I’m listening to Istanbul -- İstanbul'u Dinliyorum (Orhan Veli Kanık, 1914 – 1950)

Lyrics: Orhan Veli (Kanık), (the Wikipedia  article I am referring to is uncharacteristically worded very badly. You may have trouble understanding what it is trying to mean). This 20th century Turkish poet was one of the pioneers of a new wave in poetry of his time. Despite his short life, his influence on later generations have simply been immense.
Music: Zulfu Livaneli. Only the master could attempt such an undertaking.

Orhan Veli's poems are quite simple and direct. They form an opposition, a protest to the more embellished, structured, and complicated language of the poetry of his time, and before. Although quite romantic, the objects and themes of his poetry are usually simple and everyday happenings that can happen to anyone. Here is a well known poem of his that exemplifies this fact:

Now that I became drunk,
I remembered you again:
My left hand,
My clumsy hand,
My miserable hand!

Aren't we sometimes amazed, stupefied at how our left (or right) hand is incapable of doing things that the other hand does so skillfully? What makes them so different? What is the reason or purpose? Efficiency? One may propose that it is really quite inefficient to have a hand that does less. Why don't I have two right hands? ... Anyway, such a simple and common thing can easily become Orhan Veli's concern. God knows what he was thinking! I guess, he was drunk and trying to light his cigarette with the matchbox in the "wrong" hand.

Musical Performances and interpretations:

• Zulfu Livaneli: www.youtube.com/watch?v=EQSFvLRPGLs. The original.
• Yavuz Bingol: www.youtube.com/watch?v=VN1gqcu5cTQ. A beautiful performance from this very versatile and skilled artist.
• Leman Sam: www.youtube.com/watch?v=0TOQnPII-rY. Always one of my favorites. A good interpreter of Livaneli songs.

Original lyrics:
=====================================
İstanbul'u dinliyorum, gözlerim kapalı
Önce hafiften bir rüzgar esiyor;
Yavaş yavaş sallanıyor
Yapraklar, ağaçlarda;
Uzaklarda, çok uzaklarda,
Sucuların hiç durmayan çıngırakları
İstanbul'u dinliyorum, gözlerim kapalı.
                 
İstanbul'u dinliyorum, gözlerim kapalı;
Kuşlar geçiyor, derken;
Yükseklerden, sürü sürü, çığlık çığlık.
Ağlar çekiliyor dalyanlarda;
Bir kadının suya değiyor ayakları;
İstanbul'u dinliyorum, gözlerim kapalı.
                 
İstanbul'u dinliyorum, gözlerim kapalı;
Serin serin Kapalıçarşı
Cıvıl cıvıl Mahmutpaşa
Güvercin dolu avlular
Çekiç sesleri geliyor doklardan
Güzelim bahar rüzgarında ter kokuları;
İstanbul'u dinliyorum, gözlerim kapalı.
                 
İstanbul'u dinliyorum, gözlerim kapalı;
Başımda eski alemlerin sarhoşluğu
Loş kayıkhaneleriyle bir yalı;
Dinmiş lodosların uğultusu içinde
İstanbul'u dinliyorum, gözlerim kapalı.
                 
İstanbul'u dinliyorum, gözlerim kapalı;
Bir yosma geçiyor kaldırımdan;
Küfürler, şarkılar, türküler, laf atmalar.
Birşey düşüyor elinden yere;
Bir gül olmalı;
İstanbul'u dinliyorum, gözlerim kapalı.
                 
İstanbul'u dinliyorum, gözlerim kapalı;
Bir kuş çırpınıyor eteklerinde;
Alnın sıcak mı, değil mi, biliyorum;
Dudakların ıslak mı, değil mi, biliyorum;
Beyaz bir ay doğuyor fıstıkların arkasından
Kalbinin vuruşundan anlıyorum;
İstanbul'u dinliyorum.
=====================================

P.S.: Just by coincidence, I came to know, only a few days after posting this translation, the details of a research project that has been going on in my department. It involves frogs, I mean after killing them. By the way, probably, hundreds of thousands of animals are being killed every year in the name of research. Well, don't be so sentimental: it is either them or you! The moment of reckoning is when you are in the hospital. Do you want that cure? Then, some other creatures will have to be killed for testing. No? Then, accept the death, and that is that! Anyway, what they do is simple. They try to quantify things about muscles. Hmm, what better than a frog leg? So, they measure things about their muscles, after killing them humanely, of course. They sedate them, if you want to know. Long story short, it turns out that the right and left legs of a frog do not measure equally. Somehow, the nature has a tendency to make one of the two similar organs of ours slightly superior to the other. Knowing what evolution does, this points at some bizarre optimization of natural selection that eventually decided in this disparity, which must have been more efficient in some ways. I don't have any answers, I simply report a finding: unlike Orhan Veli, frogs are left-handed!

Night Dawns Early In Jailhouse -- Akşam Erken İner Mahpushaneye (Ahmed Arif, 1927 - 1991)

Lyrics: Ahmed Arif (1927 - 1991). I have to repeat what I said about him in a previous post:

"... one of the greatest poets of Turkey, and definitely the greatest Kurdish master of Turkish language in poetry. Many of Arif's poems have been put to music by various musicians including Cem Karaca, Fikret Kizilok, Ahmet Kaya, and Zulfu Livaneli. For a fuller list, please see this Wikipedia page."

Music:

• Hüseyin Türkoğlu: www.youtube.com/watch?v=CKDK62UcXjQ&list=PLEE03C20B2E20AC29. There is almost nothing about him on the Internet! Yet, I remember the music so vividly, even today. It takes me back, so many years ... Nostalgia firmly grabs me: I remember! ... I could only find a few references to his album "Yol Türküsü" which supposedly includes this piece. Back in seventies, we only had unmarked, pirated cassette tapes containing performances of "whomever" we were told. Thus, I am ashamed to confess that I don't remember his name. However, I remember the song. It is still the best music that fits the poem, which, by the way, is very difficult to put to music.
• Cem Karaca: www.youtube.com/watch?v=eX8xlKwNk20. An intriguing attempt by the master. I cannot find a classification for it, but it contains winds of jazz, blues, soft rock, lounge music, Anatolian rock, and pop, of course.
• Sevinç Eratalay: www.youtube.com/watch?v=-RBue8Z3PWQ. An interpretation by this ardent revolutionary singer. Beautiful voice.
• Fuat Saka: www.youtube.com/watch?v=8AjnFesHVto. A nice composition by this master musician. This is probably the best in management of the irregular meter of the poem.
• Ahmed Arif: www.youtube.com/watch?v=zUWuKjKj1i8. The poem from the poet himself.

As I did many years ago, I listened to the poem again, from the voice of its owner. And, what is here is my interpretation of what he tried to tell. He was jailed for two years and that was enough for him. It is easy to say "two years", it isn't easy to live them. In 1950s, it must have been a living hell .

One simply cannot comprehend how it must have been for others who were convicted for tens of years: without a guiding principle, without an understanding, without an imagination, ... Just fulfilling a destiny marred with hopelessness and worthlessness. This is the misery of humanity: have a taste of it!

Here is the original lyrics as I confirmed from the recorded voice of the poet:
==================================================

Akşam erken iner mahpusaneye.

Ejderha olsan kar etmez.

Ne kavgada ustalığın,

Ne de çatal yürek civan oluşun,

Kar etmez, inceden içine dolan,

Alıp götüren hasrete.

Akşam erken iner mahpusaneye.

İner, yedi kol demiri,

Yedi kapıya.

Birden, ağlamaklı olur bahçe.

Karşıda, duvar dibinde,

Üç dal gece sefası,

Üç kök hercai menekşe ...

Aynı korkunç sevdadadır,

Gökte bulut, dalda kaysı.

Başlar koymağa hapislik.

Karanlık can sıkıntısı ...

"Kürdün Gelini"ni söyler maltada biri.

Bense volta'dayım ranza dibinde.

Ve hep olmayacak şeyler kurarım,

Gülünç, acemi, çocuksu ...

Vurulsam kaybolsam derim,

Çırılçıplak, bir kavgada,

Erkekçe olsun isterim,

Dostluk da, düşmanlık da.

Hiçbiri olmaz halbuki,

Geçer süngüler namluya,

Başlar gece devriyesi jandarmaların.

Hırsla çakarım kibriti.

İlk nefeste yarılanır cıgaram.

Bir duman alirim dolu,

Bir duman, kendimi öldüresiye.

Biliyorum, "sen de mi?" diyeceksin,

Ama akşam erken iniyor mahpusaneye.

Ve dışarda delikanlı bir bahar,

Seviyorum seni,

Çıldırasıya.
================================================

Rose And Emigrated, Tribes of Avsar -- Kalktı Göç Eyledi Avşar Elleri (İlleri), (Dadaloğlu, 18-19 c.)

Lyrics: Dadaloğlu (approx. 1785 - 1868), one of the most famous folk poets of Anatolia.
Music: Anonymous. Source Person: Muharrem Ertaş (Kırşehir, Turkey). Compiled by: Şenel Önaldı.

There is not much known about Dadaloğlu that can be based on historical facts. From the poems attributed to him, one may infer that he must have lived in and around a region of Taurus mountains surrounded by Kayseri, Maraş, Adana, and Kırşehir districts of south central Anatolia. Unlike many other folk poets of Anatolia, he displays a warrior character besides his poetic one. He is probably a personification of rebellion against the policies of the Ottoman reign of the times, particularly against the forced settlement of nomadic tribes, which, to them, must have amounted to giving up a revered way of life, to a threat to their continued existence, to a possibility of being absorbed into the mainstream -- of losing identity.

Whether or not the poem, as translated here, really belongs to a person named "Dadaloglu" is still disputed in literary circles (see, for example, this article by Ismail Gorkem, Erciyes University, Kayseri, Turkey, 2006). The poem, with all of its variations, should be considered as the result of the collective work of folk poets, reaching us via oral tradition in this final form, among a few others. For example, in a Muharrem Ertas recording (a rare original), some verses differ from what was compiled, despite citing him as the source. Further, even in his son's, Neset Ertas's rendering there are slight variations from the father's. In another recording, of a local performer, not only some verses show variations, but there are others which are hardly intelligible, and are probably incorrect. Such things, I found, are quite common in folk music. Frequently, I find myself struggling to determine the original lyrics and meanings. Nevertheless, in all variations of this poem, current or historic, what stays firmly unchanged is the unambiguous expression of chivalry, protest, and challenge to authority.

Now, the music:

• Muharrem Ertaş: https://www.youtube.com/watch?v=Ffa2CONoW5Q (Thanks to Kalan Muzik, via MUYAP). This is a rare recording of this great master from the traditional school. Some verses are slightly different from the commonly accepted form of the lyrics. The style, of both vocal and instrumental, is singularly beautiful and authentic.
• Cem Karaca: www.youtube.com/watch?v=IGIH3DHfqp4. A great interpretation in rock style by this master musician and one of the founders of the Anatolian rock movement.
• Hasan Yükselir with Yediveren orchestra (TRT Müzik): www.youtube.com/watch?v=BMxCDztKsrg. A perfect performance.
• Ümit Tokcan and Mehmet Erenler: www.youtube.com/watch?v=wkKhRNjrTxs. A beautiful performance in the original style from these two masters.

NOTES:

• In some versions the first verse goes like this: "Emigrated again, the tribes of Avsar", which may be more fitting to what was happening then, that is, when the empire was trying to relocate these communities here and there with limited success and a lot of sentiment.
• In M. Ertas's recording, the second verse goes like this: "The tribes that pass over are ours". However, in Turkish, both these versions sound quite alike: one is with "ağır ağır" (slowly), the other is with "aşıp aşıp" (passing over [repeatedly], as if mountains). Thus, it is difficult to determine which one the original intended.
• The word "Kirman" in the first verse of the second quatrain refers to a city or region of Iran, known as Kerman (see this Wikipedia article). The "Kirmani Sword" is a curved sword believed to originate in Kirman during the reign of Seljuk Turks in Iran. In some versions of the poem this verse goes like this: "Curved sword on our waist is Kirmani".
• The spearhead mentioned in the second verse of the second quatrain is referred to with different words in other versions. The one used here is "temren" which is probably derived from "demir" or "temir", meaning "iron", which is not surprising and more acceptable.
• By far, the most difficult was the second verse in the last quatrain. The word used in all versions is "davlumbaz". This is, I determined to my satisfaction, is a corrupted version of "davulbaz". The former means a totally different thing: hood (as in kitchens or part of chimneys) or paddle box. Accepting the latter, however, does not solve the problem readily. "Davul" is a type of drum. Then, what is "davulbaz"? The suffix "-baz" (from Persian) is used for denoting a person who does or excels in a certain thing, similar to the suffix "-er". For example, "hilebaz" literally means "trickster". Therefore, "davulbaz" would have to be "drummer". However, many of my sources, including the Turkish Language Agency dictionaries (TDK) and a personal acquaintance of mine, who excels in Turkish literature, insist that it refers to a smaller drum, especially used in war activities. So, I used it ... It doesn't end there, however. In different versions of the poem, one would find three different phrases: "davlumbazlar vurulur", "davlumbazlar derilir", and "davlumbazlar gerilir". The last one is quite unlikely as it means "drums are stretched", though it is functionally feasible. The second means "drums are gathered", which may be meaningful since before going to a war it was customary to have a ritualistic announcements and displays, which often involved music. The first one, nevertheless, is the most used in many versions. It means "the drums are hit". If one considers what comes before this, "the guns sing", this version presents itself as the most likely one the poets meant to use. It probably depicts the actual moment of the fight, especially the beginning. Originally I used the second version. Then, however, I decided that the first would be a better choice.
• One last word. In all versions, this troublesome verse is rendered as "Öter tüfek davlumbazlar ...", as if whatever happens to "davlumbaz"s is due to "guns singing". In this sense, I still think it is viable that what was meant by "davlumbaz" was "drummer", so that they were shot when the guns were fired. In this translation, I pulled back what happened to drums before what happened to the guns simply to keep the rhyming going. Normally, I would have to translate it as "Gun sings and drums get hit" or "Gun sings and drummers get hit".

Original lyrics:

=================================

Kalktı göç eyledi Avşar elleri,

Ağır ağır giden eller bizimdir.

Arap atlar yakın eder ırağı,

Yüce dağdan aşan yollar bizimdir.

Belimizde kılıcımız Kirmani,

Taşı deler mızrağımın temreni.

Devlet vermiş hakkımızda fermanı,

Ferman padişahın, dağlar bizimdir.

Dadaloğlu der: birgün kavga kurulur,

Öter tüfek davlumbazlar vurulur.

Nice koçyiğitler yere serilir,

Ölen ölür, kalan sağlar bizimdir.

=================================

My Name is Troubled Water-Wheel -- Benim Adım Dertli Dolap (Yunus Emre, 13-14 c. CE)

Lyrics: Yunus Emre, one of the most influential Turkish poets and Sufi mystics of medieval times in Anatolia.
Music: Anonymous, Müslüm Sümbül (source person) of Kangal, Sivas, Turkey; a poet and master aşık from the traditional school. Compiled by Nida Tüfekçi and Yücel Paşmakçı (www.trtnotaarsivi.com), two of the greatest music professionals who have compiled thousands of folk songs from throughout Anatolia. The enormous feat they have accomplished is still unmatched today.

It is not easy to say a word on Yunus Emre. He has been the object of numerous research by great many authorities in the field. He was a philosopher with a plain voice. In this poem he treats the technological advances of his times and tries to show the futility of human affairs despite such achievements, which is quite in line with his Sufi view of the world.

His object is a water wheel, a device used for reclaiming water by using external work of mostly human or animal origin, although those driven by wind or the river itself also existed. The original name for these contraptions is "Noria", a Spanish word from an Arabic origin (nā‘ūra, see this Wikipedia article). They were used to supply water to aqueducts, a common method of water supply in ancient Greece, Egypt, India, China, and medieval Islamic communities. Plans for a modern construction were still underway in Los Angeles, CA, USA, in 2012.

Probably, one of most famous places where ancient water wheels are found is the Norias Park in Hama, Syria, dating back to the 4th c. CE. A nice and solemn account of these giants can be found at Ash Clark's website, www.themostalive.com, who seems to have been affected by these giant norias in a very similar way that Yunus Emre was. This is a striking way to illustrate that despite the passage of many centuries human beings still have a similar view of the world.

I learned that Yunus Emre may have traveled as south as Damascus (Dimashq, ash-Shām, Şam), Syria. Since the water wheels had been and are still regarded as technological marvels, I cannot think that Yunus Emre would forgo even the slightest chance of seeing them. Thus, it is not unlikely that he saw them there the first time. Then, probably, seeing that they were made of mere wood, he sighed in despair and wrote this poem, connecting all, again, back to the creator. He was right! A man-made mechanical tool of wood compelled to carry the water by the laws nature, or the creator: that is all they were! And, he said, that's why they moan.

I had seen a watermill when I was a child. It was still operational in 1970s. They really do make sounds as if they moan, as if they suffer, due to the heavy loads they experience. Well, to me, all machines moan. Because, they work. Work is creation, and creation is suffering.

Now, let's explore the music. Here are some of the things I found for this one:

• Müslüm Sümbül: www.youtube.com/watch?v=K4zZ5yjRfbI, the original.
• Cengiz Özkan: www.youtube.com/watch?v=cS1hkXB6_MY, a master interpreter of the traditional style.
• A. Adnan Saygun: www.youtube.com/watch?v=IdovfAu1ZsA, a master composer and music writer. This is from his "Yunus Emre Oratorio", the choral part. Saygun was one of the great Turkish Five, likened to Jean Sibelius of Finland and Béla Bartók of Hungary, probably due to their deliberate involvement in folk music.
• Marmara University A.E.F. Chorus: www.youtube.com/watch?v=Sgr_IUSTEnI, performing in 7. International Mundus Cantat Sopot Chorus Festival. It is the fourth or the fifth piece, be patient.

Original Lyrics:

====================================

Dolap niçin inilersin 

Derdim vardır inilerim 

Ben Mevla'ya âşık oldum 

Anın için inilerim

Benim adım dertli dolap 

Suyum akar yalap yalap 

Böyle emreylemiş Çalap 

Derdim vardır inilerim

Beni bir dağda buldular 

Kolum kanadım yoldular 

Dolaba layık gördüler 

Derdim var inilerim

Ben bir dağın ağacıyım 

Ne tatlıyım ne acıyım 

Ben Mevla'ya duacıyım 

Derdim vardır inilerim

Dağdan kestiler hezenim 

Bozuldu türlü düzenim 

Ben bir usanmaz ozanım 

Derdim var inilerim

Dülgerler her yanım yoldu 

Her azam yerine kondu 

Bu iniltim Haktan geldi 

Derdim vardır inilerim

Suyum alçaktan çekerim 

Dönüp yükseğe dökerim 

Görün ben neler çekerim 

Derdim vardır inilerim

Yunus bunda gelen gülmez 

Kişi muradına ermez

Bu fanide kimse kalmaz 

Derdim var inilerim

====================================

Leylim Ley -- (Sabahattin Ali)

Lyrics: Sabahattin Ali (1907 – 1948), Turkish novelist, short-story writer, poet, and journalist.
Music: O. Zulfu Livaneli. See my previous post about this master artist.

Despite his short and brutally interrupted life, Sabahattin Ali was and still is a very influential artist in modern literature of Turkey. His limited work has been carried into music, theater, and literature. This poem from Sabahattin Ali's short story "Ses" (1937), put to music by Livaneli, has been so enthusiastically embraced by people from so many different walks of life that it became one of the most recognized songs ever. It has been performed by so many musicians from such different genres that it came to mean things that vary across societal segments and generations. Whereas the song was originally adopted by many as a revolutionary and progressive love song (in parallel with the trends of the time), for later generations it became a merry tune that belonged in wedding festivities. In some performances, its romantic flavor is stressed more than others. Interestingly, the song is so much associated with some performers, for example Ibrahim Tatlises, that many, especially those from later generations, erroneously consider the piece as composed by these performers. You may find that examples of this mistake are actually quite well spread on the Internet.

• Zulfu Livaneli: www.youtube.com/watch?v=kCl9PJ1p9XQ. The original, from the 1975 album.
• Zulfu Livaneli: www.youtube.com/watch?v=SKzpmXzNmIM. An unforgettable performance. Istanbul Concert, 1984.
• Maria Farantouri (Μαρία Φαραντούρη) & Zulfu Livaneli: http://www.youtube.com/watch?v=lu9VwZFNtNA. Beautiful voice of Farantouri, the Greek master singing with Greek lyrics.
• Jocelyn B. Smith: www.youtube.com/watch?v=sRrlmpIMj0Y. A beautiful jazz interpretation.
• Ibrahim Tatlises: www.youtube.com/watch?v=T25UthjMGVg. A popularized version with a heavy touch of arabesque style.
• Zerrin Özer: www.youtube.com/watch?v=FOono2SiRss. One of the most powerful female voices of Turkey singing with a blend of many styles such as Anatolian rock, türkü, and arabesque, with a hint of jazz and Sufi music.
• Leman Sam: www.youtube.com/watch?v=7OgG0UUJJ00. A velvety performance.
• Zara: www.youtube.com/watch?v=1MEWZozCZ1s. A flamenco interpretation by this very talented singer. However, the vocal still seems to have been abandoned in arabesque waters.
• Hüsnü Senlendirici: www.youtube.com/watch?v=hmXmA5GW1bI. A beautiful interpretation from a master of clarinet, despite still carrying some arabesque winds.
• Saber Rebaï: www.youtube.com/watch?v=Zc3Mb3P4g2U. An Arabic version from this Tunisian pop singer performing live before a very enthusiastic crowd.
• Zuleyha: www.youtube.com/watch?v=k3XCP_ZH4ew&noredirect=1. A nice performance in Persian lyrics from this young Kurdish-Turkish singer.
• Glykeria & Omer Faruk Tekbilek: www.youtube.com/watch?v=lfCAayhikLo. A duet from renowned Greek and Turkish musicians.

... well, there seems to be no end to this. Here is my attempt at translating this poem.

Original Lyrics:

===================================

Döndüm daldan düşen kuru yaprağa 

Seher yeli dağıt beni kır beni 

Götür tozlarımı burdan uzağa 

Yarin çıplak ayağına sür beni 

Aldım sazı çıkmış (çıktım? N.C.) gurbet görmeye 

Dönüp yare geldim yüzüm sürmeye 

Ne lüzum var şuna buna sormaya 

Senden ayrı ne hal oldum gör beni 

Ayın şavkı vurur sazım üstüne 

Söz söyleyen yoktur sözüm üstüne 

Gel ey hilal kaşlım dizim üstüne 

Ay bir yandan sen bir yandan sar beni 

Yedi yıldır uğramadım yurduma 

Dert ortağı aramadım derdime 

Geleceksen bir gün düşüp ardıma 

Kula değil yüreğine sor beni

===================================

My Saz, When I Leave You Stay In This World -- Sazım Ben Gidersem Sen Kal Dünyada (Aşık Veysel)

Lyrics and music: Aşık Veysel (Şatıroğlu), (1894 – 1973). To read my previous comments about him please see these posts:

1. My Faithful Beloved Is The Black Earth.
2. On A Road, Thin And Long.

The folk singers of Turkey (tr. "aşık", "ozan"; en. "minstrel", akin to "troubadour", singing poet) are extremely devoted to their musical instruments (tr. "bağlama", "saz") –  probably a universal behavior of musicians. This piece is a great example of an aşık's relation to his/her saz.

The noun/adjective "aşık" literally means "lover" or "in love", or "he who is in love". In this sense, it may seem close to the meaning of "troubadour". However, unlike troubadour's, the object of the aşık's affection is definite and also widely varied. In maturity, it usually transforms into an idealized version of the original. Aşık's love transcends any ordinary, sexually motivated love, and projects itself over many other things including nature and its manifestations such as birds, animals, plants, trees, sky, stars, the Moon, the Earth, and so on. Usually, it later becomes a love for all humanity, which, then, invariably takes on political and religious themes. In later years of aşık's life, it becomes more philosophical and metaphysical. Therefore, when Veysel is called as "Aşık Veysel" the reference is being made more to his poetic and philosophical virtues rather than to any sentimental or romantic love affairs.

In all of this, besides the beloved that is always "out there", indifferent, insensitive, and elusive, the central players are the aşık and his/her instrument. They are the comrades of each other, always together. They know each other very well. Thus, sometimes, the saz may become the object of affection, or a representation of it, especially a faithful one.

In this poem, Veysel portrays his saz as the carrier of his legacy, a way to his immortality. In many ways, he succeeded in doing this, didn't he?

By the way, I have personally witnessed this "love" of bağlama many times. In one case, an artist friend of mine was referring to his bağlama as "my daughter". The reason of his ascribing a feminine character was that the instrument was a "cura", the smallest member of the bağlama family with sounds in much higher octaves. Understandably, it wouldn't be anything but a female child.

Here are some great performances:

• Aşık Veysel: http://www.youtube.com/watch?v=1-YK5KdlYqY. A very rare video. Someone added fake bird sounds on the audio. Forgive them, please.
• Cengiz Özkan: http://www.youtube.com/watch?v=2gvUkhRNxcc. Most authentic interpreter of Veysel. In this video, Mr. Ozkan is using what is called "Veysel Saz", a bağlama with only twelve frets, supposedly as a tribute to the Twelve Imams. For this reason, Veysel's music has a distinct scale with very few notes, as in the pentatonic scale. See the notes after the poem.
• Arif Sağ: http://www.youtube.com/watch?v=xuzzxOKioQ8. One of the fathers of the bağlama revolution in Turkey.
• Erol Parlak: http://www.youtube.com/watch?v=HnMQLQ_pMiM. One of the next generation masters. Here is his website. Currently, a faculty member at ITU State Conservatory, Istanbul, Turkey.

NOTES:

• Although modern bağlamas are made of many tree species nowadays, in the old times there were few choices. The body was carved out of a piece of a tree trunk that had to be available locally. Also, due to the size of the body, the tree had to have a large trunk. For these reasons, one of the most commonly used was mulberry. Mostly owing to this tradition rather than any scientific reason, mulberry is still one of the preferred trees in bağlama making. By the way, mulberry is also the choice tree of many bird species!
• Here is an anecdote about Veysel, which I heard in Sivas, Turkey, Veysel's hometown. I was visiting a bağlama atelier in Sivas, in 2009 or 2010. During our conversation, the master maker told me this:

One day Veysel was giving a concert somewhere. After the performance, one of the fans approaches Veysel and asks:

- Master, I have seen others playing baglama, too. Yet, quite differently. They jump here and there on the fingerboard (neck, fret-board), they play on a large area. You, on the other hand, have your hand at the same place all the time. How is this?

Veysel's answer contains humor, lesson, and a Socratic irony:
- My son, they are still looking for this place that I found.

-------------------------------------------------------------------------------------- 

My Faithful Beloved Is The Black Earth -- Benim Sadık Yarim Kara Topraktır (Aşık Veysel Şatıroğlu)

Lyrics and music: Aşık Veysel (Şatıroğlu), (1894 – 1973). To read my previous comments about him please see this post.

A baby is born in the middle of nowhere; poor as it gets those days, forgotten by all. There are no schools, no doctors, ..., nothing. Then, he loses his sight at an early age. All he has now are the loved ones and the nature around him. He knows the world by its smells, tastes, textures, and sounds; but can't recall much how they looked like. His dreams must have been an amalgam of vague images. Yet, he somehow comes to know the world better than the seeing.

He sees the world through the eyes of the mind and heart. He decides to convey his thoughts using sound: poetry and music. In the end, he becomes one of the most influential poets and musicians of all time and, though springing from such a rural community, he puts an eternal mark on widely varying musical styles, both rural and urban. He becomes Aşık Veysel: the philosopher villager ... An unbelievable story!

Today, I attempted to translate a very well known, but quite long poem of his. Why is it so long? Well, there were no radios, no televisions, no newspapers in the village. A long musical recital would really do nicely, especially during the long, relatively idle winter days. Such was the pastime of those days.

Here are some nice performances:

• Aşık Veysel: www.youtube.com/watch?v=NaBmGmk_EyQ. The master himself ...
• Cengiz Özkan: www.youtube.com/watch?v=JdhFGeKOcyc. Mr. Özkan is probably the best interpreter of Veysel's style and tradition.
• Tarkan: www.youtube.com/watch?v=1AbReLjNaRA. Arranged, yet still quite faithful to the old man.
• Fazıl Say: www.youtube.com/watch?v=Q6rRMyQpdTg. Frankfurt Radio Symphony Orchestra performance of his composition for piano dedicated to Asik Veysel's "Kara Toprak" piece, captivating. (From my earlier posting)
• Ricardo Moyano: www.youtube.com/watch?v=3XnhXg4XuqU. A beautiful rendering on classical guitar.
• Arsen Asanov: www.youtube.com/watch?v=DMvu9wBgs18. (Arr.: Ricardo Moyano) Recording is not great, but the performance is. Listen carefully, please.
• Ezgi Anıl: www.youtube.com/watch?v=0qLrcvMDwPw. A flamenco interpretation. From 3. Flamenco Ankara Festival, 2009.
• Serkan Yilmaz: www.youtube.com/watch?v=wgtyvR7FO7g. From "Festival de Guitarras del Mundo 2008". I liked this very much.
• Peron: www.youtube.com/watch?v=Sc6tU4fgoA8. A new alternative rock group performing a modern arrangement.

Original lyrics:

===========================================

Dost dost diye nicesine sarıldım,

Benim sadık yarim kara topraktır.

Beyhude dolandım boşa yoruldum,

Benim sadık yarim kara topraktır.

Nice güzellere bağlandım kaldım,

Ne bir vefa gördüm ne faydalandım,

Her türlü isteğim topraktan aldım,

Benim sadık yarim kara topraktır.

Koyun verdi, kuzu verdi, süt verdi,

Yemek verdi, ekmek verdi, et verdi,

Kazma ile dövmeyince kıt verdi,

Benim sadık yarim kara topraktır.

Adem’den bu deme neslim getirdi,

Bana türlü türlü meyva yetirdi,

Her gün beni tepesinde götürdü,

Benim sadık yarim kara topraktır.

Karnın yardım kazma ile, bel ile,

Yüzün yırttım tırnak ile, el ile,

Yine beni karşıladı gül ile,

Benim sadık yarim kara topraktır.

İşkence yaptıkça bana gülerdi,

Bunda yalan yoktur, herkesler gördü.

Bir çekirdek verdim, dört bostan verdi,

Benim sadık yarim kara topraktır.

Havaya bakarsam hava alırım,

Toprağa bakarsam dua alırım,

Topraktan ayrılsam nerde kalırım?

Benim sadık yarim kara topraktır.

Dileğin varsa iste Allah'tan,

Almak için uzak gitme topraktan,

Cömertlik toprağa verilmiş Hak’tan,

Benim sadik yarim kara topraktır.

Hakikat ararsan açık bir nokta,

Allah kula yakın, kul da Allah'a,

Hak’kın gizli hazinesi kara toprakta,

Benim sadık yarim kara topraktır.

Bütün kusurlarımı toprak gizliyor,

Merhem çalıp yaralarımı tuzluyor,

Kolun açmış yollarımı gözlüyor,

Benim sadık yarim kara topraktır.

Her kim ki olursa bu sırra mazhar,

Dünyaya bırakır ölmez bir eser,

Gün gelir Veysel'i bağrına basar,

Benim sadık yarim kara topraktır.

===========================================

Reserved Locale -- Mahsus Mahal (Ruhi Su)

Lyrics and music: Ruhi Su (1912 – 1985), the legendary Turkish opera and folk singer, composer, and bağlama virtuoso of his time.

Here are some performances:

• Ruhi Su: www.mahsusmahal.com/images/Mahsus_mahal.mp3, a classic. Just in case that this site is down, here is the alternative: www.youtube.com/watch?v=ekm4H71GNYI.
• Ahmet Kaya: www.youtube.com/watch?v=tHR1aIZ6t8Q, the great artist, musician, composer, activist of Turkey.
• Emre Saltik: www.youtube.com/watch?v=HNbuCfQFYNs, nice performance.
• Serap Yagiz: www.youtube.com/watch?v=GKAZDEb9nWs, a rock+turku blend trial. I liked it.
• Esin Avsar: www.youtube.com/watch?v=QXqdtBw10F0, a personal favorite. Esin Avsar was a great singer, writer, translator, and actress.
• I also tried it for the first time, almost: www.youtube.com/watch?v=k2gLlm29Ltc.

It is said that this piece was dedicated by Ruhi Su to his wife, Sidika Su, whom he married while in prison in 1957 (see, this Turkish Wikipedi article). I believe, he was trying to show that the two objects of his affection, one human one not, are reconcilable. It was also a sad cry in protest of then-current affairs, a rebellion against oppressors, an expression of hope in future. Well, it didn't materialize the way he wished. He died as an exile in his own country, banned from going abroad for seeking a cure for his illness. The days belonged to the military regime of 1980s' Turkey. (By the way, is it happening again? Go Taksim Square protesters, go!)

Nevertheless, he had a tremendous impact on musical development in Turkey. Many of that era, including myself, are greatly influenced by what he pioneered: an operatic interpretation of the Turkish folk music, which had been considered as almost ridiculous until then.

The Kum and Han rivers are in Korea. They had been the symbols of important operating theaters in the Korean war. For Ruhi Su, the forces of evil (Capitalism) and the forces of good (Socialism) had their showdown there, just as it had been hundreds of years ago in Karaburun, Turkey (see, Seyh Beddreddin, 15 c.). The poet is alluding to the events that happened in his time and hundreds of years ago, in an attempt to point at the similarities or at the continuing struggle against oppressors.

Here are the originals (as I confirmed from the original recordings):
=========================================
Mahsus mahal derler kaldığım zindanda,
Kalırım, kalırım, dostlar yandadır.
İki elleri kızıl kandadır kanda,
Aman, ölürüm, ölürüm kardeş, aklım sendedir.

Artar eksilmeyiz zindanlarında.
Kolay değil derdin ucu derinde,
Kum-Han ırmağında, Karaburun'da,
Aman, bulurum, bulurum kardeş, öfkem kındadır.

Dirliğim, düzenim; dermanım, canım,
Solum, sol tarafım; imanım, dinim,
Benim beyaz unum, ak güvercinim,
Aman, bilirim, bilirim kardeş, gelen gündedir.
=========================================

My Spool's Yellow Thread -- Makaram Sarı Bağlar (anonymous)

Everybody seems to claim ownership (whatever this means in folk music) of this melody, and I really hate that. Once again, an anonymous tune turns into a matter of national pride, into a bitter and pointless fight. The level of disputes is disgustingly low and vulgar. Yes, I am referring to the sophisticated (!) commentary on the so-called social networks about this piece. A warm feeling of righteousness is descending on me: I called this blog "Music of Anatolia ...".

I have known this piece since my childhood. In last decades, it has acquired a merry style in performances, and even has become something that people dance to. However, it is properly a slow tune since it is a lamentation. I remember the slow versions very vividly.

Anyway, I found the following versions in performances:

Turkish: The piece is compiled by Muzaffer Sarısözen (1899 - 1963), a very prolific music researcher, citing the source as Selahattin Mazlumoğlu of Diyarbakır district. This is a quite believable account since the musical form closely resembles those of the southeastern Anatolia, and, Sarısözen was a very careful compiler. Here are some examples among many others:

• Yurtseven Kardeşler: www.youtube.com/watch?v=3WYVtrMJD6o, a nice and authentic sounding performance.
• Sevinç Eratalay: www.youtube.com/watch?v=tIH8cSUhm7M. Musician and composer. It is my shame that I only recently came to know of her. She perfectly represents my own nostalgia. It is said that this piece was a favorite of Deniz Gezmiş, the legendary Turkish romantic revolutionary of 1960-70s, a true chevalier. He was executed in 1972 on a trumped up charge of "... overthrowing the constitutional ..." – single-handedly! What you see in the video are pictures of him with his comrades, including Hüseyin İnan and Yusuf Aslan who were also executed along with him.
• Cahit Oben: www.youtube.com/watch?v=302jZgvvaec. One of the pioneers of the Anatolian rock movement. This interpretation is classified as psychedelic rock.
• Esin Engin: www.youtube.com/watch?v=WPIlxIIyM10&feature=related. Turkish musician, composer, arranger, and film actor. Film music for “Copculer Krali”, 1977, (King of Garbagemen, comedy-drama).
• Cihan Işık: www.youtube.com/watch?v=WgzWV9n86rg, probably 1940-50s. Very nostalgic!
• Recep Kaymak: www.youtube.com/watch?v=XrLCVHQfjU4. This is the original that my mother used to listen on the radio, and that is how I came to know it.

Kurdish:

• Giyas Coskun (I don’t know anything about him): www.youtube.com/watch?v=L0Sf2bXBGyM&feature=related. Sounds old, but authentic.
• Gulistan Perwer (spouse of Şiwan Perwer, famous Kurdish musician, dissident, and revolutionary): www.youtube.com/watch?v=fAwhJnscVl0. Very nice interpretation.

Armenian:

• www.youtube.com/watch?v=3UJkqbg3960. This is a confused performance. The piece is claimed as Armenian, the singer is Chechen, the lyrics are Russian, and the musical scale contains western tones. Plus, they are very angry and fanatic (I tried Google to translate comments: Oh, my goodness!).

Arabic:

• Fairuz: www.youtube.com/watch?v=V3lF90PVBtM. One of the most famous Lebanese singers (a.k.a. the Jewel of Lebanon). As Fairuz did sometimes, this is clearly an Arabized version, so much so that it is barely recognizable, but still good in its own right.

As for the actual the origins, I think this piece is an adaptation of a common tune by Turkish, Kurdish, and Armenian communities. Such songs are quite common, for which all these three people usually blame each other for stealing. Considering that they were once living together, in the same towns and neighboring villages, this is something to be expected. However, due to their present situation, Kurdish and Armenian people are usually bitter about many things and they go into pointless disputes instead of enjoying the beautiful songs.

Unfortunately, there is no consensus on the original Turkish lyrics. Thus, at first, I hesitated to attempt a translation. In addition, the style is very difficult. In all stanzas, the first two verses are not meaningfully connected to anything, except only to prepare a rhyme for the third and the fourth, which actually contains the message. Then, however, with a push from a friend of mine, I decided to give it a try. Here it is.

The Lyrics on the left column are the current common version, whereas those on the right are older.

In some versions, in the first stanza, the first verse is “My Spool’s black thread” . Black thread was by far the most common after white. Thus, it would be more appropriate. Also, in Turkish, it would perfectly rhyme with the last verse. In old tradition of Anatolia, which is still observed in many areas, the women used to wear black bandannas, turbans, or, other headdress or coverings (mourning) to signify their grief after death of someone loved. "Bağlamak" literally means "to tie", making "bağlar" "someone/something ties". Thus, a literal translation of the last verse could be "Asiye ties blacks", which is meaningful. Then the first verse would have to be "My spool ties black/yellow", which would mean very little, at first.  Nevertheless, in Turkish "bağ" also means "bundle, ligament, sheaf, ...". Thus, the latter translation may mean "My spool ties things with black/yellow threads". However, I chose something less complicated, although sounding equally silly.

Story:
(According to a person who claim to have actually seen Asiye in her old age. See www.uludagsozluk.com under "makaram sarı bağlar" entry.)

In 1940s, a tailor from Diyarbakir, Turkey, goes to Siverek, a small town of Diyarbakir, for tailoring a wedding suit for a nobleman of the town. While working, he sees Asiye and is immediately struck with love. However, he later learns that Asiye is the fiancée of the nobleman for whom he is tailoring the wedding suit. Further, he learns that Asiye does not really want to marry that person, and that she was coerced into the marriage by her father only for the sake of bride-price – not to mention the benefits of becoming in-laws with a well-to-do family.

The tailor had been watching Asiye as she was doing daily chores in the courtyard. Then, Asiye, too, shows her interest in him. After a while, they start talking and decide to run away. In the eve of the wedding day, Asiye packs her belongings and goes to the tailor. They start running together, aiming at passing over Karacadağ Mountain (A classic symbolism in these kinds of stories).

Meanwhile, Asiye’s family is already in pursuit, along with gendarmes. After a long hunt, the two lovers are trapped in an impasse. The tailor gets convicted and is committed to prison. Asiye is forced to marry the nobleman. For years, the tailor sings this lament as he walks the prison grounds. In this way, the song slowly becomes a folk song.

Hmm, it doesn't sound very credible, if you ask me. But, it is a good story. Somebody, please make this into a movie! The cast? Tom Hanks and Meg Ryan, of course!

Here are the original lyrics of the current version.
====================================
MAKARAM SARI BAĞLAR

Makaram sarı bağlar lo
Kız söyler gelin ağlar
Niye ben ölmüşmüyem lo
Asiyem karalar bağlar

O perde o perde (Lo berde, lo berde) (Kurdish)
Zülfün yüzüne perde
Devriyeler sardı da bizi
Meğer kaderim böyle

Makarada ipliğim lo
Asiyem benim kekliğim
Hiç aklımdan gitmiyor lo
Tenhalarda gezdiğim

O perde o perde (Lo berde, lo berde) (Kurdish)
Zülfün yüzüne perde
Devriyeler sardı da bizi
Meğer kaderim böyle

Sarı gülü derende lo
İnsaf senin nerende
Kabahat sende değil lo
Sana gönül verende
====================================

Mihriban -- Abdürrahim Karakoç, Musa Eroğlu

Lyrics: Abdürrahim Karakoç (1932 – 2012), Turkish poet and journalist.
Music: Musa Eroğlu (see this post for more about him)

This was, and still is, a hit song composed in "türkü" form in early 1990s. Many performers interpreted the piece. Here are some examples:

• Musa Eroglu: www.youtube.com/watch?v=s5WpPEw17A8
• Şükriye Tutkun: https://www.youtube.com/watch?v=QPLB_uQh2ao
• Zara: www.youtube.com/watch?v=lzlk_hhWkQ8

Colored verses of the poem are the lyrics.

Original Poem:

===========================================

Sarı saçlarını deli gönlüme

Bağlamışlar çözülmüyor Mihriban

Ayrılıktan zor belleme ölümü

Görmeyince sezilmiyor Mihriban

Yar deyince kalem elden düşüyor

Gözlerim görmüyor aklım şaşıyor

Lambada titreyen alev üşüyor

Aşk kağıda yazılmıyor Mihriban

Önce naz sonra söz ve sonra hile

Sevilen seveni düşürür dile

Seneler asırlar değişse bile

Eski töre bozulmuyor Mihriban

Tabiplerde ilaç yoktur yarama

Aşk deyince ötesini arama

Her nesnenin bir bitimi var ama

Aşka hudut çizilmiyor Mihriban

Boşa bağlanmamış bülbül gülüne

Kar koysam köz olur aşkın külüne

Şaştım kara bahtın tahammülüne

Taşa çalsam ezilmiyor Mihriban

Tarife sığmıyor aşkın anlamı

Ancak çeken bilir bu derdi gamı

Bir kördüğüm baştan sona tamamı

Çözemedim çözülmüyor Mihriban

===========================================

On A Road, Thin And Long (Uzun İnce Bir Yoldayım) -- Asik Veysel Satiroglu

Lyrics and music: Asik Veysel Satiroglu (1894 – 1973), probably the most well-known folk poet and musician of Turkey. He was a much revered representative of the rural music and poetry of Anatolia. Again probably, it is not my place to write more about him. Here is a short compilation of musical links by and about him.

• Aşık Veysel: www.youtube.com/watch?v=pnv79vuL_GY (music starts after the poem)
• Fazıl Say: www.youtube.com/watch?v=Q6rRMyQpdTg (Frankfurt Radio Symphony Orchestra performance of his composition for piano dedicated to Asik Veysel's "Kara Toprak" piece, captivating)
• Joe Satriani: www.youtube.com/watch?v=gZQp7gjCEIw (From the artist's Asik veysel Podcast. Here is the whole song from his album: www.youtube.com/watch?v=eyVpQViut6M, better sound)
• Tarkan: www.youtube.com/watch?v=kylN0EbXlLY (Quite true to the original, nice performance)
• Doga Icin Cal: www.youtube.com/watch?v=2UcbHrcFN7c (Many performers, many styles, many instruments, ...; must watch the whole recording; a musical protest against the destruction of Earth)
• Cem Karaca and Barış Manço duet: www.youtube.com/watch?v=SVvFJilvjas (Legends performing unprepared)
• Fikret Kızılok: www.youtube.com/watch?v=zd-bEyBjwDI (A very old and bad recording by the master musician; must listen carefully)

Original Lyrics:

==========================

Uzun ince bir yoldayım

Gidiyorum gündüz gece 

Bilmiyorum ne haldeyim 

Gidiyorum gündüz gece

Dünyaya geldiğim anda 

Yürüdüm aynı zamanda 

İki kapılı bir handa

Gidiyorum gündüz gece

Uykuda dahi yürüyom 

Kalmaya sebep arıyom 

Gidenleri hep görüyom 

Gidiyorum gündüz gece

Kırk dokuz yıl bu yollarda 

Ovada dağda çöllerde 

Düşmüşüm gurbet ellerde 

Gidiyorum gündüz gece

Düşünülürse derince 

Uzak gözükür görünce 

Yol bir dakka miktarınca 

Gidiyorum gündüz gece

Şaşar veysel iş bu hale 

Kah ağlaya kahi güle 

Yetişmek için menzile 

Gidiyorum gündüz gece

==========================

NOTES:

1. I came across another translation in Wikipedia page about Asik Veysel by Nermin Menemencioğlu, much better than mine. Translation here should be considered as more literal than hers. I did this in order to convey the feeling of the original. Menemencioglu's is more interpretative.
2. In the fifth stanza of the translation in Wikipedia article, the word "On" is a typographical error. It should be "One".
3. Also, Menemencioglu had made an insertion in the third stanza, which is not found in the original lyrics. I verified the originals, as given here, from his recorded voice. Hence, you are safe! There are various forms circulating here and there.

No Soul Without Fault (Hatasız Kul Olmaz) -- Orhan Gencebay

Lyrics and music: Orhan Gencebay, a Turkish musician, bağlama virtuoso, composer, singer, arranger, music producer, music director, and actor. This is Wikipedia's description, not mine! Yet, it is not far from the truth. I liked this piece since the first time I heard it. I just did not confess it. Now, I do. Whoever complains that this is "arabesque" should be put to torture by music.

I know, I know, it is too melancholic. Well, then, you should drink and then listen. It makes sense then. A lot of sense! I translated this from a recording "as is'. There is actually one more stanza. But, what is here is enough!

Yes, there is the music. I loved the music much more than I liked the lyrics:

• Orhan Gencebay: /www.youtube.com/watch?v=hnsF3DSPLrY
• Tarkan: www.youtube.com/watch?v=K71t5cxZFRE

Original lyrics:

======================================

Hatasız kul olmaz, hatamla sev beni

Dermansız dert olmaz, dermana sal beni
Kaybettim kendimi, ne olur bul beni
Yoruldum halim yok, sen gel de al beni.

Feryada gücüm yok, feryatsız duy beni
Sevenlerin aşkına, ne olur sev beni
Sev beni …

Bu feryat, bu hasret, öldürür aşk beni
Uzaktan olsa da, razıyım sev beni
Razıyım sev beni …

Ümitsiz yaşanmaz; sevmemek elde mi?
Can demek, sen demek; gelde gör bende mi?
Sözümde sitem var; kalptemi dilde mi?
Tez elden haber ver; o gönlün elde mi?
======================================

Don't Sing Nightingale (Ötme Bülbül Ötme -- Pir Sultan Abdal)

Lyrics and music: Anonymous, attributed to Pir Sultan Abdal, the legendary Turkish poet. As a dissident and activist, he was executed for his views. This is one of the earliest cases of freedom of speech matters in the world documented in this way. Here are the musics:

• Zulfu Livaneli: www.youtube.com/watch?v=wDpz9g1D9Ko
• Erdal Akkaya and friends: www.youtube.com/watch?v=btQUTAzjZYs
• Musa Eroğlu-Hasret Gültekin: www.youtube.com/watch?v=rSYFQ32tsNE
• and, an attempt from me with other friends: www.youtube.com/watch?v=-uQmVzufK9g

Original lyrics:

========================================

Ötme bülbül ötme şen değil bağım

Dost senin derdinden ben yana yana

Tükendi fitilim eridi yağım

Dost senin derdinden ben yana yana

Deryaya yönelmiş sellere döndüm

Vakitsiz açılan güllere döndüm

Ateşi kararmış küllere döndüm

Dost senin derdinden ben yana yana

Haberim duyarsın peyikler ile

Yaramı sarsınlar şehitler ile

Kırk yıl dağda gezdim geyikler ile

Dost senin derdinden ben yana yana

Abdal Pir Sultan’ım doldum eksildim

Yemeden içmeden sudan kesildim

Zülfün kemendine kondum asıldım

(Hakkı pek sevdiğim için asıldım)

Dost senin derdinden ben yana yana

========================================

Your Honor (Hakim Bey -- Sezen Aksu)

Lyrics and music: Sezen Aksu, the prolific singer and song-writer, producer, and activist. This piece voices her resentment toward one-time ubiquitous judicial measures of the Turkish state in an effort to curb the right to exercise the freedom of speech.

Here are two beautiful musical interpretations:

• Mehmet Erdem: www.youtube.com/watch?v=Yy8mCKQnzWU
• O. Zulfu Livaneli: www.youtube.com/watch?v=i9loy0vCh2A

Original lyrics:

==============================

Şikayetim var cümle yasaktan

Dillerimi Hakim Bey bağlasan durmaz

Gelsin jandarma polis karakoldan

Fikrim firarda mahpusa sığmaz eyvah

Gün olur yerle yeksan olurum

Gün olur şahım devri devranda

Kanun üstüne kanun yapsalar

Söz uçar yazı iki cihanda eyvah

Sussan olmuyor susmasan olmaz

Dil dursa Hakim Bey tende can durmaz

Yazsan olmuyor yazmasan olmaz

Kaleme tedbir koma tek durmaz

==============================

I just read the Wikipedia Turkish article about Mehmet Erdem. Some details of his life bear an eerie resemblance to mine. Apparently, we are both mechanical engineers by education; probably, both of us went to boarding schools; we are both interested in mathematics and physics; the first instrument we ever played was mandolin (Well, this was common to most high-school kids of that time. However, very few really mention this.); we both play baglama (Despite the fact that I like Greek culture, I have to point out that this is a Turkish music instrument, not Greek ... OK, I may start a blog about this.). There, you have it!

Reality check:

Actually such resemblances, or coincidences, are statistically quite common, given the size of the population. Thus, there is nothing surprising, except the fact that coming across such occurrences, meaning "finding them at random" is highly unlikely. Hence, I was "lucky", and that is that.