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Doktora Tezi Evliyâ Çelebi'nin Acayip Ve Garip Dünyasi Yeliz Özay Türk Edebiyati Bölümü Ihsan Doğramaci

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Doktora Tezi Evliyâ Çelebi'nin Acayip Ve Garip Dünyasi Yeliz Özay Türk Edebiyati Bölümü Ihsan Doğramaci DOKTORA TEZİ EVLİY ÇELEBİ’NİN ACAYİP VE GARİP DÜNYASI YELİZ ÖZAY TÜRK EDEBİYATI BÖLÜMÜ İHSAN DOĞRAMACI BİLKENT ÜNİVERSİTESİ, ANKARA EYLÜL 2012 İhsan Doğramacı Bilkent Üniversitesi Ekonomi ve Sosyal Bilimler Enstitüsü EVLİY ÇELEBİ’NİN ACAYİP VE GARİP DÜNYASI YELİZ ÖZAY Türk Edebiyatı Bölümünde Doktora Derecesi Kazanma Yükümlülüklerinin Bir Parçasıdır. Türk Edebiyatı Bölümü İhsan Doğramacı Bilkent Üniversitesi, Ankara Eylül 2012 Bütün hakları saklıdır. Kaynak göstermek koşuluyla alıntı ve gönderme yapılabilir. © Yeliz Özay, 2012 Bu tezi okuduğumu, kapsam ve nitelik bakımından Türk Edebiyatında Doktora derecesi için yeterli bulduğumu beyan ederim. ………………………………………… Yrd. Doç. Dr. Nuran Tezcan Tez Danışmanı Bu tezi okuduğumu, kapsam ve nitelik bakımından Türk Edebiyatında Doktora derecesi için yeterli bulduğumu beyan ederim. ………………………………………… Prof. Talât Halman Tez Jürisi Üyesi Bu tezi okuduğumu, kapsam ve nitelik bakımından Türk Edebiyatında Doktora derecesi için yeterli bulduğumu beyan ederim. ………………………………………… Prof. Dr. Semih Tezcan Tez Jürisi Üyesi Bu tezi okuduğumu, kapsam ve nitelik bakımından Türk Edebiyatında Doktora derecesi için yeterli bulduğumu beyan ederim. ………………………………………… Prof. Dr. Öcal Oğuz Tez Jürisi Üyesi Bu tezi okuduğumu, kapsam ve nitelik bakımından Türk Edebiyatında Doktora derecesi için yeterli bulduğumu beyan ederim. ………………………………………… Yrd. Doç. Dr. Oktay Özel Tez Jürisi Üyesi Ekonomi ve Sosyal Bilimler Enstitüsü Müdürü’nün onayı ………………………………………… Prof. Dr. Erdal Erel Enstitü Müdürü ÖZET EVLİY ÇELEBİ’NİN ACAYİP VE GARİP DÜNYASI Özay Yeliz Doktora, Türk Edebiyatı Tez Yöneticisi: Doç. Dr. Nuran Tezcan Eylül, 2012 Evliyâ Çelebi, Seyahatnâme’de yineleyerek vurguladığı kimi başlıklarla okurun dikkatini özellikle bazı anlatı kategorilerine çekmektedir. Bu kategorilerden biri de yapıtın kurmaca boyutunun ve Evliyâ’nın “hikâye anlatıcı”lığının tartışılabilmesi için son derece önemli olan acayib ü garayibyani “acayiplikler ve gariplikler”dir.Bu çalışmada, “Evliyâ Çelebi’nin Acayip ve Garip Dünyası”, 17. yüzyıl Osmanlı toplumunun Epistemesinin söylemini yansıtan ve sözlü kültürün neredeyse tüm kaynaklarına hâkim bir hikâye anlatıcısının zihninde aranmıştır. Bu arayışta ilk olarak, Evliyâ Çelebi’ye Walter Benjamin’in “Hikâye Anlatıcısı” başlıklı yazısından hareketle, sözlü geleneğin bir hikâye anlatıcısı olarak yaklaşılması önerilmiş ve Seyahatnâme’nin sözlü niteliği üzerinde durulmuştur. Çalışmanın odağınaacayib ü garayibyerleştirilerek “doğruluk ve yanlışlık”, “gerçeklik ve kurmaca”, “bağlam”, “deneyim” ve “bilgi” gibi kavramların değerlendirilmesinin izi sürülmüştür. Acâ’ib’in seyahat anlatısı geleneğindeki köklü geçmişi göz önünde bulundurulduğunda,Evliyâ Çelebi’ninböyle bir kategori oluşturması, bilinçli bir tercih olarak kabul edilmelidir. Çalışmada, Evliyâ’nın neyi, neden “acayip” ve “garip” bulup aktardığını bütünlüklü olarak görebilmek için başlıklarında bu sıfatları kullandığı anlatılar, Yapı Kredi Yayınları’nın on ciltlik kitaplarından taranmıştır.Ardından yapılan sınıflandırma denemesinde anlatıların;insanların başından geçen maceralar ya da fiziksel görünüşleri,rüya ve kehanet, “öteki”nin inançları, sanat ve teknoloji, hayvanlar, doğa unsurları tılsım ve sihir gibi üst başlıkların altına yerleştirilebileceği görülmektedir. Dolayısıyla, Seyahatnâme’de “acayip ve garip hikâyeler”in belirli ve sınırlı konularda yoğunlaştığını söylemek mümkün değildir. Metinlerin ortak özelliği, “şaşırtıcı” ve “anlatılmaya/kaydedilmeye değer” olmalarıdır. Bunun yanında, anlatılarıntamamen hayal ürünü, olağanüstü ve fantastik hikâyelerden oluştuğunu söylemek mümkün değildir. Aksine birçok metinde “acayip” ve “garip” terimleri fanteziden ziyade gerçeklik düzlemine atıfta bulunmaktadır. Anahtar Sözcükler: Evliyâ Çelebi Seyahatnâmesi, acayib ü garayib, hikâye anlatıcısı, gerçeklik ve kurmaca. iii ABSTRACT EVLİY ÇELEBİ’S STRANGE AND WONDROUS WORLD Özay, Yeliz P.D., Department of Turkish Literature Supervisor: Assoc. Prof. NuranTezcan September, 2012 Evliyâ Çelebi,in his work Seyahatnâme (Book of Travels), draws the reader’s attention to certainnarratives by repeated recourse to specificnarrative genres. One such genre, which is important for appreciating Evliyâ Çelebi as a storyteller and understanding the fictional dimensions of his work, is that of “marvels and wonders” (acayib ü garayib). In this study, “Evliyâ’s world of the strange and wondrous”is analyzed through the mentality of this storyteller who feeds on and is fed by oral culture, considering the epistemological standards of the 17th-century Ottoman world.Indoing so, the study proposes to approach Evliyâ Çelebi as a storyteller based on Walter Benjamin’s work “The Storyteller” and on the oral character of Seyahatnâme.Focusing on acayib ü garayib, evaluations will also be made of suchconcepts as “true and untrue”, “reality and fiction”, “context”, “experience”, and “knowledge”. Considering the long-standing history of Acâ’ib in the tradition of travel narratives, Evliyâ’s use of this category seems to be a conscious decision based on the Islamic tradition of travel writing.To fully understand what Evliyâfinds to be “strange and wondrous” and why he does so, the narratives in question can be classified under certain concepts, such as talismans and spells, magic and witchcraft, dreams and prophecies, adventures, physical appearances, animals, different beliefs or cultures, landforms, architectural structures, and so on. These include most of the basic concepts in Evliyâ’s travels, and indeed in his life. Thus, it is difficult to say that the narratives of “marvels and wonders” in the Seyahatnâme focus on certain restricted topics. The common characteristic of these texts is that they all evoke a feeling of “astonishment”. Besides this, Evliyâ rarely places a totally fictitious, supernatural, or fantastic story under the title of acayib or garayib. Rather, in the majority of thetexts, these terms refer more than anything else to the realm of reality, rather than to that of fantasy. Keywords: Evliyâ Çelebi’s Seyahatnâme(Book of Travels) ,acayib ü garayib, storyteller, reality and fiction. iv TEŞEKKÜR Bilkent Üniversitesi Türk Edebiyatı Bölümü’nde verdiği “Evliyâ Çelebi ve Seyahatnâme” seminerleriyle bu tezin çalışılmasında ilk heyecanın oluşmasını sağlayan, analitik eleştirileri ve değerli önerileriyle tezin yazılma aşamasında çok değerli katkılar sunan tez danışmanım Nuran Tezcan’a; tez izleme komitelerinde, çalışmanın her sürecini titizlikle takip edip ufuk açıcı yorumlarıyla tezin şekillenmesine yardımcı olan Prof. Dr. Öcal Oğuz ve Prof. Dr. Semih Tezcan’a; jürideki değerli katkıları için Prof. Talât Halman ve Yrd. Doç. Dr. Oktay Özel’e; hem akademik hem de manevi desteklerini hiçbir zaman esirgemeyen dostlarım Aslıhan Aksoy Sheridan ve Michael Sheridan’a; anlayış ve destekleriyle her zaman yanımda olan aileme; varlığıyla bana güç veren ve mutlu anların çoğalmasını sağlayan ablam Yeşim Ceylan’a teşekkür ederim. v İÇİNDEKİLER ÖZET ................................................................................................................... iii ABSTRACT ....................................................................................................... iv TEŞEKKÜR ....................................................................................................... v İÇİNDEKİLER .................................................................................................. vi GİRİŞ …………………………………………………………………………. 1 BÖLÜM 1: HİKÂYE-İ ACÎBE VÜ GARÎBE: Yİ E G Rİ İN N HIKÂYELERİ……………….......................................................... 32 A. T E K ..………………………………… 33 B. M m d ’ ı H ây ............................................... 54 C. Evliyâ Ç b ’ güz t ..……………………………… 64 D. K m t b D â el /D /E m …………………. 73 BÖLÜM II: VE MİNE’L-ACÂ’İB RÜYÂ-YI SÂLİHA: Yİ RÜY L R E G Rİ KEH NETLER …….........................................………… 84 A. M m d Rüy ı .................................................... 87 B. Evliyâ Ç b ’ Rüy ı ....................................................... 107 vi BÖLÜM III: TEMÂŞÂ-YI GARÎBE-İ ACİBE: Yİ E G Rİ “ÖTEKİ”LER ………………………………………………… 111 . İ ç R tü ……………………………………………….. 113 B. Sanat ve Teknoloji ..................................................................... 136 C. Grotesk Bedenli Ucubeler ......................................................... 143 BÖLÜM I : VE MİNE'L-ACÂYİBİ'L-GARÂYİB: Yİ E G Rİ HAYVANLAR ………………………………………………… 158 A. Ku ı İb t H …………………………………….. 159 B. Mı ı N H y ı …………………………………….. 163 C. D ğ G p y ………………………………………… 173 BÖLÜM : HİKMET-İ GARÎBE VÜ ACİBE: Yİ E G Rİ DOĞ …………………………………………………………………. 177 A. Dağ ……………………………………………………….. 177 B. Sular ………………………………………………………… 187 C. Mağ …………………………………………………… 190 D. ğ ç ………………………………………………………. 192 BÖLÜM I: MUTALSAMAT-I GARÎBE VE ACÎBE : Yİ E G Rİ TILSIMLAR ………………............................................. 198 A. İ t bu Tı ım ı …………………………………………. 200 B. Doğ y İ g Tı ım …………………………………….. 216 C. Y pı İ g Tı ım ……………………………………. 220 BÖLÜM II: SAN‘AT-I SİHR-İ GARÎB: Yİ E G Rİ İHİRLER ……………………………………………… 224 A. Gö t t ı ………………………………………..… 225 vii B. Büyücü dı ı …………………………………… 231 ONUÇ ………………………………………………………………… 242 EÇİLMİŞ BİBLİYOGR FY ……………………………………….. 248 EK ……………………………………………………………………… 257 ÖZGEÇMİŞ …………………………………………………………… 270 viii GİRİŞ Osmanlı edebiyat tarihinde 17. yüzyıl, bir dönüşüm yüzyılı olarak kabul edilir. Bu dönüşüm 1 kendisini hem “içerik” hem de “söylem” boyutunda daha gerçekçi bir yaşamın yansıması ve klişelerden zamanla uzaklaşmış, somut bir dilin kullanımı olarak göstermiştir.
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