Bâkî’nin şiirlerinde tasavvuf, aşkın ezelî boyutu ve güzellik
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Tarih
2017-12
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Cilt Başlığı
Yayıncı
Uluslararası Sosyal Araştırmalar Dergisi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Attribution-NonCommercial-ShareAlike 3.0 United States
Attribution-NonCommercial-ShareAlike 3.0 United States
Özet
Türk edebiyatının en büyük şâirlerinden biri olan ve döneminde “sultânü’ş-şuarâ” olarak kabul edilen Bâkî’nin sahip olduğu
şöhret, günümüzde de devam etmektedir. Şâirin sahip olduğu bu şöhretten dolayı gerek edebiyat tarihlerinde gerek müstakil
çalışmalarda kendisine özel bir yer ayrılmıştır. Ancak Bâkî üzerine yapılan birçok çalışmada hakkında verilen hükümler birbirini
tekrarlar mahiyette olduğundan şâirin birçok yönünün gölgede kalmasına neden olmuştur. Şâirin gölgede kalan/bırakılan yönlerinden
biri de onun şiirlerinde yer alan tasavvufî boyuttur. Şâir, bu boyutu genel itibariyle aşk ve güzellik üzerinden ele almıştır. Ancak
Tanzimat’la beraber düşünce dünyamızda yaşanan değişim, aşk ve güzelliğe yüklenen anlam da değişmiştir. Bu değişim şâirin ele
aldığı aşk ve güzellikle bizim ele aldığımız aşk ve güzellik arasında anlamsal olarak bir kopukluğun ve ayrışmanın yaşanmasına neden
olmuştur. Bu kopukluk ve ayrışma, ister istemez şâirin şiirlerinin doğru bir şekilde anlaşılmasını engellemiştir.
Günümüzde karşı cinslerin birbirine duyduğu sevgiyi karşılayan aşk, tarih boyunca neliği ve kaynağı sürekli tartışılmış,
tamamen beşerî bir duygu olarak ele alındığı gibi, ilahî nefhanın bir parçası olarak da kabul görmüştür. Özellikle ezoterik düşüncenin
savunucuları, aşkı ilahî nefhanın bir parçası kabul etmiştir. Klasik şiirin en büyük şâiri olarak kabul gören Bâkî’nin eserleri üzerinde
çalışma yapanlar, genel olarak şâirin şiirlerinde işlediği aşkı beşerî boyutta ele almış ve bu aşkın tasavvufla olan bağlantısını görmezden
gelmiştir. Ancak şâirin şiirlerinde aşk, gündelik anlamıyla ele alındığı gibi beşeri aşan, aşkın/transandantal bir boyutla da ele alınmıştır.
Özellikle bazı şiirlerinde aşk, varoluşu aşan, yaratılışla başlayan ve ilahî kudrete duyulan bir duygu olup ezelî bir nitelik taşır ve aşkın
maddî varoluştan önce olduğu görülür. Şâirin aşkı bu anlamda ele alması, onun aşka yüce bir anlam yüklediğinin de göstergesidir. Bu
anlamda şâir, aşkı sadece bir duygu olarak değil, ontolojik ve epistemolojik bir olgu olarak ele alır. Zira şâirin aşka yüklediği ezelî boyut
ve aşkın varoluşun asıl gayesine dönüşmesi, aşkın bir bilgi edinme yöntemi olarak görülmesini sağlar. Bu da “İnsanın Tanrı’ya ancak
aşkla ulaşabileceği” düşüncesinin bir tezahüründen ibarettir. Bâkî, güzelliği de bu aşkın bir parçası olarak ele alır ve bu bilgi edinme
sürecinde güzelliği temel unsur olarak görür. Şâir, tasavvufta sıkça tekrarlanan “Küntü kenzen mahfiyyen/Ben gizli bir hazineydim.”
hadisinden hareketle bilinmeyi aşk olarak kabul eder ve güzelliği de bu aşkın ortaya çıkmasını sağlayan Allah’ın cemâl sıfatı olarak
tanımlar. Bâkî, Tanrı’nın insanı kendi suretinden yarattığı ve insanın güzelliğini tecellî yoluyla ondan aldığı düşüncesinden hareketle
âlemdeki her türlü güzelliği Allah’ın güzelliğinden bir cüz olarak görür. Şâire göre idrak sahibi insanlar, bu güzelliği temâşâ ederek
cüzden külle ulaşması mümkündür. Ancak, insan maddî dünyaya inmeden önce her ne kadar ilahî güzelliği temâşâ ederek aşka
tutulmuş olsa da maddî boyuta büründükten sonra ezel bezminde temâşâ ettiği güzelliği unutmuştur. İnsan, maddî boyutta bu
güzelliği tam olarak hatırlamasa da onda var olan güzellik imgesi, onu gördüğü her güzelliğe meylettirir. Bu yüzden insan gördüğü her
maddî güzelliğe tutularak ona meftun olur. Bu anlamda cüz, olgunluğa ermemiş âşık için külle varmada bir engeldir. Âşık, cüzden
kurtulmak için, diğer bir deyişle maddî boyutun ardında gizli olan ilahî boyutu idrak edebilmek için kalp gözünün açılması gerekir.
Kalp gözünün açılması da ancak aşk ile mümkün olduğundan aşk epistemolojik ve ontolojik bir boyuta bürünerek karşımıza çıkar ve
aşk, Bâkî’nin şiirinde mutlak olana ulaşmada “ezel”den insana yoldaş olmuş bir rehbere dönüşür.
Aşka ve güzelliğe şâirin yüklediği ontolojik ve epistemolojik anlamı dikkate aldığımızda Bâkî’nin divanında ele aldığı aşkın
ve güzelliğin iddia edildiği gibi tasavvuftan uzak, maddî boyutta olmadığı, aksine aşk ve güzelliğin tasavvufî bir boyut taşıdığını
göstermektedir. Bu çalışmamızda Bâkî’nin ele aldığı aşk ve güzellik meselesini ele alıp aşk ve güzelliğin ilahî olan boyutunu irdelemeye
çalışacağız.
Fame of one of the greatest poets of Turkish literature, Bâkî, who is regarded as " sultans of poets" during his period, also continues today. Because of this fame that the poet has, today a special place has been reserved for himself both in literary history and in independent studies. However, in many studies on Bâkî, the provisions given about the poet repeated each other, causing many points of the poet to remain in the shadow. One of the aspects of poetry that remains in the shadow is the mystical dimension that lies in his poems. The poet has generally considered this dimension through love and beauty. But with Tanzimat, change in our world caused change in the meaning of love and beauty. This has caused the poet to deal with love, and a semantic breakthrough between love and beauty we have dealt with. This disconnect, unwillingly, prevented the poet’s poetry to be understood correctly. The quality and the source love that is used today to meet the great love that the opposite gender feels with each other has been a subject of constant debate throughout history. Love is handled entirely as a human emotion, and also it is handled as a part of divine blowing. Especially advocates of esoteric thinking accepted love as a part of blowing. Those who work on the works of Bâkî, who is considered the greatest poet of classical poetry, have generally dealt with the love of the poet’s poetry in human dimension and ignored its connection with Sufism. However, in the poet’s poetry, love is handled both with its everyday meaning and with a dimension of transcendence that transcends humanity. Especially in some of his poems, love is an emotion that begins with creation and is sensed to the divine power that transcends existence, and an eternal character appears, and it is seen that the love occurs before material existence. The poet’s handling the love with this aspect is also a sign that he has a lofty meaning. In this sense, the poet treats love as an ontological and epistemological phenomenon, not just as a feeling. Because the eternal dimension that the poet attributes to love and the transformation of love into the real objective of existence makes it possible for love to become a method of acquiring information. And this is composed of an outbreak of the idea ‘‘Man can only reach God by love’’. Bâkî sees beauty as a fundamental element in the process of acquiring information by treating beauty as a part of love. The poet accepts recognition as love through the hadith of "I was a secret treasure", which is often repeated in mysticism, and defines beauty as the God’s beauty which enables this love to emerge. Bâkî regards every kind of beauty in the world as a part of the beauty of God acting with the thought that God created man from his own image and man received his beauty from him through manifestation. According to the poet, people who are aware of this beauty are possible to reach the whole from part by contemplating this beauty. However, although human beings were tempted by love through contemplating the divine beauty before descending into the earth, they forgot this love in the material world. Also, even if they do not fully remember this beauty in the material aspect now, the beauty image that they own cause them to tend to every beauty. That is why people are attracted by and get addicted to every beauty. In this sense, the part is an obstacle to reach the whole for the unfamiliar lovers. In order to get rid of the part, in other words, to be aware of the divine dimension hidden behind the material dimension, the lover must see through his hearth. Because being cautious is only possible with love, love shows up in an epistemological and ontological dimension and becomes a friend to man from "eternity" in reaching the absoluteness in Bâkî’s poetry. Considering the ontological and epistemological meaning that the poet imbues in love and beauty, the love and beauty he referred in his council is seen to have mystical dimension rather than being away from Sufism in a material dimension as claimed before. This study will examine the issues of love and beauty that Bâkî deals with and explain them in the divine dimension.
Fame of one of the greatest poets of Turkish literature, Bâkî, who is regarded as " sultans of poets" during his period, also continues today. Because of this fame that the poet has, today a special place has been reserved for himself both in literary history and in independent studies. However, in many studies on Bâkî, the provisions given about the poet repeated each other, causing many points of the poet to remain in the shadow. One of the aspects of poetry that remains in the shadow is the mystical dimension that lies in his poems. The poet has generally considered this dimension through love and beauty. But with Tanzimat, change in our world caused change in the meaning of love and beauty. This has caused the poet to deal with love, and a semantic breakthrough between love and beauty we have dealt with. This disconnect, unwillingly, prevented the poet’s poetry to be understood correctly. The quality and the source love that is used today to meet the great love that the opposite gender feels with each other has been a subject of constant debate throughout history. Love is handled entirely as a human emotion, and also it is handled as a part of divine blowing. Especially advocates of esoteric thinking accepted love as a part of blowing. Those who work on the works of Bâkî, who is considered the greatest poet of classical poetry, have generally dealt with the love of the poet’s poetry in human dimension and ignored its connection with Sufism. However, in the poet’s poetry, love is handled both with its everyday meaning and with a dimension of transcendence that transcends humanity. Especially in some of his poems, love is an emotion that begins with creation and is sensed to the divine power that transcends existence, and an eternal character appears, and it is seen that the love occurs before material existence. The poet’s handling the love with this aspect is also a sign that he has a lofty meaning. In this sense, the poet treats love as an ontological and epistemological phenomenon, not just as a feeling. Because the eternal dimension that the poet attributes to love and the transformation of love into the real objective of existence makes it possible for love to become a method of acquiring information. And this is composed of an outbreak of the idea ‘‘Man can only reach God by love’’. Bâkî sees beauty as a fundamental element in the process of acquiring information by treating beauty as a part of love. The poet accepts recognition as love through the hadith of "I was a secret treasure", which is often repeated in mysticism, and defines beauty as the God’s beauty which enables this love to emerge. Bâkî regards every kind of beauty in the world as a part of the beauty of God acting with the thought that God created man from his own image and man received his beauty from him through manifestation. According to the poet, people who are aware of this beauty are possible to reach the whole from part by contemplating this beauty. However, although human beings were tempted by love through contemplating the divine beauty before descending into the earth, they forgot this love in the material world. Also, even if they do not fully remember this beauty in the material aspect now, the beauty image that they own cause them to tend to every beauty. That is why people are attracted by and get addicted to every beauty. In this sense, the part is an obstacle to reach the whole for the unfamiliar lovers. In order to get rid of the part, in other words, to be aware of the divine dimension hidden behind the material dimension, the lover must see through his hearth. Because being cautious is only possible with love, love shows up in an epistemological and ontological dimension and becomes a friend to man from "eternity" in reaching the absoluteness in Bâkî’s poetry. Considering the ontological and epistemological meaning that the poet imbues in love and beauty, the love and beauty he referred in his council is seen to have mystical dimension rather than being away from Sufism in a material dimension as claimed before. This study will examine the issues of love and beauty that Bâkî deals with and explain them in the divine dimension.
Açıklama
Anahtar Kelimeler
Bâkî, Tasavvuf, Aşk, Güzellik, Elest Bezmi, Ezelî Aşk, Sûfîsm, Love, Beauty, The Elst Assembly, Eternal Love
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
10
Sayı
54
Künye
Bozkurt, K. (2017). Bâkî’nin şiirlerinde tasavvuf, aşkın ezelî boyutu ve güzellik. Uluslararası Sosyal Araştırmalar Dergisi, 10 (54), ss.22-35. DOI:http://dx.doi.org/10.17719/jisr.20175434567
