Authors

  • Babajanova Marjona Zarif qizi
    Master’s student, 2nd year, Linguistics (Turkish-English), Department of "Higher School of Turkology," Tashkent State University of Oriental Studies, Uzbekistan

DOI:

https://doi.org/10.37547/ajps/Volume05Issue02-11

Keywords:

Turkish folk songsa literature metaphor

Abstract

In this article, a semantic classification of metaphors used in Turkish folk songs was carried out. We hope that our article will be of interest to other young scholars who wish to conduct research on various aspects of the relationship between language, art and metaphor.


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American Journal Of Philological Sciences

38

https://theusajournals.com/index.php/ajps

VOLUME

Vol.05 Issue02 2025

PAGE NO.

38-40

DOI

10.37547/ajps/Volume05Issue02-11



The tradition of metaphorical interpretation in Turkish
folk songs

Babajanova Marjona Zarif qizi

Master’s student, 2nd year, Linguistics (Turkish-English), Department of "Higher School of Turkology," Tashkent State University of
Oriental Studies, Uzbekistan

Received:

09 December 2024;

Accepted:

11 January 2025;

Published:

13 February 2025

Abstract:

In this article, a semantic classification of metaphors used in Turkish folk songs was carried out. We hope

that our article will be of interest to other young scholars who wish to conduct research on various aspects of the
relationship between language, art and metaphor.

Keywords:

Turkish folk songsa, literature, art, metaphor, music.

Introduction:

"Defining a metaphor is as difficult as

understanding imagination itself because a metaphor is
also a product of creativity." [1, 3].

The concept of metaphor originates from Latin. In
Ancient Greek, the word meta means "beyond," while
phoros means "to carry" or "to transfer from one place
to another." Its synonyms in Turkish include metaphor,
analogy, allegory, figure of speech, and simile. It is
defined as "borrowing through the use of something
else." A metaphorical explanation is achieved by
replacing one mode of expression with another,
whereas a literal expression conveys meaning logically
and consistently. Metaphorical expression allows for a
freer and more flexible mode of articulation, depending
on the speaker's preference. Stern distinguishes
between

literal

meaning

and

metaphorical

connotation, considering metaphor an arbitrary
interpretation of expressions [2, 274].

To explain the difference between metaphorical and
literal express

ions, let’s examine an example from folk

poetry:

"Bir of çeksem karşıdaki dağlar yıkılır" ("If I sigh, the

mountains before me will collapse")

And

"Çok üzgünüm" ("I am very sad").

Both expressions convey the same emotion. However,
the first employs figurative language, while the second
presents a direct, literal meaning. The first example
provides a more intense emotional impact. These

characteristics of metaphorical expression can be
found in all cultures. In other words, all of humanity
uses metaphors to express the intensity of emotions.
Based on this, Nietzsche proposed the idea that "Man
is a metaphor-producing animal." [3, 880].

Another distinctive feature of metaphorical style is its
abstract nature. To use a figurative expression, we
compare and relate our thoughts to other objects or
phenomena. Johnson explains this concept as follows:
"Metaphors essentially create theories that reveal our
thoughts about experiences. All theories are based on
metaphors because our abstract concepts can only be
defined metaphorically." The abstract nature of
metaphor is a key reason why it is widely used by
humans, as conscious beings.

This article focuses on the tradition and text of Turkish
folk music, specifically analyzing the metaphors used in
lyrics. In other words, the discussion of metaphors is
limited to textual analysis. Other musical elements,
such as melody, mode, and rhythm, are beyond the
scope of this article. However, before delving into
Turkish folk song lyrics, it is important to examine the
role of figurative expression in art.

1. Why is metaphor more effectively used in art?

Through primitive actions, humans gain experience and
begin to comprehend life: "A person interacts with the
external world, perceives and experiences it in
different ways, and forms various thoughts about it.

The essence of a person’s identity, activities, and

thoughts depends on these initial interactions with the


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American Journal Of Philological Sciences (ISSN

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world." This initial attempt at understanding reality
marks the beginning of metaphor usage.

Metaphors are used in various fields such as poetry,
literature, aesthetics, mathematics, logic, and folklore.
They are especially preferred in artistic expression,
which allows for greater freedom. Symbols employed
in artistic descriptions often take on a metaphorical
form. In fact, metaphors are used even more effectively
in art.

Ziss, in his work Aesthetics, describes the purpose of
using metaphor in the following way: "A metaphor is a
technique that allows an artist to liken their object of
thought to elements of the perceptible world, enabling
artistic comparison. It is the process of illuminating the
inner essence of one phenomenon using another that
possesses an externally similar characteristic. Through
metaphor, aesthetic thinking and artistic comparison
emerge." [4, 292].

Kennedy, in his research, describes how metaphors are
expressed through movement, determination, and
stability [5, 447]. Similarly, Spitzer emphasizes the use
of metaphor in musical elements such as melody,
harmony, rhythm, text, and lyrics. From the colors used
in paintings to the sounds and words employed in
music, all forms of emotional expression stem from
figurative language.

In other words, what differentiates artistic expression
from logical expression is the use of metaphorical or
literal modes of speech. Metaphor, which is widely
used in art, also carries cultural significance. Lakoff
explains this by stating: "Metaphorical mapping is often
flexible

some are universal, some are widespread,

and others are specific to particular cultures." For
example, just as the color purple symbolizes femininity,
a red rose represents love, minor scales in Western
culture convey sadness, and major scales express joy,
all regionally specific examples indicate that artistic
expression and metaphorical style are deeply rooted in
cultural context.

2. The Use of Metaphor in Turkish Folk Songs

Language, as one of the most important components of
culture, plays a crucial role in conveying metaphors.
Many scholars agree that metaphor, in terms of its
characteristics,

is

more

creative,

distinctive,

captivating, free, rich, interesting, complex, and
interpretative in literary and artistic language
compared to non-literary texts. Lakoff also expresses a
similar view on poetry: "Poetic metaphor is the most
significant extension of our daily lives; it is a traditional
system of metaphorical thinking."

Language is culture; therefore, "the structure and
semantic composition of language have been

influenced by factors such as the culture and traditions
of people, their religious beliefs, the impact of
surrounding cultures, and geographical location."
According to Lakoff, "Metaphors are often based not on
similarities but on our own experiences" [6, 245]. Thus,
language is the primary medium reflecting a nation or
society's perception of the world and emotions. The
meanings and metaphors embedded in language
provide significant information about the beliefs of
people during pagan times, their historical past, and
methods of production, making it one of the most
crucial elements of abstract cultural fragments.

One of the most effective cultural forms where
language is utilized is music. This is because music is a
powerful form of expression that encompasses not
only melodies but also emotional words. Therefore, in
order to achieve this emotional expression, not only
melodies but also metaphors play an essential role.

Anatolia is one of the oldest cultural geographies in the
world. It is also among the first settlements where
agriculture and the Neolithic period began. Turkish folk
music reflects influences from diverse cultural
elements such as Paganism, Buddhism, idolatry, and
Zoroastrianism, apart from Islam and Sufism. Naturally,
it is impossible to present all traces of pre-Islamic
Anatolian culture and beliefs within Turkish folk music
lyrics. In this article, the metaphors found in folk songs
are classified based on their meanings. Additionally, it
is evident that many common metaphors exist across
various languages spoken in this region. For example,
the word "crane" (turna) is a metaphor in Armenian as
well and carries sacred meanings.

There is a universal truth applicable to almost all
folklore genres in Anatolia and the Middle East: the
importance of song lyrics. One of the most significant
elements providing emotional depth to Turkish folk
music is its lyrics. What brings emotional depth to folk
songs is their figurative expression. The metaphorical
style in Turkish folk songs is rooted in traditional,
deeply embedded motifs of folk literature. For
example, "illness" symbolizes love, "cure" represents
the beloved, and "healer" refers to an ineffective
remedy for this illness. Likewise, "mountain" signifies
separation, while "road" represents lifestyle and
philosophy. This unique metaphorical style in Turkish
folk songs differentiates them into traditional and
regional categories. The metaphors listed below are all
variations representing worldly love: Lover-beloved,
hunter-prey, and doctor-patient are all continuations
of this primary metaphor.

Every musical genre is closely linked to the culture of
the society to which it belongs. Accordingly, in times
when patriarchy dominated, folk songs reflected


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American Journal Of Philological Sciences

40

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American Journal Of Philological Sciences (ISSN

2771-2273)

patriarchal values and found their metaphorical
expressions accordingly. Since folk songs primarily
represent the world of men, women were perceived as
objects of love and were given meaning through
comparisons to various creatures.

Metaphors such as gazelle, deer, partridge, and
others

: Firstly, comparing a woman to a gazelle or deer

originates from the hunter-prey metaphor mentioned
above. Since the hunter chases after his prey, he is
likened to the young man, while the hunt or prey is
compared to the beloved. In folk songs, which
predominantly reflect the male world, the beloved is
portrayed as a gazelle, partridge, or other animals that
serve as objects of the hunt.

Kekliğim kekliğim kınalı kekliğim

Suya mı gidersin yolunu bekliyim [7, 167]

Metaphors such as apple, cherry, almond, and others

:

In folk songs where women are depicted as objects of
love, poets often emphasize their physical appearance.
The lover, who is willing to dig mountains or endure
prison for his beloved, describes her eyebrows, eyes,
gaze, cheeks, lips, and hair metaphorically. The beloved
has "pencil-thin eyebrows," "almond-shaped eyes,"
"apple-like cheeks," "cherry-red lips," "sweet words,"
and "golden hair." The similarities in metaphors used to
describe women in folk songs may be linked to the
widespread nature of folk songs across different
regions.

Fark etmez naz etsen de çekerum her nazını

Kiraz dudaklı Ayşem yerim senin ağzını [8, 292]

Hanım kızlar kızlar canım kızlar kızla

Bezenmiş düğüne gider elma yanaklı kızlar [9, 4]

At first, people intuitively felt the meanings they had
not yet named, but they expressed these meanings
through comparisons and analogies. This method has
been frequently used as a form of artistic expression
throughout different periods in art history. From this
perspective, metaphor was a powerful tool for folk
poets, known as "bards." In Middle Eastern culture,
melody nourishes words, while words serve as the
cornerstone preventing the cultural heritage from
being forgotten. Therefore, words in Anatolian folk
songs are an inseparable part of musical structure. In
Turkish folk songs, metaphor is created through
concretization and personification. The sources of
metaphors in both religious and non-religious folk
songs primarily stem from elements of nature, such as
mountains, cranes, deer, gazelles, roses, nightingales,
cherries, and apples. Additionally, if we consider
metaphors used to describe more abstract situations:
"Illness" represents love, "cure" symbolizes the
beloved, "healer" denotes the ineffective remedy for

love, "mountain" signifies separation, and "road"
represents lifestyle and philosophy.

REFERENCES

Doğan, Mehmet. Büyük Türkçe sözlük. –

Istanbul: Pınar

Yayınları, 2005. –

S.98.

Huhnerfeld, Paul. Heidegger Bir Filozof Bir Alman.

Ank

ara: Gündoğan Yayınları, 1994. –

S. 43.

Kennedy, John M. Metaphor and Art.

UK: Cambridge

University Press, 2008.

S.447-461.

Kofman, Sarah. Nietzsche and Metaphor.

California:

Stanford University Press, 1993.

S. 67

Lakoff, George. Contemporary Theory of Metaphor,
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USA: Cambridge University

Press, 1998.

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Mark, Johnson. Philosophy’s Dept to Metaphor. –

UK:

Cambridge University Press, 2008.

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Dansla Ilişkisi. –

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Issue 14, 2010.

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References

Doğan, Mehmet. Büyük Türkçe sözlük. – Istanbul: Pınar Yayınları, 2005. – S.98.

Huhnerfeld, Paul. Heidegger Bir Filozof Bir Alman. – Ankara: Gündoğan Yayınları, 1994. – S. 43.

Kennedy, John M. Metaphor and Art. – UK: Cambridge University Press, 2008. – S.447-461.

Kofman, Sarah. Nietzsche and Metaphor. – California: Stanford University Press, 1993. – S. 67

Lakoff, George. Contemporary Theory of Metaphor, Metaphor and Thought. – USA: Cambridge University Press, 1998. – S. 245.

Mark, Johnson. Philosophy’s Dept to Metaphor. – UK: Cambridge University Press, 2008. – S. 86.

Mustan D, Banu. Alevi Cem Ritüelinde Canlandırılan Kırklar Söylencesinin Şiir- Müzik-Dansla Ilişkisi. – Istanbul: Uluslararası Sosyal Araştırma Dergisi, Vol.3, Issue 14, 2010. – S. 191-199.

Mustan D, Banu. Müziğin Anadolu Tasavvufundaki Aşk, Ateş ve Yanma Metaforları Bağlamındaki Algılanışı ve Performansı. – Ankara: Folklor/ Edebiyat Dergisi, vol .48. No: 12, 2006. – S. 329-340.

Salman, Yurdanur. Dilin Düşevreni Eğretileme. – Istanbul: Yapı Kredi Yayınları, 2003. – S. 65.

Uzun, Serkan, Ümit Hüsrev. Felsefe Sözlüğü. – Ankara: Bilim ve Sanat Yayınları, 2003. – S. 96.