Klasik Türk Şiiri sahasında kullanılmış her bir nazım şeklinin elde bulunan hemen tüm divanların taranması suretiyle incelenip tarihsel seyrinin ortaya konması, edebiyat tarihimizin bir bütün olarak değerlendirilmesi açısından oldukça zaruridir. Altı yüz yıllık tarihi geçmişe sahip Klasik Türk şiirinin asırları aşıp günümüze kadar gelen her bir nazım şeklini biçim ve muhteva bakımından ayrı ayrı değerlendirerek ortaya çıkarmak, bu sahaya gönlünü ve ömrünü vermiş birçok araştırmacının ortak arzusudur. Bu arzu neticesinde bu çalışmamızda, tamamen millî bir nazım biçimi olarak kabul gören tuyuğ nazım şeklinin biçimsel ve tarihsel serüvenini, tespit edilen yaklaşık 1500 tuyuğu da çalışmaya katmak suretiyle ortaya koymaya çalıştık.

The author has dwelt, especially in the theoretical part, upon general questions which are side-issues in respect to the theme that he has treated. But this will not seem a digression to those who remember that, strictly speaking, there are no particular philosophical sciences, standing by themselves. Philosophy is unity, and when we treat of Æsthetic or of Logic or of Ethics, we treat always of the whole of philosophy, although illustrating for didactic purposes only one side of that inseparable unity. In like manner, owing to this intimate connexion of all the parts of philosophy, the uncertainty and misunderstanding as to the æsthetic activity, the representative and productive imagination, this firstborn of the spiritual activities, mainstay of the others, generates everywhere else misunderstandings, uncertainties and errors: in Psychology as in Logic, in History as in the Philosophy of Practice. If language is the first spiritual manifestation, and if the æsthetic form is language itself, taken in all its true scientific extension, it is hopeless to try to understand clearly the later and more complicated phases of the life of the spirit, when their first and simplest moment is ill known, mutilated and disfigured. From the explanation of the æsthetic activity is also to be expected the correction of several concepts and the solution of certain philosophic problems which generally seem to be almost desperate. Such is precisely the spirit animating the present work. And if the present attempt and the historical illustrations which accompany it may be of use in winning friends to these studies, by levelling obstacles and indicating paths to be followed; if this happen, especially here in Italy, whose æsthetic traditions (as has been demonstrated in its place) are very noble, the author will consider that he has gained his end, and one of his keenest desires will have been satisfied.

In the perusal of the Irish literature, we see that the strength of this conservative instinct has been of the greatest service in the preservation of the early monuments in their purity. So much is this the case, that in many tales the most flagrant contradictions appear, the author or scribe being unwilling to depart at all from that which he found handed down. For instance, in the “Great Breach of Murthemney,” we find Laeg at one moment killed, and in the next riding black Shanglan off the field. From this conservatism and careful following of authority, and the littera scripta, or word once spoken, I conclude that the distance in time between the prose tale and the metrical originals was very great, and, unless under such exceptional circumstances as the revolution caused by the introduction of Christianity, could not have been brought about within hundreds of years. Moreover, this same conservatism would have caused the tales concerning heroes to grow very slowly once they were actually formed. All the noteworthy events of the hero’s life and his characteristics must have formed the original of the tales concerning him, which would have been composed during his life, or not long after his death.