Nı̇zâmı̂-yı̇ Gencevı̂’nı̇n Hüsrev u Şı̂rı̂n ile Leylâ vu Mecnûn Eserlerı̇nde Aşk Tasavvuru
Küçük Resim Yok
Tarih
2023
Yazarlar
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Cilt Başlığı
Yayıncı
Oku Anonim Şirketi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Dönemi itibariyle yeni bir tür olan Hamse ile edebiyat sahasında muteber bir yere sahip olan Nizâmî-yi Gencevî (ö. 611/1214 [?]), yazmış olduğu beş mesnevi ile uzun yıllar Fars, Türk, Arap ve Batı edebiyatlarında örnek alınan bir isim olmuştur. Şair, kurguladığı hikâyelerde bir dış çerçeveyle birlikte okuyucuya katmanlı bir metin bırakmış, zihnini meşgul eden sorulara bu hikâyelerde cevaplar aramış, okuyucuyu derin kavramlar üzerine düşünmeye sevk etmiştir. Bu kavramlardan biri de aşktır. Nizâmî, aşk mevzuunu iki kahramanlı aşk hikâyeleri olarak isimlendirilen Hüsrev u Şîrîn ve Leylâ vu Mecnûn mesnevilerinde açıklamaya ve bu hikâyelerden yola çıkarak zihnindeki aşk tasavvurunu okuyucuya aktarmaya çalışmıştır. Kendi dönemine kadar tasavvufî aşkı anlatan mesnevilerde sembolik dil kullanılırken Nizâmî, ilk defa gündelik aşkı konu edinen mesnevilerinde Leyla, Kays, Hüsrev, Şirin gibi sıradan karakterleri kullanarak meramını okuyucuya aktarmış ve gelenekteki mesnevilerde hâkim olan mecaz, temsil ve teşbih yolunu tercih etmemiştir. Leylâ vu Mecnûn eserinin bütünlüğüne bakıldığında, birbirine kavuşamayan iki âşığın dünyevî hikayesinden ziyade metafizik güzelliğe ulaşmaya yönelik bir yolculuğun anlatıldığı (seyr u sülûk) malumdur. Bu yönüyle de sembolik anlatımlı birçok mesneviye ilham kaynağı olan Sühreverdî’nin Mûnisu’l Uşşâk eserindeki tekâmül yolculuğu safhalarıyla Mecnun’un Leyla sureti üzerinden tekâmülü arasında bazı benzerlikler görülebilir. Hüsrev u Şîrîn’de ise yine hikâye bütünlüğüne bakıldığında kahramanların ahlâkî tekâmülü üzerine bir kurgu gözlemlenir. Nizâmî beşerî aşkı küçümsemez, aksine onu ahlâkî düzlemde kemâle erdiren bir araç olarak görür. Beşerî aşk bu bağlamda hikâyedeki karakterleri metafizik güzelliğe görünürde eriştirmese de Şirin adeta bu mertebeye erişmiş gibidir. Çalışmada her iki mesneviyi irfânî ya da beşerî gibi keskin sınıflandırmalara tabi tutmadan Nizâmî’nin aşk tasavvuru üzerinde durulmuştur.
Nizami Ganjavi (d. 12141 [?]), who had a respected place in the field of literature with his Khamsa, which was a new genre in his period, has been an exemplary name in Persian, Turkish, Arabic, and Western literature for many years with the five mathnawi he wrote. The poet has left a layered text to the reader with an external framework in the stories he has almost fictionalized, sought answers to the questions that occupied his mind in these stories, and encouraged the reader to think about deep concepts. One of these concepts is love. Nizami tried to explain the subject of love in his two heroic love stories Khosrow o Shirin and Leyli o Majnun and tried to convey his conception of love to the reader based on these stories. While symbolic language was used in mathnawi describing mystical love until his time, Nizami, for the first time in his mathnawi about everyday love, used ordinary characters such as Layla, Qays, Khosrow, Shirin to convey his meaning to the reader and did not prefer metaphor, representation, and simile, which were dominant in the mathnawi of the tradition. When we look at the whole story in Leyli o Majnun, we see that it is a journey to reach metaphysical beauty rather than a worldly story of two lovers who cannot meet each other. In this respect, some similarities can be seen between the phases of the journey of the evolution in Suhrawardi’s Munisu’l Ushshak, which is a source of inspiration for many mathnawi with symbolic narration, and the evolution of Majnun through the image of Layla. In Khosrow o Shirin, when we look at the integrity of the story, we observe a fiction based on the moral evolution of the heroes. Nizami does not belittle human love; on the contrary, he sees it as a means of moral perfection. In this context, although human love does not seem to bring the characters in the story to metaphysical beauty, Shirin seems to have like reached this level. In this study, Nizami’s conception of love is emphasized without subjecting both mathnawi to sharp classifications such as the mystical or the humanistic.
Nizami Ganjavi (d. 12141 [?]), who had a respected place in the field of literature with his Khamsa, which was a new genre in his period, has been an exemplary name in Persian, Turkish, Arabic, and Western literature for many years with the five mathnawi he wrote. The poet has left a layered text to the reader with an external framework in the stories he has almost fictionalized, sought answers to the questions that occupied his mind in these stories, and encouraged the reader to think about deep concepts. One of these concepts is love. Nizami tried to explain the subject of love in his two heroic love stories Khosrow o Shirin and Leyli o Majnun and tried to convey his conception of love to the reader based on these stories. While symbolic language was used in mathnawi describing mystical love until his time, Nizami, for the first time in his mathnawi about everyday love, used ordinary characters such as Layla, Qays, Khosrow, Shirin to convey his meaning to the reader and did not prefer metaphor, representation, and simile, which were dominant in the mathnawi of the tradition. When we look at the whole story in Leyli o Majnun, we see that it is a journey to reach metaphysical beauty rather than a worldly story of two lovers who cannot meet each other. In this respect, some similarities can be seen between the phases of the journey of the evolution in Suhrawardi’s Munisu’l Ushshak, which is a source of inspiration for many mathnawi with symbolic narration, and the evolution of Majnun through the image of Layla. In Khosrow o Shirin, when we look at the integrity of the story, we observe a fiction based on the moral evolution of the heroes. Nizami does not belittle human love; on the contrary, he sees it as a means of moral perfection. In this context, although human love does not seem to bring the characters in the story to metaphysical beauty, Shirin seems to have like reached this level. In this study, Nizami’s conception of love is emphasized without subjecting both mathnawi to sharp classifications such as the mystical or the humanistic.
Açıklama
Anahtar Kelimeler
Nizâmî-yi Gencevî, Mesnevi, İlâhî Aşk, Hüsrev u Şîrîn, Leylâ vu Mecnûn, Nizami Ganjavi, Mathnawi, Sufism, Khosrow o Shirin, Leyli o Majnun
Kaynak
Nüsha Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
23
Sayı
56
Künye
TÜRKBEN AYDIN, F. (2023). NİZÂMÎ-Yİ GENCEVÎ’NİN HÜSREV U ŞÎRÎN İLE LEYLÂ VU MECNÛN ESERLERİNDE AŞK TASAVVURU. Nüsha, 23(56), 138-157. https://doi.org/10.32330/nusha.1264577
