Klasik Türk şiirinde şuhluk ve şûhâne tarz
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Dosyalar
Tarih
2021
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Şûh kavramı "hareketlerinde serbest, açık saçık, arsız, neşeli, oynak ve güzel sevgili" anlamlarına gelmektedir. Şuhâne tarz ise kadın ve kadın güzelliğini pervasız ve alenî anlatımlarla konu alan manzumelerin klasik şiirdeki karşılığı olmaktadır. Bu kavramda sevgilinin güzelliğinden ve ona duyulan afrodizyak duygulardan bahsedildiği görülmektedir. Klasik Türk şiiri, sevgilinin pek çok nitelikleri yanında, bu tarz özelliklerine de değinmiştir. Bu şûh söylemleri şöyle sırlamak mümkündür: Sevgilinin kendini âşığa çekincesizce bırakması, âşığını kur ve kirişmelerle vuslatına çağırması, bir bezm ya da "hane"de birkaç kadehle âgûşa kolaylıkla kendini bırakması, mahbub olarak da belirmesi ve hamamda sim tenini aleni olarak sergileyebilmesi. Bu şûhluk, klasik estetiğin çizdiği sınırlarda asla bayağılaşmadan ilerlemektedir. Çünkü bu tarz söylemlerde cismanî unsurlar nesnelere verilerek sevgilinin masuniyeti korunmaktadır. Bu tarzda âşık, sevgiliyle "hane"sinde ya da câme-hâbda lebâleb, sîne-be-sîne halde bulunduğu tahayyül ve tasavvurunu pervasızca dilendirebilmektedir. Şarap ve bahar da bu şûhluğun ifadesinde vesile olmaktadır. Hoca Dehhanî'den başlayarak pek çok şairin şûh söylemleriyle geliştirdiği bu tarz, Nedîm'le zirvesini bulmuştur. "Nedîmâne tarz" olarak da adlandırılan bu şiirsel söylemin Nedîm'e ulaşan çizgide çok zengin örnekleri bulunmaktadır. Hikmetli ve irfanî nitelikte şiirler söyleyen şairlerin bile şûhluk içeren manzumeler yazarak bu tarza katkı verdikleri görülmektedir. Bu manzumelerin Nedîm'i dahi aratmayacak şûh nitelikler taşıdığı görülmektedir. Çalışmada Nedîm'le zirvesini bulan bu tarzın klasik gelenek doğrultusundaki gelişimi çok sayıda şairden örnek beyitlerle detaylı olarak betimlenmiştir. Bu detaylı betimlemelere iki bedenin sükûnu, vuslat, sevgilinin kokusu ve mahbub hüviyetindeki şûh nitelikleri de eklemlenmiştir. Klasik Türk şiirinde bu konuların daha önce yeterince vurgulanmadığı görülmektedir. Çalışma ile şûhluk ve şûhâne tarzın klasik Türk şiirindeki bu zengin estetik nitelikleri sevgili bağlamında bütüncül olarak ortaya konulmuştur. Anahtar Sözcükler: Şûh, Şûhluk, Klasik Türk Şiiri, Şuhâne Tarz
The concept of suh means "free in her moves, lewd, cheeky, cheerful, loose and beautiful beloved". The suhana style is the classical poetry equivalent of poems that deal with women and beauty of women with reckless and overt expressions. In this concept, it is seen that the beauty of the lover and the aphrodisiac feeling felt for her are mentioned. Classical Turkish poetry, besides many qualities of the lover, also touched on these style features. These suh expressions can be listed as follows: The beloved's leaving herself to lover's arm without hesitation, inviting her lover to ultimate union with blinking and courting, easily leaving herself to âgûş (lap) with a few chalices in bezm (party) or "at home", also, appearing in the form as mahbûb (doll) and direct displaying her silver skin in the bathroom. This suh concept advances in the boundaries drawn by the classical aesthetics without ever becoming vulgar. Because in such discourses, the innocence of the beloved is preserved by describing the sensual elements through the objects. In this kind of love, the lover can recklessly express his imagination and thought that he is in her "house" or on the câme-hâb (bed) lip to lip, chest to chest with her lover. Wine and spring become effective in the expression of this kind of suh. This style, developed by many poets starting with Hodja Dehhani, has reached its peak with Nedîm. There are very rich examples of this poetic discourse, which is also called "Nedîmâne style", in the line reaching Nedîm. It is seen that even poets who utter sufistic and erudite poems have contributed to this style by writing such poems that contain this kind of suh. It is seen that these poems bear suh properties that can be regarded as a facsimile of Nedîm. The development of this style, which reached its peak with Nedîm, in line with the classical tradition is described in detail with sample couplets from many poets in the study. These detailed descriptions include the tranquility of the two bodies, the ultimate union, the fragrance of the beloved and the features of suh in the identity of mahbûb (doll). It is observed that in the classical Turkish poetry, these issues were not sufficiently emphasized before. With this study, these rich aesthetic qualities of the suh and suhana style classical Turkish poetry are revealed in the context of the beloved. Keywords: Suh, Style of suh, Classical Turkish poetry, Suhana style
The concept of suh means "free in her moves, lewd, cheeky, cheerful, loose and beautiful beloved". The suhana style is the classical poetry equivalent of poems that deal with women and beauty of women with reckless and overt expressions. In this concept, it is seen that the beauty of the lover and the aphrodisiac feeling felt for her are mentioned. Classical Turkish poetry, besides many qualities of the lover, also touched on these style features. These suh expressions can be listed as follows: The beloved's leaving herself to lover's arm without hesitation, inviting her lover to ultimate union with blinking and courting, easily leaving herself to âgûş (lap) with a few chalices in bezm (party) or "at home", also, appearing in the form as mahbûb (doll) and direct displaying her silver skin in the bathroom. This suh concept advances in the boundaries drawn by the classical aesthetics without ever becoming vulgar. Because in such discourses, the innocence of the beloved is preserved by describing the sensual elements through the objects. In this kind of love, the lover can recklessly express his imagination and thought that he is in her "house" or on the câme-hâb (bed) lip to lip, chest to chest with her lover. Wine and spring become effective in the expression of this kind of suh. This style, developed by many poets starting with Hodja Dehhani, has reached its peak with Nedîm. There are very rich examples of this poetic discourse, which is also called "Nedîmâne style", in the line reaching Nedîm. It is seen that even poets who utter sufistic and erudite poems have contributed to this style by writing such poems that contain this kind of suh. It is seen that these poems bear suh properties that can be regarded as a facsimile of Nedîm. The development of this style, which reached its peak with Nedîm, in line with the classical tradition is described in detail with sample couplets from many poets in the study. These detailed descriptions include the tranquility of the two bodies, the ultimate union, the fragrance of the beloved and the features of suh in the identity of mahbûb (doll). It is observed that in the classical Turkish poetry, these issues were not sufficiently emphasized before. With this study, these rich aesthetic qualities of the suh and suhana style classical Turkish poetry are revealed in the context of the beloved. Keywords: Suh, Style of suh, Classical Turkish poetry, Suhana style
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Sevimli, E, (2021), Klasik Türk şiirinde şuhluk ve şûhâne tarz, İnönü Üniversitesi, Yayınlanmış, Doktora Tezi, Malatya
