A Term of Arrowy: Qosha Yay (Drawing)
Fatih BakırcıThe symbol of arrows and archery which has an important place in the military, political, social and cultural lives of the Turks is rich in its accumulation, and every detail is given a new name for each object or action. As in many works of art, it appears in literary texts, especially poems. In this article, qosha yay (drawing), which is mentioned once in Dįwān of Ḳāḍį Burhān al-dįn and Dada Qorkut Stories, is emphasized. In addition, it is considered to be an archery term that we have not encountered in the studies so far. The term qosha yay (drawing) is not found in the historical period texts and sources, nor in dictionaries related to archery, and thus the term qosha yay (drawing) is only explained from its use in Dada Qorqut Stories, namely a “sign of being a strong hero” or “a kind of archery skill”. In addition to its denotation, qosha yay (drawing) has become a term in the form of a phrase. Because qosha yay (drawing) takes place in different historical period texts apart from Dada Qorkut Stories it has gained importance in every field of life from the beginning of the history of bows and arrows and in the history of war and hunting in Turkish cultural history. In order to clarify the subject, firstly qosha yay (drawing) was discussed according to the terminological analysis method, and then the historical and etymological plane of qosha yay (drawing) was put forward and a termological analysis was performed.
Bir Okçuluk Terimi: Koşa Yay (Çekmek)
Fatih BakırcıOk ve okçulukla ilgili zengin bir birikim meydana getiren Türkler av, savaş, spor, eğlence gibi çeşitli sebeplerle Türk damgalarından çadırlarına, bastırılan paralara kadar yaşamın her alanına bu birikimi yansıtmışlardır. Bu birikim pek çok sanat eserine yansıdığı gibi edebî metinlerde özellikle de şiirlerde karşımıza çıkmaktadır. Bu makalede Kadı Burhaneddin Divanı ve Dede Korkut Hikâyeleri’nde birer kez geçen, bir okçuluk terimi olduğunu düşündüğümüz ve şimdiye kadar yapılan çalışmalarda rastlamadığımız koşa yay (çekmek) terimi üzerinde durulmuştur. Okçulukla ilgili tarihî dönem kaynaklarında doğrudan koşa yay (çekmek) terimine ve tanımına rastlanmadığı, sadece Dede Korkut Hikâyeleri’nde geçen kullanımından hareketle koşa yay terimi için “güçlü bir kahraman olmanın işareti” veya “bir tür okçuluk hüneri” biçiminde açıklamalar yapıldığı görülmektedir. Ancak koşa yayın Dede Korkut Hikâyeleri dışında farklı bir tarihî dönem metninde geçmesi ve Türk kültür tarihinde savaş ve avcılık münasebetiyle ok ve yayın başından itibaren yaşamın her alanında önem kazanması, koşa yayın sadece gerçek anlamıyla değil, bir sözcük öbeği hâlinde zamanla terim anlamı kazandığı düşüncesi oluşturmaktadır. Konuyu aydınlatabilmek için öncelikle koşa yay (çekmek) terimbilimsel inceleme yöntemine göre ele alınmış ve ardından koşa yayın (çekmek) yine bu inceleme yönteminin de bir parçası olan tarihî ve etimolojik düzlemi ortaya konularak bir terimbilimsel çözümleme gerçekleştirilmiştir.
The symbol of arrows and archery which has an important place in the military, political, social and cultural lives of the Turks is rich in its accumulation, and every detail is given a new name for each object or action. This accumulation is reflected in many works of art as well as in literary texts, especially poems. Various studies have been conducted by several researchers on the use of terms related to Turkish archery in literary texts formed around arrows and archery. In this article, an evaluation has been made using the terminological analysis methods on the qosha yay (drawing) which we think is an archery term and which we have not seen in the studies so far.
In this article, qosha yay (drawing), which is mentioned once in Dįwān of Ḳāḍį Burhān al-dįn and Dada Qorkut Stories, is emphasized. Qosha yay in the 14th verse of the 169th ghazal of Dįwān of Ḳāḍį Burhān al-dįn is as follows:
“Gözi oḫına didüm oḫ cânum saña kurbân/Bir oḫ ile hele şol koşa yaya irdük aḫı” (Ergin, 1980, p. 64).
Qosha yay (drawing) in the Dada Qorqut Stories is as follows: “Meger Tırabuzan tekürinüŋ bir Ǿaẓįm görklü maḥbūb ḳızı var-ıdı Ṣaġına ṣolına iki ḳoşa yay çeker-idi, atduġı oḫ yėre düşmez-idi.” (Kaçalin, 2017, p. 131. also see Ergin, 2008, p.185/172-12; Özçelik, 2005, p. 666 88a/11-13).
What is the exact equivalent of the term qosha yay in both Dįwān of Ḳāḍį Burhān al-dįn and Dada Qorqut Stories? We did not find any information about the meaning of the term in the archery-related literature. Therefore, in order to enlighten this issue, firstly, it is necessary to consider the qosha yay (drawing) according to the termological analysis method and then try to reveal the historical and etymological plane which is also a part of this examination method.
According to the analysis methods of terminology, terms are first classified according to the concept and definition typologies; then, they are discussed at four levels, namely formal, semantic, functional and historical and etymological. The conceptual types of terms are evaluated in two ways, namely epistemological-ontological and theoretical and emprical. The theoretical term is “unobservable”; empirical terms are those that are created by “observable ”objects. In addition to concept types of terms, there are also types of definitions. The definition types of terms are divided into three types: intensional, extensional, and contextual.
According to these definitions, our terminological research on qosha yay (drawing) is not a set of terms specific to a field but a systematic termological analysis based on the formation and nomenclature of a concept. It is considered as an empirical term since qosha yay (drawing) can be experienced and observed depending on the use of bow and arrow according to the factual types of concepts. In Dada Qorqut Stories, it is stated that Selcen Hatun draws a qosha yay to his right and left in a way that can be revived and observed in the mind.
According to the definition , the term qosha yay “double bow” (see qosha “double”), is an intrinsic term because of the attributes that are included in the definition., It is also possible to make an inference based on the text/sentence in Dada Qorqut Stories on the definition and scope of the term qosha yay (drawing). For this reason, qosha yay (drawing) is a contextual term. Selcen Hatun's two “double, double bow” to the right and left is understood only from the context in the sentence.
However, since the term qosha yay (drawing) is not found directly in the sources related to arrow and archery, the etymology of the word qosha and the use of the term in the texts of the historical period of the Turkish language are important in illuminating the term qosha yay (drawing). In addition, a simultaneous search of the qosha was carried out in order to provide supportive contributions to the historical use of the term, while a multidimensional post - time research was conducted on the word qosha.
As a result of these historical and etymological researches and a study of the Turkish language relations connected to this term qosha yay, it is thought to means “double bow”. Qosha yay drawing, which means “double bow that can be drawn or set up at the same time”, should be considered as an archery term and as “a sign of power or skill of the drawing bow”.
