz sorunlari agisimdan daha biiyiik gecerliligi olan bir sonuca varilabilir, Giinkii bu anlayistan yaratilis nesnelerinin, insanoglunun agiga gikarmak ve dile getirmekle yi- ki igi barindirdigi konusundaki bilgece kavrayts kaynaklamiyor. Bunun en énemli érne- i oldugu olaganiistii bir anlam oklugu ve cesi Bi, her tig kasidenin de agiklamay: amacladigt cokanlamh yapisiyla ik dilin ve iliskili giildiir. Cesitlilik ve coklugun kavranisi da iig de} 48 Bkz, http://www.bbc.co.uk/news/science-environment-19584301 [Erisim 05 Kasim 2012].olduklari edebiyatlarm sézciikleri ve imgelerinden yararlanan siirle- rin dilsel dokusunda somut bir bicimde gézlemlenebilir. Dilsel, etnik ve kiiltiirel sinurlar, daha b likle agilmistir. k ve biitiinlesti bir amag icin dzel- Béylesi bir cesitliligi uyumlu bir biitiin olarak bicimlendiren sey, 19181 varligin tiim bilesenlerinde yansiyan yetkenin ilaht kaynagina yoneltilmis bakigin israrli tekilligidir. Bigimsel diizeyde bunun karsili- &1, yukarida dahice inceliklerini degerlendirdigimiz siirlerin birlesti- rici siirsel mimarisindedir. Yorgo Dedes - Stefan Sperl “Her varak bir nuitedur gilsende 239240 ‘In the rose-bower every leaf is a page of delicate meaning’: an Arabic perspective on three Ottoman kasides* Yorgo Dedes** — Stefan Sperl"™* * The title is derived from line 4 of Yayali’s rose kasfde in the translation of Walter ‘Andrews (for text and translation see appendis). ** University of London, SOAS. ** University of London, SOAS.the 1994 London Qasida’ Conference, Walter Andrews began At his presentation on the Ottoman kaside with rather star- tling remarks about the inferior status to which Ottoman literature has been relegated in the discourse of much Western scholarship. Published under the title ‘Speaking of Power’, his paper explains that Ottoman poetry in particular has for long been seen as ‘entirely antic- ipated by its origins in Persian and Arabic’ and hence deemed to be of minor significance in the grand ‘Islamic Evolutionist narrative’? Andrews chose to confront this bias by avoiding the narrative of Islamic origins altogether and treating the ‘Ottoman kaside’ as a dis- tinctly Ottoman product with ‘peculiarly Ottoman concerns. ‘From this viewpoint’, he asserts, ‘relations to the traditional or historical or originary are in no manner foundational nor are they organic or genetic’® Accordingly, his article proceeds to place the two kasides he had chosen as representative of the Ottoman tradition into the so- 1 Spelled without diacritics, the term ‘qasida’ will henceforth be used to refer to gasida poetry as a genre; the terms ‘gasida’ and ‘kasfde’ will be used to refer to samples of the genre composed in Arabic and Turkish respectively. 2 walter Andrews, “speaking of power: The ‘Ottoman kaside,” in Qasida poetry in Islamic Asia and Africa: classical traditions and modern meanings, edited by Stefan Sperl and Christopher Shackle, vol. 1 (Leiden-New York-Kéln: E. J. Brill, 1996), 281, 3 Ibid, 282, Yorgo Dedes ~ Stefan Sperl ‘in zhe rose bower every leat is a page of delicate meaning” 244cial, historical and literary context of their time, in order to show how they exemplify the creativity of this Ottoman form and the vital role it played in ‘the dialogue between empire and individual’* The present article returns to the same two poems once more, but from a different viewpoint. Our aim is to complement Andrews’ treat- ment by identifying the elements which the two poems have in com- mon with their literary ancestor, the classical Arabic qasida. The aim, however, is not to reaffirm the narrative of marginality but quite the opposite. In seeking to link these Ottoman poems to their Arabic roots, we do not wish them to be eclipsed by their origins, but, on the con- trary, to show them as culminations of a process of growth in which el- ements of an ancient tradition are recast with the depth and ingenuity of a golden age of literary invention. We hope to demonstrate that it is precisely by tracing the genre back to its root features that the creative achievement of the Ottoman poets can be gauged to the fullest extent, The two kasides chosen by Andrews lend themselves well to this enterprise because one was composed as a parallel poem (nazire) of the other. Together the two works illustrate the distinct interplay be- tween continuity and change, traditionalism and innovation which has been a hallmark of the genre since its inception. The earlier work was composed by Necati (d. 1509) in praise of Sultan Bayezid Il (r. 1481- 1512), the later, parallel poem by Hayalt (d. 1557) in praise of Sultan Suleyman (r. 1520-1566). To these we have added a kaside by Fuzdili (d. 1565) also dedicated to Sultan Suleyman which appears to have been composed as a parallel to both Necatt's and Hayalt’s work. The texts and translations are reproduced in the appendix to this article 4 Ibid., 297. 5 The text and Walter Andrew's translation of the poems by Necati and Hayali haveThe three poems share the same meter (remel), the same rhyme ar), as well as the same redif giil, meaning ‘rose’. The flower therefore figures at least once in every verse, often in conjunction with its hap- less devotee, the nightingale. A look at Anne-Marie Schimmel's survey of rose and nightingale motifs in Persian and Turkish poetry shows that a great number of motifs in the three kasides go back to Persian roots.’ There are also Persian poems with the redif gol which predate our kastdes, including notably one by Jalal al-Din Riimi,’ but these are ghazal and hence shorter works. We have yet to come across a full-length Per- sian panegyric with this redif which could claim to be the forerunner of the Ottoman poems, How the Persian heritage has been adapted by the Ottoman poets is, however, not our concern and must await a de- tailed study in its own right. In discussing the rose and nightingale mo- tifs our aim is to ascertain how the Ottoman authors have used them to compose complex large-scale structures which still embody certain root-features dating back to the earliest beginnings of the gasida genre. Our reflections begin by attempting to define these root-features with reference to the Arabic tradition, starting with the pre-Islamic pe- riod and continuing with the modifications brought about by the Isla- misation of the genre. Particular attention is given to research on the structure and social function of the Arabic qasida whose findings also have a bearing on the Ottoman tradition. As an example of the Islamic been reproduced from Qasida poetry in Islamic Asia and Africa: eulogy’s bounty, meaning’s abundance an antology, Il, 216-28, by kind permission of the publisher E.Bril. The text of FuzGlt’s poem is from Ahmet Attila Sentiirk, Osmanlh siiri antolojsi (Istanbul: YRY, 1999), 296-313, The English translation is by Yorgos Dedes. 6 See Annemarie Schimmel, “Rose und Nachtigal,” Numen 5 (1958): 85-109. 7 See jalal al-Din Rant, Kuliyat-i Shams ya Divan-i Kabir, edited by B. Furiizanfar, vol.3 (Tehran: Amir Kabir, 1977), nr. 1348. Yorgo Dedes ~ Stefan Spert “in the rose-bower every leaf 1s 3 page of delicate meaning’ 243ALISMALARIVIl_Kasideye medhiyes bigime, ifteve ve muhtevaya dar tespitier ava ¢ SKI TURK ED: 244 panegyric in its Arabic guise, repeated reference is made to the ‘spring qasida’ by the Abbasid poet Abii Tammam (d. 845), which juxtaposes the renewal of nature in spring and the righteous rule of an un-named Ab- basid Caliph. In combining nature description and eulogy it anticipates anumber of themes also found in the Ottoman rose kasides.® Arabic root-features of the qasida genre Aiming for justice formal and conceptual In searching for the roots of the genre there is no better starting point than the root qasada from which the term qasida is derived. As has been often been pointed out, qasada means ‘to aim for’, so the qasida was deemed to be a poem composed for a specific purpose. According to the Encyclopaedia of Islam, this purpose was ‘to eulogise the tribe of the poet and denigrate opposing tribes.” Others interpreted the purpose of the genre not by reference to the content but to the form: it was a poem designed to be artfully composed, in contrast to rajaz, another, less polished Arabic verse form. Reference to a particular for- mal feature of the genre, namely the division into two hemistichs, was surmised in a different, less widely attested meaning of the root qasa- da, namely ‘to break in half’. 8 For the text and Julia Ashtiany's translation see Qasida poetry in islamic Asta and Africa: eulogy’s bounty, meaning’s abundance an antology, II, 80-5. 9F.Krenkow, et al., “kasida,” Encyclopaedia of slam, second edition, Brill, 2012. Brill Online, http://wwwenclslambrill.nl/subscriber/entry?entry=Islam_COM-0461 [accessed October 09, 2012] 10 For a survey of these and other theories see Renate Jacobi, Studien zur Poetik der altarabischen Qaside (Wiesbaden: Franz Steiner, 1971), 1-2.Further insight into the nature of the genre can be gleaned if we take the full semantic range of the root q-s-d into account. The relevant entry in Ibn Manziir's classical Arabic lexicon Lisén al-‘Arab shows that qasada does not simply mean ‘to aim for’ in a neutral, gen- eral sense. Rather, it means to aim for that which is laudable, positive and devoid of excesses and extremes." In particular, the author points out that the verbal noun gasd can also mean ‘justice’, and the verb qa- sada ‘to behave in a just and righteous manner’. The normative dimen- sion of the root is evident in his explanation of qasd in the Quranic phrase wa ‘ald allahi qasdu s-sabil (‘it is for God to intend the way’, . He glosses the word as tabyin al-tariq al-mustaqim,‘the elucidation of the straight path of righteous behaviour’, It is this same normative sense of the root meaning which would seem to be applicable also to the et- ymology of the term qasida. Thus Ibn Manzir explains that ‘the qasid of poetry is that whose lines are perfectly divided into halves; it was called thus because of its perfection and the correctness of its me- ter’ (al-qasid min al-shi‘r ma tamma shatru abyatih ... summiya bi-dhalika li-kamalih wa sihhat waznih). From the above we may conclude that qasada in a normative sense means, in essence, ‘to aim for that which is just’. By implication, the term qasida denotes a verbal statement which embodies the path towards achieving that aim. It is precisely this characteristic which most succinctly reflects the spirit of the qasida genre as a whole, both with respect to form and content. Justice is enacted in its form through the equitable metrical division of the poetic line into two well-balanced and complementary halves. The notion of a ‘straight path’, direct and free of deviation, is embodied in the unchanging for- 11 Ibn Manzi, Listin al-‘Arab, vol. 5 (Cairo: Dar al-Ma‘@rif, 1984), 3642-43. Yorgo Dedes ~ Stefan Spert “In the rose Hower every leat 2 page of deiicate meaning” 245DEBIVATI GAL SMALAR VII Kasideye medhiye: biclme,Ieve ve muhtevaya dairtespitler FSKITLRK 246 mal focus of the genre's poetic progression: it has only one rhyme and one meter, how ever long the poem. With respect to content, the concept of justice is manifest in the code of ethics which resides at the heart of the genre. In pre-tslam- ic times, it appears in the guise of the Arabian tribal code known as muriva, with its dual focus on limitless generosity and death-defying courage.” Justice here is indivisible from personal honour and upheld through the categorical enactment of retribution whenever honour is infringed. With the rise of Islam, the laudable traits of muri’a are no longer sufficient unto themselves but rendered subservient to a tran- scendental ideal derived from the Qur’dnic message. Justice, and with it all other virtues, are no longer mere functions of human honour but reflections in the social sphere of the attributes of God. The terminology which gives expression to the fusion of tribal and religious values in the Arabic qasida of Islamic times became the ideation- al raw-material of the multi-lingual poetic genre which was to arise in subsequent centuries, That this is so can be seen from the words of Arabic origin which appear both in the Arabic and the non-Arabic poems pub- lished in the Qasida Conference Anthology. As the index shows, the words abound in ethical, aesthetic and religious terms which point to an exten- sive web of conceptual links between poems composed in 15 languages over some 1500 years.” The word for justice, ‘adl, and its derivatives, for instance, appears in poems written in Arabic, Persian, Turkish, Urdu and Indonesian. In each case, it designates justice as a divinely rooted con- Hamoti, The art of medieval Arabic literature (Princeton: Princeton University Press, 1974), Chapter 1. 13 Qasida poetry in Islamic Asia and Africa: eulogy’s bounty, meaning’s abundance an antology, I, 500-10.cept, whereby the poet's task resides in revealing its presence both in the physical make-up of the natural world and in the moral fibre of the po- em’s dedicate. Abii Tammam combines justice with generosity and the flowering of nature as follows in his spring qasida: (23) Fil-ardi min ‘adli l-imami wa jiaidihi Wa mina n-nabati I-ghaddi surjun tazharu (23) On earth, the Imam’s justice and his largess, And the luxuriant herbs are shining lights. The same combination of topoi also appears in Hayéli’s rose kaside, though the approach is rather different: (18) Cikmaz illa ‘adhiin evsafi dehan-1 gonceden Etmez illd zikr-i ihsanufi seniifi her bar giil (18) The bud is ever tight-lipped but in describing your justice; The rose recites no litany but that of your divine gifts. Abi Tammam describes moral virtues and luxuriant herbs as lights, in association with the divine light of guidance. Hayali, by con- trast, sees nature itself as endowed with speech and bearing witness to divinely rooted virtues; here, the poet's task is not just to describe a scene, but to decode the speech of creation. The two lines allow a glimpse into the interface between tradition and change in the qasida genre: the poetic topoi are identical, as is the panegyric setting. The po- etic perspective, however, even down to the epistemological function of poetry, points to different horizons which are further explored below. Justice, and with it the entire ethical vision of which it forms part, is manifest in the qasida not only in the guise of individual mo- Yorgo Dedes - Stefan Sperl ‘in the 1ose-vower every leat sa puge of delicate meaning” 247SI TCRK EDEBIVATI GAL SYALAP_/I1_Kasldeye medhiye: bicime,igeve ve muhtevaya dairtespitler 248 tifs. The root function of the genre consists in charting the path to- wards the practical enactment of that vision. The poem is acondensed burst of verbal energy which seeks not merely to reflect reality but to change it, by urging its addressee to live up to the ideals to which it gives expression. The means by which this is undertaken are two-fold: amythopoetic structure, and a dramatic, performance-oriented style of delivery. These are briefly discussed hereunder. Structural features The imprint of archetypal ritual patterns on the pre-Islamic qasida has been studied in depth by Suzanne Stetkevych. She observed that the conventional thematic progression of the form, from memories of a lost love (nasib) via an arduous desert journey (rabil) to praise or self-praise (madih), replicates the three stages of the rite of passage which Van Gennep and Victor Turner define as separation, liminal- ity and reaggregation."* As such the form retraces in symbolic terms a process of inner, spiritual growth. It reflects the emancipation of consciousness, from an attachment to transient, physical pleasures, via an initiatory ordeal, to the acquisition of abiding ethical qualities which alone ensure personal honour and collective survival. The coherence of the qasida’s mythopoetic structure is brought about by the relationship between the range of motifs of which each in- dividual poem is composed. They do not follow a narrative sequence but rather symbolically reflect the stages of transformation in the growth of consciousness. These compositional stages have been the subject of a 14 See Suzanne Stetkevych, “Structuralist analyses of pre-Islamic poetry: critique and new directions,” in Journal of Near Eastern Studies 43 (1983): 85-107, as well as her later publications, in particular The poetics of tslamic legitimacy: myth, gender and ceremony in the classical Arabic ode (Bloomington: Indiana University Press, 2002).recent study by Raymond Farrin who took them as evidence that ‘ring composition is indeed a greatly important structural pattern that occurs repeatedly in classical Arabic poetry."*A distinct relationship is indeed discernible between the beginning, middle and end of many poems. ‘Themes first introduced at the beginning are resumed in the concluding lines but placed into an altogether different, contrasting context which elucidates the transformation undertaken.'* The middle section compris- es the central turning point of the structure which in pre-Islamic poems resides in the confrontation with the mortal threats of the desert jour- ney. It follows that the qasida would seem to be one more instance of a method of composition which Mary Douglas has shown to have been as wide-spread in the past as it has been misunderstood in modern times."” With the rise of the Islamic panegyric the rahil or desert journey disappears as middle section of the qasida. The poem becomes bipar- tite, consisting only of an introductory section on a range of conven- tional themes and a section of praise, which have been termed strophe and antistrophe respectively.” A central ‘turning point’ is neverthe- less discernible also in the structure of these works. It may be locat- ed in strophe or antistrophe, depending on which is the longer of the two, and usually appears as a cathartic moment of tension, resolution or insight from which a new beginning flows. Abi Tammam’s spring 415 Raymund Farrin, Abundance from the desert: classical Arabic poetry (Syracuse: ‘Syracuse University Press, 2011), xvii. 16 Fora discussion of this compositional pattern with respect to the poetry by Ibn al-Farid see Stefan Sperl, “Qasida form and mystic path in 13th century Egypt,” in Qasida poetry in Islamic Asia and Africa: classical traditions and modern meanings, |, 66ff. 17 See Mary Douglas, Thinking in circles: an essay on ring composition (New Haven: Yale University Press, 2007), 1-16, 18 On these terms see Stefan Sperl, “Islamic kingship and Arabic panegyric poetry m the early ninth century.” journal of Arabic Literature 8 (1979): 20-35. Yorgo Dedes ~ Stefan Spert “in tre irse bowser every leat 5 2 pe7e Uf eliate meaning” 249leve ve muhtevaya dalrtespi E é § EDEB ATI CA ISMALA UR 250 qasida is a good example of such a ring composition. The description of new-found fertility brought about by the spring in the initial 13 lines is both reflected and sublimated by the prosperity of the realm under the Caliph’s just rule in the final 12 lines which form the an- tistrophe. The central section of 8 lines, still part of the strophe, con- tains the pivotal, transformative experience of the work: a rapturous contemplation of the beauty of spring flowers whose wonder arouses consciousness of the Creator and hence awareness also of His repre- sentative in the human realm: the Caliph." Nature, in the form of the rose, appears as analogical foil for the ruler’s virtue also in the three Ottoman poems we have chosen. How has that equivalence been worked into in their structure, and are they, too, composed as rings? These questions we shall seek to address in some detail below. The speech-act mode The dramatic style of enunciation characteristic of the genre has been effectively highlighted by Beatrice Gruendler’s use of speech act theo- ry in her study of the Abbasid poet Ibn ar-Rami (d. 896). As developed by John Searle and Emile Benveniste, the theory investigates the in- terdependence of words, acts and context and thus proved most ap- propriate in investigating the rapport between poet and patron and the manner in which it is reflected in the themes and structure of the panegyric. The sovereign’s acts are rendered into poetic speech by the eulogist, but the words of praise are not merely declarative. They 19 On this qasidasee also Julia Ashtiany, “Abd Tammam's ‘spring’ qasid Hawashi'l-Dahri'” journal of Arabic Literature 25 (3994): 213-19. 20 See Beatrice Gruendler, Medieval Arabic praise poetry: Ibn al-Rimi and the patron's redemption (London: Routledge, 2003) “Raggatdemand in response a practical display of virtue, including notably a generous reward bestowed upon the poet. The economic transaction provides living proof of the truthfulness of the poetic message. Gruendler draws attention to an entire ‘typology of scenes’ in which the reciprocal dependency between poet and patron is acted out in a range of fictional encounters in whose portrayal Ibn ar-Riimi clearly excels. Gruendler’s conclusions, however, apply not only to the work of this poet but draw attention to a root feature of the genre as awhole; it is speech designed to rouse to targeted action. Not surpris- ingly, therefore, the grammatical modes most characteristic of the qa- sida are the imperative, the vocative and the apostrophe. Often, they function as structural markers and appear at crucial points in a po- em’s development. As in Abii Tammam's spring qasida, a third person imperative often marks the du‘@, the concluding wish for well-being: (2) Fa-l-ya‘suranna ‘ala I-layali ba‘dahu Anyubtala bi-suriifihinna -mu‘siru (62) Let it be hard for the nights of destiny after all he has done To inflict their misfortunes and make men suffer hardship. Hayali’s rose kaside ends with an analogous wish, also expressed with a third person imperative: (27) Devletifi giilzérimi olsun sa‘Gdet goncast Giil gibi sen her nefes ey rublar:giilzar giil (27) Let prosperity be the bud of the rose-bower of your reign, And you, with rose-garden cheeks, smile like a rose at every breath, The utterance of such wishes at the end of poems which explore the combined beneficence of nature and just rule brings to mind the Yorgo Dedes ~ Stefan Spert ‘in the 1ose-bower wvery leaf 's a page of delicate moaning" 251iclme, ijleve ve muhtevaya dar tpi ARI vi" Kasideye medhi 252 primordial role of the poetic word: to function as language invest- ed with a magic, incantatory power able to influence the course of events, a belief still distantly echoed in the qasida’s formulae of praise. Not only is the thrust of the message the same in these two lines, but they both display the same rhetorical figure which involves the an- ticipation of the rhyme-word.” Thus in Abi Tammam’'s line the rhyme- word mu‘sir (a person afflicted with hardship) is anticipated by ya'suran- na (‘let it be hard’). In Hayalt’s line, giil is anticipated both in the first and the second hemistich, with the added subtlety of the word-play upon its dual meaning of ‘rose’ and ‘smile’. The phrasing in both lines is characteristic of the rhetorical style of expression which arose in the early Abbasid period and among whose earliest champions was the said Abi Tammam. Known as al-badi’, the ‘marvellous’ or ‘unprecedented’, it was highly influential and must be reckoned among the Arabic root-fea- tures of the qasida as a multi-lingual poetic genre. Its characteristics and significance are briefly set out hereunder. The rhetorical mode and the poetics of analogy The rise of the badi* style is generally attributed to the sophisticat- ed courtly culture of the early Abbasid Caliphate. According to Stet- kevych, it was the speculative theology of the Mu‘tazila current at the time which brought in its wake a ‘spirit of logical disputation and ra- tional investigation that affected every aspect of the arts and scienc- es’? In consequence, an ‘abstract, dialectical and metaphorical’ mode of thought arose, which left its imprint on all forms of literary ex- 21 In Arabic radd alajuz ‘ala s-sadr, i.e. ‘reverting the back to the front’. 22 Suzanne Stetkevych, “Towards a redefinition of “Badi*” poetry," journal of Arabic Literature 12 (1981): 29.pression, including the poetry. While its pre-Islamic root features and many of its conventional themes were preserved, they now gave ex- pression to an altogether different vision of reality which required as tools of literary expression a much amplified use of rhetorical devices. The rhetorical style proved to be extraordinarily tenacious. It outlived both Mu‘tazilite theology and the Abbasid Caliphate, in order to become, in its Persian and Turkish guise, the hallmark of an elevat- ed literary diction which reached its apogee in the celebrated ‘Indian style’ (sabk-i hindf) cultivated at the Mughal court.” In Arabic, it was no less persistent and dominated both poetry and prose well into the nineteenth century when it was abandoned as fossilised and artificial, following the encounter with European literary works, It has often been alleged that infatuation with ‘excessive artificiality and verbal acrobatics”, combined with mechanical adherence to conventional models is the main reason for the tenacious hold of the style. While this may be true up to a point, it is surely no satisfactory explanation for the longevity of the phenomenon. The roots must lie deeper. An explanation may be found in the fusion between two different, but kindred, ways of seeing the world: the Qur’Anic vision of creation on the one hand, and the cosmology of Neoplatonism on the other. What they have in common is the notion that all manifestations of material reality carry within themselves the imprint of the heavenly power which brought them into existence. Thus according to the Qur’an, every created object is a ‘sign’, an dya (Tk, dyet), pointing to the Creator. Man's task con- 23 On qasida poetry in"Indian style’ see Christopher Shackle, “Settings of panegyric: the secular qasida in Mughal and British India,” in Qasida poetry in Islamic Asia and Africa: classical traditions and modern meanings, 1, 205-48. 24 M.M, Badawi, “From primary to secondary qasidas: thoughts on the development of classical Arabic poetry,” Journal of Arabic Literature 11 (1980): 30. Yorgo Dedes ~ Stefan Spert “in the vose-bower every leat is a 9396 ct delicate meaning’ 253Kasideye medhiye: bigime, isleve ve muhtevaya dair tespitler DEBIVAT GALIGMALARI esni7Us 254 sists in using his mental faculties in order to comprehend the message these signs convey, for their meaning is elusive: ‘there is not a thing which does not utter praises for Him, but you do not understand their praise’ (in min shay*in illa yusabbihu bi-hamdihi wa lakin la tafhamiina tasbihah, 17:44). In Neoplatonism, the transcendental signification of material ob- jects is asserted as well. However, here it derives from their being part of a hierarchy of mirroring analogies which stretches in an unbroken chain from the lowliest of creatures to the angelic spheres and ultimately to the One who is the source of all. The component parts of the visible world thus constitute a myriad of microcosms which reflect, each according to their rank, aspects of the invisible and immaterial order of the macro- cosm. The pervasiveness of this cosmology in the formative period of Is- lamic culture is well known.” Its significance and its seamless fusion with Islamic theological thinking can be illustrated by returning once more to the concept of justice, or ‘adl in Arabic. From a theological perspective, ‘adl figures among the ninety-nine divine names and is hence one of the attributes of God. From a philosophical perspective, ‘adl is the quality by which the One regulates the perfect order and coherence of the macro- cosm, as described in one of the key source texts of Islamic Neoplatonism, al-Farabi’s treatise on the perfect state.26 The manifestation of this tran- scendental justice in the visual world can take a multiplicity of forms, ranging from man’s moral rectitude to the just equilibrium between the component parts of a well-proportioned object. The latter is designated with the Arabic term itidal which refers to the proper balance of Galen- 25 On this, see notably Aaron W. Hughes, The texture of the divine: imagination in Medieval Islamic and Jewish thought (Bloomington: Indiana University Press, 2004), index ‘Neoplatonism’, rhe perfect state: Mab Ara? Ablal-Madina al-Fadila, edition, translation and commentary by Richard Walzer (Oxford: Clarendon Press, 1985), 357.ic humours as much as to the harmonious composition of the heavenly spheres, the balance of a beautifully traced letter-shape, or the perfect parallel structure of a line of poetry.”’ The term i'tidal is derived from the same root as ‘adl and as such highlights the analogical parentage between the spiritual and physical worlds even at the linguistic level. What applies tojustice applies to the other divine attributes in the same measure. They all are integral ingredients of the divine essence and, at the same time, embedded in myriad forms in the visible world. Seeing the cosmos as governed by a vast system of analogies which reveals the hidden links between outwardly different objects, and in turn allows the human mind to decode their meaning as ‘signs’ pointing to their divine provenance and their position in the cosmic hierarchy, has had profound epistemological consequences on the in- tellectual and artistic pursuits of classical Islam. In the religious sci- ences it led to the rise of the analogical method of reasoning known as giyas, which became ‘the common term for every form of intellectual endeavour and speculation leading to a new result’.”* In literature, it led to the rise of what Meisami called the ‘poetics of analogy’, astyle of writing she identified in her study of Persian court poetry but whose beginnings can be traced back to the badi‘ style of Arabic poetry. Indeed, the principal tools of the ‘poetics of analogy’ are the rhe- torical devices, in particular simile, metaphor, antithesis and alliteration. Each of these operates by establishing a certain relationship between different entities. These devices are therefore perfectly suited to investi- 27 For a case study of the term see J. Christoph Biirgel, “Adab und i*tidal in ar- Ruhawis Adab at-Tabib: Studie zur Bedeutungsgeschichte zweier Begriffe,” Zeitschrift der deutschen morgenlandischen Gesellschaft, 117 (1967): 90-102. 28 J. van Ess, cited by julie Scott Meisami, Medieval Persian court poetry (Princeton: Princeton University Press, 1987), 32. Yorgo Dedes ~ Stefan Spert In the rose-bower every ipafs a page of delicate meaning” 255SEBIVATLGALSYALAR Vid Kasidaye medhiye: bicime, isleve ve muhtevaya dairtespitler rset TURE 256 gate and disclose the hidden analogical correspondences which link the objects of creation both to each other and to their transcendental prove- nance. As Meisami remarked, ‘in a mode of composition based on analogy, metaphor transcends the status of a trope to become “a consistent means for signifying the inner substance of things’, in a world in which “every- thing is a figure’, a sign testifying to the unified and unifying order of creation’” The same applies to all other rhetorical devices. Herein, it would seem, lies the underlying reason why rhetoric held sway in the elevated diction of Islamic literatures for as long as this particular view of creation stood unchallenged. It is important to note, however, that the search for the disclosure of analogies by means of rhetorical devices has two different orientations which must be dis- tinguished from each other. Ostensibly, the search is directed at the reality which language signifies. At the same time, however, it is also directed at the very fabric of poetic language itself. The former orien- tation is best served by devices such as simile, metaphor and antithesis which portend to signify real correlates. The latter is more complex and has a range of different levels. It involves, firstly, paronomasia and al- iteration, as well as all other devices that concern the sound structure, morphology and syntax of the language. Secondly, it involves intertex- tuality and, with it, all allusions and references to the inherited themes and forms of literary tradition, among which a status of particular em- inence is occupied by the text of the Quran. The longer the cultivation and conscious memory of that tradition, the richer the allusive poten- tial of the linguistic fabric of which it is made up. This is all the more the case when that fabric is composed not of one language only but of the lexicon and literary legacy of three languages which are moreover, of 29 Ibid, 37-8.entirely different linguistic origin. Such is the case with the language of Ottoman poetry to which we must now turn. Qasida root-features common to the three Rose Kasides The above survey of qasida root features has identified four principal elements: an ethico-religious code with focus on the notion of justice, which provides the ideological core; a mythopoetic ring-composition structure which elucidates the path towards the realisation of that justice; a dramatic form of address which urges the patron to act in ac- cordance with its principles, for the benefit of the poet and the wider community; and an analogical, ‘rhetoricised’ poetics which serves to explore the cosmological as well as literary and linguistic associations of the poem's themes, All four of these features are identifiable in the three Ottoman rose kasides. The one which comes to the fore most vividly in Walter Andrew's discussion of the poems by Necatt and Hayall is the dramat- ic form of address which turns the qasida into a ‘speech act’ designed to impact the relationship between ruler and ruled. It is here above all else that Andrews sought to identify the distinctly Ottoman character of the two poems and of the Ottoman kaside in general, He shows how the themes of the kasfdes reflect the tone and complexity of that rela- tionship and its concrete setting in the palace rituals and the physical surroundings of the imperial court where reigned, it should perhaps be stressed, a general silence and the strict prohibition of random speech and noise. In stressing the vital role of the genre he notes that the kaside could make or break a career ora life. It was a way of speaking into a space where no speech was permitted (..). It told the story of power and the story of one human being’s relation to power. It was half Yorgo Dedes ~ Stefan Spert ‘in the rose Lower every leaf a page of delicate meaning” 257E541 TURK EDEBIVATI CAI SMAI AK V | Kasideye medhiye: bigime,igleve ve muhtevaya dairtespitler 258 the dialogue between empire and individual. What could be more important?? We have seen that this function of the genre is not new and forms part of its ancestral roots. What Andrews’ treatment shows, however, is the continued socio-political and literary relevance of the genre in Ottoman times which caused it to absorb the concerns of the age and to reflect them in its themes and figurative language, to the extent of becoming a quintessentially Ottoman literary product. while Andrews demonstrated the Ottoman guise assumed by one of the four root-features of the genre, the other three are less in evidence in his treatment. Least attention is given to the structure of the poems. The ethical code and the concern with justice are mentioned and so is the Neoplatonic dimension of certain poetic analogies, but their function is not presented in the context of the poems’ thematic development since his inquiry had a different focus. We therefore intend to supplement his treatment by seeking to understand how the poetic argument is struc- tured in the works by Necati and, Hayalt as well as by Fuzdlt. We begin by outlining certain traits found in all three works, before examining in more detail the distinct compositional features of each. The metamorphoses of the rose The most striking aspect of the three poems is the fact that each of the 132 lines of which they are composed ends on the word ‘rose’ (gil). How has the rose been made to yield such plenitude of meaning? The answer resides in the fact that its signifying power in the poetic realm 30 Andrews, “Speaking of power: The ‘Ottoman kaside," 297.derives from its status as an dya, as a ‘sign’ in the Qur’anic sense. How that signifying power is to be understood and what its limitations are is hinted at in the following Qur’anic verse: Among His signs (@ydt) are the night, the day, the sun and the moon; do not prostrate yourselves to the sun and the moon, but to God who created them, (41:37) It follows that while the objects of creation point to the Creator and as such to the sublime, righteous and eternal realm of the macro- cosm, they are in themselves not in any way part of it, but are as lowly, deficient and transient as any material object and hence in no way deserving of worship. When properly understood, the full signifying power of an aya therefore ranges all the way from the eminently sub- lime to which it points, to the eminently ephemeral which it is. This vision opens the gate to a vast scale of meanings inherent in every object, and these the poets have explored in forging the path to justice through the image of the rose. In all three poems, the meaning carried by the rose undergoes a metamorphosis that passes through four stages. At first, the rose appears in its role as transcendental signifier. The analogy here is be- tween the appearance of the flower in spring and the appearance of the prophetic message: both are sources of illumination. One is phys- ical, the other spiritual, but their divine referent is the same. Thus Necatf begins: (1) Yilda bir kere menar-1 sahdan dic Gésteriir nite ki niir-1 Ahmed-i Muhtar giil (1) Once a year the rose is seen on the minaret of the branch, As if that rose reveals the light of Ahmed the Chosen Yorgo Dedes ~ Stefan Spert “In the race~ wer every leat 1s 2 page of delicate meaning” 259IVAT GALISMALARI VII Kasideye medhiye:bigime, ijleve ve muhtevays dar tespitler SKI TURK E03 x Both Necatt and Hayal? amplify the theme by depicting the re- velatory signifying power of the rose as speech encoded in the leaves and petals of the flowers, like writing on the pages of a book. Thus Hayéli, resorting to the imperative to urge his listener to be attentive to the message, exclaims: (© Her varak bir niiktediir giilsende fehm et olalt Mahzen-i Esrar gonce Matla‘.1 Envar giil (6) Know this! In the rosebower every leaf is a page of delicate meaning, Each bud The Treasury of Inner Truth, each rose The Dawn of Illumination, Bud and leaf are here likened to two major mystical works com- posed by Nizami Ganjavi and Amir Khusrow, whose celestial message is portrayed as no different from that conveyed by the rose as aya. The long initial section of Fuzdlf’s poem (lines 1 - 13) provides the profoundest and most wide-ranging exploration of the rose’s re- velatory power, The very first line expresses the salutary effect that such revelation has on the psyche of the onlooker: (1) Gihdt yasil perdeden ‘ard eyledi rubsar giil Sildi mir‘at- 1 Zamir-i pakden jengar giil (1) The rose submitted its face emerging from the green screen The rose erased the rust from the mirror of the clean heart. he appearance of the rose, versus the concomitant disappearance of rust. True to the rhetorical mode, the line centres on an antithesi As noted by Aaron Hughes, the image of the heart as a mirror whichrequires to be freed of rust runs through the entire history of Neopla- tonic mysticism: ‘just as a polished mirror both becomes and reflects what is in front of it, so, too, should the soul reach a state where it re- flects the higher principles of the universe’. The image captures the poetics of analogy in its very essence: perceived as an aya, the rose is a microcosmic reflection of the bliss of mystical insight. Hence its mere appearance can cleanse the heart and make it capable to apprehend the macrocosmic immanence of the Creator. Fuztilf, moreover, relates the ancient philosophical topos of the heart as mirror to an image with Islamic overtones, that of the pure heart (zamir-i pakden), which recalls the purification of the soul mentioned in the Qur’an (tazkiyat an-nafs, see e.g. Qur°an 91:9). The hemistich exemplifies the flowering of metaphor which the fusion between Qur’anic and Neoplatonic spir- ituality has seeded in the poetic universe. Itis instructive to recall at this point the following line from Abit Tammiam’s spring gasida, which also dwells on the effect the sight of blossoms can have on the human heart: (4) Adhat butinuha li-zuhiriha nawran Takédu lahu l-qutiibu tunawwiru (14) (The netherworld’s] interiors have forged for its exteriors such blossoms That at their sight the hearts almost begin to bloom. While the topos is the same, the spiritual significance of the spectacle, so prominent in FuzAlt’s line, is here only distantly evoked. The line establishes an antithetical analogy between mental and 31 Hughes, 2004, 55. Yorgo Dedes ~ Stefan Spert “in the rose bower every leafs 3 page of delicate meaning” 261ESI TURKEDEBIVATI CALIGMALAR!VIl_Kasideye medhiye: bigime, ijteve ve muhtevaya dalrtespitier 262 physical, inner and outer spheres, which is stressed by the paronoma- sia between nawr (blossoms) and the verb tunawwiru (to bloom / shine) applied to the hearts, The root nwr thereby evokes the notion of light (nr) and, with it, the Qur’anic image of the divine light which can be conceived as reflected both in the blooms and in the bliss their sight grants the hearts. While Abii Tammam’s verse only hints at a deeper spiritual meaning, in Fuz{ilf's verse this meaning becomes the princi- ple focus and is brought forth in images which resound with a millen- nial philosophical and mystical tradition. FuzGli has transposed the ancient Arabic topos into what Andrews called the ‘huge temporal and creative space’ of Ottoman poetry.” The antithesis in Fuziili’s opening line requires an addition- al comment. While the rose has such signifying power that its mere sight can purify the heart, its face (ruhsdr) emerges from the bud in a posture of submission to a higher authority (arz eyledi), as though it were conscious of its humble status as a created subject. Fuziilf draws attention right from the beginning to the contrast between the rose as celestial symbol and as earthly being. And this earthliness emerges with full force in the second cardinal stage of metamorphosis under- gone by the image in all three poems. Here the flower loses all sense of humility and instead becomes the quintessence of the enticing but de- ceptive adornments of worldly existence, which the Qur’an calls zinat al-hayat ad-dunyd (18:28), Thus Necati: (9) Bade-i hamra ile ceng ti neye virdi ‘amel Tevbe vii zithd-ii- salalu eyledi bi-kar gil 32 Andrews, 1996, 296.(9) Done up in gold, in rubies and turquoise, from head to toe, The rose desires that it might be the tempting beauty of the market place. Clad in the adornment of ‘low life's garb’ (zinet ... sehri-var, 16), it coquettishly displays itself to all and sundry, causing no end of suffer- ing to those who have fallen victim to its charms, not least the unfor- tunate nightingale. Thus Hayalt: (9) Ates-igayret nola yakup kiil etse biilbiilii Salinup boynmna her sahuni giiler oynar giil (9) No wonder the flames of jealousy turn the bulbul to ash; The playful rose hangs, laughing from the neck of every branch. As before, it is Fuzlt who gives the theme its fullest due. He lav- ishly exposes the moral failings of the rose: ‘it is a rogue (‘ayyar, 15), a despicable magnate (miin'im-i ndkes, 16), it takes its ornaments (zinet, 18) from the thorn only to but abandon its companion and become a ‘darling to others’ (gayra olur yar). Indeed, (19) Bi-vefalg Gdetin dutmus anun'ciindiir bu kim ‘Omrden olmaz cihan baginda berhordar giil (19) It has adopted infidelity as its trait and custom, so much so that In the garden of the world it never shares in the fruit of life, the rose Concealed within the wanton frivolity of the rose’s behaviour is, however, still a hint at its other-worldly symbolism, In its very beau- ty and un-attainability resides a mirroring reflection of the no less Yorgo Dedes — Stefan Spert “in the 1ose-vower every leat 1s a page of delicate meaning” 263ESM! TURK EDEBIVATICALISMALARI VI! Kasideye medhiye, bigime, igleve ve muhtevaya intangible allure carried by of the divine presence and its ‘shadow on earth’, the Sultan. In the very guise of its earthliness, the rose con- ceals the attributes of the heavenly and so embodies the paradox to which mystical consciousness is attuned. In the context of the poems’ development, however, the earth- ly failings of the rose and the tribulations they cause cannot be left without amends, Retribution is at hand through the virtues of the sovereign whose righteous action is displayed in the third cardinal metamorphosis assumed by the rose image. In this, the longest section in all three poems, the ethical code of the qasida genre takes centre stage, enshrined in time-honoured terms of Arabic provenance: gen- erosity (ciid), kindness (Iutf), virtue (hulk), nobility (kerem) and, above all, justice (‘adl). Their invocation begins in dramatic, declamatory style, as vocative, apostrophe and imperative abound. Necatt calls upon the East Wind to chastise the wicked rose in the name of justice: (17) $ah- ‘dil devridiir var giis-mal et ey saba Biilbiile cevr eylemekden etsiin istigfar giil (17) This is the age of the monarch of justice, come, 0 East Wind, box its ear! Let the rose ask forgiveness of God for oppressing the nightingale. Seeking to dramatise the topos yet more through a fantastic ae- tiology which depicts the rose’s transgression as an act of murder and theft, Hayalf declares: (17) Biilbiiltin kann alup siirmekten ey $eh yiizine ‘Adliifi eyyéminda demdiir kede istigfar giil (17) In the era of your justice, it is time the rose beg mercy, O Shah! For taking the blood of the bulbul to rouge its face.In both poems the rebuke of the wayward rose is conveyed in meta- phors of splendid ingenuity. From having been a play-thing desired by all, the rose is reduced to abject servitude to the imperial sovereign, to whom it owes its beauty, its well-being, its status and even its very existence. Andrews has pointed out that a number of lines in both poems dis- play ‘supererogatory adornments of internal rhyme and rhythmic bal- ance between hemistichs.”* As his examples show, the lines that display these features are also the ones that most clearly express the restor- ative power of the sovereign’s virtue. The exquisitely balanced parallel- ism between the two hemistichs of a line such as the following by Necatt in itself embodies the righteous order brought about by the sovereign: (30) Ab- ‘adliifiden humarimi eder islah miil Baiy-1 hulkufidan suda‘na kalur timar giil (30) With the pure water of your justice the wine cures its drunken stupor With the sweet scent of your virtue the rose heals its aching head. The line recalls bn Manziir’s definition of qasid in poetry: per- fect binary division and perfect scansion. It also illustrates that ‘the crafting of poetry, the painstaking creation of a fully embellished ob- ject of beauty™ is not an aim in itself. In the poetics of analogy, rheto- ric serves to mould the fabric of language into a microscopic image of macroscopic perfection. Fuziili, too, introduces the theme of justice with an exclamatory apostrophe. It is not addressed to the Sultan directly but to the cus- 33 Andrews, 1996, 299, 34 Ibid. Yorgo Dedes — Stefan Spert “in the rose bower every leaf 1s a page of delicate meaning” 265ime, eve ve muntevaya dai tespitler z & 3 5 TURK 266 todian of his garden, which latter symbolises the imperial dominion, as Andrews has shown. The true nature of the rose’s transgression is made explicit in Fuztili’s choice of terms: (35) Bagban Sultan-1 Adil devridir tenbih kil Urmasm giil-zare ates zulm ediip zinhar giil (36) Cevr eliyle gonceves piraheniiri cak etmesiin Ciinbis-i nd-mu‘tedilden kalsun istigftir gill (37) Yoksa nd-geh siiret-i hali olur Sultana ‘ari Kahra ugrar muktezé-yt vai1 né-hemvar giil (35) O gardener, this is the era of the Just Sultan, beware! Never allow the rose to be unjust and set the rose garden on fire. (36) Let it not rip open its bud-shirt with the hand of oppression May the rose ask for forgiveness of God for its imbalanced excitement. (37) Otherwise an account of its behaviour will be submitted to the Sultan at once And the rose will fall foul as a result of its improper stance. Like in the above cited lines by Necati and Hayali, so Fuziilt also calls upon the rose to beg for forgiveness, but his phrasing reveals the true nature of the rose’s transgression in the wider, cosmological con- text. In its guise of worldliness, the rose’s behaviour was nd-mu'tedil, it was devoid of the harmony of ittiddl which arises when worldly beings in their constitution and their actions conform to the principles of di- vine justice, The phrase vai“-in@-hemvdr in line 35 evokes the same set of associations, namely a stance lacking in uniformity, evenness and balance. It follows that the rose’s excesses disturbed the coherence ofthe divinely granted cosmic order and herein lies its injustice (cevr) and oppression (zulm) which require a plea for divine mercy (istigfar) on its part. In the Neoplatonic realm of the panegyric the rose here stands not only for the Sultan's human subjects who are being warned in case they fail in similar ways. Beyond that it represents the chaotic forces the netherworld (ad-dunya) who are being restrained and called to order by the Sultan's divinely guided beneficence.* The fourth and final metamorphosis of the rose image appears in the concluding section of the poems. Since pre-Islamic times this section of the panegyric has served the poet ‘to cast himself as a character in the theme of patronage’. He vaunts the eulogy he has composed and gives voice to his personal ‘aim’ (qasd): to be grant- ed fulfilment of his ‘rights, needs and claims’.” It is here that the speech-act mode of the work is most pronounced. And it is here that in our three kasides the rose image reappears once more in its reve- latory function as a celestial sign, as aya. But there is a difference. In the first stage of metamorphosis, the rose is itself the bearer of the message: ‘it reveals the divine light’ in Necatt’s phrase. In the final stage, we are made to understand that this message is only intelligi- ble thanks to the mediation of the poet. NecAtf, Hayal? and Fuzéilf all dwell on the theme, while the dif- ference between them repeats the pattern observed before. Necati es- tablishes the direct analogy between verse and rose: each in its own sphere reflects the description (vasf) of the Sultan and, by implication 35. Among the standard themes of eulogy of the Arabic qasida is the sovereign's, power to confront and restrain the forces of Time (al-dahr).. 36 Gruendler, 2003, 59. For an example of pre-Islamic times see Qasida poetry in Islamic Asia and Africa: eulogy’s bounty, meaning’s abundance an antology Il, Qasida 3, lines 47-48, 37 Gruendler, 2003, 59. Yorgo Dedes ~ Stefan Spert ‘In the rose-bower every leas a page delicate meaning” 267ESKI"URK EDERWAT GAWISN 8 and analogy, the attributes (evsaf) of the divine realm of which the Sultan’s justice is the earthly manifestation: (41) Giilsen-i vasfuiida her beyti Necati ¢akeriift Befizer ol mevziin nihéle kim ucinda var giil (41) In the rose-bower of your description your servant Necati’s every verse Resembles that slender sapling which bears at its tip a rose. Hayali’s treatment seems designed to outdo Necatt by going be- yond the simple equivalence between verse and rose. Instead he high- lights that his poetry will outlast the earthly mortality of both the rose and himself. The celestial message of the flower as dya, however, remains and assumes a new metaphorical guise: (23) Ben fend bulsam séziim bakidir ey Cemsid-fer Kendi mahv oldi giilabindan kos asar giil (23) O you, mighty Jemshid, though I be transitory, my words live on. The rose itself is destroyed but its traces remain in the rose water. FuzAl? goes to the philosophical and conceptual heart of the matter, the function of language as the vehicle of revelation: (59) Kil Fuzuli medhin ol sah’uf ki bag-1 medhiniin Biilbiili olurdi bulsa kuvvet-i giiftar gil (59) Sing, Fuziili, the praise of this Shah, for in the garden of his praise The rose would have been its nightingale had it had the power of speech.The verse begins with the imperative kil medhhin (‘sing his praises’) which in Ottoman orthography could have been rendered as the graph- eme ql rather than the more standard qyl. In such a case its appearance would be identical to that which conveys the Arabic imperative qul (speak’) which appears 332 times in the Qur’an, where it is addressed. to the Prophet and commands him to utter the words of revelation. The association between kil and the famous Qur’Anic qul is meaningful in the context of the line for it points to the multiple analogies made here between three pairs of speakers and addressees: rose and nightingale, poet and patron, and Prophet and God. At each level, the message com- municated takes a different form ~ ‘bird song’, poetry, and the words of revelation - but the substance remains one and the same: praise of, and devotion to, the Beloved. The poet’s function is pivotal here for it is he who now commands kuvvet-i giiftar, the power of speech. Therefore it is he who, in the Neoplatonic sense, ‘mirrors’ the voice of prophecy of the age and is able to put into words the celestial message of the rose as dya. The four stages in the metamorphosis of the rose should not obscure the fact that in the rich fabric of the poems the rose is wo- ven into a far greater range of images. These four, however, are not only common to all the poems but also structure their development. Taken together, they form a symmetrical pattern, The first and the last are complementary as in both the rose appears metaphorically as the bearer of a message, first directly and lastly through the me- diation of the poet. The second and the third are antithetical: in the second the rose is wayward and triumphant, in the third it chastised and humbled. The resulting symmetry is reflected in the composi- tional structure of the three poems. Necat? has used it to produce a ring composition of truly wondrous refinement. For Hayali it pro- vides the frame for an exercise in inventive brilliance intended to Yorgo Dedes ~ Stefan Sperl ‘in the rose bower every leaf 's a page of delicate meaning” 2697 z z g i DEB YATICA IGMA AAI oe esau 270 outclass certain lines and motifs of his earlier rival. In the much larger canvas of Fuziilt’s poem, it is subservient to a grander aim: a recasting in Ottoman guise of the qasida’s ancient Arabian mytho- poetic structure. Necati: the perfect ring Using an electronic database, Walter Andrews sought to compare the lines of Necati’s kaside with other poems by the same author, While he observed much overlap and repetition of imagery and phraseology in Necati’s lyric poetry, he was surprised to find that the lines of the rose kaside were in most cases unique in the context of his work. This suggests that much care was taken to make the kaside ‘special’ in ways that a well-read audience could appreciate.” Compared to its Arabic antecedents, the compositional fea- tures of this poem, and in particular its coherence as a ring struc- ture, are certainly very special indeed. While circular correspon- dences between beginning, middle and end of poems are common in the Arabic tradition, we have yet to find an Arabic qasida in which the thematic parallels between corresponding lines of the circular structure have been fashioned with such refinement and systematic attention to detail. As summarised in Table 1, virtually each of the 22 lines which form the first half of the poem contains themes or images which relate, by congruence or antithesis, to their numerical counterparts in the 22 lines of the second half. This may well explain why NecAt? could not produce this poem by cloning material from other works of his. Here, every line had to be specially crafted to fit 38 Andrews, 1996, 298.into its position in the overall pattern of 22 pairings. Rather than examining each of these separately, we will in the following give ex- amples of the types of relationship that link the pairs. Lines that relate by congruence are 1- 6 and 44 - 38, which mark the beginning and end of the poem. Thus the first line generates the above mentioned analogy between rose and Prophet while the last line (44) counters it with the analogy between rose and Sultan. Together, the two lines measure out the cosmic hierarchy. At the outset of the poem, spiritual and physical, sacred and profane realms are juxtaposed in abstract terms; lastly, as fruit and final consequence of the eulogy, the Sultan is installed as the human mediator between these realms. The relations of congruence between lines 2-4 and 43-41 de- rive from the parallel between the first and final stages in the meta- morphosis of the rose. As we have seen, both centre on the theme of language and the function of the rose as dya. First the rose itself is portrayed as the signifier, lastly the poet is shown to be the one who speaks on its behalf. The type of thematic echoes between each corre- sponding pair of lines is best illustrated by comparing lines 3 and 42: (3) Cem*edtip evrak-1 ail iistine etmis zer-fisan Yazmis ol mecmi¥aya vasf-1 ruhun ey yar giil (42) Zineti eyyamidur hatt ile si‘riin sdyle kim Reng ii bay ile olur arayig-i giil-zar gill (3) The rose has gathered leaves of crimson and on them gathered gold, ‘Thus writing in that journal, my love, the image of your cheek (42) It is the season of adornment by script and verse, As the rose with its colour and scent adorns the rose garden. Yorgo Dedes ~ Stefan Spert “in the rose-bower every leaf a page of delicate meaning” 2m: z : ES{I TURM EDEBIVATIGAI SVALAR WIT Kasldeye medhiye: bicime, 272 Both centre on the image of writing. In line 3, the flower, com- posed of petals sprinkled with pollen, is likened to a calligraphic scroll (mecméa‘a) with gilded pages. It ‘describes’ (vasf) the beauty of an unnamed love in which we recognise an archetypal figure of the qasida genre, the beloved of the nasib. As the poet's lost consort, she appears already in the earliest pre-Islamic poems. Here, however, the figure is transformed by the magic of metaphor and the mirroring gradations of the Neoplatonic hierarchy into a symbol with far wider associations. It not only represents the poet's personal beloved, but also prefigures the Sultan in veiled and as yet un-named guise, and carries a waft even of the Prophet and the Ultimate Beloved. And yet, in its garb of earthly beauty it also harbours the seductive and falla- cious appeal of mortal flesh. The poetic depth lies in the paradoxical multiplicity of these echoes all of which reappear in different guises throughout the work but derive from a single image: the rose as aya. These ‘reappearances’ are patterned by the symmetrical pairing of lines in the ring structure. Thus in line 42 the image of writing sur- faces once more, whereby the term hatt does not simply mean ‘script’, but conjures up the art of calligraphy alluded to also in the metaphor of line 3.” Adornment (zinet) is here no longer frivolous and seductive, as when displayed by the rose in its earthly guise, but instead is put 39 calligraphic practice may provide an explanation why Necati chose to compose his perfect ring structure with 22 pairings of lines. The basic geometric pattern from which the Arabic letter-shapes derive is a circle with diameter alif. The canonical alif is made up of seven dots, hence the circumference of the circle with diameter alif measures 22 dots, since 7x = 21.99. From a calligraphic perspective, the number 22 therefore makes good geometric sense to structure a ring composition. The fraction 22:7 has, moreover, been known since antiquity as.a close approximation ofr. For an ‘Ottoman source on the seven dots of alif see Mizinil-hatt, [compiled by] Hakak-zide Mustafa Hilmi Efendi, edited by Abdiilkadir Dedeoglu (Istanbul: Osmanl: Yayinevi, 1986), 15.