• Hızlı Erişim


The prophet Mohammad, who is the first interlocutor of the Quran and has a lot of refecence in it, has taken his place in our literary works and affected them in a great way since the Turks have accepted Islam, and there have been various Works about the prophet Mohammad for centuries. Numerous and various works that are closely related with him, have been set pen to paper due to the sincere love for him; therefore every aspect of his life and everything about him can be found in our literature. One can come across with subjects related with the prophet in many works which are not even directly related with him. The 17th century poet Nabi who is considered to be one of the most important represantatives of Hikemi type and whose work, Hayriyye, written for his son Ebu’l-Hayr Mehmed Çelebi in Halep consisting of 35 chapters and 1660 couplets is of those works. Nâbî joined in the tradition of writing a Naat, too, which is an indicator of Divan poets’ love for our prophet Mohammad and their knowledge about his life. Nâbî’s Mesnevi, like other similar works, starts with praise to the God, but the couplets between 39 and 65 are naats. In the work, there are some Arabic and Persian words and compositions, the Prophet’s names and attributes, the purpose of creation, being a prophet of the God, his superiority to other prophets and his examplary life are studied by means of verses from the Quran and hadiths. In addition to his propher nouns, gevher-i mâ-hasal-ı lücce-i cûd (a pearl in the sea of generousity), fâtih-i dahme-i gencîne-i nûr (opener of treasure trove of divine glory), nûr-ı bâlâ-keş-i kandîl-i kader (long drawn divine light of fate), sultân-ı serîr-i âlem (the Sultan of the universe), şâh-ı manî (the Sultan of meaning), meyve-i nüh-tabak-ı bâğ-ı vücûd (a fruit in the nineth floor of sky gardens), rûh-ı cihân (the spirit of the universe) etc, and in many couplets, some words like divine light, pearl, sultan, spirit and fruit have been used as patterns in order to refer to the Prophet. Also letters are included in the work and some of them called hurûf-ı mukattaa, which are spelled one by one, have been used a name for the prophet and used as a poetic theme and symbol in couplets. The patterns, which are in the lexicon of Divan literature and considered as a masterstroke and occur as a result of the artist’s desire, poetic themes and symbols have an important place in our old poets’ literature understanding. This reality is verified by the fact t

Nâbî, Hayriyye, pattern, symbol, the Prophet.

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