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Turkish folk literature is an oral tradition deeply rooted, in its form, in Central Asian nomadic traditions. However, in its themes, Turkish folk literature reflects the problems peculiar to a settling (or settled) people who have abandoned the nomadic lifestyle. One example of this is the series of folktales surrounding the figure of Keloğlan, a young boy beset with the difficulties of finding a wife, helping his mother to keep the family house intact, and dealing with the problems caused by his neighbors. Another example is the rather mysterious figure of Nasreddin, a trickster figure who often plays jokes, of a sort, on his neighbors. Nasreddin also reflects another significant change that had occurred between the days when the Turkish people were nomadic and the days when they had largely become settled in Anatolia; namely, Nasreddin is a Muslim imam. The Turkish people had first become an Islamic people sometime around the 9th or 10th century CE, and the religion henceforth came to exercise an enormous influence on their society and literature; particularly the heavily mystically oriented Sufi and Shi'a varieties of Islam. The Sufi influence, for instance, can be seen clearly not only in the tales concerning Nasreddin but also in the works of Yunus Emre, a towering figure in Turkish literature and a poet who lived at the end of the 13th and beginning of the 14th century CE, probably in the Karamanid state in south-central Anatolia. The Shi'a influence, on the other hand, can be seen extensively in the tradition of the ''aşık''s, or ''ozan''s,〔Originally, the term ''ozan'' referred exclusively to the bards of the Oghuz Turks, but after their settlement in Anatolia and the rise of Shi'a Islam, ''ozan'' and ''aşık'' became interchangeable terms.〕 who are roughly akin to medieval European minstrels and who traditionally have had a strong connection with the Alevi faith, which can be seen as something of a homegrown Turkish variety of Shi'a Islam. However, in Turkish culture such a neat division into Sufi and Shi'a is scarcely possible: for instance, Yunus Emre is considered by some to have been an Alevi, while the entire Turkish ''aşık''/''ozan'' tradition is permeated with the thought of the Bektashi Sufi order, which is itself a blending of Shi'a and Sufi concepts. The word ''aşık'' (literally, "lover") is in fact the term used for first-level members of the Bektashi order. Because the Turkish folk literature tradition extends in a more or less unbroken line from about the 10th or 11th century CE to today, it is perhaps best to consider the tradition from the perspective of genre. There are three basic genres in the tradition: epic; folk poetry; and folklore. ==The epic tradition== The Turkish epic tradition properly begins with the ''Book of Dede Korkut'', which is in a language recognizably similar to modern Turkish and which developed from the oral traditions of the Oghuz Turks, that branch of the Turkic peoples which migrated towards western Asia and eastern Europe through Transoxiana beginning in the 9th century CE. The ''Book of Dede Korkut'' continued to survive in the oral tradition after the Oghuz Turks had, by and large, settled in Anatolia. The ''Book of Dede Korkut'' was the primary element of the Turkish epic tradition in Anatolia for several centuries. Another epic circulating at the same time, however, was the so-called ''Epic of Köroğlu'', which concerns the adventures of Rüşen Ali ("Köroğlu", or "son of the blind man") to exact revenge for the blinding of his father. The origins of this epic are somewhat more mysterious than those of the ''Book of Dede Korkut'': many believe it to have arisen in Anatolia sometime between the 15th and 17th centuries CE; more reliable testimony,〔Belge, 374〕 though, seems to indicate that the story is nearly as old as that of the ''Book of Dede Korkut'', dating from around the dawn of the 11th century CE. Complicating matters somewhat is the fact that Köroğlu is also the name of a poet of the ''aşık''/''ozan'' tradition. That the epic tradition in Turkish literature may not have died out entirely can be seen from the ''Epic of Shaykh Bedreddin'' (''Şeyh Bedreddin Destanı''), published in 1936 by the poet Nâzım Hikmet Ran (1901–1963). This long poem—which concerns an Anatolian shaykh's rebellion against the Ottoman Sultan Mehmed I—is a sort of modern, written epic that nevertheless draws upon the same independent-minded traditions of the Anatolian people that can be seen in the ''Epic of Köroğlu''. Also, many of the works of the 20th-century novelist Yaşar Kemal (1923–2015), such as his long 1955 novel ''Memed, My Hawk'' (''İnce Memed''), can be considered modern prose epics. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Turkish folk literature」の詳細全文を読む スポンサード リンク
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