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“magnificence in poetry” was replaced by the “delicate and sensitive poem”.
This trend, led by Nedim, continued with Sheik Galip later in that century. Most prose authors of Divan literature adopted an unpretentious style in their works written for the people, although they preferred an elaborate and non-lucid style in works addressed to intellectuals. But as time passed, a middling way followed and a prose language different from spoken language, though not resorting to too much artistry and purple prose, was developed. Aşık Paşazade, Aşık Çelebi, Evliya Çelebi, Naima, Koçibey and Mercimek Ahmet are foremost among the leading prose writers. The Seyahatname (Travelogue) written by Evliya Çelebi, who expressed in lucidity what he had witnessed during his travels of over five decades, is an important source in terms of geography, history, ethnography, linguistics and anthropology, reflecting various aspects of social life in the 17th century.
 Folk Literature. The “mani”s (a humorous poem with four lines), folk songs, epics and tales, which are considered as the common property of the people, are anonymous works of folk literature. Moreover, the folk and Meddah (storyteller and impersonator) stories besides the Karagöz (Turkish shadow show) and the ortaoyunu (street theatre) constitute an important part of anonymous folk literature.
In the field of prose, the Dede Korkut Tales, compiled in the 14th century from the stories told among the people, are among the most prominent works in the history of Turkish literature. In addition to a handwritten version of the tales kept in the Dresden Royal Library and published twice, another copy was recently found in the Vatican Library and translated into various languages. The work, which comprises 12 tales, reflects the characteristics of the period during which the Turks fell under the influence of Islam.
Another genre of folk literature bearing religious characteristics, called the “Tasavvufi (Mystical) Folk Literature”, began with Ahmet Yesevi in the 12th century. But the renowned folk poet, Yunus Emre, who supposedly |
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lived in the late 13th century, is considered to be the real founder of mystical folk literature. His uprising against the injustice of the time, his tolerant and sympathetic approach to religious issues, and his use of a lucid and emotional language to express his thoughts had great influence over the people and he became very popular. Because he used the Turkish language with great skill, he is considered the “greatest master of the Turkish language in Anatolia”.
In the same century, folk humour based on hope and optimism turned out to be a second source of artistry. Nasreddin Hodja, who is supposed to have lived in the 13th century, is the greatest representative of folk humour not only in his time, but also for the present.
The beliefs of the Shia-Batini sect found a reflection in folk literature in the second half of the 16th century. Alawite-Bektashi literature, formed along this line of faith, followed a separate course of development from mystical folk poetry. Pir Sultan Abdal, one of the most capable representatives of this genre, used the themes of human love, brotherhood, equality, peace and unity of humanity in God in his poems.
The “Aşık (minstrel) Literature”, another genre of folk literature using non-religious themes, produced its first examples in the beginning of the 16th century. Legendary |
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| masters such as Köroğlu and Karacaoğlan of minstrel literature, in which the lyrics and music complement each other, appeared in this period. Köroğlu, who became a courageous symbol of rebellion against social problems, expressed hero-ism, bravery, the love for nature and passionate love with an exuberant style in his poems. As for Karacaoğlan, who was strongly devoted to the tradition of folk literature, |
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Murat Çobanoğlu |
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