Hildebrand Destaninin Esas Mot Ifleri Ve Eski Cerman Vuruşma Tarzi Üzerine

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Hildebrand Destaninin Esas Mot Ifleri Ve Eski Cerman Vuruşma Tarzi Üzerine HİLDEBRAND DESTANININ ESAS MOT İFLERİ VE ESKI CERMAN VURUŞMA TARZI ÜZERİNE Dr. M. ŞÜKRÜ AKKAYA Alman Dili ve Edebiyat ı Doçenti Alman edebiyat ının en eski nümuneleri genel olarak ortalama 750 y ıllarına irca edilir. Fakat ilk nümuneleri mutat anlamda edebi parça olarak vas ıflandırmak hiç de yerinde olmaz. Çünkü bunlar henüz Al- man ağzına göre cümle kurmaya yana şm ıyan, Latince metinlere her kelimenin altına Almancas ı konmak suretiyle yap ılan çok iptidai ve bece- riksiz tercüme denemeleridir. Vak ı a ba şta çok küçük dini parçalar olmak üzere 800 y ıllarına do ğru gittikçe büyür ve ço ğalırsa da Alman duygu ve dü şünüşünü ifade eden yaz ılı parçalara rastlanmaz. Buna mukabil sözlü olarak a ğızdan ağıza dolaşan tarihi türküler henüz orta- dan kalkmam ıştı. Cermanl ık devrine ait tarihi-efsanevi muhteval ı yiğitlik türküleri daha, Büyük Karl zaman ı nda bile canl ı olarak ya şamakta idi. Tarihte bütün diğer kavimlerin büyük çaptaki hareketleri, tarihlerinin derinliklerine nüfuz eden önemli de ğişiklikler, bir düziye fışkıran zen- gin efsaneler, nas ıl büyük halk destanlar ına mebzul malzeme ve mevzu vererek beslenmi şse (Hind, Yunan, Iran ve Türk kavimlerinde oldu ğu gibi) Cerman geçmi şinin ayn ı mahiyetteki önemli olaylar ı da Cerman- Alman destanları nı şekillendirmiştir. IV. ve V. yüzyıllardaki muazzam göçümler, hükümranl ık kudretle. rinin müthi ş bir surette kay ışmalar ı, seri devletler kurumlar ı ve saire Hun savaşı, Burgundlar ı n bat ı sı , Ermanrich, Attila, Teodrieh gibi yi ğit- lik türkü veya destanlar ı nı doğurmuş ve yüzlerce y ıl gezgin şairlerin sazlar ı nda çı nlıyarak fertlerin kalblerinde titremeler husule getirmi ştir. Büyük Karl bu tarihi—efsanevi kahramanl ık türkülerini yaz ıya nak- lettirmişse de gelecek nesillere devretmek emeli tahakkuk etmemi ştir. Bu çağlardan yaln ız bir destan yaz ılı olarak eski şekliyle zaman ımıza intikal etmiştir ki o da Hildebrand destan ıdır. Hildebrand destan ını n dayand ığı biricik tarihi olay ın Dietrich von Bern'in Odoaker'in ülkesinden kaçarak 30 y ı l Hunlaı da esarette kal ışı suretindeki Cerman—Got kahramanl ı k ananesi oldu ğunda, bu yukarı Almanca efsane çerçevesine baba—o ğul vuru şması nın faciavi hikâyesinin alınmış bulunduğunda yetkili kişiler beraberdirler °. Şu surette tarihi — efsanevi Dietrich'in esareti motifi ile Baba—o ğul motifinin şair taraf ından Unwert-Siebs, Die deutsche Literat ıı r bis zur Mittc des 11 Yahrundert S. 62. A. O. D. T. C. F. Dergisi F. 38 594 M. ŞÜKRÜ AKKAYA birleştirilmek suretiyle destan ın işlenmiş olduğu açıkça ifade edilmi ş oluyor. Hattâ Dietrich destan ında silâhdar ağası Hildebrand şahsiyetinin mevcudiyeti dahi şüpheli, belki de ihtimal d ışıdır. Üç nesli temsil eden ve eski önkafiye (alliteration) ihtiyac ını tatmin eden Heribrand, Hilde- brand, Hadubrand suretindeki adlar da herhalde bu kahramanl ık efsanesi için uydurulmuş olsa gerek. Buna ra ğmen Hildebrand destan ının su katılmamış, hamuru, mayas ı halis hakiki bir Cerman kahramanl ık destanı olduğunda da şüphe edilmemektedir 1. Yalnız yukarıda işaret etti ğimiz üzere Alman edebi parçalar ının henüz çok beceriksiz oldu ğu bir çağda şekil bakımı ndan Hildebrand destanı gibi sanatlı, yüksek değerli bir âbidenin ortaya ç ıkışı insanı gerçekten dü şündürür. Nitekim yetkili ki şiler de bu hususta aç ık ve tatmin edici bir izah yapamam ışlardır 2 . Destan ın ağırl ık noktasını teşkil eden Baba—O ğul'un vuru şması keyfiyeti gerçekten halis bir Cerman motifi midir ? vak ıa baba ile oğul arasında biribirini tanımadan yapılan vuruşmaya ba şka kavim- lerde dahi rastlan ır : Iran'da Zohrab—Rüstem, Greklerde Odipius—Laios, Hind'de Vişnu--Naraka gibi. Fakat baban ın oğlunu öldürmesi motifine nadiren rastlan ır 3 . Dikkate şayandır ki başka yerlerde fazla yay ılma- mış olan baba—o ğul çarpışma motifine Türk destanları nda bol ölçüde rastlanır. Eski Türk yi ğitlik efsanelerini ihtiva eden ve 12 destandan ibaret olup Altaylardan Istanbul'a kadar olmak üzere bütün Türk dünyasına, hattâ ba şka ülkelere yay ılmış olan Dede Korkut masalla- rında' bol bol rastlanır. Bu çok eski Türk destanlar ının en aşağı yarısı (1, 2, 4, 7, 9, 11 inci hikayeler) do ğrudan doğruya baba ile o ğul arasında türlü şekillerde olagelen anla şmazlıklar, hüsümetler, çarp ış- malar ve saireyi te şkil eder. Bütün bunlara ra ğmen Hildebrand destaniyle Dede Korkut masal- ları aras ı nda herhangi bir münasebet aramaya kalkmak cüretli bir iddia olur. Yalnız Hun—Cerman münasebetlerinin üç nesil boyunca devam etmiş olması 5 , bu münasebetlerin en s ıkı bulunduğu V. yüzyılın orta- larında kahramanlik destanlar ının Hun'larca itibarda olu şu, Hun Haka- Hermann Schneider, Heldendichtung, Geistlichen, Dichtung, Ritterdichtung S. 35. 2 Reallexikon der deutschen Literaturgeschichte, cilt I, S. 489, Madde 6. 3 Prof. W. Ruben' ı n Dil Kurumu yay ı nlar ı aras ı nda ç ıkmak üzere i şledi ği «Dede Korkut hikâyelerine dair» ba şl ı kl ı ara ştı rması S. 4, s. 14. Bu k ı ymetli ara ş tırmala- r ı ndan faydalanmama müsaade ettiklerinden dolay ı kendilerine teşekkürler ederim. 4 Dede Korkut'ta geçen mücadeleci k ı z tipi dolay ı siyle Profesör Ruben bu tipin Hindistan'a oldu ğu gibi Almanya'ya da yabanc ı oldu ğunu, nası l Brunhild tipi Orta Asya'dan gelmi şse ayn ı tipin Hindistan'ada Orta Asya'dan geldi ğini söylemektedir. Bu münasebetle şunu da ilave edeyim ki gerek Dede Korkut metninin do ğru okunamamas ı gerekse, tercümede yap ı lan birçok hatalar dolay ı siyle bu kı ymetli ara ş- tırma tekrar gözden geçirilmeden bas ı l ı rsa yaz ı k olur. 5 Hun'lar ı n Doğu Gotlarla ilk temaslar ı 373, Attila'n ı n son oğlunun ölümü 469. HİLDEBRAND DESTANININ ESAS MOT İFLER İ 595 nı'nın sarayında, Roma bilhassa Cerman ki şizadelerinin, rehine ad ı altında dahi olsa, terbiye görmeleri dolay ısiyle, Hildebrand destarl ı nda olduğu gibi Walthari ve Nibelungen destanlar ında dahi Attila ve saray ı mühim rol oynadığından Hildebrand'Ia Dede Korkut aras ındaki benzerlikler insan ı gayriihtiyari düşündürüyor. Bununla beraber şim- dilik mesele yaln ız aradaki benzerli ğe dikkati çekmekten ibarettir. Dede Korkut masallar ı ndan Hildebrand destan ını en çok ok şuyan 11. hikâyedir. özeti şöyledir: Salur Kazanhan bir av gezintisinde yoru- larak uyuya kal ır, yak ındaki kalenin tekfuru (= H ıristiyan beyi) haber alarak bask ın yapar. Kazanhan ı esir ederek götürüp z ındana atar. Tek- furun bayaniyle yapt ığı görü şmelerden sonra Han'a, kendilerini met- hetmek suretiyle, serbest b ırakılaca ğ ı söylenir. Han sazla birtak ım şiirler söylerse de methetmez, ma ğrur bir eda ile konu şur ; kafirler k ızarlar, hapse atarlar. Fakat Kazanhan' ın ülkesinde ölüsünü, dirisini kimse bilmez. Uruz adlı küçük oğlu zamanla büyür. Ve sonradan babas ının düşman elinde olduğuna vak ıf olur. Anas ından, amcasından babas ını kurtarmıya mü- saade ister. Asker toplar, yola dizilir. Yolda sarp bir kiliseyi zapt ve yağma ederek i şgal eder. Tekfur haber al ır, istişareden sonra Han' ı hapisten çıkararak dü şmana karşı durmasına karar verirler. Kazan- han'ı teçhiz ve türlü silahlarla teslih ederler. Tekfur kendi askerini Kazanhan'a ko şar. İki taraf ordusu kar şılaşır. Kazanhan at ını süre- rek ortaya ç ıkar ve meydan okur. Kar şısı na Bamsi Beyrek ç ıkar. Kazanhan önce rakibinin kim oldu ğunu, sonra ordunan ba şında kır at ve ak sancakla gelip karargâh kuran ı n kim olduğunu sorar. Ordu başındaki şahsın kendi oğlu olduğunu öğrenir. Içinden "çok şükür oğlancığım büyük er olmuş „ der, fakat kendisini bildirmez. Nihayet Beyrek'le vuru şur, silahı nı elinden al ı r. Haydi beyin gelsin der. Devlek ile vuru şur, süngüsünü tepesine vurur, beyin gelsin der. Alp Rüstem'i de bir vuru şla sayar, Beyin gelsin, der. Kazan'ın oğlu Uruz'un at ı nı n dizginini amcası tutmuştu. Delikanlı ansızın fırlıyarak babas ını n üzerine at sald ırır. Kılıçla babası nın zırhını delerek omuzundan dört parmak kadar yara açar. Uruz dönüp bir daha vurmak istediği zaman Kazan han : Karadağım yükse ği oğul, Karanğlu gözlerim aydını oğul, Alp ım Uruz, aslanım Urvz, A ğ sakallı babana kıyma oğul. Uruz'un şefkat damarlar ı kaynar. Kara k ıyma gözleri kan ya ş doldu. Attan indi. Atas ının elini öptü. Kazan dahi yere indi. O ğlunun boynun öpdü. Kafir askerin k ırdılar, otuz eline geldiler i. 1 Kilisli Rifat neşri, s. 152 - 165, Orhan Şaik Gökyay ne şri, s. 105 - 114. 596 M. ŞÜKRÜ AKKAYA Buna göre iki destan aras ında benziyen noktalar şunlardır : 1. Kendi kavmi aras ında itibarı yüksek olan kibar bir adam, din ve kavmiyeti başka, hattâ has ım olanlar aras ında esir kal ıyor. 2. Bu kibar kişinin yurdunda bıraktığı bir karısı ve bir küçük oğlu var. 3. Bu kişinin ölüsü, dirisi bilinmiyor ; daha ziyade öldü ğü rivayeti hâkim. 4. İki hasım ordusu karşılaşıyor ; meydan okuyanlardan ya şlı olanın soruşturması neticesinde kar şısındakinin oğlu olduğu anla şılıyor. 5. Yaşlının techizatı mükemmel ve türlü silahlar ı var. 6. Yaşlı, hasmı n ın oğlu olduğunu anlamakla beraber d ışarı vurmaz. Arada göze çarpan farkl ı hususiyetler şunlardır : 1. Hildebrand hasm ı nın, oğlu olduğunu anlayınca uyuşmaya, sulhe imaleye çalışıyor, oğlu itimad etmedi ğinden, muvaffak olamıyor; yiğitlik gururu evlat muhabbetine galebe ederek o ğlunu yere seriyor ve neticede öldürüyor. Halbuki Kazanan kar şı sı na çıkan şöhret sahibi yi ğitleri bir darbede sindirdi ği halde tecrübesiz delikanl ı oğluna karşı pasif kalıyor. Uruz hasm ı nın kim olduğunu bilmeden fırlıyarak saldırı yor. Hasım kendisine "Ağ sakall ı babana k ıyma„ dediği anda oğlu tered- düdsüz itimadla şefkat damarlar ı kayn ıyor, silahını atıp babasının elini öpüyor ki bu hal Cerman hu şuneti ile Türk şefkatini gösterir. 2. Diğer bir hususiy et de Cerman destan ı nda hasmın güzel techizat ını, silahlarını elde etme emeli hedefi te şkil ettiği halde Türk destan ında gaye sırf yiğitliğin denenmesidir.
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