Türk Folklorunda Köroğlu

Abstract

Bu çalışma Köroğlu'nun Türk Folklorundaki yerini ve tesirlerini belirlemek ve bu tesirleri genel manada ortaya koyabilmek amacıyla yapılmıştır. Çalışma başlıca dört bölümden oluşmaktadır: Girişte, yapılan çalışma genel hatlarıyla ortaya konulmuştur. Birinci bölümde; Köroğlu'nun tarihî kişiliği ve eserleri hakkında bilgi verilmiştir. İkinci bölümde Köroğlu'na dair anlatılan söylentiler ele alınarak, söylentilere göre Köroğlu'nun ortaya çıkışı ve sonu hakkında bilgi verilmiştir. Üçüncü bölüm; Köroğlu'nun genel olarak Türk folkloruna tesirlerini içermekte olup, bu tesirler; şiir, saz şairleri ve klasik şairler, halk hikâyeleri, ata sözü, deyim, fıkra, günümüz yazarları, coğrafî isimler, türküler ve Köroğlu seyirlik oyunları başlıkları altında incelenmiştir. Dördüncü bölümde ise Köroğlu'nun Türk Halk Oyunları'ndaki tesiri ile oynanan Köroğlu oyunları ele alınmıştır.

This study has been made in order to pinpoint the importance and the branches influenced by Köroğlu who has a crucial participation in the history of Turkish wither Study has been divided into 4 main subtitles. In the introductory part the main points have been presented. The history of Turkish nation is full of heroes one of whom is Köroğlu. His fame expands from Caucasian to Rumeli. He was both a minstrel and a bandit who gained the love of people with such a personality rejecting injustice protecting the weak and punishing the cruel, and he had been the protector and the hope of the people as long as he lived. He is one of the most and last important personalities of shared virtue of bravery for ages. People has composed a legend called Köroğlu by telling his adventures from mouth to mouth and loaded him with the features of a legendary hero. The tales telling the adventures of this hero had spread out with the help of the Annotation story telling custom and his poems, like his tales, started to be told from mouth to mouth. There are also wile range of areas which had been influenced by this legendary hero. While the people's love for him creating new heroes, poets produced poems like his; authors wrote about his heroic deals, minstrels composed folk songs out of his poems and by giving his name to mountains, fountains, they acted in plays representing his bravery. In this way Köroğlu had not only been a personage of his age but also could reach the following ages. The reason for this is that the loving Turkish nation has immortalized him. First section is composed of Köroğlu's historical personality and works of art. In this section some archives dowments related to Köroğlu's historical personality, literature histories and historical dowments are used as resource. Köroğlu was both a minstrel and a bandit. In some emperor decrees written for punishing this bandit and in the book called "Armenian History" written by the Armenian historian Arakel in XVII the century he was told to be a Celali and his aspect had been supported by the elements in the stories told about him. Vll Köroğlu had gained his fame in the eastern part of Anatolia and participated in Ottoman-Iranian wars; he had a deep voice as well. According to some resources, originally he is a Celali bandit. However he was a bandit against people who were unfair and wicked. He didn't do any harm to poor and weak. He was namely a friend of people around him. In this section, his poems read throughout the ages, take place under a separate subtitle. In the second section, the appearance of Köroğlu and his end are tried to be explained and rumors in different dowments are made use of. In most of the rumors, Köroğlu is the son of a man who was made blind by his boss unjustly His real name is not Köroğlu. In each rumor his and his father's name are used differently. His other names are Ali, Ruşen, Ruşen Ali, Hürüşan Ali, Arışvan Ali, Köroğlu etc. His father has such names: mirza Sarraf, Ali Ağa, Ahmet Baytar, Ürüşan Baba, Ubeyd, Deli Yusuf, Yusuf, Kür Batır etc. In rumors he has different origins, however it's generally based on Turkoman. After his father had been made blind, while trying to take his revenge he was named Köroğlu by people. This name has come till today. After so many adventures, he manages to take his revenge accomplishing his father's will then he vanishes releasing that the invention of gun had ended one to one fight era. According to most of the rumors he is both a bandit and a mystery singing and playing the stringed instrument, (saz.) He has left traces behind with his poems and tales full of adventures. Third section includes the areas which Köroğlu influenced in Turkish Folklore. The areas which are set in this section are tried to be examined under separate tittles. Köroğlu affected the following branches: poems, folk songs, folk tales, novels and theatral works of art, folk and classic poets, proverbs, idioms, geographis nouns and plays-folk dances-Besides Köroğlu influenced the poets coming after his death as a mystery. Some poets produced poems resembling his or some took his name. His poems are full of heroism and bravery. One of the reasons why or how Köroğlu, who had a strong taken for telling poems, is his poems. Vlll The story telling ustom of Annotation people is the first step of his poems becoming folk songs because they sing their musical instrument which is stringed, while they're reading the hero's poems. Köroğlu's poems were composed and had become folk songs which the help of this ustomand so far could reach till today. And even some of them could go into TRTs repertoire with their notes. Annotation folk kales generally talk about the adventures which take place between two lovers. That's why in these it's really difficulty to find Köroğlu's traces but vice versa in the ones which are told among Turkomans such as Bozoğlan, Yusuf Bey and Ahmet Bey. One of the contemporary authors A.K. Teacher wrote a play named "Koçyiğit Köroğlu". Two of the main characters are Köroğlu and Bolu Beyi. The play is based on the struggle between these two heroes. His life had also been made a story by Y.Kemal in his work called "Üç Anadolu Efsanesi". The most important aspect in the story is the advice given by Deli Yusuf to his son Köroğlu. The advice gutted that the historical role of brave people like him would end when they were placed under the earth. Köroğlu influenced some of the folk poets deeply. These are Karacaoğlan, Piroğlu, Gevheri, Geda, Musli and the mystery Dadaloğlu all of whom not influenced by classical Ottoman poetry. These poets are all influenced by classical Ottoman poetry. These poets are all influenced by Köroğlu and talked about him and his adventures in their poems. Classical Ottoman poets usually made fun of Köroğlu because he was a man from the lower class, thus he was the poet of the society most of the classical Ottoman poets were proud of eyeing the poets of upper class however this way of thinking had changed afterwards. It's quite possible to find traces of him in proverbs and idioms. Köroğlu being show as the source of some of the proverbs was also the topic of idioms. Köroğlu has been praised by the whole nation for ages, people made a legend of his bravery and heroism, and immortalized poems told, folk songs sung, stories told by him. Coming amongst them, he received their love, trust and respect. Nation, in order to express their feelings, fave his name to mountains, and fountains, and also some geographic names such as "Köroğlu Dağı", Köroğlu Çeşmesi", Köroğlu Boğazı". Thus the name had started to be used continuously since then. IX Their heart full of his love and wanting to express this feeling they referred different ways, such as playing games representing his struggles. In these, the subject again is his bravery. Some of these plays took place accompanied by his poems. These are generally performed accompanied by some musical instruments (such as drums.) In these one of the players was essentially Köroğlu. Fourth section was given under the tittle of Köroğlu Dances and includes all of them performed under the tittle of his name. In the section all dances are examined on the point of view of figures and the knots of music are given and some rhythmic patterns used in their melodies are written. The Common point in these are bravery and heroism. In them, five or six period methods are used. They are generally danced by two men, and with some instruments such as sword, stick, knife etc. However it's been encountered that some of them are performed by more than two.