Olu Ozanlar Dernegi Access

Written by Rick Founds
Links to contributors: Rick Founds

This has been one of my favorite songs for years. I contacted Rick back in 2002 about collaborating, partly because I had sung this song so many times. The recording is from Rick's Praise Classics 2 CD. - Elton, September 12, 2009


Lyrics

Lord, I lift Your name on high.
Lord, I love to sing Your praises.
I'm so glad You're in my life;
I'm so glad You came to save us.

You came from Heaven to earth
To show the way.
From the Earth to the cross,
My debt to pay.
From the cross to the grave,
From the grave to the sky;
Lord, I lift Your name on high.

Lord, I lift Your name on high.
Lord, I love to sing Your praises.
I'm so glad You're in my life;
I'm so glad You came to save us.

You came from Heaven to earth
To show the way.
From the Earth to the cross,
My debt to pay.
From the cross to the grave,
From the grave to the sky;
Lord, I lift Your name on high.

You came from Heaven to earth
To show the way.
From the Earth to the cross,
My debt to pay.
From the cross to the grave,
From the grave to the sky;
Lord, I lift Your name on high.

You came from Heaven to earth
To show the way.
From the Earth to the cross,
My debt to pay.
From the cross to the grave,
From the grave to the sky;
Lord, I lift Your name on high.



Copyright © 1989 Maranatha Praise, Inc (used by permission)

Ultimately, the Olu Ozanlar Dernegi offers a beautiful paradox: by accepting the certainty of death, a poet achieves the one thing the living desperately chase—immortality. And as long as Turkish is spoken, that immortal society will continue to hold its meetings, every night, in the quiet space between a line of verse and the human heart.

In the vast tapestry of Turkish literary and cultural history, certain societies emerge not from formal charters, but from collective reverence. One such conceptual—and at times, semi-formal—fellowship is the Olu Ozanlar Dernegi , or “The Society of Deceased Poets.” Far from a morbid fixation on death, this association represents a profound philosophical and artistic stance: the belief that a poet achieves true immortality not through fame during their lifetime, but through the echo of their voice in the hearts of future generations. This essay explores the origins, principles, and enduring legacy of this unique society, arguing that it serves as a spiritual counterweight to the ephemeral nature of modern fame. Origins: A Romantic Defiance The name Olu Ozanlar Dernegi is an intentional homage to—and a radical departure from—the Western ideal of the “dead poets society.” While the 1989 film Dead Poets Society celebrated the act of seizing the day ( Carpe Diem ) through poetry, the Turkish interpretation places less emphasis on the living poet’s rebellion and more on the posthumous power of the word. The term ozan (bard) is crucial: it evokes the ancient Turkic folk poets—the aşıks of the steppe—who sang of love, exile, and justice without expectation of worldly reward. Historically, many of Turkey’s most beloved ozans , from Karacaoğlan (17th century) to Âşık Veysel (20th century), lived in poverty or obscurity. The “Dernek” (society) was thus an unspoken fellowship formed by readers, critics, and younger poets who recognized that death strips away politics, envy, and fashion, leaving only the raw truth of the verse. Core Philosophy: Death as the Ultimate Editor The central tenet of the Olu Ozanlar Dernegi is a radical inversion of literary success. In life, a poet may be ignored, ridiculed, or censored. In death, however, their work is liberated. The Society posits that death is not an ending but a filter. As the Turkish poet Nâzım Hikmet (himself a posthumous member) wrote from prison: “Living is no laughing matter… you have to take it seriously.” The Olu Ozanlar Dernegi takes this seriousness to its logical conclusion: only after the poet’s breath has ceased can their words truly breathe.