Wednesday, May 29, 2013

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:

Kurdish:

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




Friday, May 24, 2013

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:

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

Thursday, May 23, 2013

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.

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.

Monday, May 20, 2013

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:
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?
======================================

Sunday, May 19, 2013

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:

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

Friday, May 17, 2013

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:


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.

Thirty-Three Bullets (Otuzüç Kurşun -- Ahmed Arif, Zulfu Livaneli)

Lyrics are based on a poem by Ahmed Arif (20th c.), 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.

The poem is a remembrance of the unlawful execution of 33 persons in 1943, especially of the children who were among the killed.

This translation is based on the original adaption by O. Zulfu livaneli of one repeating stanza of the poem "Otuzüç Kurşun" (literally, Thirty-Three Bullets). I added another based on two other stanzas, which seems to fit the music composed by Livaneli. Here is this piece (must bear the intro):

The last line of the first stanza could also read like this: "In my mouth which is torn to pieces." It is impossible to determine which version the poet intended.

I had trouble deciding on what kind of visuals to use. The event on which the poet based his lamentation is so horrible that any direct graphical reference would have been too graphic. Then, again, this was not an isolated case in time or place. Such and much more abominable crimes had and have been, and, are happening at any time or place on this hate-ridden planet of ours. And, almost invariably, directly or indirectly, children are placed at the center of the sufferings. Thus, I decided to use these photographs: from two different times, from two distant places.

The first photograph belongs to Merl La Voy (or, Mryl LaVoy), early 20th century photographer, filmmaker, and traveler. He is considered an early pioneer in news photography, and is likened to Marco Polo for his extensive travels. The photograph above was probably taken during his visit to Balkans and Turkey.

The second photograph has a very tragic story: that of the photographer Kevin Carter. His suicide note tells of a man deprived of everything: from money to hope. It is filled with anguish, disgust, and anger. And, enters the Pulitzer prize. Who gives a ... !

Below is the part of the poem parts of which were translated (bold lines). Here is the whole of it (112 lines).
===================================
Vurulmuşum
Dağların kuytuluk bir boğazında
Vakitlerden bir sabah namazında
Yatarım
Kanlı, upuzun...

Vurulmuşum
Düşüm, gecelerden kara
Bir hayra yoranım çıkmaz
Canım alırlar ecelsiz
Sığdıramam kitaplara
Şifre buyurmuş bir paşa
Vurulmuşum hiç sorgusuz, yargısız

Kirvem, hallarımı aynı böyle yaz
Rivayet sanılır belki
Gül memeler değil
Domdom kurşunu
Paramparça ağzımdaki...
===================================





Wednesday, May 15, 2013

Hush, Don't Say (Sus Söyleme -- Zülfü Livaneli)

Lyrics and music: O. Zulfu Livaneli, internationally acclaimed musician, composer, performer, poet, writer, and director. The last line of one repeating stanza (There is no happy love) is from Louis Aragon, the great French poet and novelist.

Here is the music:

Original Lyrics:
===================================
Sus söyleme
Bir şey söyleme artık
Sus söyleme
Her şey gereksiz artık
Bana düşen dönüp de gitmek
Sonunda elimde kalan
Bir avuç hüzün ve keder

Yeter yeter söyleme artık
Kelimeler kanatır yarayı
Gözlerin anlatıyor
Mutlu aşk yoktur

Oysa ben sana neler adamıştım
İçli şarkılar, kırık ezgiler
Yüreğimdem süzülüp gelen
Bırakıp gittin beni
Bir gün yollarda

Yeter yeter söyleme artık
Kelimeler kanatır yarayı
Gözlerin anlatıyor
Mutlu aşk yoktur
Sus söyleme her şey ortada artık
===================================

Bitter Prisoner (Dargın Mahkum -- Aşık Mahzuni)

Lyrics and music: Aşık Mahzuni Şerif, a master folk artist, composer, poet, and writer from traditional school (20th c.).

Here are two examples from various performances:

Original lyrics:
=====================================

Darıldım ben sana canım, böyle mi olacaktı?
Vuruldum baksana, kanım yerde mi kalacaktı?
Hapishane içinde minderim kana battı.
Yahu bu ne haldır, öldüm yedi yıldır.
Gardiyan çekti gitti.
Dağ gibi ömrüm benim ne çabuk söndü bitti.

Yoruldum hal bilmezden, yaş geldi kırka çıktı.
Dirildim dirildim geri de öldüm, dostlar bizi bıraktı.
Mahzuni gelir beyler bizim yaylada yaylar,
Yahu deli miyim, yok ölü müyüm?
Parlayan bizi paylar.
Ağlama sızlama anam benim bir gün biter yaralar.

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

Flowers of Blood (Kan Cicekleri by Zülfü Livaneli)

Lyrics and music by: O. Zulfu livaneli. Internationally renowned musician, composer, performer, poet, writer, and director.

It is only fitting to call this piece as the blossom of the mastery of Livaneli. Without much ado, here is the piece by the composer himself: www.youtube.com/watch?v=xGmSo_ovS2E. And others,



Original lyrics:
=============================
Topraktan mı sürmüş candan mı kopmuş?
Açar yediveren kan çiçekleri.
Türkü mü, şiir mi, ağıt mı yoksa?
Açar yediveren kan çiçekleri.

Bölük bölük olmuş çaylar dereler,
Hiçbiri denize varabilmezmiş.
Duvarın dibinde bir yaralı gül,
Gülleri solduran gülebilmezmiş.

Bu şehrin üstünü duman sis almış,
Tomurcuk çiçekler kana belenmiş.
Dağlar çiçek açmış, usta dert açmış,
Umudun goncası kan çiçekleri.
=============================

Should I Be The Cloud? (Bulut mu Olsam?)

Lyrics: Nazim Hikmet (Ran). Great Turkish master artist. Internationally renowned poet, writer, and activist.
Music: O. Zulfu Livaneli. Internationally renowned musician, composer, performer, poet, writer, and director.

I remember that day quite vividly, and with such fondness. As a teenager, how much could I have known about music? What was good music, what music was bad? Was it really divided that sharply? We were told by the know-all-about-music authorities that the "arabesque" music was not good. They also said the classical music was the best. My father concurred. Silently, we disagreed: it was sometimes boring as hell. Then, there was the music of the revolutionists. Dry, but touching; simplistic, but openly dissenting; unsophisticated, but moving. Furthermore, most were accompanied by "baglama" (long necked lute of Anatolia) only. Why was such beauty condemned to such unenviable existence? I could not answer.

Then, that day, during evening hours, something started to be played on the television. To me, it was an illumination, a revelation. I understood then: my music could be good. Beside the powerful words, it had a captivating melody, and it audaciously combined our baglama with some of the well known orchestral instruments of the symphonies. Although Orhan Gencebay and others had done it before with traditional instruments, this was different.

I was almost in a transcendent state: simply staring at the box and trying to absorb the flow of sounds. Since then, it has always been one of my most favorite musical pieces. Sadly, it has since been downplayed by listeners, even by the composer himself. Let's see what you will think about it.

I think this is the original video (replayed later): www.youtube.com/watch?v=fCTG-UcRBsQ


Original lyrics:
=================================

Denizin üstünde ala bulut,
Yüzünde gümüş gemi,
İçinde sarı balık,
Dibinde mavi yosun.

Kıyıda bir çıplak adam,
Durmuş düşünür:
Bulut mu olsam, gemi mi yoksa
Yosun mu olsam, balık mı yoksa.

Ne o, ne o, ne o, ne o,
Deniz olunmalı oğlum!
Bulutuyla gemisiyle, balığıyla yosunuyla,
Bulutuyla gemisiyle, deniz olunmalı oğlum!

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

Tuesday, May 14, 2013

Two Piece Mix (Gitme Turnam Gitme and Gine Dertli Dertli)

This is a mix of two pieces from the "aşık" tradition, originally used in ceremonial or ritualistic gatherings. Today, they are among the classical pieces in "türkü" genre. The first piece, Gitme Turnam Gitme (a.k.a. Kirklar Semahi) is from Erzincan region of Turkey, whereas the second, Gine Dertli Dertli, is from the Sivas region. Both of these regions are known for their unusually prolific contributions to the Turkish folk music.

The first piece was compiled by Adnan Ataman as heard from the master Aşık Ismail Daimi. The lyrics are to be considered as from anonymous sources. The second piece is compiled by Nida Tufekci, citing Mahmut Erdal as the source, with lyrics attributed to Karacoglan (see my post: Green Headed Duck). In both cases, the melodies are from anonymous sources.

These pieces are so similar in style and melody that many people are confused as to which one is which, including me at one time. As if to strike an irony, in 1970s Zulfu Livaneli presented a mix of these, in both lyrics and melody, as one piece, which was well accepted at that time. The following translation is based on that mix and it is only partial.

Performances:


Here is the original (as I remember) as arranged by Zulfu Livaneli
=================================
Gitme turnam gitme nerden gelirsin?
Sen nazlı canana benzersin turnam
Her bakışta beni mecnun edersin
Tabibe Lokman'a benzersin turnam.

Pir balım sultana benzersin turnam
Yürü turnam yürü canana yürü
Allı da turnam telli de turnam
Bir gözleri sürmeli.

Havayı ey deli gönül havayı
Biz kız katarlamış da atı deveyi
Ay doğmadan şavkı tuttu ovayı
Yürüyelim yürüyelim, şimden sonra dost belli.

Hey dost, hey dost
Geçip gider, geçip gider, bir gözleri sürmeli.
...
=================================

Monday, May 13, 2013

My Crane, Take Greetings to Beloved (Telli Turnam Selam Götür)

Original lyrics and music by: Musa Eroglu

One of most acclaimed songs by Musa Eroglu, the great Turkish master of music from the "aşık" tradition. See this Wikipedia article and this Wikipedi (Turkish) article for more about Eroglu. A website claiming to be the official website for Eroglu is here. If you really want to listen to him, see how he does it, then here are some links from YouTube. There are many others, please experiment. These are some that I found quickly and liked. Every performance is different. See how he sweats? Things are not as easy as they may seem!


Original lyrics in Turkish:
===============================

Telli turnam selam götür
Sevdiğimin diyarına
Üzülmesin ağlamasın
Belki gelirim yarına cananıma

Hasret kimseye kalmasın
Sevdalılar ayrılmasın
Ben yandım eller yanmasın
Sevdanın aşkın narına canıma

Gönüle hasret yazıldı
Sevgiye mezar kazıldı
İki damla yaş süzüldü
Gözlerimin pınarına
===============================

Saturday, May 11, 2013

Green Headed Duck, Yeşil Başlı Gövel Ördek - Karacoğlan (17 c.)

The following is my attempt at translating a beautiful poem by Karacoglan. The picture is from a presentation I had prepared. Namik Ciblak, Kuwait, May 2013.

Here is the music from:

This piece is probably from south central Anatolia region (around the district of Adana, Turkey). It is attributed to the legendary poet of 17th century Anatolia, known as Karacoğlan (Karacaoğlan, tr. Blackish or Dark Boy). The music is composed by Kazim Birlik of Mersin, Turkey.



KARACOGLAN: The illustration in the picture on the left had long been used as a common depiction of the poet. Such figures in folk literature of Anatolia are usually known only from indirect references to them or via oral traditions. Thus, their biography, usually very sketchy, is mostly based on the work that is attributed to them. It is no different in Karacoglan's case. Details of his life are usually deduced from what he mentions about places, peoples, happenings, and times. A very short and unverified article about Karacoglan can be found on Wikipedia, both in English and Turkish versions. As with many folk poets of Anatolia, the works of Karacoglan could actually be those of more than one person. In any case, Karacoglan should be considered as representing a collective personality.

Below is the part of the original Turkish poem that is translated, in the form that was set to music by Birlik.
======================
Yeşil başlı gövel ördek
Uçar gider göle karşı
Eğricesin tel tel etmiş
Döker gider yare karşı

Telli turnam sökün gelir
İnci mercan yükün gelir
Elvan elvan kokun gelir
Yar oturmuş yele karşı

Şahinim var bazlarım var
Tel alışkın sazlarım var
Yare gizli sözlerim var
Diyemiyom ele karşı
=====================

Translation Notes:

  1. I tried to be as literal as possible. In my opinion, the translation still preserves the feeling and meaning of the original.
  2. There is no consensus on the exact meaning of the word "gövel". Some claim it to be a color either green or bluish-green. I used the latter, though I do not agree completely. I can't see why Karacoglan would repeat the color in the same line twice, or mention two colors. I had lived in the region where Karacoglan was supposed to have lived. In rural areas of the region they use the word "göğ", which normally refers literally to "sky', to also refer to unripened fruits, which are usually greenish. I think, this  is what the first suggested meaning is based on. However, it is also possible that Karacoglan simply meant the literal meaning. It is quite fitting since in many poems, as also in this one, the birds are usually depicted in flight, and "gövel" may mean "in sky" (in flight). In modern Turkish language  "gök" corresponds to "sky". In turn, "göksel" is used to refer to anything that relates to sky. Here, the suffix -sel (-el) is used to effect that. For example, whereas "ev" means house or residence, "evsel" means residential. I should also mention that, in the evolution of Turkish language, the sound "ğ" (a soft, almost silent, and throaty version of "g") is sometimes modified into a "v" sound, or even lost. Nevertheless, in contradiction to this, in some regions, the sounds "g" and "k" are sometimes sounded with a "ğ". Such dynamics are quite common in Turkish language. Anyway, to make a long story short, in my opinion, the term "gövel" may have descended from "göksel" or "göğsel", via "göğel".
  3. I intentionally used the word "toward" even when it wasn't the best choice, especially in the last quatrain. The reason is that the poet repeatedly uses the word "karşı" as a recurring ending or, better, as a strong punctuation element. This word gives the poem a quite distinctive rhythm. In some references, the poem is even simply given the title of "Karşı". Thus, I simply couldn't let it go.