\n \u0130slam medeniyeti etkisinde geli\u015fen orta devre T\u00fcrk Edebiyat\u0131\u2019n\u0131n bir kolu; k\u00fclt\u00fcr merkezinde toplanan ayd\u0131nlar az\u0131nl\u0131\u011f\u0131n\u0131n, XI. yy.dan sonra Arap ve \u0130ran Edebiyatlar\u0131\u2019n\u0131n etkisinde yaratt\u0131\u011f\u0131 y\u00fcksek z\u00fcmre edebiyat\u0131na kar\u015f\u0131l\u0131k, halk y\u0131\u011f\u0131nlar\u0131 aras\u0131nda do\u011fan ve geli\u015fen s\u00f6zl\u00fc edebiyat\u0131n b\u00fct\u00fcn \u00fcr\u00fcnleri. K\u00fclt\u00fcr anla\u015fmazl\u0131\u011f\u0131 y\u00fcz\u00fcnden ayd\u0131n az\u0131nl\u0131k ile halk y\u0131\u011f\u0131nlar\u0131n\u0131n kesinlikle birbirinden uzakla\u015ft\u0131\u011f\u0131 d\u00f6nemlerin (Anadolu\u2019da XIII. yy.dan XX yy.a kadar) zorunlu sonucu olan Halk edebiyat\u0131n\u0131n i\u00e7ine, hem anonim \u00fcr\u00fcnlerin hepsi, hem bu gelenek i\u00e7inde yeti\u015fen belli sanat\u00e7\u0131lar\u0131n (a\u015f\u0131klar, saz \u015fairleri, halk \u015fairleri) ki\u015fisel eserleri girer. Ba\u015flang\u0131\u00e7ta ki\u015fisel bir yarat\u0131\u015f olarak do\u011fan, halk\u0131n bilin\u00e7 ve haf\u0131zas\u0131nda saklanarak ortak\u00e7a kullan\u0131lan Halk edebiyat\u0131 \u00fcr\u00fcnleri (atas\u00f6zleri, deyimler, tekerlemeler, bilmeceler, masallar, ninniler, a\u011f\u0131tlar, t\u00fcrk\u00fcler, destanlar, halk hikayeleri, meddah anlat\u0131lar\u0131, f\u0131kralar, efsaneler, alk\u0131\u015f ve karg\u0131\u015flar, maniler, seyirlik oyunlar, \u00e7ocuk oyunlar\u0131, karag\u00f6z ve orta oyunu v.b.) ile saz \u015fairlerini sahipleri bilinen eserleri (ko\u015fmalar, destanlar, semailer, varsa\u011f\u0131lar, ilahi ve nefesler) Halk edebiyat\u0131 i\u00e7inde toplan\u0131r. S\u00f6zl\u00fc gelenekle olu\u015farak yay\u0131lan a\u015f\u0131k edebiyat\u0131 \u00fcr\u00fcnleri, zamanla bireyliklerini yitirir; yarat\u0131c\u0131lar\u0131 halk haf\u0131zas\u0131nda efsane ve menk\u0131beler aras\u0131nda an\u0131l\u0131r; sahibi bilinen eserler de y\u00fczy\u0131llar sonra yaz\u0131l\u0131 kaynaklara ge\u00e7irildi\u011fi i\u00e7in de\u011fi\u015fik bi\u00e7imler g\u00f6sterir; bu eserlerden bir k\u0131sm\u0131 ise anonim halk \u015fiirlerine d\u00f6n\u00fc\u015f\u00fcr. Halk hikayelerinin birer anlat\u0131c\u0131s\u0131 alan saz \u015fairleri, bu anonim \u00fcr\u00fcnleri ki\u015fisel katk\u0131larda bulunarak aktar\u0131rlar. Din ve tarikat d\u0131\u015f\u0131ndaki halk \u015fiirinin geli\u015fimi XVI. yy.dan sonra ba\u015flar. XIII.-XV. y\u00fczy\u0131llar aras\u0131nda ise \u00f6ncelik, dini-tasavvufi konular\u0131 i\u015fleyen tekke \u015fairlerindendir. Tekke edebiyat\u0131 \u00e7er\u00e7evesinde incelenen bu gibi sanat\u00e7\u0131lar da asl\u0131nda halk edebiyat\u0131n\u0131n i\u00e7indedirler. \u00c7\u00fcnk\u00fc en b\u00fcy\u00fck temsilcileri yaln\u0131zca din ve tasavvuf konular\u0131nda s\u0131k\u0131\u015f\u0131p kalmayan bu yolun \u00f6nc\u00fcleri (Yunus Emre, Kaygusuz Abdal v.b.), Halk edebiyat\u0131n\u0131 \u00f6l\u00e7\u00fc ve uyak tekni\u011fini halk dilini, halk \u015fiirlerinin naz\u0131m bi\u00e7imlerini kullanarak sonraki saz \u015fiiri, a\u015f\u0131k \u015fiiri gelene\u011fine ba\u015flang\u0131\u00e7 olmu\u015flard\u0131r. Ayr\u0131ca \u015fehir tekkelerinde k\u00fcmelenerek b\u00fct\u00fcn\u00fcyle din ve tasavvuf \u015fiirleri yazanlar\u0131n d\u0131\u015f\u0131nda kalan, k\u00f6y \u00e7evreleriyle Alevi-K\u0131z\u0131lba\u015f b\u00f6lgelerdeki z\u00fcmre \u015fairleri ve Bekta\u015fi sanat\u00e7\u0131lar\u0131 da a\u015f\u0131k gelene\u011fi ile b\u00fcy\u00fck ili\u015fkiler i\u00e7inde bulunmu\u015f, saz \u00e7alman\u0131n d\u0131\u015f\u0131nda b\u00fct\u00fcn \u00f6zellikleriyle halk \u015fiirinin izleyicisi olmu\u015flard\u0131. Bu bak\u0131mdan Alevi-Bekta\u015fi nefesleri birer halk \u015fiiri, yarat\u0131c\u0131lar\u0131 da halk\u0131n \u015fairi say\u0131lmal\u0131d\u0131rlar. Onun i\u00e7in y\u00fcksek z\u00fcmre tasavvuf edebiyat\u0131 d\u0131\u015f\u0131nda kalan b\u00fct\u00fcn halk sanat\u00e7\u0131lar\u0131 ile saz \u015fairleri, Halk edebiyat\u0131n\u0131n kapsam\u0131na girerler.<\/p>\n
\u2022Halk Edebiyat\u0131n\u0131n Ba\u015flang\u0131c\u0131<\/p>\n
\u0130slam medeniyeti etkisine girmeden \u00f6nceki ilk devre T\u00fcrk Edebiyat\u0131\u2019n\u0131, orta devre halk edebiyat\u0131n\u0131n k\u00f6k\u00fc kabul etmek gerekir. Bu devrede kalan \u00f6rnekler, yeterince \u00e7ok de\u011filse de ortak \u00f6zellikler bak\u0131m\u0131ndan sonraki halk \u015fiirinin b\u00fct\u00fcn niteliklerini ta\u015f\u0131r. D\u00fc\u015f\u00fcn\u00fc\u015f, duyu\u015f ve anlat\u0131\u015f bak\u0131m\u0131ndan yabanc\u0131 etkilere kap\u0131lmam\u0131\u015f, dili kat\u0131ks\u0131z T\u00fcrk\u00e7e olan bu ilk \u00f6rneklerin hepsi, T\u00fcrk\u00e7e\u2019nin tabii yap\u0131s\u0131na uygun gelen hece vezni ile s\u00f6ylenmi\u015f, a\u011f\u0131zdan a\u011f\u0131za ya\u015fanm\u0131\u015f ortakla\u015fa eserlerdir. Divan\u00fc L\u00fcgat-it-T\u00fcrk\u2019te rastlanan \u00f6rneklerle tarih ve toplumbilim ara\u015ft\u0131rmalar\u0131, ilk devre T\u00fcrk Edebiyat\u0131\u2019nda kam, baks\u0131, oyun, \u015faman, ozan gibi adlar alan ilk \u015fairlerin, ayn\u0131 zamanda kopuz \u00e7alan birer m\u00fczik sanat\u00e7\u0131s\u0131 olduklar\u0131n\u0131; hekimlik, b\u00fcy\u00fcc\u00fcl\u00fck gibi g\u00f6revleri de y\u00fcklendiklerini, \u015f\u00f6len, s\u0131\u011f\u0131r, yu\u011f t\u00f6renlerinde g\u00f6rev ald\u0131klar\u0131n\u0131 g\u00f6stermektedir. Turfan kaz\u0131lar\u0131nda \u00c7u\u00e7u, Apr\u0131n\u00e7ur Tigin, K\u00fcl Tarkan, Ki-Ki, \u00c7\u0131suya Tutung, As\u0131g Tutung, Sungku Seli Tutung, Kal\u0131m Key\u015fi gibi sanat\u00e7\u0131lar\u0131n birer iki\u015fer \u015fiirleri ele ge\u00e7mi\u015f, \u00e7e\u015fitli \u00e7evre ve a\u011f\u0131zlarda ko\u015fug, kojan, tak\u015fut, \u0131r, y\u0131r, \u015filok, kavi, ba\u015f\u0131k gibi adlarla an\u0131lan naz\u0131m bi\u00e7imlerine rastlanm\u0131\u015ft\u0131r. Genellikle naz\u0131m bi\u00e7imi, sonraki halk \u015fiirinde oldu\u011fu gibi d\u00f6rtl\u00fcklerdir. Uyaklar ise kolay bulunan yar\u0131m benzerlikler \u015feklindedir. G\u00f6kt\u00fcrk yaz\u0131tlar\u0131 d\u0131\u015f\u0131nda mensur metin ele ge\u00e7memi\u015ftir. Ya\u015fad\u0131klar\u0131 hayat gere\u011fi zengin bir destan edebiyat\u0131 yaratm\u0131\u015f olmas\u0131 gereken Orta Asya T\u00fcrkl\u00fc\u011f\u00fcn\u00fcn adlar\u0131 ve konular\u0131 bilinen destanlar\u0131, ilk bi\u00e7imleriyle ele ge\u00e7memi\u015ftir. <\/p>\n
\u2022\u0130slam Medeniyeti Etkisinde Halk Edebiyat\u0131<\/p>\n
Kabile ve din ayr\u0131l\u0131\u011f\u0131yla b\u00f6l\u00fcnm\u00fc\u015f T\u00fcrk boylar\u0131n\u0131n, soy ortakl\u0131\u011f\u0131 yan\u0131 s\u0131ra kayna\u015ft\u0131r\u0131c\u0131 bir \u00fcmmet inanc\u0131 ile birle\u015ferek g\u00fc\u00e7lendikleri \u0130slamiyet d\u00f6neminde ilk y\u00fczy\u0131llara ait kesin belgeler kalmam\u0131\u015ft\u0131r. Geni\u015f ve bo\u015f bozk\u0131rlarda g\u00f6\u00e7ebelik \u015fartlar\u0131 i\u00e7inde da\u011f\u0131lan g\u00fc\u00e7ler, medeniyet merkezlerinde yo\u011fun yerle\u015fmeler halinde toplan\u0131r, vazge\u00e7ilmez yurtlar edinilir, site hayat\u0131n\u0131n tabii sonucu olan dil, ahlak, hukuk, sanat, k\u00fclt\u00fcr, edebiyat gibi alanlarda belli ba\u015fl\u0131 eserler verilir; Ku\u2019ran alfabesinin ortakl\u0131\u011f\u0131yla \u0130slam d\u00fcnyas\u0131n\u0131n k\u00fclt\u00fcr birli\u011fine kolayca girilir. Ancak bu ortama uyarlanmak i\u00e7in birka\u00e7 y\u00fczy\u0131ll\u0131k haz\u0131rlanma zaman\u0131 ge\u00e7er; bu y\u00fczden IX.-XIII. y\u00fczy\u0131llar b\u00fcy\u00fck bo\u015fluklar g\u00f6sterir. Anadolu\u2019da dinin gerektirdi\u011fi zorunluklara \u00f6nce Arap\u00e7a\u2019n\u0131n sanat, edebiyat ve devlet dili olarak da Fars\u00e7a\u2019n\u0131n etkisi ba\u015flad\u0131. Birka\u00e7 y\u00fczy\u0131l i\u00e7inde T\u00fcrk\u00e7e, kar\u0131\u015f\u0131k bir zenginli\u011fe ula\u015ft\u0131. Ancak halk y\u0131\u011f\u0131nlar\u0131yla y\u00fcksek z\u00fcmrenin aras\u0131n\u0131n a\u00e7\u0131lmas\u0131 da her \u015feyden \u00f6nce bu dil ayr\u0131l\u0131\u011f\u0131 y\u00fcz\u00fcnden \u00e7o\u011fald\u0131. \u0130slam T\u00fcrk toplumlar\u0131n\u0131n hepsinde y\u00fczy\u0131llar s\u00fcrecek ve gittik\u00e7e artacak olan k\u00fclt\u00fcr, zenginlik, ya\u015fama, d\u00fc\u015f\u00fcnme ve zevk \u00f6l\u00e7\u00fcs\u00fcndeki katlar ayr\u0131l\u0131\u011f\u0131, edebiyat\u0131nda birbirine uzak iki yolda geli\u015fmesine yol a\u00e7t\u0131. \u0130lk yerle\u015fme \u00e7evresi olan Mavera\u00fcnnehir\u2019deki Hakaniye-Do\u011fu T\u00fcrk\u00e7e\u2019sinin (sonralar\u0131 \u00c7a\u011fatay leh\u00e7esi) halk edebiyat\u0131 \u00fcr\u00fcnleri, ilk bi\u00e7imleriyle ele ge\u00e7mi\u015f de\u011fildir. Geli\u015fim daha bat\u0131ya kayan O\u011fuz T\u00fcrleri ile Azeri ve Anadolu leh\u00e7elerini meydana getirdi. Yak\u0131n b\u00f6lge kom\u015fulu\u011fu y\u00fcz\u00fcnden Azeri T\u00fcrk\u00e7e\u2019si ile Anadolu leh\u00e7esi (Bat\u0131 T\u00fcrk\u00e7e\u2019si) birbirinden fazla ayr\u0131l\u0131k g\u00f6stermedi. Saltuk Bu\u011fra Han\u2019\u0131 ve k\u0131rg\u0131z yi\u011fidi Er Manas\u2019\u0131 kahraman olarak tan\u0131tan s\u00f6zl\u00fc destan gelene\u011fi devam etti. \u0130lk T\u00fcrk mutasavv\u0131flar\u0131ndan Ahmet Yesevi\u2019nin ad\u0131na ba\u011flanan Divan-\u0131 Hikmet\u2019teki \u015fiirlerinin d\u00f6rtl\u00fck birimi ve hece vezniyle yaz\u0131lm\u0131\u015f olmas\u0131, halk \u015fiirinin canl\u0131 gelene\u011fini g\u00f6sterir.
\n XI. yy.da Mavera\u00fcnnehir b\u00f6lgesinde ba\u015flayan \u0130slami T\u00fcrk Edebiyat\u0131\u2019n\u0131n Anadolu\u2019daki ilk \u00fcr\u00fcnleri XIII. yy.da verildi. Devlet dili gibi edebiyat dilini de Fars\u00e7a sayan y\u00fcksek z\u00fcmre \u015fiirlerinin bir k\u0131sm\u0131 hem T\u00fcrk\u00e7e, hem Fars\u00e7a yazma yolunu tuttular. Asl\u0131nda XIII. yy sanat\u00e7\u0131lar\u0131, sonraki d\u00f6nemlerde kesinle\u015fecek \u015fekilde divan ve halk \u015fairi olarak ayr\u0131lm\u0131\u015f de\u011fillerdi. Mesela Yunus Emre, d\u00fczenlenen Divan\u2019\u0131 ve Mesnevi\u2019si ile g\u00f6r\u00fcn\u00fc\u015fte bir divan \u015fairi oldu\u011fu kadar tasavvufi-dini konular\u0131 i\u015fleyen bir tekke-tarikat s\u00f6zc\u00fcs\u00fc, ayn\u0131 zamanda da dili, naz\u0131m birimlerinin yatk\u0131n de\u011fi\u015fkenli\u011fi, hece vezni ile halk \u015fiirinin g\u00fc\u00e7l\u00fc bir temsilcisiydi. K\u00fclt\u00fcr merkezleri olan \u015fehirlerde divan edebiyat\u0131 do\u011fup geli\u015fmeye ba\u015flay\u0131nca k\u00f6y 212 oba-kasaba \u00e7evrelerinde kalan halk \u00e7o\u011funlu\u011fu da kendi edebiyat\u0131n\u0131 yaratmak ve ya\u015fatmak zorunda kald\u0131. XV. yy. sonlar\u0131na kadar halk \u015fiirin temsilcileri hep dini-tasavvufi konular\u0131 i\u015fleyen tekke \u015fairleri oldu\u011fu halde (Kaygusuz Abdal, Said Emre, Hac\u0131 Bayram Veli, Pir Sultan Abdal, Hatayi, E\u015frefo\u011flu Abdal Musa, Bal\u0131m Sultan, Hasan Dede v.b.) XVI. yy.dan sonra gezici halk \u015fairleri, saz \u015fairleri, a\u015f\u0131klar \u00f6nem kazand\u0131lar. Asl\u0131nda Halk edebiyat\u0131n\u0131n b\u00fct\u00fcn alanlar\u0131nda da \u0130slam k\u00fclt\u00fcr\u00fcn\u00fcn etkileri g\u00f6ze \u00e7arpar. Divan edebiyat\u0131nda oldu\u011fu gibi Halk edebiyat\u0131nda da ger\u00e7ek hayat sahneleri az, g\u00fc\u00e7l\u00fc d\u00fc\u015f\u00fcnce ak\u0131mlar\u0131 yoktur. Sanat geleneklere ba\u011fl\u0131d\u0131r. Daima tekrarlanan konular, ortak motifler, din tarihi ve b\u00fcy\u00fckleriyle ilgilidir. Naz\u0131m, nesirden \u00fcst\u00fcn tutulmu\u015f, nesir ona ba\u011fl\u0131 kalm\u0131\u015ft\u0131r. Genellikle eser par\u00e7a par\u00e7a i\u015flenir, \u00f6l\u00e7\u00fcl\u00fc bir b\u00fct\u00fcnl\u00fck g\u00f6zetilmez. Y\u00fcksek z\u00fcmreden uzak kalan halk topluluklar\u0131 eski geleneklerini korurlar. Halka d\u00f6n\u00fck tekkelerle Anadolu insan\u0131n\u0131 kazanmaya \u00e7al\u0131\u015fan \u015eii-Alevi inanc\u0131n\u0131n s\u00f6zc\u00fcleri, ba\u015far\u0131ya ula\u015fmak i\u00e7in \u00e7o\u011funlu\u011fa, onun dili, zevki, al\u0131\u015fkanl\u0131klar\u0131 y\u00f6n\u00fcnden yakla\u015fmaya \u00e7al\u0131\u015ft\u0131lar. B\u00f6ylece \u0130slaml\u0131k \u00f6ncesi T\u00fcrk \u015fiir gelene\u011fi, tekke edebiyat\u0131 bi\u00e7iminde yeni bir ama\u00e7la diriltilmi\u015f oldu.<\/p>\n
\u2022Tekke Edebiyat\u0131<\/p>\n
Sel\u00e7uklu devletinin y\u0131k\u0131l\u0131\u015f\u0131, ha\u00e7l\u0131 seferlerinin y\u0131k\u0131m\u0131, beylikler da\u011f\u0131l\u0131m\u0131 ve hen\u00fcz kuvvetli bir merkezi otoritenin var olmad\u0131\u011f\u0131 XIII. yy. Anadolu\u2019sunda \u00e7e\u015fitli tarikatlar ilkelerini yaymaya ba\u015flad\u0131. Hem ayd\u0131nlar\u0131 hem halk\u0131 ayn\u0131 inan\u00e7 ve sevgi y\u00f6n\u00fcnden toplayan tekkeler, kurulu\u015f d\u00f6nemlerinde insan ve insanl\u0131k sevgisi, medreseye ayk\u0131r\u0131 d\u00fc\u015fen yorumlar\u0131, halka de\u011fer veren tutumlar\u0131 ile b\u00fcy\u00fck toplanma merkezleri oldu; halk dili, hece vezni ile edebi \u00fcr\u00fcnlerini yayd\u0131. XV. yy. dan sonra a\u015f\u0131k denilen saz \u015fairleri ba\u015flang\u0131\u00e7ta halka yak\u0131n olan tekke edebiyat\u0131n\u0131n, vak\u0131flar d\u00fczeni ile g\u00fc\u00e7lenerek gittik\u00e7e y\u00fcksek z\u00fcmreye yakla\u015fmas\u0131 sonucunda ortaya \u00e7\u0131kt\u0131. \u00d6zellikle ayd\u0131nlar aras\u0131nda yay\u0131lan tarikatlardan ba\u015fka (Mevlevilik), daha \u00e7ok halka yakla\u015fan tarikatlar (Bekta\u015filik) Halk edebiyat\u0131n\u0131n zengin kayna\u011f\u0131 oldu. F\u00fct\u00fcvvet gelene\u011fi ile Hac\u0131 Bekta\u015f-\u0131 pir sayan yeni\u00e7eri te\u015fkilat\u0131, devaml\u0131 asker oca\u011f\u0131n\u0131 bu tarikata ba\u011flayarak y\u00fczy\u0131llarca ya\u015famas\u0131n\u0131 sa\u011flad\u0131. Bu arada ho\u015fg\u00f6r\u00fcs\u00fc, inan\u00e7 geni\u015fli\u011fi, d\u00fcnya de\u011ferlerine i\u00e7ten ba\u011fl\u0131l\u0131\u011f\u0131, softa ve yobaz davran\u0131\u015flara kar\u015f\u0131 \u00e7\u0131kan ba\u015f e\u011fmez ki\u015fili\u011fi ile bir Bekta\u015fi tipi do\u011fdu. Gerek f\u0131kralar\u0131, gerek nefesleri ile Bekta\u015fi edebiyat\u0131 Halk edebiyat\u0131n\u0131n s\u00fcr\u00fcp giden canl\u0131 kollar\u0131ndan biri oldu. \u00d6teki tarikatlar\u0131n edebiyattaki paylar\u0131, k\u0131sa s\u00fcrede t\u00fckendi; \u00f6zellikle Halk edebiyat\u0131 dairesinin d\u0131\u015f\u0131nda kald\u0131.
\n Tekke edebiyat\u0131n\u0131n en b\u00fcy\u00fck temsilcileri XIII.-XIV. yy.da Yunus Emre, XIV. yy.da esimi, XV. yy.da Kaygusuz Abdal, E\u015frefo\u011flu Rumi, XVI. yy.da Hatayi, Pir Sultan Abdal, Kul Himmet, Aziz H\u00fcdayi, XVII. yy.da Niyazi-i M\u0131sri vb.dir.<\/p>\n
\u2022A\u015f\u0131k Edebiyat\u0131<\/p>\n
Halk \u015fairi, saz \u015fairi s\u00f6zleriyle ayn\u0131 anlama gelen a\u015f\u0131k edebiyat\u0131, kedilerini a\u015f\u0131k ad\u0131yla anan halk sanat\u00e7\u0131lar\u0131n\u0131n geleneksel eserlerini kapsar. \u015eairli\u011fi bir a\u015fk tutkusu ile e\u015f de\u011ferde g\u00f6ren tutum b\u00fct\u00fcn orta\u00e7a\u011f edebiyatlar\u0131n\u0131n ortak \u00f6l\u00e7\u00fcs\u00fcd\u00fcr. Bir yan\u0131yla eski destan gelene\u011fini s\u00fcrd\u00fcrerek, bir yandan da a\u015fk ve tabiat \u015fiirleri s\u00f6yleyen, \u00e7al\u0131p \u00e7a\u011f\u0131rarak telden s\u00f6yleyen, irticai olarak eser sunan kendinden ba\u015fka sanat\u00e7\u0131lar\u0131n \u00fcr\u00fcnlerini yayan, halk\u0131n haber \u00f6\u011frenme ihtiyac\u0131n\u0131 kar\u015f\u0131layan, t\u00f6renlerde bir e\u011flence unsuru olarak g\u00f6rev alan gezgin saz a\u015f\u0131klar\u0131, XV. yy.dan sonra ortaya \u00e7\u0131kt\u0131; zamanla \u00e7o\u011falarak te\u015fkilatland\u0131; \u015fehirlerde ya\u015famaya ba\u015flayarak sanat\u00e7\u0131l\u0131k iddialar\u0131n\u0131 y\u00fcksek z\u00fcmre edebiyat\u0131na \u00f6zenen eserlerle ispatlamaya \u00e7al\u0131\u015ft\u0131. Halk aras\u0131nda saz \u00e7alarak dola\u015fan, ezbere \u015fiirler s\u00f6yleyen, duruma ve zaman\u0131n gere\u011fine g\u00f6re kendileri de eser veren a\u015f\u0131klar; kendilerini yeti\u015ftiren ustalar\u0131n\u0131n gelene\u011fini s\u00fcrd\u00fcr\u00fcr, yeti\u015ftikleri \u00e7evrelerin \u00f6zelliklerini ta\u015f\u0131rlar. Bu a\u00e7\u0131dan a\u015f\u0131klar\u0131; k\u00f6yl\u00fc \u015fairler, \u015fehir a\u015f\u0131klar\u0131 asker \u015fairler, oba \u015fairleri diye ay\u0131rmak m\u00fcmk\u00fcnd\u00fcr. Naz\u0131m bi\u00e7imlerine g\u00f6re de\u011fil konular\u0131na g\u00f6re de onlar\u0131n \u015fiirleri g\u00fczellemeler, a\u011f\u0131tlar, ta\u015flamalar, ko\u00e7aklamalar, muammalar, destanlar diye b\u00f6l\u00fcnebilir. Anonim eserlerin izinde giden \u015fiirlerin son d\u00f6rtl\u00fc\u011f\u00fcnde adlar\u0131n\u0131 anan a\u015f\u0131klar, yal\u0131n ve yapmac\u0131ks\u0131z bir dil, hece vezni, genellikle kolay bulunan yar\u0131m kafiyeler, geleneksel naz\u0131m \u015fekillerini kullan\u0131rlar. D\u00f6rtl\u00fc\u011f\u00fcn naz\u0131m birimi olarak almakta devam ettikleri halde eserleri disiplinsiz bir da\u011f\u0131n\u0131kl\u0131kta par\u00e7a par\u00e7a sunulmu\u015ftur. Yapma bir \u015fiir d\u00fcnyas\u0131n\u0131n kal\u0131plar\u0131 tekrarlan\u0131rken usta temsilcilerinde insani derinliklere rastlan\u0131r; yer yer halk\u0131m\u0131z\u0131n ya\u015fad\u0131\u011f\u0131 ger\u00e7ek hayat\u0131n sorunlar\u0131 ile tabiat ve toplum konular\u0131n\u0131n i\u015flendi\u011fi g\u00f6r\u00fcl\u00fcr. S\u00f6zl\u00fc edebiyat\u0131n ka\u00e7\u0131n\u0131lmaz sak\u0131ncas\u0131 olan tekrarlar, bo\u015f tekerlemeler, vezin ve kafiye sa\u011flamada kolayl\u0131k olan yak\u0131\u015ft\u0131rmalar bulunur. Merakl\u0131lar\u0131 taraf\u0131ndan c\u00f6nk denilen defterlere yaz\u0131lan \u015fiirlerin ilk bi\u00e7imlerini tespit etmek hemen hemen imkans\u0131zd\u0131r. Bu y\u00fczden yaz\u0131ya ge\u00e7irilmeyen nice \u00f6rne\u011fi kaybolmu\u015f, tespit edilen metinlerin tutmazl\u0131\u011f\u0131 ve \u00e7e\u015fitli \u00e7evrelerde de\u011fi\u015fen \u015fekilleri, a\u015f\u0131k edebiyat\u0131n\u0131n da zamanla folklorun konular\u0131 aras\u0131na itmi\u015ftir. XVII. yy.dan sonra ise gittik\u00e7e k\u00fclt\u00fcr merkezlerine yerle\u015ferek te\u015fkilatlanan a\u015f\u0131klar, divan \u015fiirine \u00f6zenerek aruzla manzumeler yazm\u0131\u015flar; okuma yazma \u00f6\u011frenen, \u00f6\u011frenim g\u00f6ren ba\u015fl\u0131ca temsilcileri iki yanl\u0131 bir de\u011fer kazanmaya \u00e7aba g\u00f6stermi\u015flerdir. Bu bak\u0131mdan sonraki kalem \u015fuaras\u0131 diye adland\u0131r\u0131lan bir b\u00f6l\u00fck sanat\u00e7\u0131 ile halk aras\u0131nda ya\u015fay\u0131p yaratan \u00fcmmi sanat\u00e7\u0131lar aras\u0131da dil, vezin, \u015fekil ayr\u0131l\u0131klar\u0131 g\u00f6ze \u00e7arpar. Gere\u011fince yaz\u0131ya ge\u00e7irilemeyen ve yarat\u0131c\u0131lar\u0131n\u0131n \u00e7o\u011fu hakk\u0131nda kesin bilgiler edinilemeyen a\u015f\u0131klar aras\u0131nda en \u00f6nde gelenler XVII. yy.da ya\u015fad\u0131\u011f\u0131 tart\u0131\u015fma konusu olan Karacao\u011flan, A\u015f\u0131k \u00d6mer, Gevheri, Gazi A\u015f\u0131k Hasan; XVIII. yy.da ya\u015faya A\u015f\u0131k Ali, A\u015f\u0131k Andi, A\u015f\u0131k Civan varl\u0131\u011f\u0131 s\u00f6ylentiye dayanan A\u015f\u0131k Garip, A\u015f\u0131k Nuri; XIX. yy.da ya\u015fayan Derli, Zihni, Emrah, Seyrani, Ruhsati, S\u00fcmmani g\u00f6\u00e7ebe \u015fairi Dadolu\u011flu, g\u00fcn\u00fcm\u00fcz sanat\u00e7\u0131lar\u0131ndan A\u015f\u0131k Ali \u0130zzet, A\u015f\u0131k Veysel v.b.dir. \u00d6zellikle din d\u0131\u015f\u0131 konulardaki eserleriyle a\u015f\u0131k edebiyat\u0131, XX. yy. ba\u015flar\u0131nda memleket sorunlar\u0131na y\u00f6nelen milli edebiyat ak\u0131m\u0131n\u0131n kayna\u011f\u0131 olarak ayr\u0131 bir \u00f6nnem kazand\u0131. Cumhuriyet d\u00f6neminde, Yeni T\u00fcrk Edebiyat\u0131\u2019nda da Halk Edebiyat\u0131\u2019n\u0131n dini-tasavvufi alandaki \u00f6rnekleri de\u011fil, A\u015f\u0131k Edebiyat\u0131\u2019n\u0131n tabii ve yal\u0131n de\u011fi\u015fleri dil ve konu bak\u0131m\u0131ndan kaynak edinildi.<\/p>\n
\u2022A\u015f\u0131k Edebiyat\u0131 Naz\u0131m Bi\u00e7imleri<\/p>\n
A\u015f\u0131klar taraf\u0131ndan geli\u015ftirilen halk \u015fiirlerinde, genellikle hece vezni kullan\u0131ld\u0131. A\u015f\u0131klar\u0131n bent veya hane dedikleri ana naz\u0131m birimi hemen daima d\u00f6rtl\u00fckt\u00fcr; baz\u0131 \u015fiirlerde m\u0131sralar azal\u0131p \u00e7o\u011falabilir. Kafiye da\u011f\u0131l\u0131\u015f\u0131 bak\u0131m\u0131ndan iki tipte toplanabilecek olan naz\u0131m \u015fekilleri hece vezninin en \u00e7ok kullan\u0131lan birka\u00e7 kal\u0131b\u0131na dayan\u0131r; yedi heceli vezinlerle mani tipindeki \u015fiirler; 4-4 durakl\u0131 sekizli hece vezni ile s\u00f6ylenen semai ve varsa\u011f\u0131lar 11\u2019li hece vezninin 6-5 veya 4-4-3 durakl\u0131 ko\u015fma ve destanlar\u0131 genellikle Halk edebiyat\u0131nda naz\u0131m \u015fekilleri kendilerine has ezgilerle birbirinden ayr\u0131l\u0131r ve ko\u015fma tipi ile mani ipinin kafiyelenme de\u011fi\u015fikli\u011fi d\u0131\u015f\u0131nda birbirinden uzakla\u015fan yanlar\u0131 yoktur. T\u00fcrki s\u00f6z\u00fcn\u00fcn bozulmu\u015f \u015fekli olan t\u00fcrk\u00fclerin ise anonim veya ki\u015fisel, \u00e7ok de\u011fi\u015fik yap\u0131lar\u0131na rastlan\u0131r. Kavu\u015ftakl\u0131 ve tekrarl\u0131 olu\u015flar\u0131 t\u00fcrk\u00fclerin ana naz\u0131m birimi olan d\u00f6rtl\u00fckten uzakla\u015fmas\u0131n\u0131 gerektirmi\u015ftir. Ezgi ve konular\u0131na ayr\u0131ca yap\u0131lar\u0131na g\u00f6re ayr\u0131lan t\u00fcrk\u00fcleri bir k\u0131sm\u0131 hem ki\u015fisel hem anonim olabilir. Bentlerinin ve kavu\u015ftalar\u0131n\u0131n de\u011fi\u015fikli\u011fi zengin bir \u00e7e\u015fitlilik g\u00f6stermektedir. Ko\u015fma bi\u00e7imindeki \u015fiirlerde kafiye da\u011f\u0131l\u0131m\u0131 1. bentte abab veya abcb; sonraki betlerde dddb, eeeb, fffb… Mani bi\u00e7imindeki \u015fiirlerde d\u00f6rtl\u00fcklerdeki kafiye da\u011f\u0131l\u0131m\u0131 aaba, ccdc, eefe… \u015feklinde her d\u00f6rtl\u00fc\u011fe ba\u011f\u0131ms\u0131zl\u0131k sa\u011flayan bir d\u00fczende y\u00fcr\u00fct\u00fcl\u00fcr. \u0130rtical\u0131 olarak \u015fiir s\u00f6yleyen a\u015f\u0131klar, en \u00e7abuk bulunan yar\u0131m kafiyelerle yetinmek zorunda kal\u0131r, cinasl\u0131 kelimelerden ustal\u0131kla faydalan\u0131r, kafiye ve vezin zorlamalar\u0131 kar\u015f\u0131s\u0131nda ya tekerlemelere ve bo\u015f dizelere ba\u015f vurur veya kelimeleri s\u00f6yleni\u015fe g\u00f6re bozarlar.
\n \u00d6zellikle XVII. yy.dan sonra k\u00fclt\u00fcr merkezlerine toplanan saz \u015fairlerinin bir k\u0131sm\u0131 sanat\u00e7\u0131l\u0131klar\u0131n\u0131 ispatlamak gayreti ve divan \u015fiirine duyduklar\u0131 \u00f6zenti ile aruz veznini de kullanm\u0131\u015f, bu yolda \u015fiirler yaz\u0131p s\u00f6yleyerek ustal\u0131klar\u0131n\u0131 ve de\u011ferlerini onaylatmak istemi\u015flerdir; failat\u00fcn failat\u00fcn failat\u00fcn failat\u00fcn vezniyle yaz\u0131lan \u015fekillere divan; feilat\u00fcn feilat\u00fcn feilat\u00fcn feil\u00fcn kal\u0131b\u0131yla s\u00f6ylenenlere selis; 4 mefailun ile yaz\u0131lanlara semai; mef\u2019\u00fcl\u00fc mefail\u00fc mefail\u00fc feul\u00fcn ile yaz\u0131lanlara kalenderi denmi\u015ftir; \u015fehir a\u015f\u0131klar\u0131 m\u00fcstezat ve musammatlar\u0131 da kullanmaya gayret emi\u015flerdir. \u00c7e\u015fitlemeleri hem konular\u0131 hem bi\u00e7imleriyle \u015farlanan naz\u0131m t\u00fcrleri aras\u0131nda a\u015f\u0131klar\u0131 eser verdikleri alanlar destan-anlat\u0131 t\u00fcr\u00fc, duygusal \u015fiir t\u00fcr\u00fc, yar\u0131\u015fmal\u0131 \u015fiir t\u00fcr\u00fc, \u00f6\u011fretici \u015fiir t\u00fcr\u00fcd\u00fcr. D\u00f6rtl\u00fcklerle kurulan ve bazen 100 d\u00f6rtl\u00fc\u011f\u00fc a\u015fan destanlar ko\u015fma tipinde kafiyeli genellikle 11\u2019li pek az olarak 8\u2019li hece vezniyledir. Toplumu geni\u015f \u00f6l\u00e7\u00fcde ilgilendiren olaylar\u0131 konu alan destanlar yan\u0131 s\u0131ra, ciddi olmayan konularda uydurulan mizahi destanlara da rastlan\u0131r. Destanlara g\u00f6re daha k\u00fc\u00e7\u00fck boyutta, g\u00fczellemeler ko\u00e7aklamalar, a\u011f\u0131tlar, ta\u015flamalar; a\u015f\u0131\u011f\u0131n ya kendi ad\u0131na ya toplum ad\u0131na duygulu tavr\u0131n\u0131 yans\u0131tan \u015fiirlerdir. Yar\u0131\u015fmal\u0131 \u015fiir t\u00fcr\u00fcnde a\u015f\u0131klar ya ortaya konan bir muamma \u2013 bilmeceyi manzum olarak \u00e7\u00f6zer veya aralar\u0131nda \u015fiir yar\u0131\u015fmas\u0131na girerek az bulunur. Kafiyelerle birbirlerini s\u0131narlar. G\u00fcn\u00fcm\u00fczde de s\u00fcren bu gelenek, a\u015f\u0131kl\u0131k i\u015finin ba\u015far\u0131 \u015fartlar\u0131ndan biridir. \u00d6\u011fretici \u015fiirlerde de ahlaki \u00f6\u011f\u00fctlere, ya\u015fama deneylerine yer verilir. Bu t\u00fcr \u015fiirlerin baz\u0131 dizeleri, bir atas\u00f6z\u00fc niteli\u011finde halk aras\u0131nda ya\u015fama g\u00fcc\u00fc kazanabilir.
\n A\u015f\u0131k gelene\u011fi XX. yy.da \u00f6zellikle k\u00fclt\u00fcr merkezlerinden uzakta kalan do\u011fu ve kuzeydo\u011fu illerinde, Alevilerin yo\u011fun olarak bulunduklar\u0131 yerlerde, G\u00fcneydo\u011fu Anadolu ile g\u00f6\u00e7ebe ya\u015fay\u0131\u015f\u0131n bir dereceye kadar s\u00fcrd\u00fcrd\u00fc\u011f\u00fc Toroslar b\u00f6lgesinde, sapa k\u00f6y ve kasaba \u00e7evrelerinde halk edebiyat\u0131 gelene\u011fi ge\u00e7erli\u011fini s\u00fcrd\u00fcrd\u00fc.<\/p>\n
\u2022Destanlar<\/p>\n
Halk \u015fiiri bi\u00e7imleri i\u00e7inde g\u00f6r\u00fclen toplumsal konulu destanlardan ba\u015fka, eski epope gelene\u011fini s\u00fcrd\u00fcren anlat\u0131 \u00f6rnekleri de anonim halk edebiyat\u0131n\u0131n bir \u00fcr\u00fcn\u00fcd\u00fcr. Uzun soluklu bir anlat\u0131 olan destanlar s\u00f6zl\u00fc gelenek \u00fcr\u00fcnleridir. Yaz\u0131 \u00f6ncesi \u00e7a\u011flarda do\u011fan bu \u00f6l\u00e7\u00fcl\u00fc s\u00f6z verimleri, sonradan zaman zaman yaz\u0131ya ge\u00e7irilmi\u015fse de asl\u0131nda s\u00f6zl\u00fc gelenek i\u00e7inde olu\u015farak geli\u015fmi\u015flerdir.
\n Yaz\u0131ya ge\u00e7irilmesi, derlenmesi, i\u015flenmesi, tespiti ve yeniden yarat\u0131lmas\u0131 \u00e7ok geciken T\u00fcrk destanlar\u0131ndan ele ge\u00e7en en \u00f6zg\u00fcn \u00f6rnek \u015f\u00fcphesiz ki Dede Korkut Kitab\u0131\u2019d\u0131r. Yaz\u0131l\u0131\u015f tarihi bilinmeyen, Uygur alfabesiyle kaleme al\u0131nm\u0131\u015f O\u011fuzname, orijinal bir destan metni say\u0131lmaz. T\u00fcrklerin Anadolu\u2019ya yerle\u015fmesinden sonra destanlar, din ve siyaset kavgalar\u0131nda rol oynayan kahramanlar\u0131n ser\u00fcvenlerine ba\u011flanarak ya\u015fat\u0131ld\u0131. Din \u00fclk\u00fcs\u00fc yolunda s\u00fcrekli sava\u015flara kat\u0131lan ki\u015filerin ser\u00fcvenleri Battalname, Dani\u015fmentname gibi eserlerde anlat\u0131ld\u0131. Osmanl\u0131 gazavetnamelerinde s\u00fcrd\u00fcr\u00fclen bu tutum, baz\u0131 din b\u00fcy\u00fcklerinin efsanevi hayatlar\u0131n\u0131 konu edinen menak\u0131pname veya velayetnameler gelene\u011finde de s\u00fcrd\u00fcr\u00fcld\u00fc.<\/p>\n
\u2022Halk Hikayesi<\/p>\n
XVI. yy.dan ba\u015flayarak halk \u015fairlerinin ya\u015fatt\u0131klar\u0131 halk hikayeleri eski destan gelene\u011finin yerini ald\u0131. Bunlar saz \u2013 s\u00f6z e\u015fli\u011finde manzum – mensur par\u00e7alar\u0131n tekrar\u0131 ve anlat\u0131c\u0131n\u0131n mimik ve ses taklitleriyle canland\u0131r\u0131larak genellikle mensur bir hikaye halinde anlat\u0131l\u0131r. Destanlardan ayr\u0131lan yan\u0131, kahramanlar\u0131n ola\u011fan\u00fcst\u00fc g\u00fc\u00e7ler ta\u015f\u0131may\u0131\u015f\u0131, insan ve toplum ili\u015fkilerinin sorunlar\u0131n\u0131 yans\u0131t\u0131\u015f\u0131d\u0131r. Bu a\u00e7\u0131dan, iki yunan tragedyalar\u0131n\u0131n kader \u2013 al\u0131n yaz\u0131s\u0131 tezinden, insan\u0131n kendi tutkular\u0131 ve toplum kurallar\u0131yla \u00e7at\u0131\u015fmas\u0131na ge\u00e7en geli\u015fimin birer \u00f6rne\u011fi say\u0131labilir. \u00c7o\u011funlukla sevgi, kahramanl\u0131k gibi iki ana eksen \u00e7evresinde olu\u015fan halk hikayeleri, roman \u00f6ncesi anonim \u00fcr\u00fcnlerin s\u00f6zl\u00fc gelenekte s\u00fcren bir a\u015famas\u0131 olarak de\u011ferlendirilir.
\n Halk hikayeleri konular\u0131na g\u00f6re sevgi hikayeleri, kahramanl\u0131k hikayeleri diye ayr\u0131labilir. Gelenek, bu kahramanlara zalimleri cezaland\u0131ran, yoksullar\u0131 koruyan, e\u015fitlik ve adalet d\u00fczenini sa\u011flayan birer ki\u015filik y\u00fckler. Bug\u00fcn de \u00f6zellikle Do\u011fu Anadolu\u2019da T\u00fcrkmen boylar\u0131n\u0131n yerle\u015fme b\u00f6lgelerinde bu hikayecilik gelene\u011fi s\u00fcrmektedir. <\/p>\n
\u2022Anonim Halk Edebiyat\u0131<\/p>\n
Anonim Halk edebiyat\u0131 i\u00e7inde yer alan meddah hikayeleri yaz\u0131l\u0131 metinlerin ezberlenip taklidine dayan\u0131r. B\u00fct\u00fcn temsil unsurlar\u0131yla biraz tiyatroya, biraz halk hikayesine yakla\u015farak s\u00f6zl\u00fc gelene\u011fi s\u00fcrd\u00fcr\u00fcr. Ayn\u0131 \u015fekilde s\u00fcrd\u00fcr\u00fclen bir de masal ve f\u0131kra gelene\u011fi vard\u0131r. Bu iki t\u00fcr, insanlar\u0131n toplum olaylar\u0131 kar\u015f\u0131s\u0131ndaki tav\u0131rlar\u0131n\u0131 belirler. Nasrettin Hoca, Bekta\u015fi, \u0130ncili \u00c7avu\u015f\u2019un ki\u015filiklerine ba\u011flanan tenkidi f\u0131kralarla toplum olaylar\u0131n\u0131 d\u00fc\u015fsel durumlarla \u00e7\u00f6zmeye \u00e7al\u0131\u015fan masallar, \u00e7a\u011fda\u015f insanlar\u0131n topluma uyumsuzlu\u011funu belirtmekte bir noktada birle\u015firler. Masallar\u0131n ba\u015f\u0131nda tekerlemeler yer al\u0131r.Bunlar masalc\u0131n\u0131n ilgi \u00e7ekmek i\u00e7in uydurdu\u011fu kal\u0131pla\u015fm\u0131\u015f s\u00f6zlerdir. Tekerlemeler ayn\u0131 zamanda masal\u0131n ana yap\u0131s\u0131n\u0131 ve bir hayal \u00fcr\u00fcn\u00fc oldu\u011funu belirtir. Masal t\u00fcr\u00fc i\u00e7inde hayvan masallar\u0131, ola\u011fan\u00fcst\u00fc ve ger\u00e7ek\u00e7i masallar g\u00fcld\u00fcr\u00fcc\u00fc f\u0131kra bi\u00e7imindeki yalanlamalar, zincirlemeli masallar bulunmaktad\u0131r.
\n Eski T\u00fcrk\u00e7e\u2019de menkibe diye adland\u0131r\u0131lan efsaneler de anonim halk edebiyat\u0131n\u0131n \u00e7ok rastlanan \u00fcr\u00fcnlerindendir. Bir inan\u0131\u015f konusu olmas\u0131 bak\u0131m\u0131ndan masaldan ayr\u0131larak destana ve hikayeye yakla\u015fan efsane; yarat\u0131l\u0131\u015f ve olu\u015f, tarih, ola\u011fan\u00fcst\u00fc ki\u015filer ve varl\u0131klar veya din \u00fczerine geli\u015febilir.
\nAnonim Halk edebiyat\u0131 \u00fcr\u00fcnleri i\u00e7inde bir \u00e7e\u015fit bilgi yar\u0131\u015f\u0131 niteli\u011finde olan bilmeceler bir toplumun ortak hayat deneylerinin sonu\u00e7lar\u0131n\u0131 yarg\u0131 bi\u00e7iminde ortaya koyan k\u0131sa, \u00f6zl\u00fc, yo\u011fun atas\u00f6zleri; dini ve sosyal de\u011fer yarg\u0131lar\u0131n\u0131 ta\u015f\u0131yan alk\u0131\u015f ve karg\u0131\u015flar oyun tekerlemeleri, her t\u00fcrl\u00fc t\u00fcrk\u00fcler; maniler; seyirlik halk oyunlar\u0131 ad\u0131 alt\u0131nda an\u0131lan meddahl\u0131k, kukla, karag\u00f6z, orta oyunu tuluat tiyatrosuyla k\u00f6yl\u00fc oyunlar\u0131 da yer al\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"
\u0130slam medeniyeti etkisinde geli\u015fen orta devre T\u00fcrk Edebiyat\u0131\u2019n\u0131n bir kolu; k\u00fclt\u00fcr merkezinde toplanan ayd\u0131nlar az\u0131nl\u0131\u011f\u0131n\u0131n, XI. yy.dan sonra Arap ve \u0130ran Edebiyatlar\u0131\u2019n\u0131n etkisinde yaratt\u0131\u011f\u0131 y\u00fcksek z\u00fcmre edebiyat\u0131na kar\u015f\u0131l\u0131k, halk y\u0131\u011f\u0131nlar\u0131 aras\u0131nda do\u011fan ve geli\u015fen s\u00f6zl\u00fc edebiyat\u0131n b\u00fct\u00fcn \u00fcr\u00fcnleri. K\u00fclt\u00fcr anla\u015fmazl\u0131\u011f\u0131 y\u00fcz\u00fcnden ayd\u0131n az\u0131nl\u0131k ile halk y\u0131\u011f\u0131nlar\u0131n\u0131n kesinlikle birbirinden uzakla\u015ft\u0131\u011f\u0131 d\u00f6nemlerin (Anadolu\u2019da XIII. yy.dan XX yy.a …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1403,1405],"tags":[2081,2079,2082,2057,2080,1989],"class_list":["post-708","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-asik-edebiyati","tag-halk-edebiyati","tag-nazim-bicimleri","tag-tasavvuf","tag-tekke-edebiyati","tag-turk-edebiyati"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/708","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/comments?post=708"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/708\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=708"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=708"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}