Âşık Davut Sularî'nin şiirlerinde itikadî unsurlar
Creedal elements in Minstrel (Âşık) Davut Sularî's poem
Yazar: İREM TUNAY
Danışman: PROF. DR. MUHARREM KAYA
Mimar Sinan Güzel Sanatlar Üniversitesi / Sosyal Bilimler Enstitüsü / Türk Dili ve Edebiyatı Ana Bilim Dalı / Türk Dili ve Edebiyatı Bilim Dalı
Derece: Yüksek Lisans, 2024
Konu: Din = Religion ; Halk Bilimi (Folklor) = Folklore  ; Türk Dili ve Edebiyatı = Turkish Language and Literature
Dizin: Türk halk edebiyatı = Turkish public literature ; Türk halk şiiri = Turkish folk poetry ; Türk tasavvuf edebiyatı = Turkish mysticism literature

Özet:
"Âşık Davut Sularî'nin Şiirlerinde İtikadî Unsurlar" başlıklı tezimiz, Davut Sularî'nin şiirlerinde onun kendi inanç dünyasına ait unsurları tasnif edip incelemeyi amaçlar. Âşıklık mesleğinin çıktığı yolculuğu inanç ve şair-müzisyenlik kapsamında değerlendirerek başladığımız çalışmamız, onun kam-ozan-baksı kimliğinden âşık olarak anıldığı ve gelenek hâline geldiği süreci ele alarak devam etmiştir. Âşıklık, pek çok coğrafyada icra edilen bir meslek olsa da Anadolu sahası, onun göverdiği saha olmuştur. Âşıklar, söyledikleri şiirlerinde halk edebiyatının nazım biçimlerini ve türlerini kullanır, Alevî âşıklarda itikadî unsurlarının yansıtıldığı özellikte nazım türleri bulunur.
Âşık Davut Sularî; hem Alevî bir âşık hem pîr elinden bâde içmiş bir âşık hem de gezgin bir âşıktır. Birden fazla âşık tipini tek potada eriten Sularî'nin yaşantısı da oldukça dikkat çekicidir. Onun hem bir âşıklık kimliği hem de adı etrafında gelişen anlatılar sebebiyle menkıbevî bir kimliği vardır. Adı etrafında gelişen ve bir kısmı tarafımızca ailesinden derlenmiş menkıbevî anlatılar, Anadolu sahasındaki masal, efsane, menkıbe motiflerine çok benzer motifler taşır. Sularî'nin yaşamı hakkında anlatılanlar da Sularî'nin kendi eserleri de itikadî unsurlarla örülüdür.
Âşık Davut Sularî'nin eserlerindeki itikadî unsurlar, yalnızca mitolojik unsurların tespit edilmesiyle yetinilebilecek kapsamda değildir. Bu sebeple tarafımıza ait olan bir tasnif denemesiyle üç temel kavram ile incelenmiştir. Bu üç temel kavram "kutsal", "karşıt kutsal" ve "mitolojik" kavramlarıdır. "Kutsal"; maddî dünyada karşılık bulan, duyularla algılanabilen, tarihsel verilerin varlıklarını ispatladığı kişi ve nesneleri yahut yapılması gelenek hâline gelmiş eylemleri kapsarken "karşıt kutsal" profan olmayan, maddî dünyada karşılık bulan, duyularla algılanabilen, tarihsel verilerin varlıklarını ispatladığı fakat negatif yönde mitleşerek kutsalın karşısına çıkan unsurları kapsar. Mitolojik kavramı ise maddî dünyada bulunmayan, bulunduğuna inanılsa da buna yönelik bir ispatın gösterilemediği, tarihî bir karşılığın bulunmadığı fakat ona inanlar için gerçek kabul edilen unsurları karşılar. Bu unsurlar otuz iki başlık altında açılmış ve incelenmiştir. İncelemeler yapılırken unsurlar tespit edilmekle bırakılmamış, açıklanmış ve örneklendirilmiştir.
İncelemenin sonucunda Âşık Davut Sularî'nin şiirlerinde itikadî unsurların pek çoğunun Alevî-Bektaşîliğe ait olduğu tespit edilse de bu unsurların bir kısmına İslâm mitlerinin, İbranî mitlerinin, İran mitlerinin, Türk mitolojisinin, yerel halk inançlarının ve Eski Yunan felsefesinin de kaynaklık ettiği görülmüştür. Ayrıca Davut Sularî'nin seyahatleri esnasında karşılaşmış olduğu kimi inanç motifleri de şiirlerinde yer alır.

Anahtar Kelimeler: Âşık Davut Sularî, İtikadî Unsur, Kutsal, Karşıt Kutsal, Mitolojik

Abstract:
Our thesis entitled "Creedal Elements in Minstrel (Âşık) Davut Sularî's Poems" aims to classify and analyze the elements of Davut Sularî's own belief world in his poems. Our study was conducted by using qualitative, documentary and survey research methods. The documentary research method was used during the evaluation of the sound and document archive of the Minstrel Davut Sularî Culture and Art Association. Among these documents, there are two examples of deyiş that have not been published in any previous work, which we used as samples under the headings we opened about Davut Sularî, and Davut Sularî's handwritten works, which can be found in the "Appendices" section. Apart from this, the information we obtained through the qualitative research method can be listed as follows: information about Davut Sularî's personal life and hagiographic personality obtained in our audio-recorded interviews with Öznur Sularî (Deniz), the President of the Minstrel Davut Sularî Culture and Art Association and also the granddaughter of Minstrel Davut Sularî; information obtained in our audio-recorded interview with Minstrel Serdarî, Davut Sularî's apprentice; information obtained in our audio-recorded interviews with ethnomusicologist Melih Duygulu about the relationship between minstrelsy and Alevi hearths, and the Alevi culture.
Our main source is the book entitled "Âşık Davut Sularî – Üç Telli Turna (Minstrel Davut Sularî – Crane with Three Plumes)" written by Melih Duygulu in 2022, from which the poems we analyzed in our study were taken. Approximately 600 poems in this book have been reviewed. Poems in different sources other than the book we determined as the main source are excluded from our evaluation.
Our thesis study, prepared with the research techniques and methods explained above, answers the questions of whether Sularî is a hagiographic personality, which elements of his belief world are reflected in his poems and from which sources these elements may have come.
We started our study by evaluating the journey of the profession of minstrelsy within the context of faith and poet-musicianship, and continued by discussing the process in which he became known as a minstrel from his shaman-bard-baksı identity and became a tradition. In the birth of this profession, a "sacred bardship," created by the performance of rituals with music and the singing of myths, epics and the sacred with melody, was encountered. This "sacred bardship" developed with the "shaman-bard-baksı" identity in the Turkish culture and the profession of minstrelsy emerged over time. Even though minstrelsy is a profession practiced in various geographies, Anatolia has been the field where it flourished. Having gone through various stages over the centuries, elements such as minstrel sessions, the minstrel's taking a pseudonym and entering the service of a master, drinking bâde (a drink or food given by the pir or an act of the pir, which causes the initiation of a minstrel) from the hand of a pir (sage) and the places where minstrels perform their works developed and became traditional. Minstrels are not uniform; there are wandering minstrels, minstrels settled in villages or the city, tribal minstrels, minstrels who are masters of saz and verse, minstrels who drank bâde from the hand of a pir, soldier minstrels and Alevi-Bektashi minstrels. These minstrels use the verse forms of folk literature in their poems. Alevi-Bektashi minstrels use genres such as "deyiş, nefes, düvazdeh imam, nutuk, devriye, şathiye, Kerbelâ nefesi, nevruz nefesi, miraçlama, tevhit, hurufîye, kalenderî, na't-ı Ali, methiye, destan, medetname, âyetleme" which contain elements of their beliefs as well as genres such as "güzelleme, taşlama, koçaklama, türkü, mektup" that are not creedal. The relationship of Alevi minstrels with Alevism and Alevi hearths also affected their performance settings and the content of their works. Many Alevi minstrels serve as zakir during the cem.
Minstrel Davut Sularî is an Alevi minstrel, a minstrel who drank bâde from the hand of a pir and a wandering minstrel. He has a great talent for improvising poetry. His success in this regard was exemplified by two audio recordings made during his Anatolian travels.
The life of Sularî, who melts more than one type of minstrel in one pot, is also quite remarkable. He has both a minstrel identity and a hagiographic identity due to the narratives that developed around his name. The hagiographic narratives that developed around his name, some of which were collected by us from his family, carry motifs similar to the motifs of fairy tales, legends and hagiographies in Anatolia. These narratives are about Sularî's entering the dream of one of his family members before he was born, giving an apple to a childless person by blessing it and the couple's eating the apple and having a child, making a deal with Shahmaran, which is a well-known motif in Anatolia, healing a wounded gazelle and the gazelles coming to listen to his saz, changing places very quickly, changing dimension to break up a djinn fight and having his prayers accepted. Both the stories told about Sularî's life and his own works are interwoven with creedal elements.
The creedal elements in Minstrel Davut Sularî's works cannot be limited to mere identification of mythological elements. For this reason, these elements are analyzed around three basic concepts with a classification that we propose. These three concepts are "sacred", "anti-sacred" and "mythological." While "sacred" includes people and objects that correspond to the material word, can be perceived by the senses and whose existence is proven by historical data, or actions that became a tradition, "anti-sacred" includes elements that are not profane, correspond to the material world, can be perceived by the senses and whose existence is proven by historical data but are mythicized in a negative way and opposed to the sacred. The concept of "mythological" refers to elements that do not exist in the material world, for which no evidence can be shown although they are believed to exist, and do not have a historical correspondence but accepted as real by those who believe in them. These elements were analyzed under thirty-two headings. Nineteen of the thirty-two headings were identified as sacred, two as anti-sacred, and eleven as mythological. In the course of the analysis, the creedal elements were not only identified, but explained and exemplified with Davut Sularî's poems.
As a result of the analysis, although it was found that most of the creedal elements in Minstrel Davut Sularî's poems belong to Alevi-Bektashism, it was also observed that some of these elements also had Islamic myths, Hebrew myths, Iranian myths, Turkish mythology, local folk beliefs and Ancient Greek philosophy as their source. In addition, some belief motifs that Davut Sularî encountered during his travels are also included in his poems.

Keywords: Minstrel (Âşık) Davut Sularî, Creedal Element, Sacred, Anti-Sacred, Mythological.