Bâkî, Şeyhülislam Yahya ve Nedîm divanlarında haz kavramı
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Dosyalar
Tarih
2015
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İnönü Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/embargoedAccess
Özet
Aşkı temel alan klasik şiirimizde 'haz' kavramı, aşkın ifade ettiği geniş anlam çerçevesinde kendisini ifade imkânı bulmuştur. İster ilahi isterse beşeri açıdan ele alınsın aşk mefhumu şiirde başlı başına bir haz vesilesi olmuş, bu doğrultuda işlenmiştir. Hoca Dehhanî ile başlayan, Ahmedî ile ilerleme kaydeden maddi aşk kavramı, Bâkî ile üst seviyeye ulaşmış, Şeyhülislâm Yahya'nın şiirlerinde de doruk noktasına ulaşmıştır. Şeyhülislam Yahya din adamlığının verdiği hoşgörüyle bu duyguyu, içi dışı bir olan rind kimliği ile süslemiştir. Yahya, şiirlerinde yer yer riyanın olmadığı, zevkin ve hazzın mekanı meyhaneyi manevi kimliğinden arındırarak işlevsellik kazandırmış, böylece şair Nedîm'e giden yolu açmıştır. 18. yüzyıl divan edebiyatının çapkın çocuğu olan Nedîm'in gazellerinde bu duygular dünyevi yönü ile işlenmiş, afrodizyak boyutuna ulaşmış, uçarı arzuların tercümanı olmuştur. Nedîm hazza 'sevgili ve şuhluk' bağlamında farklı bir açılım yapmış, Lâle Devri gibi zevk ü safanın şiire nezih bir ortam bağışladığı dönemin en yetkin tercümanı olmuştur. Nedîm, ilk defa divan şiirinin kan dökücü, şehla bakışlı, eziyet edici, uslanmaz nazlı dilberini şuhane üslubu ile dönüştürmüş, onu zevk ü safa membaı haline getirmiş ve ona ilk kez kadın hüviyeti kazandırmıştır. Böylece divanlarda sevgili tipi canlı bir atmosferde irdelenmiştir. Böylece sevgili, âşığı ile şarap içen, eğlenen, kucağa gelip okşanan ve öpülen bir haz nesnesine dönüşmüştür. Çoğu zaman da âşıkların uçarı arzularının tedarikçisi olmuştur. Bu bağlamda bir tabu olarak görülen "cinsellik" sevgilinin kimliğine estetik bir görünüm vererek sanatın dünyasında yeniden biçimlendirilmiştir. Üç büyük şairin divanları haz kavramı açısından incelendiğinde şiirlerin, sevgiliyi ele almaları yönüyle tensel bir nağme, şuh bir şarkı hükmünde olduğu da görülmektedir. Klasik şiirimize şuh bir çeşni katan bu tarz şiirler mutluluğun asıl kaynağı olarak şiirde arz-ı endam etmiş, okuyucuyu edebi iklimine çekerek hayata bağlamıştır. Hayata haz kavramı çerçevesinde değer katan bu tarz şiirler klasik şiirin yenilenen dünyasında yüreklere ferahlık veren bir ezgi gibi dolanıp durmaktadır. Biz bu çalışmamızda klasik şiirimizde henüz başlıbaşına bir araştırma konusu olarak tam olarak üzerinde çalışılmamış haz kavramını açıklamayı amaçladık. Bu amaçla Bâkî, Şeyhülislam Yahya ve Nedîm'in şiirlerinde yer alan haz kavramını ve bunun şuh söylemini divan beyitlerinden yararlanarak açıklamaya çalıştık. Çalışmamızda aşk/sevgili, içki/meyhane/şarap, bahar gibi üç unsuru konunun önemi doğrultusunda ele alıp işledik. Ayrıca çalışmaya Antik Çağ Yunan felsefesi ile Ortaçağ İslam felsefesinin erdem ve mutluluk düşüncelerini de ekleyerek, şiirin hedonist kaynağına inilmiş, klasik şiirin kronolojik anlamda hedonist birikimi ortaya konulmaya çalışılmıştır. Çalışmada üzerinde durulan şairlerin divan beyitleri aşk, tutkulu/şuh duygu ve arzular, haz ve mutluluk kavramları üzerinden yorumlanmış, açıklanmıştır.
The concept of "pleasure" forming the basis of love in our classical poetry has expressed itself in terms of what love broadly means. Love in poetry has mainly been a reason for pleasure either religiously or humanely expressed and subjected like wise. Especially in Epicurean view, Nedîm who was the womanizer of the 18th Century Divan Literature composed secular gazelle sand was a lewd interpreter of desires. Our poetry was introduced to Bâkî, the 16th Century Classical poet of pleasure and dignity, and it reached to perfection with Shaykh al-islam Yahya, who invested an erotics side into the concept of pleasure in our classical poetry. And coupled his religious nobility with his open-hearted identity by use of skillful erotic themes. He paved the way for the amorist Nedîm by sanctifying public houses as the place for pleasure and desire instead of hypocricy. Within the Epicurian philosophy Nedîm, having left his art into the valley of pleasure, interpreted pleasure in the 'woman and sex' context innovatively. He became the pioneer of Tulip Period Which Gifted Poetry With Self-indulgence. Nedîm also converted the cruel, blood shedding, incorrigible, spoilt and beautiful woman of Divan Poetry into a woman of self-indulgence. Thus, the profile of the beloved in the Divan appeared lively, and she turned into the one as the source of pleasure, tasting wine with her man on his lap sand being caressed and kissed. Mostly, the female character seemed as the supplier of passion from frivolous lovers. Sexism, seen as a taboo in this view, gave an aesthetic aspect on the woman identity, and reformed in the unique World of art. The image of woman/beloved as the real season of wine and pubs resulted in the appearance of new resources for pleasure. As we study the Divans of these three major poets, their poem sacted as the erotic tune and song in terms of talking over the beloved. These poems that give erotic flavour to our classical poetry appeared as the primary resource of happiness, clinging people to literary atmosphere. These kinds of poems valuing life hedonistically wander like a refreshing melody for our hearts in the changing classical poetry World. The study aims to define the term pleasure which never existed as a never-studied subjectin in our classical poetry, and to explain this term in the Divans of Bâkî, Shaykh al-islam Yahya, Nedîm, the hedonistic figures of poetry, and their erotic sayings by means of the couplets. In the works, four elements as love/woman, drinks/pubhouses/wine, spring and entertainment were studied as to the classical poetry characteristics and vitality of the subject. The idea of virtue and happiness from Ancient Greek Philosophy and Middle Islamic Philosophy were included in this study; thus, the hedonistic source of poetry was retraced, and then the hedonisticald eposition of classical poetry chronologically was extracted. The divan couplets of the study were interpreted on the basis of love, sex, pleasure, joy and erotism, and were assessed within the limits of divan tradition.
The concept of "pleasure" forming the basis of love in our classical poetry has expressed itself in terms of what love broadly means. Love in poetry has mainly been a reason for pleasure either religiously or humanely expressed and subjected like wise. Especially in Epicurean view, Nedîm who was the womanizer of the 18th Century Divan Literature composed secular gazelle sand was a lewd interpreter of desires. Our poetry was introduced to Bâkî, the 16th Century Classical poet of pleasure and dignity, and it reached to perfection with Shaykh al-islam Yahya, who invested an erotics side into the concept of pleasure in our classical poetry. And coupled his religious nobility with his open-hearted identity by use of skillful erotic themes. He paved the way for the amorist Nedîm by sanctifying public houses as the place for pleasure and desire instead of hypocricy. Within the Epicurian philosophy Nedîm, having left his art into the valley of pleasure, interpreted pleasure in the 'woman and sex' context innovatively. He became the pioneer of Tulip Period Which Gifted Poetry With Self-indulgence. Nedîm also converted the cruel, blood shedding, incorrigible, spoilt and beautiful woman of Divan Poetry into a woman of self-indulgence. Thus, the profile of the beloved in the Divan appeared lively, and she turned into the one as the source of pleasure, tasting wine with her man on his lap sand being caressed and kissed. Mostly, the female character seemed as the supplier of passion from frivolous lovers. Sexism, seen as a taboo in this view, gave an aesthetic aspect on the woman identity, and reformed in the unique World of art. The image of woman/beloved as the real season of wine and pubs resulted in the appearance of new resources for pleasure. As we study the Divans of these three major poets, their poem sacted as the erotic tune and song in terms of talking over the beloved. These poems that give erotic flavour to our classical poetry appeared as the primary resource of happiness, clinging people to literary atmosphere. These kinds of poems valuing life hedonistically wander like a refreshing melody for our hearts in the changing classical poetry World. The study aims to define the term pleasure which never existed as a never-studied subjectin in our classical poetry, and to explain this term in the Divans of Bâkî, Shaykh al-islam Yahya, Nedîm, the hedonistic figures of poetry, and their erotic sayings by means of the couplets. In the works, four elements as love/woman, drinks/pubhouses/wine, spring and entertainment were studied as to the classical poetry characteristics and vitality of the subject. The idea of virtue and happiness from Ancient Greek Philosophy and Middle Islamic Philosophy were included in this study; thus, the hedonistic source of poetry was retraced, and then the hedonisticald eposition of classical poetry chronologically was extracted. The divan couplets of the study were interpreted on the basis of love, sex, pleasure, joy and erotism, and were assessed within the limits of divan tradition.
Açıklama
29.01.2017 tarihine kadar kullanımı yazar tarafından kısıtlanmıştır.
Anahtar Kelimeler
Bâkî, Şeyhülislâm Yahya, Nedîm, Haz, Hedonizm, Shaykh al-islam Yahya, Pleasure, Hedonism
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Sevimli, E. (2015). Bâkî, Şeyhülislam Yahya ve Nedîm divanlarında haz kavramı.
İnönü Üniversitesi Sosyal Bilimler Enstitüsü. 1-258 ss.
