Konya Bölge Yazma Eserler Kütüphanesi “3469” Numarada Kayıtlı Bir Şiir Mecmûası
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CitationAkpınar, Ş. (2015). Konya Bölge Yazma Eserler Kütüphanesi “3469” Numarada Kayıtlı Bir Şiir Mecmûası. Turkish Studies (Elektronik), 10, 8, 341-384.
Şiir mecmûaları edebiyat tarihine kaynaklık eden önemli eserlerdendir. Şiir antolojisi olarak da kabul edilebilen bu mecmûaların derlenmesinde en büyük etken mürettibin zevkidir. Dolayısıyla bunları kişisel kayıtlar olarak görmek doğru olacaktır. Bunun yanı sıra dönemin sanat ve edebiyat beğenilerini de yansıtan şiir mecmûaları aynı zamanda şairlerin popülaritesini de ortaya koymaktadır. Son dönemde yapılan çalışmalarda bilgi bankası oluşturmak çabasıyla şiir mecmûalarının metin neşri yayımlanmakta ve bilim dünyasının yararına sunulmaktadır. Bu çalışmalara katkı sağlamak gayesiyle makalede, Konya Bölge Yazma Eserler Kütüphanesi'ne Gaziantep İl Halk Kütüphanesi'nden getirilen BY 3469 numarada "Mecmûa-i Eş'ar" adıyla kayıtlı olan şiir mecmûası tanıtılmakta ve çevriyazısı verilmektedir. Antepli Hasırcı-zâde Mehmed Ağa tarafından derlenen mecmûa, mürettibin ifadesine göre Lâ-edrî müfredâtdan seçilerek toplanmıştır. Ancak yapılan inceleme neticesinde beyitlerin bir kısmının şairinin, bugün bilindiği görülmüştür. Kendisi de şair olan Hasırcı-zâde, beğendiği ve o dönemde meşhur olan beyitleri derlemiş ve kafiyeleri dikkate alarak alfabetik sırada mecmûayı tertip etmiştir. Metnin çevriyazısı hazırlanırken, mecmûanın sayfa numaralarına sadık kalınmış; orijinal tertibi de korunmuştur. Muhteva açısından bakıldığında ise bir konu genellemesine gidilememiştir. Okuyucunun zihninde kolaylıkla yer edebilecek olan beyitler, dönemin zevkini yansıtırken bugünün beğenilerine de hitap edecek niteliktedir. Makalede, söz konusu şiir mecmûası tanıtılıp çevriyazı verilerek; Osmanlı edebiyatının mühim kaynaklarından olan mecmûaları ortaya koyma çabalarına bir yenisi eklenmek istenmiştir.Deriving from the Arabic word “cem'”, “mecmû'a” is the femininegender word for mecmû' which means collected, compiled. Mecmuas started their duties as note books reflecting the inclinations of people, and when they finished, they were named as mecmua. In these note books, verses from the Quran, hadiths, prayers, fatwas, hymns, pleasantries, lugazes, muammas, and poems… were compiled. In the content of the mecmuas, in addition to the different type and format of works, there are some works which are compiled in a single type and format. The parts of mecmuas regarding Turkish literature consist of poetical (mecmû'a-i eş'âr) and nazeerah mecmuas (mecmû'atü’nnezâ’ir). In the Ottoman period, starting to draw attention in the 15th century and to have more variety in terms of number and types after the 16th century, some of the poetical mecmuas have the characteristics of rough books, and some of them seem as regular works of art. The number of them is quite high in the manuscript libraries. Poetical mecmuas are important works which serve as a source to the history of literature. In compilation of these mecmuas which can also be accepted as poem anthology, the most important factor has been the compositor’s taste. Therefore, it would be right to regard them as personal records. As well as this, reflecting the tastes of art and literature of the period they have been written in, poetical mecmuas also present the popularity of poets. In the recent studies, text publications of the poetical mecmuas have been published with the purpose of constituting a data bank, and have been provided for the benefit of science world. In order to contribute to these studies, in this article, the poetical mecmua brought from Gaziantep Province Public Library to Konya Regional Manuscript Library and registered as “Mecmua-i Eş’ar” in number BY 3469 is presented and its transcription is manifested. This mecmua, which was compiled by Antep born and having treatise, Hasırcı-zâde Mehmed Aga (b.1218/1803 - d.1304/1887), consists of 26 leafs and involves 330 couplets. According to the compiler’s statements, they were collected from Lâ-edrî müfredât. However, it was seen that the poets of some of the couplets were known today. Among them are Baki who is one of the famous poets of Turkish Literature, Shaykh al-islam Yahyâ, Nâbî, Nedim. In addition, the detection of these poets reveals that not all the couplets are müfred because a few of the couplets were chosen from the poetry forms such as gazal, kaside, müseddes. The fact that most of the verses are Lâ-edrî prevents the appraisal of them in terms of their poets; however, owing to the fact that it is based on poems, it draws attention unlike several sources which highlight the poets. Being a poet himself, Hasırcı-zâde compiled the couplets which he liked and were famous at that period, and he organized the mecmua in an alphabetical order by considering the rhymes. When considered in terms of its content, it can be seen that there is no single topic. The couplets which can make an impression on people’s minds have the feature of appealing to today’s inclinations while it is reflecting the tastes of the period that has been written. In the mecmua, the couplets which were written in rika writing style were rhymed with eighteen letters. Among them “ ر ن ه ى “sounds are seen to be preferred mostly. Compiled from the verses written in twelve different prosody structures, in this mecmua “Fe'ilâtün Fe'ilâtün Fe'ilâtün Fe'ilün” structure is the most used one. The mecmua starts with this statement: “Şu‘ara-yı salifeden olup da kâ’ili bulunamayan Lâ-edrî müfredâtlardan intihâb olunanları buraya cem‘idilmişdür” (The ones chosen from lâ-edrî müfredâts whose poets are old and cannot be found were compiled here.). At the end of the mecmua “el-ma‘rûf bi-Hasırcı-zâde” (known as Hasırcı-zâde) was written. While the first couplet of the work is like this; Perçem-i müşgin-i yâre uğramış bad-ı şaba Geldi canandan dimağ-ı cana buy-ı aşina The last couplet is like this; Arzu-yı iştiyakun bi-huzur itdi beni Durbin-i şevk ile yollarda gözlerdüm seni Consisting 7 couplets, 14 lines, every page has its number in the up center. For this reason, while transferring the text to today’s alphabet the leafs were not numbered; the page numbers in the mecmua were stuck. Morover, in order for the characteristics of the mecmua’s organization to be seen, the way that the couplets was written on the pages was stuck in the transcription, too. When analyzed in terms of its organization, the mentioned mecmua arouses the feeling that it had been planned as a whole from the very beginning and compiled, rather than the note book outlook. Scratches and spaces are not seen on the sides and spaces. This organization can be thought to have resulted from the fact that the compiler was a poet. Owing to the fact that the volume of the mecmua is not too much, it was considered appropriate to publish it all with an article. In the meanwhile, the modification which was done for the prosody and meaning is given [ ] in this mark (Müfred 261, 299, 304 etc.), and due to the same reasons the words/syllables taken out the text are shown as the sign (M) in the footnote part. Also, the problems of prosody, the meanings of the verses from Quran, the translations of Arabic phrases are also indicated in the footnote part. In this article, the transcription was prepared by presenting the mentioned poetical mecmua and it was aimed to support the efforts for presenting the mecmuas which are the stores of Ottoman literature.
SourceTurkish Studies (Elektronik)