Mihriban (Folk Song)

Abdurrahim Karakoç (1932–2012) is a poet known for writing poems in syllabic meter within Turkish folk poetry. His main thematic concerns include satire, social criticism, and love. His poems have been published in various newspapers and magazines across Türkiye, and many have been set to music and incorporated into the folk music repertoire. Over time, his poems were composed by numerous artists, and they reached wide audiences especially through the interpretation of Musa Eroğlu. As a result, the poem has been embraced by the public and established itself within oral culture. Thus, Mihriban possesses the dual character of being both a written literary poem and a contemporary folk song within the folk music repertoire.

Mihriban was first written in the 1960s and appeared in the poetry collection titled “Hasan’a Mektuplar”, published in 1965. The poem is composed in syllabic meter and written in the style of folk poetry.

The language of the poem is simple. The theme of love is explored. According to the poet’s own account, the person referred to as “Mihriban” in the verses is not a real individual; the name was chosen symbolically.

Origin and Composition Process

According to information provided by the poet’s nephew, Oğuz Karakoç, Abdurrahim Karakoç developed an affection for someone during his youth. Rather than corresponding directly with this person, he communicated by sending poems to newspapers published in his city. According to the poet’s own statements, a romantic relationship developed between them, but the name and other personal details of this person have never been disclosed to the public. Karakoç explained that the name “Mihriban” does not belong to the person in question and that he selected it as a symbolic name.

According to Karakoç, he first expressed the end of a romantic relationship in a poem he published. Subsequently, prompted by an indirect response from the person involved, he wrote a second poem titled “Unutursun Mihriban’ım”. This poem, like the first, is composed in syllabic meter and shares similar thematic elements with “Mihriban.” Both poems have been considered together both in the poetry collection and in the folk music repertoire.

Setting to Music and Popularization

The poem was first set to music in the 1970s. The first composer is known to be Zekeriya Bozdağ. Later, it was performed by Musa Eroğlu with a new melody adapted to the folk song form. Eroğlu’s interpretation significantly contributed to the poem’s recognition and popularity throughout Türkiye.

It is known that the poem has also been performed by other artists. After a rendition by Selda Bağcan, a copyright dispute arose over the lyrics, leading to legal proceedings. Since historical and publishing evidence clearly establishes Karakoç as the author, the copyright was officially registered in his name.

According to written and oral sources, the poem “Mihriban” was written by poet Abdurrahim Karakoç in the 1960s. The name “Mihriban” in the poem, according to the poet’s own explanation, is not the name of a real person but was chosen symbolically. Composed in syllabic meter and centered on the theme of love, the poem was later set to music and gained widespread popularity especially through Musa Eroğlu’s interpretation.

Form and Characteristics

Mihriban is a poem written in syllabic meter. Karakoç, continuing the tradition of classical Turkish folk poetry, employed the 11-syllable meter in this poem. The stanzaic unit chosen is the quatrain, reflecting the koşma form, one of the most commonly used structures in folk poetry. The formal coherence of the poem is achieved through consistent use of meter and rhyme.

The language of the poem is plain, clear, and simple enough for the general public to understand. Karakoç adopted simplified Turkish, purged of Arabic and Persian elements, as found in the tradition of folk literature. Mihriban is composed in an accessible and fluent style, making it easy for people to memorize. These linguistic choices contributed significantly to the poem’s widespread acceptance in both written and oral culture.

The central theme of the poem is love. Although Mihriban is based on a personal romantic story, the narrative style elevates the theme of love to something generalizable and universal. The poem expresses, through introspective reflection, the lingering effects of unrequited or unfulfilled love. In this regard, themes such as longing, separation, and fear of being forgotten are also addressed.

The imagery used in the poem is innovative compared to the conventional imagery of traditional folk poetry. Expressions such as “The flame trembling on the lamp grows cold” have introduced new modes of expression to folk poetry. While grounded in concrete observations, these images successfully convey the abstract inner dimensions of love. In terms of narrative technique, the poem exhibits a lyrical structure that prioritizes intense personal emotion.

The name “Mihriban” is not the real name of the person mentioned in the poem. According to the poet’s statements, it is a symbolic name deliberately chosen. Karakoç refrained from revealing the identity of the person, stating, “This code will not be deciphered,” thereby anonymizing the personal dimension of love and suggesting that everyone can have their own Mihriban. This approach has granted the poem a universal representational power.