Türk halk şiirinde pınar motifi
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Dosyalar
Tarih
2012
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Yoksa yamacında çınar bir de pınar Ölmüşsün ha yaşamışsın neye yarar.? Halk edebiyatı nazım türleri açısından son derece zengindir. Halk edebiyatı nazım ürünleri; anonim halk edebiyatı, âşık edebiyatı ve dini-tasavvufi halk edebiyatı olmak üzere üç başlıkta incelenir. Bu nazım ürünlerinde birçok motif işlenmiştir. Halk edebiyatında karşımıza sık çıkan motiflerden biri de pınar motifidir. Yerden kaynayarak çıkan su, kaynak veya bu suyun çıktığı yer, memba anlamına gelen pınar halk edebiyatının birçok nazım türünde motif olarak işlenmektedir. Bazı yörelerde pınar; bulak, bulah, büngül, göze, büngür, bıngıldak, göz? vb. isimlerle karşımıza çıksa da özelliklerini yitirmemektedir. Toplumun su ihtiyacını karşılama görevini üstlenen pınarlar, zamanla birbirini sevenlerin buluştuğu ya da birbirini bekledikleri mekânlar olmuştur. Önceleri mekân olarak kullanılan pınarlar gerek yaşantı sonucu gerekse anlatıcının kabiliyeti neticesinde benzetme, abartma, kişileştirme ve mecaz anlamlarıyla da sık sık karşımıza çıkmaktadır. Halk, edindiği birtakım yaşantılar neticesinde pınarı mani, ninni, türkü ve ağıtlarında, manzum şekilde yazılan bilmece ve tekerlemelerde, koşma, semai, varsağı ve destanlarda, ilahi ve hikmetlerde bu anlam ve görevlerde başarılı bir şekilde işlemiştir. Gerek ihtiyaçtan gerekse yüklenen anlamdan dolayı pınar halk edebiyatı ürünlerinde duygu ve düşüncenin ifade edilmesinde bir motif olarak sıkça kullanılmıştır. Bu çalışmada amacımız pınarın bir motif olarak halk edebiyatı nazım türlerinde ne derece önemsenip kullanıldığını ayrıca ne tür anlamlar kazandığını örneklerle göstermektir.
If there is not a plane tree and a spring nearby It does not matter if you are alive or dead.? Turkish folk literature is extremely rich in terms of verse types. Folk literature is studied under three headings: anonymous, minstrel and sufi literature. In these verse types ,many motifs are discussed. One of the motifs that appear frequently in the folk literature is the motif of spring. Spring ,which means water coming out of earth or the place where this event occurs , is covered as a motif in many types of folk music. While, in some regions, spring evolves beyond the names of source, bulah, büngül, headwaters,büngür, fontanelle,fountainhead ? and so on, it does not lose its properties. Springs, which take on the task of fulfilling the needs of the society for water, have been the places where lovers meet or they wait for each other in due course. Springs that were previously used as a place frequently appear with the meanings of simile, hyperbole, personification and metaphor as a result of both the experience and the talent of the narrator. As a result of the experiences they had, the people discussed spring very successfully in mani, cradlesong, folksong and in requiem, in puzzles and nursery rhymes written in verse and in ballad, semai, varsağı and epic, and also in anthem and aphorism. Spring is commonly used in folk literature types as a motif to express the feelings and thoughts because of both the need and the meaning that is attributed to it. Our purpose in this study is to show the extent of regard paid to spring as a motif in the products of folk literature and what other meanings it has gained. The people of Anatolia do not consider a place complete without a spring. We would like to conclude the topic with the following example.
If there is not a plane tree and a spring nearby It does not matter if you are alive or dead.? Turkish folk literature is extremely rich in terms of verse types. Folk literature is studied under three headings: anonymous, minstrel and sufi literature. In these verse types ,many motifs are discussed. One of the motifs that appear frequently in the folk literature is the motif of spring. Spring ,which means water coming out of earth or the place where this event occurs , is covered as a motif in many types of folk music. While, in some regions, spring evolves beyond the names of source, bulah, büngül, headwaters,büngür, fontanelle,fountainhead ? and so on, it does not lose its properties. Springs, which take on the task of fulfilling the needs of the society for water, have been the places where lovers meet or they wait for each other in due course. Springs that were previously used as a place frequently appear with the meanings of simile, hyperbole, personification and metaphor as a result of both the experience and the talent of the narrator. As a result of the experiences they had, the people discussed spring very successfully in mani, cradlesong, folksong and in requiem, in puzzles and nursery rhymes written in verse and in ballad, semai, varsağı and epic, and also in anthem and aphorism. Spring is commonly used in folk literature types as a motif to express the feelings and thoughts because of both the need and the meaning that is attributed to it. Our purpose in this study is to show the extent of regard paid to spring as a motif in the products of folk literature and what other meanings it has gained. The people of Anatolia do not consider a place complete without a spring. We would like to conclude the topic with the following example.
Açıklama
Anahtar Kelimeler
Pınar, Motif, Su kültü, Subaşı, Göze, Halk şiiri, Spring, Water cult, Riverhead, Water supply, Folk poem
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Kardaş, M. Ş. (2012). Türk halk şiirinde pınar motifi. İnönü Üniversitesi Sosyal Bilimler Enstitüsü. 1-206 ss.
