THE BEAUTY IS AN EXISTENCE

THE BEAUTY IS AN EXISTENCE

I saw the Karaköprü (The Dark Bridge). Now, it is within the city limits. Not even one pomegranate tree at sight… There had been pomegranate orchards in here. That’s why the Karaköprü is called pomegranate orchard. Despite, Urfa as a city and pomegranate as a fruit do not fit into the same association context, it was just how it used to be at old times. What sort of image of freshness the crazy beauty of those blossoming pomegranate trees must have awakened in the mind of the poet of this ballad… On the other hand, maybe it is not just that, maybe it symbolizes all states of a mature lover whose brunches hanging down with the weight of the ripe fruits, in one picture. The Karaköprü being a pomegranate orchard is not only informative in here, or it just does not stop at being a surrogate theme, or providıng a basis for the next verse… The vocal harmony of the words may be commented as coincidental and maybe even the lyric’s vocal harmony of its own inner universe is secondary. Two letters and an orchard comes to life before your eyes… This is a pomegranate orchard: There is aesthetic, there is abundance and there is joy about it. And in the continuation of the ballad, there is the fundamental truth of the object: ‘The beauty is an existence.’ So, the second verse can be understood as ‘The Existence is a beauty,’ as well. The poet, who pronounces the beauty as an existence by considering the comprehensiveness of the word itself in the world and as a part of a love ballad, actually pronounces the fundamental truth of the universe unconsciously. No one, who has a correct sense of existence would see a difference between the sentences of ‘The beauty is an existence,’ and ‘The existence is a beauty.’

Let’s proceed: ‘Who wears shawl, gabardine / is worthy of a lover’ This sounds a bit like the literature of the reality. Our nameless poet refers to how a pomegranate tree or a pomegranate orchard shows off itself by blossoming and fructifying, in other words,  the poet points to the act of dressing up by ‘shawl, gabardine’ in order to be worthy of a lover.

Cutting it short, the full ballad is as follows:

“Pomegranate orchard Karaköprü,
The beauty is an existence,
Who wears shawl, gabardine,

Is worthy of a lover.
Cave under the fortress,
Wrapped rope around comb,

Prayed for closeness,
Fate sent me away.
Who the mountains blossom tulips for,

Who Rose clamors for,
Have no sorrow of dying,
But from hand to hand my lover gone.”

In the ballad, the images of the separation from a familiar place, from the world and its pleasures, from a lover both physically and metaphorically are very strong and there are many pictures of the hidden layers from a lover, whose getting separated from his/her lover to the psychology of a deadly ill person, whose getting ready to leave the world… In addition, the matter of the lover going from hand to hand is not a matter of woman-man thing.

The mountains covered with tulips and the rose crying out loud could make a brilliant author write a novel titled ‘Fire and Scream’ which is woven from inner restlessness.

The source of the ballad is Mustafa Savaş. It is compiled by Mehmet Özbek.

By whom should we listen to this ballad?
You can listen to this ballad from any singer from Urfa but I personally would preffer to listen to it from Münevver Özdemir.