{"id":38578,"date":"2021-05-07T08:30:00","date_gmt":"2021-05-07T04:30:00","guid":{"rendered":"http:\/\/edebiyyat-az.com\/?p=38578"},"modified":"2021-05-07T08:54:40","modified_gmt":"2021-05-07T04:54:40","slug":"prof-dr-mustafa-ozbalci-seckin-bir-kultur-adami-ve-bir-karakter-abidesi-a-h-m-e-t-k-u-t-s-i-t-e-c-e-r","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=38578","title":{"rendered":"Prof. Dr. Mustafa \u00d6ZBALCI.”Se\u00e7kin Bir K\u00fclt\u00fcr Adam\u0131 ve Bir Karakter Abidesi” (A H M E T K U T S \u0130 T E C E R)"},"content":{"rendered":"\n
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Ahmet Kutsi Tecer (1901-1967), aslen Do\u011fu Anadolu\u2019nun en eski ve tarih\u00ee yerle\u015fim merkezlerinden birisi olan E\u011fin (\u015fimdiki Erzincan\/Kemaliye) kazas\u0131 n\u00fcfusuna kay\u0131tl\u0131 bir aileden gelen babas\u0131 Abdurrahman Efendi\u2019nin g\u00f6revi gere\u011fi bulundu\u011fu Kud\u00fcs\u2019te, 4 Eyl\u00fcl 1901 tarihinde do\u011fmu\u015ftur. As\u0131l ad\u0131 Ahmet\u2019tir. \u201cKud\u00fcsl\u00fc\u201d manas\u0131na gelen \u201cKuds\u00ee\u201d (yeni harflerle yaz\u0131l\u0131\u015f\u0131 \u201cKutsi\u201d) kelimesi, do\u011fdu\u011fu yerin ad\u0131na izafeten kendisine ikinci ad olarak verilince da Ahmet Kutsi olarak tan\u0131nm\u0131\u015f, 1934\u2019te soyad\u0131 kanunu \u00e7\u0131k\u0131nca da, \u201cTecer\u201d soyad\u0131n\u0131 alm\u0131\u015ft\u0131r. \u0130lk ve orta \u00f6\u011freniminden sonra 1922 y\u0131l\u0131nda Halkal\u0131 Ziraat Mekteb-i \u00c2l\u00eesi (Ziraat Y\u00fcksek Okulu)\u2019ni bitirmi\u015f, daha sonra da Paris\u2019te Sorbonne \u00dcniversitesi (1925-27) ile \u0130stanbul \u00dcniversitesi Edebiyat Fak\u00fcltesi (1927-1929)\u2019nde felsefe okumu\u015f ve mezun olmu\u015ftur. \u00c7al\u0131\u015fma hayat\u0131na 1930 y\u0131l\u0131nda \u00f6\u011fretmen olarak ba\u015flayan Tecer, \u00e7ok y\u00f6nl\u00fc sanat\u00e7\u0131 kimli\u011fi ve ki\u015fili\u011fi, \u015fairli\u011fi, k\u00fclt\u00fcrel faaliyetleri, folklor (halk bilimi) alan\u0131ndaki derleme, inceleme ve ara\u015ft\u0131rmalar\u0131, tiyatro yazarl\u0131\u011f\u0131, idarecili\u011fi, e\u011fitimcili\u011fi, de\u011fi\u015fik devlet kurum ve kurulu\u015flar\u0131nda \u00fcstlendi\u011fi g\u00f6revlerde g\u00f6sterdi\u011fi \u00fcst\u00fcn ba\u015far\u0131 ve \u00e7ok verimli \u00e7al\u0131\u015fmalarla dikkatleri k\u0131sa zamanda \u00fczerine \u00e7ekmi\u015f ve d\u00f6neminin ayd\u0131nlar\u0131 aras\u0131nda sevilen, takdir toplayan bir isim h\u00e2line gelmi\u015ftir.
Kendisini \u00e7ok iyi yeti\u015ftirmi\u015f, hemen her konuda birikimleri \u00e7ok fazla olan se\u00e7kin bir d\u00fc\u015f\u00fcnce, bir k\u00fclt\u00fcr adam\u0131 ve bir karakter abidesi olan Tecer, \u00e7e\u015fitli konularda sahip oldu\u011fu, hem Bat\u0131, hem Do\u011fu kaynaklar\u0131ndan, sanat ve edebiyatlar\u0131ndan beslenen geni\u015f ve zengin bilgisi ve k\u00fclt\u00fcr\u00fc sayesinde, el att\u0131\u011f\u0131 her i\u015fte ba\u015far\u0131l\u0131 olmu\u015f, takdirle kar\u015f\u0131lanm\u0131\u015ft\u0131r. Y\u00fcre\u011fi insan sevgisi ile dolu, sevmenin ve sevilmenin s\u0131rr\u0131na ermi\u015f, t\u0131pk\u0131 T\u00fcrkmen kocas\u0131 dervi\u015f Yunus gibi, \u201cyarat\u0131lm\u0131\u015flar\u0131 yaratandan \u00f6t\u00fcr\u00fc seven,\u201d d\u00fcr\u00fcst, idealist, ilim ve irfan sahibi bir g\u00f6n\u00fcl adam\u0131d\u0131r. Geni\u015f bir dost ve arkada\u015f \u00e7evresi vard\u0131r. Hi\u00e7bir zaman makam, unvan, r\u00fctbe ve servet pe\u015finde ko\u015fmam\u0131\u015f, herkesi sevmeyi, herkese iyilik yapmay\u0131 hayat\u0131n\u0131n ba\u015fta gelen gayesi olarak g\u00f6rm\u00fc\u015ft\u00fcr. \u00d6mr\u00fcn\u00fc okuyup \u00f6\u011frenmek ve \u00f6\u011fretmekle ge\u00e7irmi\u015f, e\u011fitim-\u00f6\u011fretimin her kademesinde \u00e7al\u0131\u015fm\u0131\u015f, binlerce \u00f6\u011frenci yeti\u015ftirmi\u015f \u00f6rnek bir e\u011fitimcidir. Az konu\u015fup \u00e7ok okuyan ve \u00e7ok d\u00fc\u015f\u00fcnen, zarif ve kibar, daima \u00f6l\u00e7\u00fcl\u00fc ve temkinli davranan, sessizlik ve yaln\u0131zl\u0131ktan ho\u015flanan, a\u011f\u0131rba\u015fl\u0131, al\u00e7ak g\u00f6n\u00fcll\u00fc, ho\u015fg\u00f6r\u00fc sahibi, madd\u00ee ihtiras\u0131 olmayan, \u00e7ekingen tabiatl\u0131, g\u00f6steri\u015ften ve riyadan uzak duran, \u00f6ne \u00e7\u0131kmaktan, takdir edilip \u00f6v\u00fclmekten pek ho\u015flanmayan, \u00e7evresine daima sevgi, sayg\u0131, g\u00fcven ve ciddiyet telkin eden bir Osmanl\u0131 beyefendisidir. Yak\u0131nlar\u0131n\u0131n, sevdiklerinin, dost ve arkada\u015flar\u0131n\u0131n, onunla ilgili s\u00f6z ve yaz\u0131lar\u0131nda, Tecer\u2019in bu m\u00fcstesna karakterinin bir k\u0131sm\u0131n\u0131 yukar\u0131da s\u0131ralad\u0131\u011f\u0131m\u0131z \u00f6zelliklerini tam bir ittifak i\u00e7inde payla\u015ft\u0131klar\u0131 ve dile getirdikleri g\u00f6r\u00fcl\u00fcr. Onu \u00e7a\u011fda\u015flar\u0131ndan ay\u0131ran, farkl\u0131 ve s\u0131ra d\u0131\u015f\u0131 bir ayd\u0131n yapan da, i\u015fte sahip oldu\u011fu bu vas\u0131flar\u0131d\u0131r.
Anadolu Sevdal\u0131s\u0131 Bir Halk \u00c2\u015f\u0131\u011f\u0131
Geni\u015f halk kitlesi ile b\u00fct\u00fcnle\u015fmi\u015f bir ayd\u0131n, bir halk adam\u0131 ve halk \u00e2\u015f\u0131\u011f\u0131 olan Tecer, daha 18 ya\u015flar\u0131nda gen\u00e7 bir \u00f6\u011frenci iken, Bolu\u2019da yay\u0131mlanan Dertli adl\u0131 yerel gazetede \u00e7\u0131kan (25 A\u011fustos 1335\u201d1919\u201d) \u201cSel\u00e2m\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131 \u015f\u00f6yle bitirir: \u201cBen \u00f6mr\u00fcm\u00fcn sonuna kadar Anadolu\u2019yu dinleyece\u011fim ve onun sesini dinletmeye \u00e7al\u0131\u015faca\u011f\u0131m.\u201d Bu c\u00fcmle, onun daha o ya\u015flarda kendisine bir yol haritas\u0131 \u00e7izdi\u011fini, bir hedef ortaya koydu\u011funu g\u00f6stermektedir. Ger\u00e7ekten de o, 50 y\u0131la varan sanat hayat\u0131nda bu s\u00f6zlerini hi\u00e7 unutmam\u0131\u015f, hedefine varmak i\u00e7in b\u00fcy\u00fck bir azim ve gayretle \u00e7al\u0131\u015fm\u0131\u015f, b\u00fct\u00fcn kalem faaliyetlerinde, makale, deneme, ara\u015ft\u0131rma, \u015fiir ve piyeslerinde, halk\u0131n ar\u0131-duru, sade ve canl\u0131 g\u00fcnl\u00fck konu\u015fma dili ile onun zevk ve e\u011flence hayat\u0131n\u0131, oyunlar\u0131n\u0131, t\u00fcrk\u00fc ve manilerini, \u00f6rf ve \u00e2detlerini, k\u0131saca halk\u0131n geleneksel hayat tarz\u0131n\u0131 \u015fekillendiren b\u00fct\u00fcn k\u00fclt\u00fcrel unsurlar\u0131 anlamak ve anlatmak, \u201cAnadolu\u2019yu dinlemek ve onun sesini dinletmek,\u201d \u00f6mr\u00fc boyunca Tecer\u2019in en b\u00fcy\u00fck ideali olmu\u015ftur. Bat\u0131y\u0131 da, do\u011fuyu da \u00e7ok iyi tan\u0131yan, b\u00fcy\u00fck \u015fehirlerde oturan, fakat k\u00f6y\u00fcn i\u00e7inde ya\u015fayan, k\u00f6yl\u00fcy\u00fc i\u00e7inde ya\u015fatan tam bir Anadolu sevdal\u0131s\u0131 ve \u00e2\u015f\u0131\u011f\u0131 olan Tecer\u2019in tek bir gayesi vard\u0131: K\u00f6ylerde ya\u015fayan geni\u015f halk kitlesi ile ayd\u0131nlar\u0131, k\u00f6yl\u00fc ile \u015fehirliyi k\u00fclt\u00fcrel ve manevi ba\u011flarla birbirine ba\u011flamak ve kayna\u015ft\u0131rmak istiyordu. Bu sebeple de halk hayat\u0131n\u0131n i\u00e7inden derledi\u011fi her t\u00fcrl\u00fc k\u00fclt\u00fcrel ve folklorik malzemeyi bir ara\u00e7 olarak kullan\u0131yor, bunlar\u0131 \u015fiirleri ba\u015fta olmak \u00fczere, hangi t\u00fcrde olursa olsun kaleme ald\u0131\u011f\u0131 b\u00fct\u00fcn eserlerinin temel malzemesi ve asl\u00ee unsuru olarak i\u015fliyordu.
Onun halk hayat\u0131na ve k\u00fclt\u00fcr\u00fcne y\u00f6nelmesinde, lise edebiyat \u00f6\u011fretmeni ve il mill\u00ee e\u011fitim m\u00fcd\u00fcr\u00fc olarak d\u00f6rt y\u0131l (1930-1934) g\u00f6rev yapt\u0131\u011f\u0131 Sivas, \u00e7ok \u00f6nemli bir rol oynam\u0131\u015ft\u0131r. Tarih\u00ee de\u011ferler bak\u0131m\u0131ndan oldu\u011fu kadar, halk k\u00fclt\u00fcr\u00fc ve folkloru itibariyle de zengin bir Anadolu \u015fehri olan Sivas, onun sanat anlay\u0131\u015f\u0131na, duygu ve d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131na yepyeni bir ufuk a\u00e7m\u0131\u015f, burada insan\u0131m\u0131z\u0131n geleneksel hayat tarz\u0131n\u0131, kendisine has \u00f6rf\u00fcn\u00fc ve \u00e2detlerini, k\u0131saca, Tanp\u0131nar\u2019\u0131n deyimi ile \u201corada halk \u015fiiri an\u2019anesini daha yak\u0131ndan tan\u0131m\u0131\u015f ve folkloru yeni bir iklim gibi ke\u015ffetmi\u015ftir.\u201d \u015eehrin b\u00fct\u00fcn k\u00f6y ve kasabalar\u0131n\u0131 yaz k\u0131\u015f, gece g\u00fcnd\u00fcz demeden k\u00f6\u015fe bucak dola\u015fm\u0131\u015f, halkla kayna\u015fm\u0131\u015f, sofras\u0131na oturup ekme\u011fini payla\u015fm\u0131\u015f, onun nas\u0131l ya\u015fad\u0131\u011f\u0131n\u0131 ve \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131, gece ve e\u011flence hayat\u0131n\u0131 yak\u0131ndan g\u00f6zlemlemi\u015ftir. Bu gezilerinde, ayr\u0131ca T\u00fcrk halk k\u00fclt\u00fcr\u00fc i\u00e7inde \u00f6nemli bir yer i\u015fgal eden saz \u015fiiri ve \u00e2\u015f\u0131kl\u0131k gelene\u011finin Sivas ve \u00e7evresinde h\u00e2l\u00e2 b\u00fct\u00fcn canl\u0131l\u0131\u011f\u0131 ile ya\u015famakta oldu\u011funu da g\u00f6rm\u00fc\u015f olan Tecer\u2019i, toplad\u0131\u011f\u0131 bilgi ve bulgular halk k\u00fclt\u00fcr\u00fcm\u00fcz ve onun zengin kaynaklar\u0131 \u00fczerinde d\u00fc\u015f\u00fcnmeye ve ara\u015ft\u0131rmaya sevk etmi\u015f ve hayat\u0131n\u0131n sonraki d\u00f6nemlerinde halk k\u00fclt\u00fcr\u00fc, halk \u015fiiri ve folkloru b\u00fct\u00fcn de\u011ferleri ve unsurlar\u0131 ile onun duygu ve d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131n\u0131, dolay\u0131s\u0131yla da eserlerini besleyen g\u00fcr bir kaynak olmu\u015ftur. Sivas\u2019ta ilk i\u015f olarak 5 Kas\u0131m 1931 tarihinde bir Halk \u015eairleri Bayram\u0131 d\u00fczenlenmesine \u00f6nc\u00fcl\u00fck eder. Bir halk \u015fiiri ve folklor \u015f\u00f6leni h\u00e2linde \u00fc\u00e7 g\u00fcn devam eden bu bayram, sonraki y\u0131llarda T\u00fcrk halk \u015fiirinin 20. y\u00fczy\u0131ldaki en b\u00fcy\u00fck temsilcisi olarak y\u0131ld\u0131z\u0131 parlayacak olan \u00c2\u015f\u0131k Veysel (\u015eat\u0131ro\u011flu,1894-1973) ba\u015fta olmak \u00fczere, Sivas y\u00f6resinde ya\u015fayan bir\u00e7ok halk \u015fairinin sanat \u00e7evrelerinde tan\u0131nmas\u0131na imk\u00e2n vermi\u015ftir. \u015e\u00f6hret yolunda ilk ad\u0131m\u0131n\u0131 bu bayramla atm\u0131\u015f olan Veysel\u2019i, Tecer sonraki y\u0131llarda da hep koruyup kollam\u0131\u015f ve desteklemi\u015ftir. 1934\u2019ten sonra Ankara\u2019da Y\u00fcksek \u00d6\u011fretim Genel M\u00fcd\u00fcrl\u00fc\u011f\u00fc\u2019nde \u015fube m\u00fcd\u00fcr\u00fc olarak g\u00f6rev al\u0131nca Veysel\u2019i Ankara\u2019ya getirtip devletin ona maa\u015f ba\u011flamas\u0131n\u0131 sa\u011flayan da odur. Veysel de bu olup bitenlerin fark\u0131ndad\u0131r ve b\u00fct\u00fcn \u015f\u00f6hretini ve kazan\u0131mlar\u0131n\u0131, \u201cdilimin ba\u011f\u0131n\u0131 \u00e7\u00f6zen adam\u201d dedi\u011fi Tecer\u2019e bor\u00e7lu oldu\u011funu her f\u0131rsatta dile getirmi\u015ftir.
Sivas\u2019ta 1932 y\u0131l\u0131nda, aralar\u0131nda \u00fcnl\u00fc halk m\u00fczi\u011fi sanat\u00e7\u0131lar\u0131ndan Muzaffer Sar\u0131s\u00f6zen (1899-1963) ve arkada\u015flar\u0131n\u0131n da bulundu\u011fu bir grupla birlikte Halk \u015eairlerini Koruma Derne\u011fi ad\u0131yla bir dernek de kurmu\u015f olan Tecer, derne\u011fi halk\u0131n e\u011fitim ve \u00f6\u011fretimi konusunda \u00f6nemli g\u00f6revler y\u00fcr\u00fctecek bir okul, \u00e7evresine \u0131\u015f\u0131k da\u011f\u0131tan yayg\u0131n bir e\u011fitim kurumu olarak d\u00fc\u015f\u00fcnm\u00fc\u015f, derne\u011fin faaliyetlerini de hep bu gayeye hizmet edecek \u015fekilde y\u00f6nlendirmi\u015ftir. Bu faaliyetler esnas\u0131nda \u00e7ok yak\u0131ndan tan\u0131d\u0131\u011f\u0131 Muzaffer Sar\u0131s\u00f6zen\u2019i de daha sonra t\u0131pk\u0131 Veysel gibi Ankara\u2019ya getirtmi\u015f ve Ankara Devlet Konservatuar\u0131 Folklor Ar\u015fivi \u015eefli\u011fi\u2019ne atanmas\u0131n\u0131 ve ayr\u0131ca Radyo\u2019da g\u00f6revlendirilmesini sa\u011flam\u0131\u015ft\u0131r. B\u00f6ylece halk m\u00fczi\u011fimizle ilgili \u00e7al\u0131\u015fmalara daha d\u00fczenli, daha h\u0131zl\u0131 ve daha ilm\u00ee bir mahiyet kazand\u0131rd\u0131\u011f\u0131 gibi, konservatuvarda Bat\u0131 m\u00fczi\u011finin yan\u0131nda ilk defa halk m\u00fczi\u011fimize, t\u00fcrk\u00fclerimize de yer verilmesinin yolunu a\u00e7m\u0131\u015ft\u0131r. O, bizim mill\u00ee m\u00fczi\u011fimizin ancak halk m\u00fczi\u011fi ritimlerinden ve melodilerinden renk ve ilham alan gen\u00e7 kompozit\u00f6rler marifetiyle kurulaca\u011f\u0131na inan\u0131yor, bunun i\u00e7in en uygun kaynak olarak da halk t\u00fcrk\u00fclerimizi, \u00f6zellikle de oyun havalar\u0131n\u0131 benimsiyor, o sebeple de bu yoldaki g\u00f6r\u00fc\u015fleri ve \u00e7al\u0131\u015fmalar\u0131 payla\u015f\u0131yor ve destekliyordu. Televizyon \u00f6ncesi d\u00f6nemlerde radyolar\u0131m\u0131zda y\u0131llarca Yurttan Sesler korosu \u015fefi olarak bize t\u00fcrk\u00fclerimizi b\u00fcy\u00fck bir zevkle dinleten Muzaffer Sar\u0131s\u00f6zen\u2019in elinden tutup desteklemesinin sebebi de budur.
Elbet bu arada halk k\u00fclt\u00fcr\u00fc ara\u015ft\u0131rmalar\u0131n\u0131 s\u00fcrd\u00fcrmeyi de ihmal etmez. K\u00f6y hayat\u0131n\u0131n tabi\u00ee \u015fartlar\u0131 ve ak\u0131\u015f\u0131 i\u00e7inde zaman zaman sergilenen ve bu hayat\u0131 renkli ve canl\u0131 k\u0131lan e\u011flencelerin temsili bir nitelik ta\u015f\u0131d\u0131klar\u0131n\u0131, \u00e7ok sa\u011flam bir teknik yap\u0131ya sahip olduklar\u0131n\u0131 ve bunlar\u0131n mill\u00ee tiyatromuzun kayna\u011f\u0131 olabilece\u011fini ilk defa fark ederek geleneksel tiyatromuz olan k\u00f6y tiyatrosu ile de yak\u0131ndan ilgilenir ve sonunda, bat\u0131l\u0131 tiyatro anlay\u0131\u015flar\u0131 ile geleneksel tiyatromuzu ba\u011fda\u015ft\u0131rmadan, bunlar\u0131 uyumlu bir bile\u015fime sokmadan modern T\u00fcrk tiyatrosunun kurulamayaca\u011f\u0131 kanaatine var\u0131r. Bunun ilk uygulamalar\u0131n\u0131 da kendi tiyatrolar\u0131yla yaparak edebiyat\u0131m\u0131zda k\u00f6y temsilleri gelene\u011fini ba\u015flat\u0131r. K\u00f6yl\u00fc Temsilleri (1940) ve Ko\u00e7yi\u011fit K\u00f6ro\u011flu (1942) adl\u0131 eserleri bu yolda y\u00fcr\u00fctt\u00fc\u011f\u00fc \u00e7al\u0131\u015fmalar\u0131n bir \u00fcr\u00fcn\u00fcd\u00fcr. Tecer\u2019in baz\u0131s\u0131 bas\u0131lm\u0131\u015f, baz\u0131s\u0131 bas\u0131lmam\u0131\u015f, bir k\u0131sm\u0131 da sadece sahnelenmi\u015f birka\u00e7 tiyatro eseri daha vard\u0131r. Bunlar\u0131n en tan\u0131nm\u0131\u015f olan\u0131 1947 y\u0131l\u0131nda kaleme ald\u0131\u011f\u0131, \u00e7e\u015fitli tarihlerde pek \u00e7ok bask\u0131s\u0131 yap\u0131lm\u0131\u015f ve sahnelenmi\u015f olan, 1964 y\u0131l\u0131nda N\u00fcvit \u00d6zdo\u011fru taraf\u0131ndan The Neighbourhood ad\u0131yla \u0130ngilizceye de terc\u00fcme edilen K\u00f6\u015feba\u015f\u0131 adl\u0131 \u00fc\u00e7 perdelik bir dramd\u0131r. K\u00f6\u015feba\u015f\u0131, yeni nesil tiyatro yazarlar\u0131m\u0131za teknik, kurgu ve T\u00fcrk\u00e7e\u2019nin sahne dili olarak ba\u015far\u0131yla kullan\u0131lmas\u0131 bak\u0131m\u0131ndan \u00f6rnek olmu\u015f, \u00f6nlerinde yeni ufuklar a\u00e7m\u0131\u015f ilk eserlerden biri olarak tiyatro tarihimizde \u00f6nemli bir yere sahiptir.
Tecer k\u00f6y\u00fc ve k\u00f6yl\u00fcy\u00fc uzaktan seyretmez, k\u00f6ye ve k\u00f6yl\u00fcye kendi fildi\u015fi kulesinden bakmaz. O, k\u00f6y\u00fc ve k\u00f6y hayat\u0131n\u0131 b\u00fct\u00fcn de\u011ferleriyle i\u00e7inden, \u00e7ok yak\u0131ndan tan\u0131yan bir \u015fehirlidir, ama \u015fehirlerin l\u00fcks site, yal\u0131 veya konaklar\u0131nda oturup hay\u00e2li k\u00f6y manzaralar\u0131na, kulaktan dolma k\u00f6y hik\u00e2ye ve efsanelerine dayanan romantik, duygusal bir k\u00f6y edebiyat\u0131 ortaya koyma pe\u015finde de de\u011fildir. K\u00f6y ve k\u00f6yl\u00fcn\u00fcn sorunlar\u0131na yenilik olsun, de\u011fi\u015fiklik olsun diye ve s\u0131rf birtak\u0131m ideolojik kayg\u0131larla e\u011filmez. Bu hususta hi\u00e7bir fantezisi, bir yerlere yaranmak endi\u015fesi ile kaleme ald\u0131\u011f\u0131 bir \u015fiiri veya bir sat\u0131r yaz\u0131s\u0131 yoktur. Anadolu\u2019yu k\u00f6\u015fe bucak dola\u015fmak, k\u00f6yl\u00fclerle d\u00fc\u015f\u00fcp kalkmak, onlar\u0131n sofralar\u0131nda yiyip i\u00e7mek, ac\u0131lar\u0131n\u0131 ve sevin\u00e7lerin payla\u015fmaktan \u00e7ok ho\u015flanan y\u00fcre\u011fi sevgi dolu bilge bir insan olan Tecer\u2019in en mutlu oldu\u011fu zamanlar, halk k\u00fclt\u00fcr\u00fcn\u00fcn yeni ve orijinal unsurlar\u0131 ile kar\u015f\u0131la\u015ft\u0131\u011f\u0131 anlard\u0131r. O k\u00f6y\u00fc ve k\u00f6yl\u00fcy\u00fc ger\u00e7ek \u00e7ehresiyle yak\u0131ndan, ta i\u00e7inden tan\u0131d\u0131ktan sonra k\u00f6y edebiyat\u0131 yapm\u0131\u015f, k\u00f6y\u00fc anlatan eserler kaleme alm\u0131\u015f, bu konuda son derece d\u00fcr\u00fcst, samimi ve i\u00e7ten davranm\u0131\u015ft\u0131r. K\u00f6y\u00fcn ve k\u00f6yl\u00fcn\u00fcn yoksullu\u011funu, cahilli\u011fini asla istismar etmemi\u015ftir. Hi\u00e7bir eserinde ve yaz\u0131s\u0131nda k\u00f6yl\u00fcy\u00fc a\u015fa\u011f\u0131lay\u0131p k\u00fc\u00e7\u00fcmseyici bir s\u00f6z ve ifadeye rastlamak m\u00fcmk\u00fcn de\u011fildir. Tam tersine onun k\u00fclt\u00fcrel zenginli\u011fine ve irfan\u0131na b\u00fcy\u00fck bir hayranl\u0131k duyar ve onu y\u00fcceltir. Ayr\u0131ca, k\u00f6y\u00fcn ve k\u00f6yl\u00fcn\u00fcn meselelerini, umumi T\u00fcrk k\u00fclt\u00fcr\u00fcnden, milletin ortak de\u011ferlerinden ve dertlerinden de soyutlamaz. K\u00f6y\u00fc ve k\u00f6yl\u00fcy\u00fc, milletimizin ayr\u0131lmaz bir par\u00e7as\u0131, k\u00fclt\u00fcr ve sanat\u0131m\u0131z\u0131 besleyip zenginle\u015ftiren g\u00fcr ve \u00e7ok verimli bir kaynak olur g\u00f6r\u00fcr. Onun amac\u0131, milletten kopuk, onun d\u0131\u015f\u0131nda ayr\u0131 bir k\u00f6yl\u00fc varl\u0131\u011f\u0131 yaratmak de\u011fil, okumu\u015f-okumam\u0131\u015f, ayd\u0131n-cahil ayr\u0131m\u0131 yapmaks\u0131z\u0131n k\u00f6ylerde ve \u015fehirlerde ya\u015fayan insanlar\u0131m\u0131z\u0131, bir b\u00fct\u00fcn\u00fcn ayr\u0131lmaz par\u00e7alar\u0131 olarak kayna\u015ft\u0131rmakt\u0131r. \u0130nsan\u0131m\u0131z\u0131n tarihten ve maziden gelen birtak\u0131m sebepler y\u00fcz\u00fcnden halk-ayd\u0131n \u015feklinde iki ayr\u0131 tabaka h\u00e2linde ayr\u0131\u015fmas\u0131ndan, bunlar aras\u0131nda neredeyse u\u00e7urumlar olu\u015fmas\u0131ndan son derece rahats\u0131z olmu\u015f, k\u00fclt\u00fcr, sanat ve edebiyatlar\u0131 da ayr\u0131 iki kol h\u00e2linde geli\u015fen bu tabakalar aras\u0131ndaki ayr\u0131m\u0131n ortadan kald\u0131r\u0131lmas\u0131n\u0131, ikisi aras\u0131nda kar\u015f\u0131l\u0131kl\u0131 sevgi, sayg\u0131 ve g\u00fcvene dayanan yap\u0131c\u0131 ve verimli bir ili\u015fkinin kurulmas\u0131n\u0131, millet hayat\u0131n\u0131n intizam\u0131, mutlulu\u011fu, huzuru ve s\u00fcreklili\u011fi bak\u0131m\u0131ndan \u00e7ok \u00f6nemli ve zaruri g\u00f6rm\u00fc\u015ft\u00fcr. \u00c7\u00fcnk\u00fc ona g\u00f6re k\u00f6yl\u00fc, hem ekonomik, hem de k\u00fclt\u00fcr bak\u0131m\u0131ndan milletimizin temelidir, asl\u00ee unsurudur, Atat\u00fcrk\u2019\u00fcn ifadesiyle, \u201cmemleketin ve milletin efendisidir.\u201d
O itibarla, ayd\u0131nlar\u0131n halktan alabilecekleri ve ona verebilecekleri \u00e7ok \u015fey vard\u0131r, olmal\u0131d\u0131r. E\u011fer bu al\u0131\u015f-veri\u015f kar\u015f\u0131l\u0131kl\u0131 olarak sa\u011fl\u0131kl\u0131 ve do\u011fru bir \u015fekilde ba\u015far\u0131labilirse, Tecer\u2019e g\u00f6re halk-ayd\u0131n kayna\u015fmas\u0131n\u0131n kolayca ger\u00e7ekle\u015fmesi m\u00fcmk\u00fcn olabilecektir. B\u00fct\u00fcn meden\u00ee toplumlarda ayd\u0131nlar\u0131n yaratt\u0131\u011f\u0131 k\u00fclt\u00fcr, sanat ve edebiyat\u0131n yan\u0131nda, bir de halk\u0131n k\u00fclt\u00fcr, sanat ve edebiyat\u0131 vard\u0131r. Bu durum bizim i\u00e7in de ge\u00e7erlidir. O sebeple, halk k\u00fclt\u00fcr\u00fcn\u00fc, onun sanat ve edebiyat\u0131n\u0131 g\u00f6z ard\u0131 etmemek, bunlar\u0131 da bilmek, \u00f6\u011frenmek, tarih\u00ee ve sosyolojik bir g\u00f6r\u00fc\u015fle incelemek ve de\u011ferlendirmek l\u00e2z\u0131md\u0131r. Bu da ayd\u0131nlar\u0131n g\u00f6revidir. \u00dclkenin sosyal b\u00fct\u00fcnle\u015fmesini ve kayna\u015fmas\u0131n\u0131 sa\u011flamak bak\u0131m\u0131ndan halk ve ayd\u0131n k\u00fclt\u00fcrlerinin \u015fuurlu bir senteze ula\u015fmas\u0131 \u015fart ve gereklidir. Bunun ger\u00e7ekle\u015fmesi i\u00e7in de, ayd\u0131nlar halka ve onun de\u011ferlerine yabanc\u0131 kalmamal\u0131, halk\u0131 yak\u0131ndan tan\u0131mal\u0131, onun k\u00fclt\u00fcrel de\u011ferlerini yeni teknik ve metotlarla i\u015fleyip de\u011ferlendirmeli, \u00e7a\u011f\u0131n de\u011fi\u015fen ve geli\u015fen \u015fartlar\u0131na g\u00f6re yeni ba\u015ftan yorumlamal\u0131d\u0131rlar. Halk-ayd\u0131n kayna\u015fmas\u0131n\u0131n temel \u015fart\u0131, do\u011fru olan \u015fekli de budur. Bilindi\u011fi \u00fczere, Ziya G\u00f6kalp (1876-1924), \u201cHalka Do\u011fru\u201d ve \u201cGarba Do\u011fru\u201d adl\u0131 \u00fcnl\u00fc makalelerinde, Bat\u0131 k\u00fclt\u00fcr\u00fcne y\u00f6nelecek ayd\u0131nlara, \u00f6nce halk\u0131, yani kendi \u00f6z k\u00fclt\u00fcrlerini, tarihimizi, yerli ve mill\u00ee hayat\u0131m\u0131z\u0131 \u015fekillendiren b\u00fct\u00fcn de\u011ferleri iyice tan\u0131malar\u0131n\u0131, duygu ve d\u00fc\u015f\u00fcnce d\u00fcnyalar\u0131n\u0131 \u00f6nce halka ait kaynaklardan beslemelerini tavsiye ediyordu. G\u00f6kalp\u2019e g\u00f6re, Bat\u0131y\u0131 tan\u0131yan, onun k\u00fclt\u00fcr, sanat ve edebiyatlar\u0131yla yak\u0131n temas i\u00e7inde olan bir T\u00fcrk ayd\u0131n\u0131n\u0131n kendi de\u011ferlerine yabanc\u0131la\u015fmadan yeni bir sosyal kimlik kazanmas\u0131n\u0131n ve halkla b\u00fct\u00fcnle\u015fmesinin ba\u015fka bir yol ve y\u00f6ntemi yoktu ve olamazd\u0131. Burada \u00f6nemli ve gerekli olan \u015fey, kendi k\u00fclt\u00fcr d\u00fcnyam\u0131zdan kopmadan bunu ba\u015farabilmek, her t\u00fcrl\u00fc meden\u00ee geli\u015fme ve yenile\u015fmeye a\u00e7\u0131k olmak, k\u0131saca modern ve yeni olanla geleneksel olan\u0131, yerli ve mill\u00ee olan\u0131 at ba\u015f\u0131 birlikte y\u00fcr\u00fctebilmektir. Ba\u015fta Japonya olmak \u00fczere, d\u00fcnyada bunu ba\u015faran pek \u00e7ok \u00fclke vard\u0131r. E\u011fer buna ki\u015fi baz\u0131nda bir \u00f6rnek g\u00f6stermek gerekirse, akl\u0131 ve mant\u0131\u011f\u0131 ile, d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ve hayat felsefesiyle bat\u0131l\u0131 bir ayd\u0131n portresi \u00e7izen Tecer\u2019i g\u00f6sterebiliriz. O, bunu ba\u015farm\u0131\u015ft\u0131r. Zira Fransa\u2019da kald\u0131\u011f\u0131 y\u0131llar ve Bat\u0131 k\u00fclt\u00fcr\u00fcn\u00fc yak\u0131ndan tan\u0131mas\u0131, onu kendi k\u00fclt\u00fcr d\u00fcnyam\u0131z\u0131n de\u011ferlerinden uzakla\u015ft\u0131rmad\u0131\u011f\u0131, gelenek ve g\u00f6reneklerimizden koparmad\u0131\u011f\u0131 gibi, tam tersine onlara daha fazla ba\u011flanmas\u0131na ve y\u00f6nelmesine yol a\u00e7m\u0131\u015ft\u0131r. Bu bak\u0131mdan Tecer\u2019i, baz\u0131 y\u00f6nleriyle, on y\u0131la yak\u0131n bir s\u00fcre Paris\u2019te ya\u015fad\u0131ktan sonra, memlekete, gidi\u015finden \u00e7ok farkl\u0131 bir formasyon ve misyonla, tarih\u00ee ve k\u00fclt\u00fcrel de\u011ferlerimize derin hayranl\u0131k hisleri ile dolu olarak d\u00f6nen Yahya Kemal (1884-1958)\u2019in tipik bir benzeri saymak m\u00fcmk\u00fcnd\u00fcr. \u015e\u00fcphesiz \u00e7ok donan\u0131ml\u0131 ve \u015fuurlu bir vatansever olarak Tecer\u2019in halk k\u00fclt\u00fcr ve sanat\u0131na y\u00f6nelmesinde, b\u00fct\u00fcn \u00f6mr\u00fcn\u00fc bu alandaki \u00e7al\u0131\u015fmalara adamas\u0131nda, i\u00e7inde ya\u015fad\u0131\u011f\u0131 \u015fartlarla birlikte G\u00f6kalp\u2019in yukar\u0131da a\u00e7\u0131klanan \u00f6r\u00fc\u015f ve d\u00fc\u015f\u00fcnceleri de \u00e7ok etkili olmu\u015ftur. O sebeple Tecer\u2019in, maalesef bir t\u00fcrl\u00fc ger\u00e7ekle\u015ftiremedi\u011fimiz ve bug\u00fcn h\u00e2l\u00e2 \u00e7ok muhta\u00e7 oldu\u011fumuz bir halk-ayd\u0131n birlikteli\u011finin ve kayna\u015fmas\u0131n\u0131n aray\u0131\u015f\u0131 i\u00e7inde oldu\u011fu, G\u00f6kalp\u2019in g\u00f6r\u00fc\u015f ve d\u00fc\u015f\u00fcncelerini kendine has bir metot ve anlay\u0131\u015fla hayata ge\u00e7irmek i\u00e7in \u00e7al\u0131\u015ft\u0131\u011f\u0131 s\u00f6ylenebilir.
\u015eairli\u011fi ve \u015eiirleri
Tecer\u2019in, \u015fiirin d\u0131\u015f\u0131nda eser verdi\u011fi sahalarda nispeten daha fazla tesirli oldu\u011fu, T\u00fcrk halk bilimine ve halk k\u00fclt\u00fcr\u00fcne yapt\u0131\u011f\u0131 hizmetler, tiyatro yazarl\u0131\u011f\u0131 ve e\u011fitimcili\u011fi ile biraz daha fazla \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcrse de, bu onun \u015fairli\u011fine asla g\u00f6lge d\u00fc\u015f\u00fcrmez. O, kendine has \u015fiir anlay\u0131\u015f\u0131yla \u00f6ce se\u00e7kin bir \u015fairdir. Sanat hayat\u0131nda takip etti\u011fi en \u00f6nemli ve kesintisiz \u00e7izgi daima \u015fairli\u011fi olmu\u015ftur. Di\u011fer faaliyetleri ve \u00e7al\u0131\u015fmalar\u0131 aras\u0131nda belki az ve \u00f6z yazm\u0131\u015ft\u0131r, ama \u00f6l\u00fcnceye kadar \u015fiir yazmay\u0131 da ihmal etmemi\u015ftir. \u0130lk \u015fiirleri 1920-1921 y\u0131llar\u0131nda Yahya Kemal\u2019in y\u00f6netiminde yay\u0131nlanan Derg\u00e2h Mecmuas\u0131\u2019nda g\u00f6r\u00fcl\u00fcr. Fakat acemilik d\u00f6nemini ge\u00e7irmi\u015f olgun bir \u015fair olarak tan\u0131nmaya ba\u015flad\u0131\u011f\u0131, ad\u0131n\u0131n o d\u00f6nem \u015fiirimizin \u00fcnl\u00fc isimleri aras\u0131nda yer alan Ahmet Hamdi Tanp\u0131nar (1901-1962), Necip Faz\u0131l K\u0131sak\u00fcrek (1905-1983), Ahmet Muhip D\u0131ranas (1909-1980) gibi \u015f\u00e2irlerle birlikte an\u0131ld\u0131\u011f\u0131 y\u0131llar 1930\u2019larda ba\u015flar. Bu y\u0131llarda de\u011fi\u015fik dergi ve gazetelerde \u00fcst \u00fcste yay\u0131mlad\u0131\u011f\u0131 Nerdesin? ve Orda Bir K\u00f6y Var Uzakta vb. gibi ger\u00e7ekten \u00e7ok g\u00fczel ve ba\u015far\u0131l\u0131 \u015fiirleri ba\u015fta olmak \u00fczere Anadolu insan\u0131n\u0131n \u00e7e\u015fitli meselelerini ve Anadolu\u2019nun tabi\u00ee g\u00fczelliklerini konu edinen \u015fiirleri ile dikkatleri \u00fczerine \u00e7eken ve Mehmet Kaplan (1915-1986)\u2019\u0131n, Orda bir k\u00f6y var, uzakta\/ O k\u00f6y bizim k\u00f6y\u00fcm\u00fczd\u00fcr m\u0131sralar\u0131n\u0131 \u00f6rnek g\u00f6stererek, \u201cTecer, iyi s\u00f6ylenilmi\u015f iki m\u0131sra\u0131 ile b\u00fct\u00fcn bir \u015fiir ak\u0131m\u0131 do\u011furan insand\u0131r.\u201d diye tan\u0131tt\u0131\u011f\u0131 Tecer, \u201cBe\u015f Hececiler\u201d ve \u201cYedi Me\u015faleciler\u201d den sonra ve \u00f6zellikle Cumhuriyetle birlikte h\u0131zl\u0131 bir geli\u015fme s\u00fcrecine giren yeni \u015fiirimizde, sade T\u00fcrk\u00e7e\u2019nin ve hece \u00f6l\u00e7\u00fcs\u00fcn\u00fcn en g\u00fczel \u00f6rneklerini ortaya koyan \u015fairler aras\u0131nda yer almakla birlikte, onun \u015fiirini \u00e7a\u011fda\u015flar\u0131ndan bariz bir \u015fekilde ay\u0131ran taraflar da vard\u0131r. \u0130lk \u015fiirlerinde romantik a\u015fklar\u0131, \u00f6l\u00fcm, h\u00fcz\u00fcn, yaln\u0131zl\u0131k gibi ferd\u00ee temalar\u0131 daha fazla i\u015fledi\u011fi g\u00f6r\u00fcl\u00fcr. 1930\u2019da gitti\u011fi Sivas ve \u00e7evresinde, halk k\u00fclt\u00fcr\u00fcm\u00fcz\u00fcn zenginli\u011fini yak\u0131ndan tan\u0131d\u0131ktan, bu k\u00fclt\u00fcrle ha\u015fir ne\u015fir olduktan sonra bu temalara ba\u015fka temalar da eklemeye ba\u015flar ve d\u00f6nemin genel havas\u0131na uygun olarak 1930\u2019lu y\u0131llar\u0131n ba\u015f\u0131nda \u00f6nc\u00fcl\u00fc\u011f\u00fcn\u00fc Faruk Nafiz \u00c7aml\u0131bel (1898-1973)\u2019in yapt\u0131\u011f\u0131 memleket\u00e7i ve Anadolucu \u015fairler kervan\u0131na art\u0131k ki\u015fili\u011fini bulmu\u015f bir \u015fair olarak o da kat\u0131l\u0131r ve daha \u00e7ok memleket ve toplumun \u00e7e\u015fitli meselelerini konu edinen \u015fiirler kaleme al\u0131r. Bundan sonraki s\u00fcre\u00e7te onun \u015fiirinin ve sanat\u0131n\u0131n b\u00fcy\u00fck \u00f6l\u00e7\u00fcde halk bilgisi (folklor) ve k\u00fclt\u00fcr\u00fcnden beslendi\u011fi g\u00f6r\u00fclecektir. Bu, ba\u015flang\u0131\u00e7ta daha \u00e7ok canl\u0131 halk T\u00fcrk\u00e7esine yer verme ve halk motiflerini kullanma \u015feklinde kendini g\u00f6sterirse de, giderek b\u00fct\u00fcn folklor zenginliklerimizi ve Anadolu insan\u0131n\u0131n sosyal ve k\u00fclt\u00fcrel b\u00fct\u00fcn meselelerini kapsayacak \u015fekilde geni\u015fler; konu\u015fulan canl\u0131 halk T\u00fcrk\u00e7esini esas alan kendine has yeni bir \u015fiir dili ve b\u00fcy\u00fck bir ustal\u0131kla kulland\u0131\u011f\u0131 hece \u00f6l\u00e7\u00fcs\u00fc ile, T\u00fcrk halk \u015fiiri ve \u00e2\u015f\u0131kl\u0131k gelene\u011finden de faydalanarak, k\u00f6yl\u00fc-\u015fehirli ay\u0131r\u0131m\u0131 yapmadan insan\u0131m\u0131z\u0131n d\u00fc\u015f\u00fcnce, hay\u00e2l ve heyecanlar\u0131n\u0131, onun kahramanl\u0131k duygusunu, temiz karakterini, Anadolu\u2019nun tabi\u00ee g\u00fczelliklerini nak\u0131\u015f nak\u0131\u015f i\u015fleyen ses ve \u00e2henk zengini \u015fiirler kaleme al\u0131r. \u00c7ok titiz ve dikkatli bir ara\u015ft\u0131rmac\u0131 olan, dili b\u00fcy\u00fck bir ustal\u0131kla kullanan, \u015fiirin kendi devrinde g\u00f6sterdi\u011fi de\u011fi\u015fme ve geli\u015fmelere g\u00f6re \u015fiirini ve sanat\u0131n\u0131 yeniden g\u00f6zden ge\u00e7irme, yeniliklere kolayca adapte olma ba\u015far\u0131s\u0131n\u0131 g\u00f6steren Tecer, \u015fiir sanat\u0131ndaki as\u0131l g\u00fcc\u00fcn\u00fc de bu d\u00f6nemde yazd\u0131\u011f\u0131 \u015fiirlerle g\u00f6sterir. Onun b\u00fct\u00fcn \u015fiirlerinin ayn\u0131 seviyede g\u00fczel ve ba\u015far\u0131l\u0131 olduklar\u0131 elbet s\u00f6ylenemez, ama h\u00e2l\u00e2 sevilerek okunan, dillerden d\u00fc\u015fmeyen Nerdesin?, Halay, Halay \u00c7eken K\u0131zlar, Besbelli, \u00c7\u0131ng\u0131rak, \u00d6l\u00fc, R\u00fczg\u00e2r, Orda Bir K\u00f6y Var Uzakta vb. gibi, titiz bir i\u015f\u00e7ili\u011fin, sab\u0131r y\u00fckl\u00fc bir aray\u0131\u015f\u0131n meyvesi oldu\u011fu g\u00f6r\u00fclen \u015fiirlerin, fevkal\u00e2de g\u00fczel ve ba\u015far\u0131l\u0131 \u015fiirler oldu\u011funu s\u00f6ylemek de bir hakk\u0131n teslimi olur. Bunlar Tecer\u2019i has \u015fairler kervan\u0131na katmak i\u00e7in k\u00e2fi derecede muvaffak olmu\u015f \u00f6rneklerdir ve ayn\u0131 zamanda onun halk k\u00fclt\u00fcr\u00fcnden beslenen, yerli ve mill\u00ee bir \u00fcslup ta\u015f\u0131yan, fakat \u00e7a\u011fda\u015f ve yeni \u015fiirin ilkelerinden de taviz vermeyen \u015fiir anlay\u0131\u015f\u0131 yolunda ald\u0131\u011f\u0131 b\u00fcy\u00fck mesafenin de bir g\u00f6stergesidir.
\u0130lk \u015fiirlerinden 20 kadar\u0131n\u0131 1932 y\u0131l\u0131nda Sivas\u2019ta iki formal\u0131k k\u00fc\u00e7\u00fck bir kitap\u00e7\u0131k h\u00e2llinde ve \u015eiirler ad\u0131yla bast\u0131rm\u0131\u015f olan Tecer, bunun d\u0131\u015f\u0131nda \u00f6l\u00fcnceye kadar \u015fiirlerini bir kitapta toplay\u0131p bast\u0131rm\u0131\u015f de\u011fildir. \u00d6l\u00fcm\u00fcnden sonra \u015fiirleri \u00f6nce Vecihi Timuro\u011flu\u2019nun bir sunu\u015f ve de\u011ferlendirme yaz\u0131s\u0131yla 1980 y\u0131l\u0131nda, ikinci olarak da k\u0131z\u0131 Leyla Tecer taraf\u0131ndan Ahmet Kutsi Tecer\u2019in B\u00fct\u00fcn \u015eiirleri ad\u0131yla 2001 y\u0131l\u0131nda topluca yay\u0131nlanm\u0131\u015ft\u0131r. Cumhuriyet d\u00f6nemi k\u00fclt\u00fcr, sanat, edebiyat, e\u011fitim ve fikir hayat\u0131m\u0131z\u0131n en verimli ve \u00e7al\u0131\u015fkan kalemlerinden biri, ya\u015fad\u0131\u011f\u0131 d\u00f6nemde zengin k\u00fclt\u00fcr\u00fc ve bilgisi ile \u00f6ne \u00e7\u0131kan bir T\u00fcrk entelekt\u00fceli olan Tecer, 1967 y\u0131l\u0131nda bu d\u00fcnyadan ard\u0131nda ger\u00e7ekten iyi bir ad b\u0131rakarak g\u00f6\u00e7m\u00fc\u015f nadir insanlardand\u0131r. Onu minnet ve rahmetle an\u0131yoruz.
Ba\u015fl\u0131ca kaynaklar:
A. H. Tanp\u0131nar, Edebiyat \u00dczerine Makaleler, \u0130stanbul 1969.
Mehmet Kaplan, Edebiyat\u0131m\u0131z\u0131n \u0130\u00e7inden, \u0130stanbul 1978.
Vecihi Timuro\u011flu, Ahmet Kutsi Tecer: Ki\u015fili\u011fi, Sanat Anlay\u0131\u015f\u0131 ve T\u00fcm \u015eiirleri, Ankara 1980.
Sevgi G\u00f6kdemir, Ahmet Kutsi Tecer, Ankara 1987.
Mustafa \u00d6zbalc\u0131, Ahmet Kuts\u00ee Tecer: \u015eairli\u011fi ve \u015eiirleri \u00dczerine Bir \u0130nceleme, Ankara 1998.
H. R\u0131dvan \u00c7ongur, Do\u011fumunun100. Y\u0131ld\u00f6n\u00fcm\u00fcnde Ahmet Kutsi Tecer, Ankara 2001.
Leyla Tecer (Haz.), Ahmet Kutsi Tecer\u2019in B\u00fct\u00fcn \u015eiirleri, Ankara 2001.
S\u00fcleyman Kazmaz, A. Kutsi Tecer: Hayat\u0131 ve Eserleri, Ankara 2008.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ahmet Kutsi Tecer (1901-1967), aslen Do\u011fu Anadolu\u2019nun en eski ve tarih\u00ee yerle\u015fim merkezlerinden birisi olan E\u011fin (\u015fimdiki Erzincan\/Kemaliye) kazas\u0131 n\u00fcfusuna kay\u0131tl\u0131 bir aileden gelen babas\u0131 Abdurrahman Efendi\u2019nin g\u00f6revi gere\u011fi bulundu\u011fu Kud\u00fcs\u2019te, 4 Eyl\u00fcl 1901 tarihinde do\u011fmu\u015ftur. As\u0131l ad\u0131 Ahmet\u2019tir. \u201cKud\u00fcsl\u00fc\u201d manas\u0131na gelen \u201cKuds\u00ee\u201d (yeni harflerle yaz\u0131l\u0131\u015f\u0131 \u201cKutsi\u201d) kelimesi, do\u011fdu\u011fu yerin ad\u0131na izafeten kendisine ikinci ad […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[],"class_list":["post-38578","post","type-post","status-publish","format-standard","hentry","category-kumbet"],"_links":{"self":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/38578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=38578"}],"version-history":[{"count":1,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/38578\/revisions"}],"predecessor-version":[{"id":38582,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/38578\/revisions\/38582"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=38578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=38578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=38578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}