Oğuz Tansel masallarının derin kökleri üzerine bir örnek Mavi Gelin Masalı
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Tarih
2017
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info:eu-repo/semantics/openAccess
Özet
Daha çok bir halk efsanesi olarak bilinen Şahmaran hikayesinin kaynakları, yazılı kültürde öncelikle Binbir Gece Masalları'na kadar uzanır. Binbir Gece Masalları M.S. 250 yılı civarı Hint, 500 yılı civarı İran ve 8. yüzyıldan itibaren Arap kaynaklarında görülür. Osmanlı Devleti'nde Dilimize ilk çevirisi (sadece bir bölümü) Câmasbname adıyla 15. yüzyıl şairlerinden Abdî tarafından; son önemli çeviri 1992-1993 yıllarında Âlim Şerif Onaran tarafından Fransızcadan yapılmıştır. Bu makale'de Oğuz Tansel'in 1943-45 tarihlerinde derlediği "Mavi Gelin" masalının motifleri bakımından Binbir Gece Masalları'ndan bugüne geçirdiği değişiklikler ortaya konulmuştur. Tansel fantastik öğelerin yerine, masala gerçekçi olanları yerleştirir. Çıkardığı diğer önemli hususlardan biri de erotik öğelerdir: Kahramana vaad edilen bin altın ödülün yanında bakire yoktur ya da havuzda yüzen kızlarla cilveleşme yoktur. Çocuk aklıyla tuzağa düşmenin nedeni, bir işin sonunu düşünememe durumudur. Sarayın yerini konak almıştır; Hz. Süleyman'ın bina ettiği Kuşlar Tekkesi'nin bekçisi normal bir konak sahibi oluverir, kuşları değil, kardeşini ziyaret için konaktan ayrılır. Yasak bahçede yakuttan taht yerine bol çiçekli bir bahçe ve havuz vardır. Ak güvercinler soyunmaz, çırpınıp kılık değiştirirler vs. En önemli değişiklik olarak, Binbir Gece Masalları'nda ya da Şahmaran'da kızın ölümünden dolayı ortaya çıkan mutsuz son kaldırılmış, bunun yerine Türk masallarında sık görülen mutlu son ikame edilmiştir. Masal kahramanının merakı uğursuzlukla, eşinin ölümüyle cezalandırılmaz. Oğlanın başına gelenler her ne kadar cahaletinden de olsa, sözü ve gözü pekliği, korkusuzluğu övülür. Sonuç olarak, eski olağanüstü masal ve efsane motifleri Mavi Gelin masalında çağımıza uygun olarak daha gerçekçi bir nitelik kazanmıştır.
The sources of Şahmaran, mostly known as a popular legend, primarily go back to 'A Thousand Arabian Nights' in the culture of literature. 'A Thousand Arabian Nights' has been seen in Indian sources approximately for 250 A.D., Persian sources since 500 A.D. and Arabic sources since 8th century A.D. In Ottoman Empire, its first translation (only a part of it) to our language was made by Abdî, a writer from 15th century, with a name Câmasbname; and the last remarkable translation was made from French by Âlim Şerif Onaran in 1992-1993. This article shows the changes that the Blue Bride tale collated by Oğuz Tansel in 1943-45 has been undergoing since 'A Thousand Arabian Nights' in terms of its themes and patterns. Tansel added realistic elements to the tale instead of fantastic ones. Another elements that he removed are erotic items: The gift promised to the hero does not include virgin girls, or there is not any dalliance with women swimming in the pool. Falling into the trap is resulted from not being able to predict the end of actions. The palace has been replaced by the mansion; the gatekeeper of the Kuşlar Tekkesi (a kind of Islamic monastery) builded by the Prophet Suleiman has been transformed into an ordinary mansion owner, and the story has changed that he lefts the mansion in order to visit his brother. There are a lot of flowers and a pool in the forbidden garden, instead of a throne made of ruby. White pigeons do not get undressed, they flutter and masquerade instead. As the most important change, the unhappy ending which takes part in Sahmaran or The Arabian Nights: One Thousand and One Nights caused by the death of the girl has been removed; and a happy ending which is commonly seen in Turkish tales has been added. The curiosity of the tale character is not punished by his wife’s death. Although all the things happened were because of his ignorance; his courage, honesty and faith are praised. As a result, supernatural patterns seen in legends and tales have become more realistic in accordance with our modern age.
The sources of Şahmaran, mostly known as a popular legend, primarily go back to 'A Thousand Arabian Nights' in the culture of literature. 'A Thousand Arabian Nights' has been seen in Indian sources approximately for 250 A.D., Persian sources since 500 A.D. and Arabic sources since 8th century A.D. In Ottoman Empire, its first translation (only a part of it) to our language was made by Abdî, a writer from 15th century, with a name Câmasbname; and the last remarkable translation was made from French by Âlim Şerif Onaran in 1992-1993. This article shows the changes that the Blue Bride tale collated by Oğuz Tansel in 1943-45 has been undergoing since 'A Thousand Arabian Nights' in terms of its themes and patterns. Tansel added realistic elements to the tale instead of fantastic ones. Another elements that he removed are erotic items: The gift promised to the hero does not include virgin girls, or there is not any dalliance with women swimming in the pool. Falling into the trap is resulted from not being able to predict the end of actions. The palace has been replaced by the mansion; the gatekeeper of the Kuşlar Tekkesi (a kind of Islamic monastery) builded by the Prophet Suleiman has been transformed into an ordinary mansion owner, and the story has changed that he lefts the mansion in order to visit his brother. There are a lot of flowers and a pool in the forbidden garden, instead of a throne made of ruby. White pigeons do not get undressed, they flutter and masquerade instead. As the most important change, the unhappy ending which takes part in Sahmaran or The Arabian Nights: One Thousand and One Nights caused by the death of the girl has been removed; and a happy ending which is commonly seen in Turkish tales has been added. The curiosity of the tale character is not punished by his wife’s death. Although all the things happened were because of his ignorance; his courage, honesty and faith are praised. As a result, supernatural patterns seen in legends and tales have become more realistic in accordance with our modern age.
Açıklama
Anahtar Kelimeler
Oğuz Tansel, Binbir Gece Masalları, Camaspname, Mavi Gelin, A Thousand Arabian Nights, Şahmaran, The Blue Bride
Kaynak
Turkish Studies (Elektronik)
WoS Q Değeri
Scopus Q Değeri
Cilt
12
Sayı
7
Künye
Öztürk, A. O. Oğuz Tansel masallarının derin kökleri üzerine bir örnek Mavi Gelin Masalı. Turkish Studies (Elektronik), 12, 7, 311-322.
