Bozkurt, Kenan2015-11-242015-11-242015Bozkurt, K. (2015). Bâkî, Fuzûlî, Şeyhülislâm Yahyâ ve Nedîm divanlarında haz kavramı. Turkish Studies, 10 (4), ss. 215-256.1308-2140http://turkishstudies.net/Makaleler/56192165_13BozkurtKenan-edb-215-256.pdfhttps://hdl.handle.net/20.500.12402/1533Mutluluk uyandıran, zevk veren tüm duyguların karşılığı olarak kullanılan haz kavramı, Divân şiirinde çok sık olarak işlenen temalardandır. Haz, şâirlerin hazza bakışlarına, kişisel özelliklerine, mensubu olduğu düşüncelere, bağlı olduğu tarikatlara göre farklılık arz etmektedir. Bazı şâirler, şiirlerinde dünyevi arzuları, bedensel zevkleri işlerken bazı şâirler ise manevîyattan, aşk ve aşkın hallerinden duydukları zevki konu edinmektedirler. Kişinin haz kavramını ele alması, kişiyi hazzı yaşayan biri haline getirmez. Kişinin hazzı yaşayan, onu tadan biri olması için hazzı hayatının merkezine oturtup ona dair bir felsefî altyapı oluşturması gerekmektedir. Haz kavramını ele alan birçok Divân şâirinin bu felsefî ve düşünsel altyapıyı oluşturduklarını, aşk kavramını ele alırken bu felsefî ve düşünsel altyapıdan hareket ettiklerini görürüz. Şâirlerin kendilerini rind, âşık, mutasavvıf, zahid olarak tanıtmaları onların aldıkları hazzın felsefî arka planı hakkında bilgiler verir. Ama Divân şiirinin klişe yapısı içinde, hazzın da klişe bir kavram olarak kullanıldığına şahit olmaktayız. Hayatı boyunca içkinin bir damlasını ağzına almayan, meyhânenin yolunu bile bilmeyen şeyhülislâmların şarabın ve meyhânenin verdiği zevkten başlarının nasıl döndüğünü ballandırarak anlattığı görülür. Peki bunu nasıl izah etmeliyiz? Bunu izah için de devreye Divân şiirinin sembol dili girmekte; şarap, meyhâne gibi kavramlar tasavvufun sembolik dilindeki anlamlarıyla düşünmemiz gerekmektedir ki şâirlerin asıl maksatlarını ne olduğunu anlayabilelim. Bu çalışmamızda Divân şiirinin dört büyük şâiri Bâkî, Fuzûlî, Şeyhülislâm Yahyâ ve Nedîm’in divânlarında hazzı nasıl ele aldıklarını incelemeye çalışacağız.The concept of pleasure, which is used in respect of all emotions evoking happiness, is considered as one of themes mostly discussed in ottoman poetry. Pleasure differs in accordance with poets' thoughts on pleasure, poets' personal characteristics, their worldviews and their cults. Some of the poets discuss worldly desires and earthly pleasures, whereas some other poets give place to the pleasure developed out of spirituality, love and its states. When poets discuss the concept of pleasure, it does not mean that they experienced the pleasure. For Poets, it a must that they put the pleasure at the centre of their own lives and have a philosophical background in order to be among those experiencing and enjoying the pleasure. It is considered that most of Ottoman poets handling the concept of pleasure created such philosophical and intellectual background, moved from this philosophical and intellectual base while dealing with the concept of love. Nevertheless, we witness that pleasure is used as a cliché concept within the stereotypical structure of Ottoman Poetry. It is concluded that shaykhes al-islam who had never known even the way of public house and had not taken any drop to drink alcohol exaggeratively depicted how they felt dizzy caused by the pleasure of wine and being in public house. So how should we explain it? To do this, the symbolic language of Ottoman poetry is considered as crucial; and we should think about the concepts of wine and public house in accordance with their meanings in the symbolic language of Islamic mysticism in order to understand the real intention of the poets. In this study, it is aimed to examine how such four leading poets of Ottoman poetry as Baki, Fuzuli, Shaykh al-Islam Yahya and Nedîm discussed the concepts of pleasure in their own collected poems. The concept of pleasure, a subject of moral philosophy, are discussed within the history of philosophy under two headings, including material and spiritual pleasure. Although material pleasures are blessed in such philosophical movements as epicureanism, spiritual pleasures have been generally considered as superior to the material pleasures in the history of philosophy and it has been believed that spiritual pleasures sublimate people while material pleasures degrade. In this study, it is aimed to show what the concept of pleasure is, how it has been discussed by philosophers and to determine the views of four reowned Ottoman poets towards the concept of pleasure, the quality of their pleasure and the sources of pleasure. In this respect, We have tried to define the concept of pleasure in the introduction part of our study. Then we have examined how the concept of pleasure is discussed as the psychological and philosophical term, how the Western and Islamic philosophers evaluate the concept of pleasure and the progress of pleasure in the Islamic society. Starting from the fifth section, we have tried to give a place to the sources of pleasure and the views of four great Ottoman poets towards the concept of pleasure, the main subject of our study. In the fifth section, we have discussed the times, spaces and connoisseurs of the pleasure and the main objects of pleasure that are sources of four great poets' understanding towards the concept of pleasure. Both in the poems of four reowned poets and in the poems of some other Ottoman poets, the concepts of love, woman and beauty are considered significant so we have examined how the concepts of woman, love and beauty turn into the object of pleasure, whether such pleasure is worldly or spiritual, in other words, whether woman and beauty are taken as sexual objects by such poets and is turned into means of sensual satisfaction of sexual gratification or is handled with aesthetic concerns regardless of any intereststrinfo:eu-repo/semantics/openAccessHazMaddî HazManevî HazBâkîFuzûlîŞeyhülislâm YahyâNedîmPleasureEarthly PleasureSpiritual PleasureFuzuliBakiShaykh al-Islam YahyaNedimArticle104215215