\u015eehriyar\u2019\u0131n \u015fiiri, milli kimli\u011fe d\u00f6n\u00fc\u015f ve kendini kavray\u0131\u015f evrenidir. Bu d\u00fcnyay\u0131 i\u00e7selle\u015ftiren her okur; \u015eehriyar s\u00f6z\u00fc ve d\u00fc\u015f\u00fcncesi do\u011frultusunda, duygular\u0131n\u0131n i\u00e7denizinde ar\u0131n\u0131r, temizlenir ve saydamla\u015f\u0131r. \u015eairin \u015fiirinde; uyum, \u00f6zg\u00fcn d\u00fc\u015f\u00fcnce ve s\u00f6zlerin armonisi ritmi, \u00f6l\u00e7\u00fc esnekli\u011fi, konular\u0131n renklili\u011fi, ifadelerdeki ya\u015famsal ger\u00e7eklik, en \u00f6nemlisi y\u00fcksek insani duygularla milli birlik meydana getirmi\u015ftir. Derin h\u00fcmanizm; ya\u015fam, g\u00fczelli\u011fe ve insanl\u0131\u011fa sevgi, t\u00fcm k\u00f6t\u00fcl\u00fcklere ve zulme, k\u00f6t\u00fcc\u00fcl g\u00fc\u00e7lere nefret \u00fczerinde kurulmu\u015ftur. Bu \u015fiir d\u00fcnyas\u0131na konuk olan insanlar\u0131n duygular\u0131 vecde gelmi\u015f, kalem erbab\u0131n\u0131n hevesleri kanatlanm\u0131\u015f, \u201cHaydar Baba\u2019ya Selam\u201d ruhunda yeni eserler yazmaya \u00f6nc\u00fcl\u00fck etmi\u015ftir.<\/p>\n
Kaynaklardan edinilen bilgilere g\u00f6re, \u201cT\u00fcrk Yurdu\u201d dergisinin 1955 y\u0131l\u0131 Ekim say\u0131s\u0131nda ilk kez yay\u0131nlanan \u201cHaydar Baba\u2019ya Selam\u201d \u015fiiri b\u00fcy\u00fck ilgiyle kar\u015f\u0131lanm\u0131\u015f, g\u00fc\u00e7l\u00fc yank\u0131lar do\u011furmu\u015ftur. Bu \u00e7ekim g\u00fcc\u00fc olu\u015fturan dev eserin sevdal\u0131s\u0131 olan Hasan Elmas ise \u201cHaydar Baba’ya Selam\u201d manzum eserinin birinci b\u00f6l\u00fcm\u00fcn\u00fcn 1954 y\u0131l\u0131nda \u201cAzerbaycan\u201d dergisinde yay\u0131nland\u0131\u011f\u0131n\u0131 belirtmektedir. Ankara\u2019da ne\u015frolunan \u201cAzerbaycan\u201d dergisinin Eyl\u00fcl-Ekim 1954 tarihli 30.\u201331. say\u0131lar\u0131nda yay\u0131nlanmaya ba\u015flanan \u015fiir, Temmuz-A\u011fustos 1955 tarihli 40.\u201341. say\u0131lar\u0131na kadar devam etmi\u015ftir.<\/p>\n
\u201cHaydar Baba\u2019ya Selam\u201d manzumesi hakk\u0131nda Mehmet Emin Resulzadenin \u201cEdebi Bir Olay\u201d ba\u015fl\u0131\u011f\u0131yla ilk bilimsel ara\u015ft\u0131rmas\u0131 ise 1955 y\u0131l\u0131nda, \u201cAzerbaycan\u201d dergisinin 4. 5. 6. ve 7. say\u0131lar\u0131nda yay\u0131nlanm\u0131\u015ft\u0131r (81, s.12).<\/p>\n
\u015eiir ayn\u0131 d\u00f6nemlerde \u201cT\u00fcrk Yurdu\u201d dergisinin Ocak-Ekim 1955 tarihli say\u0131lar\u0131nda da yay\u0131nlanm\u0131\u015ft\u0131r. T\u00fcrk meslekta\u015flar\u0131 y\u0131llar i\u00e7inde \u015eehriyar\u2019a \u00e7ok say\u0131da cevap, ithaf \u015fiirleri yazd\u0131lar. B\u00f6ylece, “Haydar Baba” edebi ekol\u00fcn\u00fcn T\u00fcrkiye kolu olu\u015ftu, ard\u0131 ard\u0131na sanat incileri, m\u00fckemmel eserler meydana geldi. Bu konuda Prof.Dr.Nam\u0131k A\u00e7\u0131kg\u00f6z, \u00f6nemli bir saptamada bulunur: “G\u00fcn\u00fcm\u00fczde en fazla at\u0131fta bulunulan \u015fair; me\u015fhur Azerbaycan \u015fairi Muhammed H\u00fcseyin \u015eehriyar’d\u0131r (1907\u201318 Eyl\u00fcl 1988, Tahran). Hemen hemen T\u00fcrk d\u00fcnyas\u0131nda bilinen ve hatta lirizm ve muhteva a\u00e7\u0131s\u0131ndan adeta bir \u2018bayrak \u015fiir\u2019 haline gelen \u201cHaydar Babaya Selam” eseri olsa gerektir” (82. s.14\u201321)<\/p>\n
Canani D\u00f6kmecinin Elaz\u0131\u011f (Harput) ilini ve y\u00f6relerini betimleyen 79 beyitten olu\u015fan “Bizim Dilden Bizim K\u00f6y”, Hayrettin Tokdemir\u2019in Kocabey k\u00f6y\u00fcn\u00fc anlatan 108 bentlik “Kocabey”, Zeynalabidin Makas\u2019\u0131n 50 bentlik “Ho\u015f An\u0131lar”, Fahri Unan\u2019\u0131n 1981 y\u0131l\u0131nda Orta Anadolu \u015fivesiyle yazd\u0131\u011f\u0131 “\u00c7i\u00e7ekliye Selam” ve Muhammet Nur Do\u011fan’\u0131n \u201cA\u011fr\u0131 Da\u011f\u0131na Selam\u201d manzumeleri \u201cHaydar Baba\u201d edebi ekol\u00fcne T\u00fcrkiye’den bah\u015fedilen arma\u011fanlard\u0131r. \u015eehriyar miras\u0131n\u0131 uzun y\u0131llar devaml\u0131 olarak inceleyen Dr. Yusuf Gedikli T\u00fcrkiye’de yaz\u0131lan nazirelerden taraf\u0131m\u0131zdan bilinmeyenlerini de elde etmi\u015ftir. Bunlar:<\/p>\n
Esat Kabakl\u0131\u2019n\u0131n \u201cG\u00f6ll\u00fcba\u011f’a Selam\u201d (G\u00f6ll\u00fcba\u011f Kabakl\u0131\u2019n\u0131n memleketinde bir g\u00f6l\u00fcn ismidir. 11 Ekim 2008 g\u00fcn\u00fcnedek be\u015flik say\u0131s\u0131n\u0131 50’ye \u00e7\u0131kartm\u0131\u015f, daha da yazmaya devam etmektetir) adl\u0131 50 be\u015flikten,<\/p>\n
F\u0131rat K\u0131z\u0131ltu\u011f’un \u201cBayburt \u015eikesteleri\u201d adl\u0131 25 be\u015flikten,<\/p>\n
Ekrem Kaftan’\u0131n \u201cEvran Da\u011f\u0131’na Selam\u201d adl\u0131 5 b\u00f6l\u00fcmden olu\u015fan 59 be\u015flikten,<\/p>\n
Ali Akar’\u0131n \u201cY\u0131ld\u0131z Da\u011f\u0131’na Selam\u201d isimli 10 be\u015flikten,<\/p>\n
Yasin Hatipo\u011flu’nun \u201cHaydar Babaya Rapor\u201d (Yasin Hatipo\u011flu Yozgat\u2019\u0131n Sar\u0131kaya beldesindendir; Refah, Fazilet ve Saadet partile\u00adrin\u00adden Yozgat milletvekilli\u011fi yapm\u0131\u015ft\u0131r. Naziresini 17-21 Temmuz 2003’te yazm\u0131\u015f, fakat yay\u0131nlanmam\u0131\u015ft\u0131r) isimli 30 be\u015flikten;<\/p>\n
L\u00fctfi \u015eahsuvaro\u011flu’nun \u201cCemal Amca\u201d (Hen\u00fcz yay\u0131nlanmam\u0131\u015ft\u0131r. Nazirede \u015fahsa hitap edilmekte, bu meyanda T\u00fcrkiye ve d\u00fcnya ahvali hik\u00e2ye edilmektedir) isimli 146 be\u015flikten olu\u015fan nazirelerdir (10, s.78\u201379).<\/p>\n
Fahri Unan\u2019\u0131n 1981 y\u0131l\u0131nda Orta Anadolu \u015fivesi ile kaleme ald\u0131\u011f\u0131 \u201c\u00c7i\u00e7ekliye Selam\u201d manzumesi,<\/p>\n
Muhammet Nur Do\u011fan’\u0131n \u201cA\u011fr\u0131 Da\u011f\u0131’na Selam\u201d eseri de \u201cHaydar Baba\u201d \u00e7izgisinde kendine \u00f6zg\u00fc yeri olan \u00f6zg\u00fcn bir eserdir.<\/p>\n
\u015eehriyar \u015fiirinin etkileyici g\u00fcc\u00fcnden kurtulamayan, \u015eehriyar’\u0131n sesine ses veren di\u011fer T\u00fcrk soyda\u015flar\u0131: Verdi Kank\u0131l\u0131\u00e7 \u201c\u015eehriyar\u2019dan \u0130lhamlar\u201d, Aydil Erol \u201c\u015eehriyar\u2019a Sesleni\u015f\u201d, Ali Korkut Akba\u015f \u201c\u015eehriyar\u201d, H\u00fcseyin Perviz Hatemi, Servet G\u00fcrcanhan ve Tuncer G\u00fclensoy\u2019un \u201c\u015eehriyar\u2019a Sesleni\u015f\u2019\u2019, Nihat Y\u00fccel\u2019in \u201c\u015eehriyar\u2019a Selam\u201d, Mustafa Kayabek\u2019in \u201cHaydar Baba G\u00f6lgesinde\u201d, \u201c\u015eehriyar\u2019a Selam ve \u0130thaf\u201d, Esat Kabakl\u0131, Emin G\u00fczelsoy, F\u0131rat K\u0131z\u0131ltu\u011f ve di\u011ferleri \u015fiir ve menzumelerinde \u00fcstad\u0131n, daha \u00e7ok sosyal motif i\u00e7eren eserlerinden etkilenmi\u015f ve benze\u015f ruhta ko\u015fuklar yazm\u0131\u015flard\u0131r. \u015eehriyar’\u0131n vefat\u0131 nedeniyle ise T\u00fcrkiye’de Ali Korkut Akba\u015f, S\u00fcleyman B\u00fcy\u00fckda\u011f ve Araso\u011flu ona veda ve matem \u015fiirleri yazm\u0131\u015flar. T\u00fcm bu sesleni\u015fler, nazire ve tahmisler, elbette 20. y\u00fczy\u0131l\u0131n sanat dehas\u0131na ve Azerbaycan halk\u0131na b\u00fcy\u00fck muhabbetten kaynaklan\u0131yordu. Hasan Aras\u2019\u0131n da yazd\u0131\u011f\u0131na g\u00f6re, \u201cT\u00fcrkiye’de \u015eehriyar hakk\u0131nda m\u00fcspet d\u00fc\u015f\u00fcnceler d\u0131\u015f\u0131nda de\u011fi\u015fik sesler y\u00fckselten pek kimse olmam\u0131\u015ft\u0131r. Nihat Y\u00fccel \u2018\u2018\u015eehriyar\u2019a Selam\u2019\u2019 \u015fiirinde kan karde\u015finin yarat\u0131c\u0131l\u0131\u011f\u0131na y\u00fcksek de\u011fer verir, derebeyli\u011fe, ulusal ayr\u0131mc\u0131l\u0131\u011fa, h\u00e2kim dil, h\u00e2kim millet felsefesine nefretini bildiriyor. O, sadece G\u00fcney Azerbaycan T\u00fcrklerinin de\u011fil, Kafkasya, Kerk\u00fck, Yunanistan, T\u00fcrkistan T\u00fcrklerinin de halen tutsak gibi, elleri kollar\u0131 ba\u011fl\u0131 esaret i\u00e7inde ya\u015fad\u0131klar\u0131ndan duydu\u011fu \u00fcz\u00fcnt\u00fcy\u00fc, ac\u0131 m\u0131sralar\u0131na yans\u0131t\u0131r:<\/p>\n
Yeter \u015eehriyar\u2019\u0131m, bu kadar yeter,<\/em><\/strong> T\u00fcrkl\u00fc\u011fe, Turan’a, ve T\u00fcrk halklar\u0131na olan b\u00fcy\u00fck sevgi<\/strong><\/p>\n Bu i\u00e7gen \u015eehriyar\u2019\u0131n \u015fiirlerine de yans\u0131tm\u0131\u015ft\u0131r. “T\u00fcrkiye’ye Hayali Yolculuk” \u015fiirinde bunlar\u0131 g\u00f6r\u00fcr\u00fcz. Bu \u015firinde se\u00e7kin T\u00fcrk \u015fairleri Mehmet Akif\u2019in, Yahya Kemal’in, Tevfik Fikret\u2019in adlar\u0131n\u0131 zikreder. Bir \u00e7a\u011f\u0131 kapat\u0131p, yeni bir \u00e7a\u011f\u0131 a\u00e7an Fatih Sultan Mehmet\u2019i, modern T\u00fcrkiye Cumhuriyeti\u2019nin kurucusu Mustafa Kemal Atat\u00fcrk’\u00fc y\u00fcrekten alk\u0131\u015flar. Ba\u015fkent Ankara\u2019ya, \u2018denizler k\u0131z\u0131, derya gelini\u2019 \u0130stanbul’a candan sevgisini ifade eder. T\u00fcrk’\u00fcn \u015fanl\u0131 tarihinden gurur duyar, bu kahramanlar \u00fclkesinin zaferleriyle \u00f6v\u00fcn\u00fcr. Bu yurdu g\u00f6rmek, gezip dola\u015fmak arzusunu ger\u00e7ekle\u015ftiremedi\u011finden kalbinde k\u00f6k salm\u0131\u015f uzun y\u0131llar\u0131n \u00f6zlemini dizelere aktar\u0131r. T\u0131pk\u0131 Hasan Aras\u2019\u0131n da s\u00f6yledi\u011fi gibi: \u201c\u015eairin bu \u015fiirlerinden anla\u015f\u0131lan odur ki, T\u00fcrk diline ba\u011fl\u0131 oldu\u011fu gibi T\u00fcrkiye\u2019ye de b\u00fcy\u00fck bir \u00f6zlem i\u00e7indedir. T\u00fcrkiye’yi hi\u00e7 g\u00f6rmedi\u011fi halde g\u00f6r\u00fcp dola\u015fan birinden \u00e7ok daha g\u00fczel tasvir etmi\u015ftir. Bir\u00e7ok vilayeti \u00f6zellikleriyle birlikte anlat\u0131rken \u00fcnl\u00fc ki\u015fileri de anmadan ge\u00e7memi\u015ftir. \u015eair, Bak\u00fc’ye, Kuzey Azerbaycan’a oldu\u011fu gibi, Anadolu T\u00fcrkiye’ sine hayalen yolculu\u011funu dizelerinde s\u00fcrd\u00fcr\u00fcr:<\/p>\n Gelmi\u015fem nazl\u0131 hilal \u00f6lkesine<\/em><\/strong> Bura J\u00f6n T\u00fcrkiyye\u2019nin paytaht\u0131<\/em><\/strong> O g\u00f6zeller g\u00f6zeli \u0130slambul<\/em><\/strong> Bu de\u011ferli eserde \u015eehriyar tarihsel yan\u0131lg\u0131m\u0131za; d\u00fc\u015fman fitnesinden kaynaklanan \u00c7ald\u0131ran sava\u015f\u0131 gibi ac\u0131 olaylar\u0131n ya\u015fanmas\u0131na \u00fcz\u00fcld\u00fc\u011f\u00fcn\u00fc i\u015faret ediyor. Fakat “Dili, dini, kan\u0131 bir karde\u015flik, s\u00f6z\u00fc bizdense, ne a\u011flar tarih\/Mahk\u00fbm ederek ba\u015fkanlar\u0131, kara milletleri da\u011flar tarih” diyen \u015fair iyimserli\u011fini korur… Her bir fitne \u00e7\u0131karan halk\u0131n veya devletin cezas\u0131n\u0131 da tarihin, zaman\u0131 geldi\u011finde verece\u011fine emindir:<\/p>\n D\u00e9yirem Akif ile g\u00e2h cumal\u0131m<\/em><\/strong> Gel s\u0131hag bir kere garda\u015fl\u0131g elin<\/em><\/strong> G\u00f6r\u00fcm ay nazl\u0131 hilal\u0131m sancag<\/em><\/strong> \u201c\u0130stiklal Mar\u015f\u0131\u201dn\u0131n yazar\u0131 Mehmet Akif Ersoy’un ad\u0131n\u0131 gururla anan \u015eehriyar bu istiklal m\u00fccahidinin d\u00fc\u015f\u00fcnce ve ama\u00e7lar\u0131n\u0131 destek\u00adli\u00adyordu. \u201cT\u00fcrkiye’ye Hayali Yolculuk\u201d ve \u201cT\u00fcrk Evlad\u0131 Gayret Vaktidir\u201d isimli \u015fiirlerinde bu e\u011filimi a\u00e7\u0131k\u00e7a ortaya \u00e7\u0131kmaktad\u0131r. O, Mehmet Akif’in ‘\u0130stiklal Mar\u015f\u0131\u2019\u2019 \u015fiirindeki fikirlerinden g\u00fc\u00e7 al\u0131yordu:<\/p>\n Garb\u0131n afak\u0131n\u0131 sarm\u0131\u015fsa \u00e7elik z\u0131rhl\u0131 duvar.<\/em><\/strong> Arkada\u015f, yurduma al\u00e7aklar\u0131 u\u011fratma sak\u0131n<\/em><\/strong> \u015eehriyar, T\u00fcrk yurdunun, T\u00fcrk illerinin; yani Turan’\u0131n, b\u00f6ylece de t\u00fcm d\u00fcnyada ya\u015fayan T\u00fcrk halklar\u0131n\u0131n birli\u011fini g\u00f6rmeyi arzu ediyordu. \u201cT\u00fcrk Evlad\u0131 Gayret Vaktidir\u201d isimli \u015fiirinde de okuyucu\u00adlar\u0131na Mehmet Akif Ersoy’un \u015fiirlerini okumay\u0131 ve bu eserlerden emperyalist g\u00fc\u00e7lerin T\u00fcrk halk\u0131na b\u00fcy\u00fck zararlar verdi\u011fini; hangi mel\u00e2net ve hileler yapt\u0131\u011f\u0131n\u0131 \u00f6\u011frenmeyi, T\u00fcrk\u00fcn dost ve d\u00fc\u015fmanlar\u0131n\u0131 tan\u0131may\u0131 tavsiye ediyordu. Azerbaycan T\u00fcrklerinin hem ya\u015fad\u0131klar\u0131 d\u00fcnyay\u0131, hem de ahretlerini \u0130slam\u2019la kurtarabilece\u011fini dile getiriyor, ayn\u0131 zamanda tehlikelere kar\u015f\u0131 gerekli \u00f6nlemlerin al\u0131nmas\u0131n\u0131 diliyor:<\/p>\n Akif’in \u015fiirine bak g\u00f6r, neler etmi\u015f bize k\u00fcf\u00fcr, <\/em><\/strong> \u201c\u015eehriyar, \u0131rk\u00e7\u0131l\u0131k konusunda da Mehmet Akif ile ayn\u0131 d\u00fc\u015f\u00fcnceleri payla\u015farak, hi\u00e7bir \u0131rk\u0131n bir ba\u015fka \u0131rktan \u00fcst\u00fcn olamayaca\u011f\u0131n\u0131 dile getiriyor.\u201d (83) \u00dcstat \u015fair baz\u0131 \u015fiirlerinde evrenselci tutum al\u0131yor; b\u00fct\u00fcn d\u00fcnyada bar\u0131\u015f\u0131n olmas\u0131n\u0131, halklar\u0131n bir devlet, bir bayrak alt\u0131nda mutlu, bahtiyar ya\u015famalar\u0131n\u0131, \u00e7izilmi\u015f s\u0131n\u0131rlar\u0131n silinmesini diliyordu. \u201cHakk\u0131n Sesi\u201d manzumesinde bu d\u00fc\u015f\u00fcncelerini biraz da isyanc\u0131 h\u00e2l alarak h\u00fcmanizmas\u0131na yans\u0131t\u0131r, Tanr\u0131ya var\u0131\u015f\u0131n, ebedi mutlulu\u011fun Ar\u015f-\u0131 Al\u00e2da Hakk’\u0131n derg\u00e2h\u0131nda oldu\u011fu kanaatini sergiler:<\/p>\n Bize Yerk\u00fcresi dar bir kafes, <\/em><\/strong> Ahmet Ate\u015f \u201c\u015eehriyar ve Haydar Baba\u2019ya Selam\u201d eserini 1964 y\u0131l\u0131nda Ankara’da yay\u0131nlam\u0131\u015ft\u0131r. T\u00fcrkiye’de M.E.Resulzade\u2019den sonra A.Ate\u015f\u2019in kitab\u0131nda yer alan analitik bak\u0131\u015f a\u00e7\u0131s\u0131 ve ilmi yakla\u015f\u0131m ilk kez \u015fairin hayat\u0131, eserleri, hem de \u201cHaydar Baba\u2019ya Selam\u201d \u015fiirinin \u00f6zg\u00fcl a\u011f\u0131rl\u0131\u011f\u0131, i\u00e7erik, sanatsal \u00f6zellikleri ve t\u00fcm T\u00fcrk d\u00fcnyas\u0131n\u0131 kapsayan dalga boyutu hakk\u0131nda d\u00fc\u015f\u00fcnceleri yans\u0131t\u0131lm\u0131\u015ft\u0131r. Ahmet Ate\u015f \u015fair ve \u015fiir hakk\u0131nda ayr\u0131nt\u0131l\u0131 \u00f6ns\u00f6z\u00fcyle birlikte \u201cHaydar Baba\u2019ya Selam\u201d eserini yay\u0131nlad\u0131ktan sonra, T\u00fcrkiye’nin edebiyat tarih\u00e7ili\u011finde \u015eehriyar konusu lay\u0131k oldu\u011fu konumu kazanmaya ba\u015flad\u0131. Muharrem Ergin, Ali Yavuz Akp\u0131nar, Saadet \u00c7a\u011fatay, Ahmet Gafaro\u011flu, Osman Sertkaya, Ahmet Bican Ercilasun, \u0130ldeniz Kurtulan, Yusuf Gedikli, daha sonra ise Hasan Elmas, \u0130sa \u00d6zkan, Ahmet Polatl\u0131 ve di\u011ferleri \u015eehriyar miras\u0131n\u0131n belli meselelerini ortaya koydular. Esasen \u201cHaydar Baba\u2019ya Selam\u201d manzum eserini ara\u015ft\u0131rma nesnesine d\u00f6n\u00fc\u015ft\u00fcrerek s\u00f6z, g\u00fczel d\u00fc\u015f\u00fcnce ve ifadelerin ustas\u0131 olmakla, zaman\u0131n\u0131n en \u00fcnl\u00fc lirik \u015fairlerinden biri zirvesine oturan \u015eehriyar hakk\u0131nda kendi bilimsel d\u00fc\u015f\u00fcnce ve g\u00f6r\u00fc\u015flerini yay\u0131nlam\u0131\u015flard\u0131r. Azerbaycan ve Turan sevdal\u0131s\u0131, b\u00fcy\u00fck bilim adam\u0131 Prof. Dr. Yavuz Akp\u0131nar, Muharrem Ergin’in \u201cAzeri T\u00fcrk\u00e7esi\u201d kitab\u0131n\u0131 en de\u011ferli inceleme eseri say\u0131yor ve kitab\u0131n ders kitab\u0131 olarak okutuldu\u011funa dikkat \u00e7ekiyor: \u201cAzerbaycan T\u00fcrk\u00e7esi hakk\u0131nda T\u00fcrkiye’de \u015fimdiye kadar yap\u0131lan en yetkin ve \u00f6nemli ara\u015ft\u0131rma Muharrem Ergin’in\u201d \u015eehriyar\u2019\u0131n \u201cHaydar Baba\u2019ya Selam\u201d adl\u0131 manzum \u015fiirin transkripsiyonlu metni, T\u00fcrkiye T\u00fcrk\u00e7esine aktar\u0131lmas\u0131 ve bu metinler \u00fczerine derinlemesine, tarihi perspektif de dikkate al\u0131narak yap\u0131lan \u201cAzeri T\u00fcrk\u00e7esi\u201d adl\u0131 ara\u015ft\u0131rma kitab\u0131d\u0131r. Bu eser, yaz\u0131ld\u0131\u011f\u0131 tarihten itibaren b\u00fct\u00fcn T\u00fcrk \u00fcniversitelerinde ders kitab\u0131 olarak okutulmu\u015ftur. Kitab\u0131n ba\u015f\u0131ndaki \u201c\u00d6ns\u00f6z\u201dde Bat\u0131 T\u00fcrk\u00e7esi i\u00e7inde zamanla geli\u015fen Azeri T\u00fcrk\u00e7esinin ortaya \u00e7\u0131k\u0131\u015f\u0131, eski Anadolu T\u00fcrk\u00e7esi ve Osmanl\u0131cayla mevcut ba\u011flar\u0131, tarihi geli\u015fiminin ana hatlar\u0131 titizlikle ortaya konulmu\u015ftur.<\/p>\n Prof. Dr. Hamlet \u0130sahanl\u0131: \u201cBaz\u0131 durumlarda \u015eehriyar\u2019\u0131n ve di\u011fer G\u00fcney Azerbaycan yazarlar\u0131n\u0131n eserlerinin T\u00fcrkiye’deki yay\u0131n\u0131 Sovyet Azerbaycan\u2019\u0131ndan \u00f6nce ne\u015frolunurdu. Bu alanda Ali Yavuz Akp\u0131nar’\u0131n da harikulade hizmetleri olmu\u015ftur. Asl\u0131nda, o, \u015eehriyar\u2019\u0131n hem dil, hem yay\u0131n, hem de eserlerinin ayr\u0131nt\u0131l\u0131 incelenmesi bak\u0131m\u0131ndan \u00f6nemli \u00e7al\u0131\u015fmalar ger\u00e7ekle\u015ftirmi\u015ftir\u201d diyen hocam\u0131z bu konuda \u00e7ok hakl\u0131d\u0131r (95, s.211).<\/p>\n Osman Sertkaya ise \u0130ran edebiyat tarih\u00e7ili\u011fi yoluyla giderek T\u00fcrkiye’de \u015eehriyar ve \u201cHaydar Baba\u2019ya Selam\u201da yaz\u0131lm\u0131\u015f tazim ve nazireleri toplayarak \u201cHaydar Baba\u2019ya Selam\u201d \u015fiirinin T\u00fcrkiye’deki akisleri\u201d ba\u015fl\u0131kl\u0131 \u00fc\u00e7 makale halinde yazm\u0131\u015ft\u0131r. \u201cT\u00fcrk K\u00fclt\u00fcr\u00fc\u201d ve \u201cAzerbaycan T\u00fcrkleri\u201d dergilerinde yay\u0131nlanan ara\u015ft\u0131rmas\u0131n\u0131n ikinci b\u00f6l\u00fcm\u00fcnde O.F. Sertkaya \u015eehriyar\u2019a ithaf edilmi\u015f yaz\u0131lar\u0131, \u015fiirleri iki gruba ay\u0131rm\u0131\u015ft\u0131r:<\/p>\n Fakat T\u00fcrkiye’de \u015eehriyar\u2019\u0131n b\u00fct\u00fcn yarat\u0131c\u0131l\u0131\u011f\u0131n\u0131, \u00f6zellikle de \u201cHaydar Baba\u2019ya Selam\u201d eserini inceleyen ve T\u00fcrk\u00e7e eserlerini k\u00fclliyat halinde, \u201c\u015eehriyar ve B\u00fct\u00fcn T\u00fcrk\u00e7e \u015eiirleri\u201d ad\u0131yla zarif bi\u00e7imde ilk kez yay\u0131nlayan tan\u0131nm\u0131\u015f \u015eehriyar uzman\u0131 akademisyen, Dr. Yusuf Gedikli olmu\u015ftur. \u201c\u015eehriyar ve B\u00fct\u00fcn T\u00fcrk\u00e7e \u015eiirleri\u201d de\u011ferli monografisi hem de onun Azerbaycan Milli Bilimler Akademisi (AMBA) Nizami Edebiyat Enstit\u00fcs\u00fc G\u00fcney Azerbaycan Edebiyat\u0131 B\u00f6l\u00fcm\u00fcn\u00fcn i\u015fbirli\u011fi ve bilim adam\u0131 merhum Naz\u0131m Rizvanov\u2019un ba\u015fkanl\u0131\u011f\u0131nda y\u00fcr\u00fct\u00fclen yo\u011fun ve verimli bilimsel ara\u015ft\u0131rmalar\u0131n sonucudur.<\/p>\n 1) \u015eehriyar’\u0131n hayat\u0131 ve sanat\u0131;<\/p>\n 2) \u201cHaydar Baba\u2019ya Selam\u201d ve \u015eiirler;<\/p>\n 3) Foto\u011fraflar, resimler ve s\u00f6zl\u00fck.<\/p>\n Yusuf Beyin ara\u015ft\u0131rmalar\u0131 T\u00fcrkiye\u2019de ilgiyle kar\u015f\u0131lanm\u0131\u015f, d\u00f6nemin se\u00e7kin bilim adamlar\u0131 ve uzmanlar\u0131 ara\u015ft\u0131rmac\u0131 hakk\u0131nda ho\u015f s\u00f6zler, de\u011ferli fikirler s\u00f6ylemi\u015fler.<\/p>\n \u015eehriyar’\u0131 T\u00fcrkiye’de ilk defa ne\u015freden T\u00fcrk K\u00fclt\u00fcr\u00fcn\u00fc Ara\u015ft\u0131rma Enstit\u00fcs\u00fc’d\u00fcr; Ahmet Ate\u015f, \u201cHaydar Baba’ya Selam\u201d, (Ankara, 1964). \u0130kinci \u201cHaydar Baba’ya Selam\u201dda (1 Nisan 1965) Prof. Dr. Muharrem Ergin taraf\u0131ndan T\u00fcrk K\u00fclt\u00fcr\u00fc dergisinde ne\u015fredilmi\u015ftir. Yavuz Akp\u0131nar da \u201c\u015eehriyar’\u0131n T\u00fcrkiye’de Ne\u015fredilmemi\u015f Baz\u0131 T\u00fcrk\u00e7e \u015eiirleri\u201dni Atat\u00fcrk \u00dcniversitesi Edebiyat Fak\u00fcltesi Ara\u015ft\u0131rma Dergisi Ahmet Cafero\u011flu \u00f6zel say\u0131s\u0131nda yay\u0131nlam\u0131\u015ft\u0131r. \u015eimdi \u015eehriyar’\u0131n t\u00fcm T\u00fcrk\u00e7e \u015fiirlerini i\u00e7ine alacak bir yay\u0131na ihtiyac\u0131m\u0131z var (83).\u201d<\/p>\n \u015eairin T\u00fcrk\u00e7e yarat\u0131c\u0131l\u0131\u011f\u0131na genel bak\u0131\u015f\u0131n\u0131 yaz\u0131n alan\u0131na ta\u015f\u0131mas\u0131, T\u00fcrkiye okuyucular\u0131na \u015eehriyar\u2019\u0131 daha yak\u0131ndan tan\u0131ma olana\u011f\u0131 yaratmas\u0131 da akademisyenlerin geleneklere ba\u011fl\u0131l\u0131\u011f\u0131n\u0131n kan\u0131t\u0131d\u0131r. \u015eehriyar’\u0131n hayat\u0131, eserleri, sanat\u0131, T\u00fcrk\u00e7e \u015fiirlerine ve \u201cHaydar Baba’ya Selam\u201da t\u00fcmel bir g\u00f6zlemin sonucunda bakt\u0131\u011f\u0131 yerden bak\u0131p \u00f6rnek olarak sunuyoruz: \u201c\u015eehriyar duygusal, ger\u00e7ek\u00e7i ve toplumcu, insan sever, halk sever, bar\u0131\u015fsever \u015fairdir. \u015eehriyar’\u0131n; halk edebiyat\u0131 gelene\u011fine ba\u011fl\u0131 kald\u0131\u011f\u0131 \u015fiirleri, yal\u0131n; aruzla yazd\u0131\u011f\u0131 \u015fiirleri \u00e7etrefillidir. Fakat genel olarak yal\u0131n dille yazd\u0131\u011f\u0131n\u0131 s\u00f6ylemek m\u00fcmk\u00fcnd\u00fcr. \u015eiirleri son derece ahenkli ve hatta musikilidir. \u201cHaydar Baba’ya Selam\u201din sevilip benimsenmesinde, \u015eah fa\u015fizmi taraf\u0131ndan yasaklanan T\u00fcrk\u00e7eye olan susam\u0131\u015fl\u0131k, sanayi toplumuna ge\u00e7i\u015f a\u015famas\u0131ndaki kitlelerin manevi k\u00fclt\u00fcrlerine olan \u00f6zlemi vard\u0131r. \u0130nsanlar\u0131n kayg\u0131s\u0131z, dertsiz, sorunsuz, sorumsuz ve masum \u00e7ocukluk hat\u0131ralar\u0131n\u0131n ola\u011fan\u00fcst\u00fc ifade edilme kabiliyeti, \u015fiirin edebi y\u00f6nden m\u00fckemmelli\u011fi, bi\u00e7im, vezin, dil ve \u00fcslup bak\u0131m\u0131ndan gelene\u011fe ba\u011fl\u0131l\u0131\u011f\u0131, do\u011fan\u0131n, k\u00f6y\u00fcn sosyal ve iktisadi ya\u015fam\u0131n\u0131n ola\u011fan\u00fcst\u00fc g\u00fczel yans\u0131t\u0131lmas\u0131 ba\u015fl\u0131ca rol\u00fc oynam\u0131\u015ft\u0131r (10, s.87).\u201d<\/p>\n \u201cHaydar Baba\u2019ya Selam\u201d \u015fiiri \u015eehriyar’\u0131n Azerbaycan halk\u0131n\u0131n milli manevi de\u011ferlerinin, k\u00fclt\u00fcr\u00fcn\u00fcn, anadilinin, kendi topraklar\u0131n korunmas\u0131na en y\u00fcksek sesle duyurdu\u011fu \u00e7a\u011fr\u0131s\u0131, i\u00e7 sesidir. Bu i\u00e7ses \u00f6z T\u00fcrk\u00e7eye kar\u0131\u015farak daha y\u00fckseklere y\u00fccelmi\u015f, daha uzaklardan duyulmu\u015ftur. T\u00fcrkiye’nin b\u00fcy\u00fck \u015fairi Aziz Nesin de Ba\u011fdat’ta iken Abd\u00fcllatif Bendero\u011flu\u2019nun \u201cHaydar Baba\u2019ya Selam\u201d \u015fiirine nazire olarak yazd\u0131\u011f\u0131 \u201cG\u00fcrg\u00fcr Baba\u201d eserini okuduktan sonra \u015eehriyar\u2019\u0131n anadili sevdas\u0131n\u0131, kendi T\u00fcrk\u00e7enin yasaklarla unutturulmas\u0131ndan dolay\u0131 endi\u015fesini daha derinden duydu\u011funu s\u00f6ylemi\u015ftir. T\u00fcrkiye’de son y\u0131llarda \u015eehriyar\u2019\u0131n hayat\u0131 ve yarat\u0131c\u0131l\u0131\u011f\u0131 ile ilgili Prof.Dr.\u0130sa \u00d6zkan (\u201c\u015eehriyar’\u0131n \u015eiirlerindeki K\u00fclt\u00fcrel De\u011ferler\u201d), Ahmet Polatl\u0131 (\u201c\u015eehriyar ve T\u00fcrk Edebiyat\u0131\u201d) ve Hasan Elmas (\u201c\u015eehriyar’\u0131n Hayat\u0131 ve Eseri\u2019\u2019) ara\u015ft\u0131rmalar yaparak, makaleler yay\u0131nlam\u0131\u015flard\u0131r. Prof. Dr. \u0130sa \u00d6zkan \u015fairin sanat\u0131nda gelenek ve yenili\u011fi bir araya getirdi\u011fini, klasik \u015fiir ile modern \u015fiir aras\u0131nda sa\u011fl\u0131kl\u0131 bir k\u00f6pr\u00fc kurdu\u011funu s\u00f6ylemi\u015ftir. G\u00fcney Azerbaycan T\u00fcrk\u00e7esinin temelini 20. y\u00fczy\u0131lda yeni bir edebi dil olarak adeta yeniden olu\u015fturdu\u011funu, \u201cK\u00fclt\u00fcr\u00fc sanat\u00e7\u0131 bi\u00e7imde i\u015fleyerek yerelden evrensele ula\u015ft\u0131rd\u0131\u011f\u0131n\u0131\u201d kaydetmi\u015ftir. \u201cBu dil a\u011fz\u0131mda annemin ak s\u00fct\u00fc\u201d diyen Yahya Kemal gibi \u201cT\u00fcrki, vallahi anneler ok\u015fa\u011f\u0131 lay-lay dilidir\u201d (T\u00fcrk\u00e7e, annelerin bebeklerini ba\u011fr\u0131na basarak s\u00f6yledikleri ninnilerin dilidir) \u015feklindeki s\u00f6zleriyle g\u00fczel T\u00fcrk\u00e7enin sihirli atmosferini \u015fiire ta\u015f\u0131d\u0131\u011f\u0131n\u0131 iftiharla vurgular. \u015eairin, G\u00fcney Azerbaycan yaz\u0131n dilini kullanma bi\u00e7imiyle yenilik\u00e7i, \u00f6nc\u00fc oldu\u011funa ve bu \u00f6zelli\u011fin onu 20. y\u00fczy\u0131lda T\u00fcrk \u015fiirinin zirvelerine \u00e7\u0131kard\u0131\u011f\u0131na dikkati \u00e7ekmektedir. \u201c\u015eehriyar’\u0131n \u015fiirleri geleneksel de\u011ferleri modern ve i\u00e7ten bir yakla\u015f\u0131mla \u00e7a\u011fda\u015f \u015fiir d\u00fcnyas\u0131na aktar\u0131r. Azerbaycan\u2019\u0131n mani, t\u00fcrk\u00fc ve \u00e2\u015f\u0131k \u015fiirinin i\u00e7erik ve s\u00f6ylem bi\u00e7imine yeni i\u00e7erik unsurlar\u0131 ve s\u00f6ylem \u00f6zelli\u011fi katar. \u015eiirlerinde \u0130ran ve Azerbaycan \u015fairlerinin tekniklerine vak\u0131f olarak T\u00fcrk k\u00fclt\u00fcr\u00fcne ait folklorik zenginlikleri ba\u015far\u0131yla uyarlayabilmesi, onu \u00e7ok \u00f6zel bir \u015fair haline getirmi\u015ftir\u201d (103,s.144). D\u00e2hi Fuzuli’nin tabirince dersek, \u015eehriyar zengin s\u00f6z sofras\u0131n\u0131n nimetlerinden arma\u011fanlar sundu:<\/p>\n Men g\u00fczel bir sofra a\u00e7t\u0131m s\u00f6zden ehli-aleme,<\/em><\/strong> Bu b\u00f6l\u00fcmde bahsetti\u011fimiz \u201cT\u00fcrk d\u00fcnyas\u0131na nesnel, kar\u015f\u0131la\u015ft\u0131r\u00admal\u0131, g\u00fcncelleyerek, tasnif disipliniyle\u201d hareket eden T\u00fcrkiyeli ara\u015ft\u0131rmac\u0131lar; T\u00fcrkiye’de, Osmanl\u0131 \u0130mparatorlu\u011funda yaz\u0131p \u00fcreten bir\u00e7ok \u015fairin Azerbaycan k\u00f6kenli oldu\u011funu inceleyen ve Azerbaycan edebiyat\u0131n\u0131n ara\u015ft\u0131r\u0131lmas\u0131 alan\u0131nda e\u015fsiz ve de\u011ferli \u00e7al\u0131\u015fmalar yapan Fuat K\u00f6pr\u00fcl\u00fc\u2019n\u00fcn manevi varisleridir. O, Fuat K\u00f6pr\u00fcl\u00fc ki, \u201c\u0130slam Ansiklopedisi\u201dnin (1942) \u201cAzeri\u201d maddesinde Azerbaycan edebiyat\u0131na genel bak\u0131\u015f\u0131n\u0131 g\u00fcndeme getiriyor. Osmanl\u0131\u00adcay\u0131 Bat\u0131 O\u011fuz, Azerbaycan T\u00fcrk\u00e7esini Do\u011fu O\u011fuz edebi leh\u00e7esi, Azerbaycan edebiyat\u0131n\u0131 ise \u00fc\u00e7 b\u00fcy\u00fck T\u00fcrk edebiyat\u0131ndan biri olarak kabul ediyor (Osmanl\u0131, \u00c7a\u011fatay Edebiyat\u0131yla birlikte). \u201c\u2026Fuat K\u00f6pr\u00fcl\u00fc, t\u00fcm T\u00fcrk halklar\u0131 edebiyat\u0131 tarihinde, T\u00fcrk d\u00fc\u015f\u00fcnce tarihine en \u00e7ok n\u00fcfuz eden\u201d (Hamlet \u0130sahanl\u0131) azametli edebiyat uzman\u0131yd\u0131.<\/p>\n \u015eehriyar\u2019\u0131n ve onun \u00f6l\u00fcms\u00fcz \u201cHaydar Baba\u2019ya Selam\u201d manzumesinin G\u00fcney Azerbaycan halk\u0131nda yeni tefekk\u00fcr\u00fcn, G\u00fcney Azerbaycan T\u00fcrk\u00e7esinin geli\u015fmesine g\u00f6sterdiyi b\u00fcy\u00fck hizmeti \u00e7ok etkileyici bir tavrla inceleyen ve \u015fairi Azerbaycan edebiyyat\u0131nda Fuzuli, d\u00fcnya edebiyyat\u0131nda ise Goethe ile k\u0131yaslayan Orhan Aras Genel Yay\u0131n Y\u00f6netmeni oldu\u011fu \u201cBak\u0131\u015f\u201d Ayl\u0131k K\u00fclt\u00fcr dergisindeki \u201c\u00dclkemizde Kim K\u0131r\u0131ld\u0131, Kim Kald\u0131\u201d isimli makalesinde \u015f\u00f6yle diyor: \u201cO, sadece \u015fiir yazmam\u0131\u015ft\u0131r. Dii hemen-hemen ebedi olarak yok olma durumuna gelmi\u015f bir halka yeni bir ses, yeni bir nefes vermi\u015ftir. Onun d\u00fcnyaca me\u015fhur \u201cHaydar Baba\u2019ya Selam\u201d \u015fiiri yaz\u0131lmam\u0131\u015f olsayd\u0131 \u015fimdi G\u00fcney Azerbaycan denil\u0259n b\u00f6lgede T\u00fcrk dili bu kadar zengin ve edebi kalamayacakt\u0131 (134, s.5).\u201d<\/p>\n \u201c\u015eehriyar \u015fiiri o kadar m\u00fckemmel ve co\u015fkulu bir \u015fiirdir ki, hi\u00e7bir bask\u0131 o \u015fiirin sesini ve ahengini yok edemez\u201d kanaat\u0131nda olan Orhan Aras \u015fairin benzersiz \u015fiirinin bu kadar sevilmesinin, T\u00fcrk illerinde her bir edebiyyat, \u015fiir sevdal\u0131s\u0131n\u0131n ustad \u015fairin eserlerinden, mahsusen \u201cHaydar Baba\u2019ya Selam\u201ddan bir ne\u00e7e beyit ezbere bilmesinin nedenlerini a\u00e7\u0131klayarak yaz\u0131yor ki, \u015eehriyar \u201c\u015fiirinde, \u00f6zellikle \u201cHaydar Baba\u2019ya Selam\u201d eserinde sadece dil deyil, mana, ahenk, bi\u00e7im, lirizm, ger\u00e7ek\u00e7ilik, canland\u0131rma zirve seviyyesindedir. O eserde bir halk\u0131, bir devri b\u00fct\u00fcn canl\u0131l\u0131\u011f\u0131yla, siyasi, sosial, ananvi, dini haliyle g\u00f6zlerinizin \u00f6n\u00fcnde canlan\u0131r. \u015eehriyar \u015fiirinin ger\u00e7ek g\u00fcc\u00fc onun hem halk dilinde yaz\u0131lmas\u0131, hem de m\u00fcthi\u015f bir ses m\u00fczi\u011fi olmas\u0131d\u0131r. Ayr\u0131ca \u015fiirinin, \u00f6zellikle \u201cHaydar Baba\u2019ya Selam\u201d eserinin hayat\u0131n b\u00fct\u00fcn y\u00f6nlerini kavramas\u0131n\u0131n yan\u0131s\u0131ra ayr\u0131l\u0131\u011fa, \u00f6l\u00fcme, hayat\u0131n yok olub giden renklerine \u00e7ok etkileyici bir \u015fekilde vur\u011fulamas\u0131 onun herkes taraf\u0131ndan sevilmesine ve ezberlenmesine neden olmu\u015ftur (134, s.5).\u201d<\/p>\n \u015eehriyar\u2019\u0131 \u201cGazel \u015fairi\u201d, \u201cEhlibeyt \u015fairi\u201d, \u201cHaydar Baba \u015fairi\u201d, \u201cHasret \u015fairi\u201d diye adland\u0131ran Mirza Resul \u0130smayilzade; \u015fairin \u201cEl Huda\u201d Yay\u0131nevi’nin yay\u0131nlad\u0131\u011f\u0131 T\u00fcrk\u00e7e \u201cDivan\u201d\u0131na yazd\u0131\u011f\u0131 \u201c\u00d6ns\u00f6z\u201d de onun \u0130ran \u015fiirinde yakalad\u0131\u011f\u0131 \u00fcst\u00fcn mevkisinin nedenlerini belirlemeye \u00e7al\u0131\u015f\u0131r. \u015eiir ve sanat d\u00fcnyas\u0131nda kelimenin g\u00fcc\u00fcyle y\u00fcksek makama erdi\u011fini b\u00f6yle ispatlar: \u201c\u015eahlar, kumandanlar ordular\u0131yla fethedemedikleri topraklar\u0131, \u00fclkeleri \u015eehriyar s\u00f6z\u00fc ile fethedebilmi\u015ftir. O, k\u0131l\u0131\u00e7tan keskin s\u00f6z\u00fcyle bu \u015f\u00f6hreti kazanabilmi\u015ftir.\u201d<\/p>\n K\u0131l\u0131\u00e7 gibi keskin kelimelerin kudretiyle mutluluk t\u00fcrk\u00fcs\u00fcne d\u00f6n\u00fc\u015fen \u201cHaydar-Baba\u2019ya Selam\u201d manzumesine ilgi artarak \u00e7o\u011fal\u0131yor. Sanki okuyucu; \u015eehriyar\u2019\u0131n b\u00fcy\u00fck sevgi d\u00fcnyas\u0131n\u0131n hipnozuyla bu muhte\u015fem eserin ak\u0131nt\u0131s\u0131na s\u00fcr\u00fckleniyor… Salt bu \u00f6zelliklerine g\u00f6re de \u201cHaydar Baba\u2019ya Selam\u201d manzumesine ilgi yaln\u0131z Do\u011fu’da de\u011fil, Do\u011fu k\u00fclt\u00fcr\u00fcn\u00fc, irfan\u0131n\u0131 seven ve \u00f6\u011frenmek isteyen bir\u00e7ok \u00fclkelerde de kalmaktad\u0131r. Fikrimize destek olmas\u0131 i\u00e7in b\u00fcy\u00fck M.E.Resulzade\u2019nin yazd\u0131\u011f\u0131 makaleden al\u0131nt\u0131 getiriyoruz: \u201c\u0130ran \u015fiirinin ger\u00e7ek h\u00fck\u00fcmdar\u0131 \u015eehriyar derken, Azerbaycan’a b\u00f6yle e\u015fsiz bir \u015faheser v\u00fccuda getirmesini \u00f6ven R\u00f6v\u015fenzemir, \u015faire ni\u00e7in bu kadar meftun oldu\u011funun sebebini ara\u015ft\u0131r\u0131rken, bir \u015fairin ma\u015fukas\u0131n\u0131n dilinden yazm\u0131\u015f oldu\u011fu bu s\u00f6zleri an\u0131msar. Bu sevgili diyormu\u015f ki: \u201cBeni g\u00fcl \u00fcz\u00fcm, b\u00fcy\u00fcleyici humar g\u00f6zlerim i\u00e7in sevme, \u00e7\u00fcnk\u00fc korkuyorum, bir g\u00fcn bunlar\u0131n sonu gelir, o zaman bana kar\u015f\u0131 duydu\u011fun ate\u015f, istek de biter. Beni, nedenini bilmeden sev\u201d (81,s.5).<\/p>\n Ku\u015fkusuz, B\u00fcy\u00fck \u015eehriyar\u2019\u0131; anlayan, anlamayan tan\u0131yan, tan\u0131mayan her kes \u00e7ok sevdi. \u00c7\u00fcnk\u00fc herkes onun eserlerinde kendi ya\u015fant\u0131s\u0131ndan bir \u015feyler buldu. Ge\u00e7mi\u015fini ve bug\u00fcn\u00fcn\u00fc hissetti, duygu ve d\u00fc\u015f\u00fcncelerinin, g\u00f6n\u00fcl evinin \u015fiirsel izd\u00fc\u015f\u00fcm\u00fcn\u00fc seyretti…<\/p>\n \u015eehriyar\u2019\u0131n derin toplumsal, felsefi i\u00e7eri\u011fi, bereketli anlat\u0131m\u0131yla y\u00fcksek estetik de\u011fer ta\u015f\u0131yan lirizminin ileri \u00f6zelliklerini yaratarak, \u00e7a\u011f\u0131m\u0131z\u0131n en olgun ve lirik \u015fiirini ortaya koymu\u015ftur. Ona nazire yazan \u015fairler; \u015eehriyar\u2019\u0131n, derin toplumsal, felsefi d\u00fc\u015f\u00fcncesinden, cezbeli lirizminden, sanat\u0131ndan esinlenerek devrinin edebiyat\u0131n\u0131, s\u00f6z sanat\u0131n\u0131 yeni \u015fiirsel ke\u015fiflerle zenginle\u015ftirdiler.<\/p>\n T\u00fcrkiye T\u00fcrkcesine aktaran:<\/p>\n Metin \u00d6zer<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" \u015eehriyar\u2019\u0131n \u015fiiri, milli kimli\u011fe d\u00f6n\u00fc\u015f ve kendini kavray\u0131\u015f evrenidir. Bu d\u00fcnyay\u0131 i\u00e7selle\u015ftiren her okur; \u015eehriyar s\u00f6z\u00fc ve d\u00fc\u015f\u00fcncesi do\u011frultusunda, duygular\u0131n\u0131n i\u00e7denizinde ar\u0131n\u0131r, temizlenir ve saydamla\u015f\u0131r. \u015eairin \u015fiirinde; uyum, \u00f6zg\u00fcn d\u00fc\u015f\u00fcnce ve s\u00f6zlerin armonisi ritmi, \u00f6l\u00e7\u00fc esnekli\u011fi, konular\u0131n renklili\u011fi, ifadelerdeki ya\u015famsal ger\u00e7eklik, en \u00f6nemlisi y\u00fcksek insani duygularla milli birlik meydana getirmi\u015ftir. Derin h\u00fcmanizm; ya\u015fam, g\u00fczelli\u011fe ve […]<\/p>\n","protected":false},"author":1,"featured_media":210,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13,3],"tags":[],"class_list":{"0":"post-196","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-edebiyat-defteri","8":"category-3"},"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/hocalihaber.com\/wp-content\/uploads\/2014\/11\/esmira-fuad.jpg","_links":{"self":[{"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/posts\/196","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/comments?post=196"}],"version-history":[{"count":0,"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/posts\/196\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/media\/210"}],"wp:attachment":[{"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/media?parent=196"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/categories?post=196"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hocalihaber.com\/az\/wp-json\/wp\/v2\/tags?post=196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nG\u00fcnden g\u00fcne derdim katlan\u0131r, artar,<\/em><\/strong>
\nTutsak olan daha ka\u00e7 T\u00fcrkler var! …<\/em><\/strong>
\nKafkasya, T\u00fcrkistan, Kerk\u00fck, Rumeli<\/em><\/strong>
\nTutsak T\u00fcrk, fakat hepsi T\u00fcrkmen<\/em><\/strong> (82.s.310.).<\/p>\n
\nFikret\u2019in ince heyal \u00f6lkesine<\/em><\/strong>
\nAkif\u2019in mar\u015f\u0131 ya\u015fard\u0131p g\u00f6z\u00fcm\u00fc<\/em><\/strong>
\nBah\u0131ram Yahya K\u00e2mal \u00f6lkesine.<\/em><\/strong><\/p>\n
\nAtat\u00fcrk intihab\u0131 Ankara\u2019d\u0131r<\/em><\/strong>
\nSabi\u0121 \u0130slambul idi, \u00e7oh da g\u00f6zel<\/em><\/strong>
\nAmma serhed bura nisbet arad\u0131r\u2026<\/em><\/strong><\/p>\n
\nO denizler g\u0131z\u0131, derya gelini<\/em><\/strong>
\nSanki derya \u00e7i\u00e7eyi nil\u00fcfer<\/em><\/strong>
\nGol a\u00e7\u0131p sahile atm\u0131\u015f elini<\/em><\/strong> (1, s.129).<\/p>\n
\n\u00dcfugun cilve-yi maviyyetine<\/em><\/strong>
\nG\u00e2h K\u00e2mal\u2019dan gol al\u0131p y\u00fckselelim<\/em><\/strong>
\nBahal\u0131m Fikret\u2019in ulviyyetine<\/em><\/strong><\/p>\n
\nLe\u2019n \u00e9dek na-helef eslaf\u0131m\u0131za<\/em><\/strong>
\nBunu Nadir de o vaht duymu\u015fdu<\/em><\/strong>
\nGoy mehebbet gala ehlaf\u0131m\u0131za.<\/em><\/strong><\/p>\n
\nParlas\u0131n g\u00e9t-g\u00e9de bu s\u00f6nmez ocag<\/em><\/strong>
\nD\u00e9mirem biz gul \u00e9dek d\u00fcnyan\u0131<\/em><\/strong>
\nD\u00fcnya ancag bizi insan sanacag<\/em><\/strong> (1, s.130).<\/p>\n
\nBenim iman dolu g\u00f6\u011fs\u00fcm gibi serhat\u0131m var.<\/em><\/strong>
\nUlusun, korkma! Nas\u0131l b\u00f6yle bir iman\u0131 bo\u011far, <\/em><\/strong>
\nMedeniyet! Dedi\u011fin tek di\u015fi kalm\u0131\u015f canavar? <\/em><\/strong><\/p>\n
\nSiper et g\u00f6vdeni, dursun bu hay\u00e2s\u0131zca ak\u0131n. <\/em><\/strong>
\nDo\u011facakt\u0131r sana vaat etti\u011fi g\u00fcnler Hakk\u2019\u0131n, <\/em><\/strong>
\nKim bilir, belki yar\u0131n, belki yar\u0131ndan da yak\u0131n<\/em><\/strong> (92).<\/p>\n
\nHer kademde kuyu kazm\u0131\u015f ne de salm\u0131\u015f derine.<\/em><\/strong>
\nBiz de \u0130slam’a kay\u0131tt\u0131kta gelin elbir olak, <\/em><\/strong>
\nT\u00fcrklerin her iki d\u00fcnyas\u0131 kay\u0131ts\u0131n yerine<\/em><\/strong> (3.s.132).<\/p>\n
\nYeter bu kafeste ya\u015famak. <\/em><\/strong>
\nYalanc\u0131 s\u0131n\u0131rlar silinsin gerek, <\/em><\/strong>
\nArz\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fc bilinsin gerek. <\/em><\/strong>
\nKalkak y\u0131ld\u0131zlara, aylara kalkak, <\/em><\/strong>
\nD\u00fcnya’ya y\u00fcce bir zirveden bakak…<\/em><\/strong> (14, s.343).<\/p>\n\n
\nOrda bin zevk art\u0131ran her t\u00fcrl\u00fc nimet d\u00fczm\u00fc\u015fem. <\/em><\/strong>
\nKim gelir gelsin – gidersin her ne ister hat\u0131r\u0131, <\/em><\/strong>
\nKurtaran nimet de\u011fil, soframdan olmaz hi\u00e7 kem! <\/em><\/strong><\/p>\n