Fuzuli\u2019nin Hayat\u0131 (1480-1556)<\/p>\n
Ger\u00e7ek ad\u0131 Mehmed B. S\u00fcleyman’d\u0131r. Kerbel\u00e2’da do\u011fdu, do\u011fum y\u0131l\u0131 kesinlikle bilinmiyorsa da, kimi kaynaklara g\u00f6re 1480 dolaylar\u0131ndad\u0131r. 1556’da Kerbel\u00e2’da \u00f6ld\u00fc. Ya\u015fam\u0131, \u00f6zellikle gen\u00e7lik d\u00f6nemi ve \u00f6\u011frenimi konusunda yeterli bilgi yoktur. \u015eiirde “Fuz\u00fbl\u00ee” ad\u0131n\u0131, kendi \u015fiirlerinin ba\u015fkalar\u0131n\u0131nkilerle, ba\u015fkalar\u0131n\u0131n \u015fiirlerinin de kendisininkilerle kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131 i\u00e7in ald\u0131\u011f\u0131n\u0131, b\u00f6yle bir takma ad\u0131 kimsenin be\u011fenmeyece\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcnden kulland\u0131\u011f\u0131n\u0131, Fars\u00e7a Divan’\u0131n\u0131n giri\u015finde a\u00e7\u0131klar. Ama “i\u015fe yaramayan”, “gereksiz” gibi anlamlara gelen “fuz\u00fbl\u00ee” s\u00f6zc\u00fc\u011f\u00fcn\u00fcn ba\u015fka bir anlam\u0131 da “erdem”dir. Onun bu iki ka\u015f\u0131t anlamdan yararlanmak amac\u0131n\u0131 g\u00fctt\u00fc\u011f\u00fcn\u00fc ileri s\u00fcrenler de vard\u0131r.
\n Fuz\u00fbl\u00ee’nin ya\u015fam\u0131 konusunda bilgi veren kaynaklar birbirini tutmamakta, genellikle s\u00f6ylenceyle ger\u00e7e\u011fi ay\u0131rma olana\u011f\u0131 bulunmamaktad\u0131r. Onunla ilgili g\u00fcvenilir bilgiler, yap\u0131tlar\u0131n\u0131n incelenmesinden, kimi \u015fiirlerinin a\u00e7\u0131klan\u0131\u015f\u0131ndan kaynaklanmaktad\u0131r. Bunlardan anla\u015f\u0131ld\u0131\u011f\u0131na g\u00f6re Fuz\u00fbl\u00ee iyi bir \u00f6\u011frenim g\u00f6rm\u00fc\u015f, \u00f6zellikle \u0130slam bilimleri, tasavvuf, \u0130ran edebiyat\u0131 konular\u0131nda \u00e7al\u0131\u015fmalar yapm\u0131\u015ft\u0131r. \u015eiirlerinde g\u00f6r\u00fclen kavramlardan simya, g\u00f6kbilim konular\u0131yla ilgilendi\u011fi, \u0130slam \u00fclkelerinde pek yayg\u0131n olan ve gelecekteki olaylar\u0131 bildirmeyi ama\u00e7layan “gizli bilimler”le ili\u015fkili bulundu\u011fu anla\u015f\u0131lmaktad\u0131r. \u0130slam bilimleri i\u00e7inde hadis, f\u0131k\u0131h, tefsir ve kelam \u00fczerinde durdu\u011fu, gene yap\u0131tlar\u0131nda yer alan kavramlar\u0131n incelenmesinden ortaya \u00e7\u0131kmaktad\u0131r. T\u00fcrk\u00e7e, Arap\u00e7a, Fars\u00e7a divanlar\u0131nda bulunan \u015fiirleri, bu \u00fc\u00e7 dili de \u00e7ok iyi kulland\u0131\u011f\u0131n\u0131, onlar\u0131n b\u00fct\u00fcn inceliklerini kavrad\u0131\u011f\u0131n\u0131 g\u00f6stermektedir. Yap\u0131tlar\u0131 incelendi\u011finde \u0130ran \u015fairlerinden H\u00e2f\u0131z, T\u00fcrk \u015fairlerinden de Nes\u00eem\u00ee, Nev\u00e2\u00ee ve Necati’yi izledi\u011fi, onlar\u0131n \u015fiir anlay\u0131\u015f\u0131n\u0131, duygu ve d\u00fc\u015f\u00fcncelerini benimsedi\u011fi g\u00f6r\u00fcl\u00fcr.
\n\u0130nan\u00e7 bak\u0131m\u0131ndan Fuz\u00fbl\u00ee, \u015eii mezhebine ba\u011fl\u0131d\u0131r. On iki \u0130mam’a kar\u015f\u0131 derin bir sevgisi vard\u0131r. B\u00fct\u00fcn ya\u015fam\u0131n\u0131 Kebel\u00e2’da, \u015eiiler’ce kutsal say\u0131lan topraklar \u00fczerinde ge\u00e7irmesi, a\u015fa\u011f\u0131 yukar\u0131 b\u00fct\u00fcn \u015fiirlerinde tasavvuftan kaynaklanan bir sevgiyi, bir \u00fcz\u00fcnt\u00fcy\u00fc i\u015flemesi, Kerbel\u00e2 olay\u0131yla ilgili a\u011f\u0131tlar\u0131, \u015eeriat’\u0131n kat\u0131l\u0131\u011f\u0131na kar\u015f\u0131 \u00e7\u0131k\u0131\u015f\u0131 bu nedenlerdir. Ancak Ali’ye ba\u011fl\u0131l\u0131\u011f\u0131, Ali’nin tanr\u0131sal bir varl\u0131k oldu\u011fu g\u00f6r\u00fc\u015f\u00fcn\u00fc savunan ve \u0130slam \u00fclkelerinde Galiye (a\u015f\u0131r\u0131l\u0131k) diye nitelenen inan\u00e7la ilgili de\u011fildir. Ona g\u00f6re Ali erdemli, g\u00f6n\u00fcl bilgisiyle dolu, olgun, yetkin bir ki\u015fidir ve Peygamber’den sonra imam (halife) olmas\u0131 gereken kimsedir. Bu g\u00f6r\u00fc\u015f\u00fc benimsemeye, \u0130slam \u00fclkelerinde, mufadd\u0131la (erdeme ba\u011fl\u0131 olma) denir. Fuz\u00fbl\u00ee de bu erdemden yana olanlar aras\u0131ndad\u0131r. Ona g\u00f6re Ali erdem bak\u0131m\u0131ndan, b\u00fct\u00fcn halifelerden ve Peygamber’in yak\u0131nlar\u0131ndan (sahabe) \u00fcst\u00fcnd\u00fcr. Bu konudaki inanc\u0131n\u0131 Had\u00eekat\u00fc’s-S\u00fced\u00e2 (“Mutlular\u0131n Bah\u00e7esi”) adl\u0131 yap\u0131t\u0131nda b\u00fct\u00fcn a\u00e7\u0131kl\u0131\u011f\u0131yla ortaya koymu\u015ftur. T\u00fcrk\u00e7e ve Fars\u00e7a divanlar\u0131nda Ali ve onun soyundan gelen imamlara ba\u011fl\u0131l\u0131\u011f\u0131n\u0131 konu edinen bir\u00e7ok \u015fiir vard\u0131r. Bir aral\u0131k Ba\u011fdat’\u0131 ele ge\u00e7iren \u0130smail Safevi’ye yazd\u0131\u011f\u0131 \u00f6vg\u00fcn\u00fcn kayna\u011f\u0131 da bu sevgidir. Fuz\u00fbl\u00ee’nin, ge\u00e7imini Kerbel\u00e2, Necef ve Ba\u011fdat’ta bulunan On \u0130ki \u0130mam’la ilgili vak\u0131flar\u0131n gelirlerinden sa\u011flad\u0131\u011f\u0131 Fars\u00e7a Divan’\u0131ndaki “D\u00fcrr-i sadef-i s\u0131dk cen\u00e2b-\u0131 m\u00fctevelli” (Do\u011fruluk sedefinin incisi y\u00fcce g\u00f6revli) dizesiyle ba\u015flayan \u015fiirden anla\u015f\u0131lmaktad\u0131r. Fuz\u00fbl\u00ee, ya\u015fad\u0131\u011f\u0131 d\u00f6nemin gelene\u011fine uyarak, Ba\u011fdat’\u0131 ele ge\u00e7iren Osmanl\u0131 padi\u015fah\u0131 Kanuni S\u00fcleyman’a ve R\u00fcstem Pa\u015fa, Mehmed Pa\u015fa, \u0130brahim Bey, Cafer Bey gibi devlet b\u00fcy\u00fcklerine \u00f6vg\u00fcler yazm\u0131\u015ft\u0131r.
\n Fuz\u00fbl\u00ee’nin b\u00fct\u00fcn yarat\u0131c\u0131 g\u00fcc\u00fc, ya\u015fam ve evren anlay\u0131\u015f\u0131n\u0131, insanla ilgili d\u00fc\u015f\u00fcncelerini sergiledi\u011fi \u015fiirlerinde g\u00f6r\u00fcl\u00fcr. Ona g\u00f6re \u015fiirin \u00f6z\u00fcn\u00fc sevgi, temelini bilim olu\u015fturur. “Bilimsiz \u015fiir temelsiz duvar gibidir, temelsiz duvar da de\u011fersizdir” anlay\u0131\u015f\u0131ndan yola \u00e7\u0131karak sevgiyi evrenin \u00f6z\u00fcn\u00fc kuran bir \u00f6\u011fe diye anlar, bu nedenle “evrende ne varsa sevgidir, sevgi d\u0131\u015f\u0131nda kalan bilim bir dedikodudur” yarg\u0131s\u0131na var\u0131r. Sevginin yan\u0131nda, \u015fiirin \u00f6rg\u00fcs\u00fcn\u00fc b\u00fct\u00fcnl\u00fc\u011fe kavu\u015fturan ikinci \u00f6\u011fe \u00fcz\u00fcnt\u00fcd\u00fcr, sevgiliye kavu\u015fma \u00f6zleminden, ondan ayr\u0131 kal\u0131\u015ftan kaynaklanan \u00fcz\u00fcnt\u00fc. \u00dcz\u00fcnt\u00fcn\u00fcn, ayr\u0131l\u0131k ac\u0131s\u0131n\u0131n, kavu\u015fma \u00f6zleminin odakla\u015ft\u0131\u011f\u0131 ba\u015fl\u0131ca yap\u0131t\u0131 Leyl\u00e2 ile Mecnun’dur. Burada seven insan, b\u00fct\u00fcn varl\u0131\u011f\u0131yla kendini sevdi\u011fi kimseye adam\u0131\u015ft\u0131r, ancak sevilen kimsede yo\u011funla\u015fan sevgi tanr\u0131sal varl\u0131\u011f\u0131 erek edinmi\u015f derin bir \u00f6zlem niteli\u011findedir. Sevilen insan bir ara\u00e7, onun varl\u0131\u011f\u0131nda g\u00f6r\u00fcn\u00fc\u015f alan\u0131na \u00e7\u0131kan Tanr\u0131, tek erektir. Fuz\u00fbl\u00ee, bu konuda Yeni-Platonculuk’tan beslenen tasavvufun insan-tanr\u0131 anlay\u0131\u015f\u0131na ba\u011fl\u0131 kalarak, varl\u0131k birli\u011fi g\u00f6r\u00fc\u015f\u00fcn\u00fc i\u015flemi\u015ftir. Ona g\u00f6re ger\u00e7ek varl\u0131k Tanr\u0131’d\u0131r, b\u00fct\u00fcn nesneler ve onlar\u0131 ku\u015fatan evren Tanr\u0131’n\u0131n bir g\u00f6r\u00fcn\u00fc\u015f alan\u0131d\u0131r. Bu nedenle yarat\u0131l\u0131\u015f, tanr\u0131sal varl\u0131\u011f\u0131n g\u00f6r\u00fcn\u00fc\u015f alan\u0131na \u00e7\u0131k\u0131\u015f\u0131, bir \u0131\u015f\u0131k (n\u00fbr) olan “Tanr\u0131 \u00f6z\u00fc’nden d\u0131\u015fa ta\u015fmas\u0131d\u0131r (sud\u00fbr); “Zih\u00ee z\u00e2t\u0131n nih\u00e2n u ol nihandan m\u00e2siv\u00e2 peyd\u00e2” (Senin \u00f6z\u00fcn gizlidir, bu g\u00f6r\u00fcnen evren o gizli \u00f6z\u00fcnden ver olmu\u015ftur).
\n Fuz\u00fbl\u00ee’nin anlay\u0131\u015f\u0131na g\u00f6re insan “seven bir varl\u0131k”t\u0131r, bu sevgi Tanr\u0131 ile insan aras\u0131ndaki ba\u011f\u0131n \u00f6z\u00fcn\u00fc olu\u015fturur, ayr\u0131 insan\u0131n Tanr\u0131’ya yakla\u015fmas\u0131n\u0131 sa\u011flar. Bu nedenle de yaln\u0131z insan sevebilir. Varl\u0131k t\u00fcrlerinin en yetkini, en olgunu olan insan Tanr\u0131’n\u0131n g\u00f6ren g\u00f6z\u00fc, konu\u015fan dili, duyan kula\u011f\u0131d\u0131r. \u0130nsanda Tanr\u0131 istenci d\u0131\u015f\u0131nda bir eylemi ger\u00e7ekle\u015ftirme olana\u011f\u0131 yoktur. \u0130nsan biri g\u00f6vde, \u00f6teki ruh olmak \u00fczere iki ayr\u0131 \u00f6zden kurulu bir varl\u0131kt\u0131r. G\u00f6vdenin toprak, yel (hava), od (ate\u015f) ve su gibi d\u00f6rt olu\u015fturucu \u00f6\u011fesi vard\u0131r. Ruh ise tanr\u0131sald\u0131r, g\u00f6vdede, gene Tanr\u0131 buyru\u011fuyla bir s\u00fcre kald\u0131ktan sonra, kayna\u011f\u0131na, tanr\u0131sal evrene d\u00f6necektir, bu nedenle \u00f6l\u00fcms\u00fczd\u00fcr. \u0130nsan\u0131n yery\u00fcz\u00fcnde ya\u015fad\u0131\u011f\u0131 s\u00fcrece ruhunun kutsall\u0131\u011f\u0131na yara\u015f\u0131r bi\u00e7imde davranmas\u0131, do\u011fruluk, iyilik, erdem, g\u00fczellik gibi de\u011ferlerden ayr\u0131lmamas\u0131, \u00f6z\u00fcn\u00fc bilgiyle s\u00fcslemesi gerekir. Fuz\u00fbl\u00ee, “maarif” ad\u0131n\u0131 verdi\u011fi g\u00f6n\u00fcl bilgisini ki\u015finin \u00f6z\u00fcn\u00fc \u0131\u015f\u0131kland\u0131rmas\u0131 i\u00e7in bir kaynak diye yorumlar, “ey g\u00fczel z\u00e2t\u0131n ma\u00e2rif birle tezy\u00een edeg\u00f6r” dizesiyle bu konudaki g\u00f6r\u00fc\u015f\u00fcn\u00fc a\u00e7\u0131klar. Onun ahlakla ilgili g\u00f6r\u00fc\u015flerinin temelini kuran do\u011fruluk, iyilik ve erdem gibi \u00fc\u00e7 \u00f6\u011fedir. Bu \u00fc\u00e7 \u00f6\u011fenin kar\u015f\u0131t\u0131 bask\u0131 (zulm), ikiy\u00fczl\u00fcl\u00fck (riy\u00e2) ve bilgisizliktir (cehl). “Sel\u00e2m verdim r\u00fc\u015fvet de\u011fildir deyu almad\u0131lar” diye ba\u015flayan \u015eikayet-n\u00e2me’sinde \u00e7a\u011f\u0131n\u0131n yolsuzluklar\u0131n\u0131, ahlaka, \u0130slam dininin \u00f6z\u00fcne ayk\u0131r\u0131 davran\u0131\u015flar\u0131 sergilenirken, T\u00fcrk\u00e7e Divan’\u0131nda da “zalimin zulm ile ak\u00e7e toplay\u0131p yard\u0131m edermi\u015f gibi ba\u015fkalar\u0131na da\u011f\u0131tt\u0131\u011f\u0131n\u0131, oysa cennete r\u00fc\u015fvetle girilmeyece\u011fi” anlam\u0131ndaki dizelere geni\u015f yer verir. Ona g\u00f6re bu yery\u00fcz\u00fc bir al\u0131\u015fveri\u015f yeridir, herkes elindekini ortaya d\u00f6ker. Bilgiyi seven erdem ve beceriyi, d\u00fcnyay\u0131 seven de alt\u0131n\u0131, g\u00fcm\u00fc\u015f\u00fc sergiler:<\/p>\n
Dehr bir b\u00e2z\u00e2rd\u0131r her kim met\u00e2\u0131n arz eder
\n Ehl-i d\u00fcnya s\u00eem \u00fc zer ehl-i h\u00fcner fazl u kemal
\n Fuz\u00fbl\u00ee, inan\u00e7 konusunda da erdemin, do\u011frulu\u011fun, Kuran’\u0131n \u00f6z\u00fcne ba\u011fl\u0131 kalman\u0131n gere\u011fini savunur. Ona g\u00f6re oru\u00e7, namaz, zek\u00e2t gibi g\u00f6revler g\u00f6steri\u015f i\u00e7in de\u011fil, ki\u015finin \u00f6z\u00fcn\u00fc k\u00f6t\u00fcl\u00fckten ar\u0131nd\u0131rmak, olgunla\u015ft\u0131rmak i\u00e7indir. Oysa i\u00e7inde ya\u015fanan \u00e7a\u011f\u0131n insan\u0131 \u0130slam dininin temel ilkelerini bir \u00e7\u0131kar arac\u0131 olarak kullanmakta, ger\u00e7e\u011finden uzakla\u015ft\u0131rmaktad\u0131r. Bu nedenle \u0130slam’\u0131n \u00f6z\u00fcnden ayr\u0131lmak istemeyen bir kimsenin uygulamas\u0131 gereken y\u00f6ntem “namaz ehline uyma, onlar ile durma oturma” bi\u00e7iminde \u00f6zetlenebilir.
\n Fuz\u00fbl\u00ee’nin dili Azeri s\u00f6yleyi\u015fidir, \u00f6zellikle Nev\u00e2\u00ee ve Nes\u00eem\u00ee’yi an\u0131msatan bir nitelik ta\u015f\u0131r. \u015eiirde uyumu sa\u011flayan \u00f6\u011fe genellikle, s\u00f6zc\u00fckler aras\u0131nda ses benzerli\u011finden kaynaklan\u0131r. Aruz \u00f6l\u00e7\u00fcs\u00fcne uymayan T\u00fcrk\u00e7e s\u00f6zc\u00fcklerde g\u00f6r\u00fclen uzatma ve k\u0131saltmalar Arap\u00e7a ve Fars\u00e7a s\u00f6zc\u00fcklerle uyum i\u00e7ine girer. Dilde biri ses uyumu, \u00f6teki anlam olmak \u00fczere iki temel \u00f6\u011fe dizeler aras\u0131nda, ses uyumuna dayanan ba\u011flant\u0131d\u0131r. Fars\u00e7a’n\u0131n \u015fiire daha yatk\u0131n bir dil oldu\u011funu, T\u00fcrk\u00e7e \u015fiir s\u00f6ylemenin g\u00fc\u00e7l\u00fc\u011f\u00fcn\u00fc ileri s\u00fcrmesine kar\u015f\u0131l\u0131k, T\u00fcrk\u00e7e \u015fiirlerinde daha \u00e7ok ba\u015far\u0131l\u0131 olmu\u015ftur. Hadikat\u00fc’s-S\u00fced\u00e2 adl\u0131 yap\u0131t\u0131nda \u015fiir s\u00f6ylemeye pek elveri\u015fle olmayan T\u00fcrk\u00e7e’yi ba\u015far\u0131yla kullanaca\u011f\u0131n\u0131, bu dili g\u00fc\u00e7l\u00fc, elveri\u015fli bir \u015fiir durumuna getirece\u011fini ileri s\u00fcren Fuz\u00fbl\u00ee’de halk dilinde ge\u00e7en s\u00f6zc\u00fckler, deyimler, atas\u00f6zleri \u00f6nemli bir yer tutar. Kimi \u015fiirlerinde Kuran ve Hadisler’den al\u0131nt\u0131larla dizenin anlam\u0131 g\u00fc\u00e7lendirilir.
\n Divan \u015fiirinin b\u00fct\u00fcn \u00f6l\u00e7\u00fclerini, bi\u00e7imlerini kullanan Fuz\u00fbl\u00ee’nin yarat\u0131c\u0131 g\u00fcc\u00fc, d\u00fc\u015f\u00fcnce derinli\u011fi, s\u00f6yleyi\u015f ak\u0131c\u0131l\u0131\u011f\u0131 daha \u00e7ok gazellerinde g\u00f6r\u00fcl\u00fcr. Kerbel\u00e2 olay\u0131yla ilgili \u015fiirlerinde \u00fcz\u00fcnt\u00fcy\u00fc \u00e7ok geni\u015f boyutlar i\u00e7inde ele alarak \u015fiirinin b\u00fct\u00fcn\u00fcne yayar, inanan, seven insan\u0131 bir “ac\u0131 \u00e7eken varl\u0131k” olarak g\u00f6sterir. Bu t\u00fcr \u015fiirlerinde sevgi ve a\u015fk birbirini b\u00fct\u00fcnleyen iki \u00f6\u011fe niteli\u011fine b\u00fcr\u00fcn\u00fcr. Leyl\u00e2 ile Mecnun adl\u0131 yap\u0131t\u0131nda i\u015flenen derin \u00f6zlem, ayr\u0131l\u0131ktan duyulan ac\u0131 a\u011f\u0131t \u00f6zelli\u011fi ta\u015f\u0131yan \u015fiirlerinde \u00f6l\u00fcm kar\u015f\u0131s\u0131nda duyulan derin sars\u0131nt\u0131ya d\u00f6n\u00fc\u015f\u00fcr.
\n \u015eiir, Fuz\u00fbl\u00ee i\u00e7in, d\u00fc\u015f\u00fcnceleri, duygular\u0131 ortaya koymaya, insan\u0131 anlatmaya, kimi sorunlar\u0131 sergilemeye yarayan bir yarat\u0131d\u0131r. \u015eiir, yaln\u0131z \u015fiir olsun diye s\u00f6ylenmez, bir varl\u0131k g\u00f6r\u00fc\u015f\u00fcn\u00fc dile getirmeyi ama\u00e7lar. \u015eiiri olu\u015fturan \u00f6zl\u00fc ve anlaml\u0131 s\u00f6zd\u00fcr, s\u00f6z ile ki\u015fi kendini ortaya koyar. \u00d6te yandan s\u00f6z bir yaratma \u00f6\u011fesidir: “B\u00fb ne s\u0131rd\u0131r kim eder her lahza yoktan v\u00e2r s\u00f6z”. S\u00f6z, onu s\u00f6yleyenle ba\u011flant\u0131l\u0131d\u0131r, onun bulundu\u011fu bilgi ve duygu a\u015famas\u0131n\u0131, de\u011fer basama\u011f\u0131n\u0131 g\u00f6sterir.
\n Art\u0131ran s\u00f6z kadrini s\u0131dk ile kadrin art\u0131r\u0131r
\n Kim ne mikdar olsa ehlin eyler ol mikdar s\u00f6z
\n Dizelerinde sergilenen d\u00fc\u015f\u00fcnceye g\u00f6re s\u00f6z\u00fcn de\u011ferini art\u0131ran kendi de\u011ferini art\u0131r\u0131r, ki\u015finin kendi neyse s\u00f6yledi\u011fi s\u00f6zle a\u00e7\u0131\u011fa vurdu\u011fu da odur. S\u00f6z ki\u015finin aynas\u0131d\u0131r.
\nFuz\u00fbl\u00ee, kendinden sonra gelen T\u00fcrk Divan \u015fairleri aras\u0131nda B\u00e2k\u00ee, Ruh\u00ee, N\u00e2il\u00e2, Ne\u015f\u00e2ti, Nedim ve \u015eeyh Galib gibi sevgiyi \u015fiirlerinin oda\u011f\u0131 durumuna getiren \u015fairleri etkilemi\u015ftir. \u00d6te yandan kimi Alevi ozanlarca da bir “inan\u00e7 ulusu” olarak benimsenmi\u015f, sayg\u0131 g\u00f6rm\u00fc\u015ft\u00fcr.
\nFuzuli\u2019nin Edebi \u015eahsiyeti<\/p>\n
T\u00fcrk\u00e7e, Arap\u00e7a ve Fars\u00e7a’ n\u0131n ge\u00e7erli oldu\u011fu bir co\u011frafyada ya\u015fayan Fuz\u00fbl\u00ee, bu \u00fc\u00e7 dil ile \u015fiir yazacak kadar dili vuk\u00fbfu ve \u015fu\u00fbru olan bir \u015fairdir. Gen\u00e7lik y\u0131llar\u0131nda yazd\u0131\u011f\u0131 a\u015fk \u015fiirlerinde, muhtemelen T\u00fcrk\u00e7e’ yi kullanan Fuz\u00fbl\u00ee, daha sonralar\u0131 Fars\u00e7a \u00e7o\u011funlukta olmak \u00fczere Arap\u00e7a ile de \u015fiirler s\u00f6yleyerek, ya\u015fad\u0131\u011f\u0131 edeb\u00ee atmosferin bir aynas\u0131 olmu\u015ftur.
\n T\u00fcrk\u00e7e Divan’ \u0131n\u0131n \u00f6ns\u00f6z\u00fcnde \u015fiir anlay\u0131\u015f\u0131n\u0131 ifade eden Fuz\u00fbl\u00ee, \u015fiir gibi bir sanat \u015fubesinin ilimsiz olmayaca\u011f\u0131n\u0131n \u015fu\u00fbruna vararak, “\u0130limsiz \u015fiir, esas\u0131 yok duvar gibi olur ve esass\u0131z duvar g\u00e2yette b\u00ee-\u00eet\u00eebar olur” diyerek akl\u00ee ve nakl\u00ee ilimlerden olan hadis, tefsir, kelam, f\u0131k\u0131h gibi \u0130sl\u00e2mi ilimleri; mant\u0131k, hendese, astronomi ve t\u0131p gibi akl\u00ee ilimleri \u00f6\u011frenmi\u015ftir.
\n Sanat ile ilmi bir arada kayna\u015ft\u0131ran Fuz\u00fbl\u00ee, \u00fc\u00e7 dili de bilmesine ra\u011fmen, T\u00fcrk\u00e7e \u015fiirlerinde, kolay anla\u015f\u0131labilen ve devrinin ortalama insan z\u00fcmrelerinin konu\u015ftu\u011fu bir dil kulanm\u0131\u015f; pek a\u011f\u0131rl\u0131kl\u0131 Arap\u00e7a ve Fars\u00e7a unsurlar kullanmam\u0131\u015ft\u0131r.
\n Fuz\u00fbl\u00ee’ nin ba\u015fta Ali \u015eir Neva\u00ee ve Habibi gibi T\u00fcrk\u00e7e yazan \u015fairleri iyi bildi\u011fi, eserlerinden anla\u015f\u0131lmaktad\u0131r. O, Habibi’ nin “dedim dedi” gazeline nazire yazm\u0131\u015ft\u0131r. Hasan \u00c7elebi 1586 y\u0131l\u0131nda yazd\u0131\u011f\u0131 tezkiresinde, Fuz\u00fbl\u00ee i\u00e7in “Nev\u00e2y\u00ee tarz\u0131nda kar\u00eeb bir \u00fcsl\u00fbb-\u0131 bed\u00ee ve semt-i garibi vard\u0131r” ifadesiyle, O’ nun Ali \u015eir Neva\u00ee \u015fiiriyle olan m\u00fcnasebetine dikkat \u00e7eker.
\n K\u00e2nun\u00ee Sultan S\u00fcleyman’ \u0131n seferine kat\u0131lan Hay\u00e2li ve Yahya Beyler ile de g\u00f6r\u00fc\u015fen Fuz\u00fbl\u00ee’ nin, Anadolu \u015fiirinden etkilenmi\u015f olmas\u0131 m\u00fcmk\u00fcnd\u00fcr; Necati Bey’ in “gayr\u0131” redifli \u015fiirine yazd\u0131\u011f\u0131 \u00fc\u00e7 nazire de, bunun bir i\u015faretidir.
\n Fuz\u00fbl\u00ee, T\u00fcrk\u00e7e yazan \u015fairlerden ba\u015fka, Fars\u00e7a yazan, H\u00e2f\u0131z; Niz\u00e2m\u00ee ve C\u00e2mi gibi \u015fairlerden de etkilenmi\u015ftir.
\n Fuz\u00fbl\u00ee’ nin ya\u015fad\u0131\u011f\u0131 co\u011frafya, gerek \u0130sl\u00e2miyet \u00f6ncesi devirlerde ve \u0130sl\u00e2miyet’ in hakim oldu\u011fu devirlerde, devaml\u0131, b\u00fcy\u00fck karga\u015fan\u0131n ya\u015fand\u0131\u011f\u0131 ve bunun sonucu olarak, her kar\u0131\u015f topra\u011f\u0131na kan ve h\u00fcz\u00fcn sinmi\u015f bir co\u011frafyad\u0131r. En b\u00fcy\u00fck ac\u0131, Kerbel\u00e2 vak’ as\u0131nda Hz. H\u00fcseyin’ in \u015fehit edilmesidir ki, \u0130sl\u00e2m tarihinin en trajik olay\u0131d\u0131r. Bu \u0131zd\u0131rap dolu iklimin \u00e7ocu\u011fu olan Fuz\u00fbl\u00ee’ nin \u015fiirlerinde ilk dikkat \u00e7eken tematik \u00f6zellik, \u0131zd\u0131raba dayal\u0131, lirik bir a\u015fkt\u0131r. Klasik T\u00fcrk \u015fiirinin kavu\u015fma yerine ayr\u0131l\u0131k tema’ s\u0131n\u0131 idealize etmesi de, Fuz\u00fbl\u00ee’ nin \u0131zd\u0131rap anlay\u0131\u015f\u0131yla \u00e7\u0131km\u0131\u015f ve b\u00f6ylece “muzdarip \u015fair Fuz\u00fbl\u00ee” do\u011fmu\u015ftur. \u015eiirlerindeki lirizmin temelinde evrensel bir be\u015feri \u00f6zellik olan \u0131zd\u0131rap yatan Fuz\u00fbl\u00ee, \u015fiirlerinin fonuna tasavvufu yerle\u015ftirerek a\u015fk ve mistisizm gibi iki eri\u015filmezlik anlay\u0131\u015f\u0131n\u0131 birle\u015ftirmi\u015ftir. Fuz\u00fbl\u00ee’ nin \u015fiirlerindeki a\u015fk\u0131n tasavvufi mi, be\u015feri mi oldu\u011fu tart\u0131\u015fmalar\u0131, O’ nun \u015fiir anlay\u0131\u015f\u0131n\u0131n s\u0131n\u0131rland\u0131r\u0131lmas\u0131 demektir. Fuz\u00fbl\u00ee, ger\u00e7ek insandaki evrensel duygular\u0131, i\u00e7inde bulundu\u011fu toplum ile, en k\u0131sa yoldan payla\u015fmak \u00fczere, tasavvufi sembolleri kullanm\u0131\u015f; bu yolla ezeli ve ebedi olan a\u015fk\u0131 anlatm\u0131\u015ft\u0131r. O’ nun \u015fiirlerinde tasavvuf, Ahmet Yesev\u00ee, Seyyid Nes\u00eem\u00ee, Niyaz\u00ee-i M\u0131sr\u00ee ve \u0130brahim Hakk\u0131’ n\u0131n \u015fiirlerinde oldu\u011fu gibi esas ama\u00e7 olmam\u0131\u015ft\u0131r. Fuz\u00fbl\u00ee tasavvufi terimleri, be\u015feri \u00f6zellikleriyle \u015fiirle\u015ftirerek \u00f6\u011freticilik (didaktisizm) ten uzak durmu\u015f, lirizme yaslanarak hissettiricilik pe\u015finde ko\u015fmu\u015ftur.
\n Bu y\u00fczden Fuz\u00fbl\u00ee’ nin \u015fiirlerinde bulunan tasavvufi ve be\u015feri hisler, O’ nun a\u015fk\u0131 ulv\u00eele\u015ftirdi\u011finin g\u00f6stergesidir.
\n Fuz\u00fbl\u00ee, yo\u011fun bir lirizmle ifade etti\u011fi \u015fiirlerinde, a\u015fk\u0131 u\u011fruna her \u015feyini fed\u00e2 edebilece\u011fi bir insan\u00ee de\u011fer olarak g\u00f6r\u00fcr ve bunu \u015f\u00f6yle dile getirir:
\nC\u00e2n\u0131 c\u00e2n\u00e2n dilemi\u015f vermemek olmaz ey dil
\n Fuz\u00fbl\u00ee, gene Leyla ile Mecnun’ undaki bir ba\u015fka beytinde, \u015f\u00f6yle s\u00f6yler: a\u015fk\u0131 kemalinin, sevgili i\u00e7in can vermek oldu\u011funu; bunu yapamayanlar\u0131n eksikliklerini itiraf etmeleri
\n C\u00e2n\u0131n\u0131 c\u00e2n\u00e2na vermektir kem\u00e2li \u00e2\u015f\u0131k\u0131n
\n Vermeyen c\u00e2n i’ tir\u00e2f etmek gerek noks\u00e2n\u0131na
\n Fuz\u00fbl\u00ee, insan\u0131n en y\u00fcce hakk\u0131 olan ya\u015fama hakk\u0131n\u0131n kar\u015f\u0131s\u0131na sevgiliyi koyarak b\u00fcy\u00fck bir gerilimi ortaya koyar. Esas \u00f6zelli\u011fi \u0131zd\u0131rap olan bu gerilim candan vazge\u00e7mek, onu sevgili i\u00e7in feda etme anlay\u0131\u015f\u0131, Fuz\u00fbl\u00ee’ nin \u015fiirini \u00e2det\u00e2 bir “can pazar\u0131” na d\u00f6nd\u00fcrm\u00fc\u015ft\u00fcr. Bunun sonucu olarak Fuz\u00fbl\u00ee, sanki \u00f6l\u00fcm\u00fc idealize etmi\u015ftir. \u0130\u015fte, bu “\u00f6l\u00fcm\u00fc idealize edi\u015f” in, Allah’ \u0131n cemaline mazhar olman\u0131n be\u015fer\u00ee planda ilk ve en ac\u0131 merhalesi olas\u0131 y\u00fcz\u00fcnden, kimi ara\u015ft\u0131rmac\u0131lar\u0131n, Fuz\u00fbl\u00ee’ nin \u015fiirlerindeki a\u015fk\u0131n ilah\u00ee a\u015fk oldu\u011funu ileri s\u00fcrmelerine yol a\u00e7m\u0131\u015ft\u0131r. Kulland\u0131\u011f\u0131 dilin atas\u00f6zleri ve deyimler ba\u015fta olmak \u00fczere b\u00fct\u00fcn inceliklerini \u015fiirine aktaran Fuz\u00fbl\u00ee, evrensel duygular olan a\u015fk ve \u0131zd\u0131rab\u0131 da derinden derine ya\u015fayan bir edeb\u00ee \u015fahsiyet olarak en zor ifade edilebilecek duygular\u0131 bile kolayca ifade ederek, \u00f6zellikle manzum eserlerinde sehl-i m\u00fcmteni \u00f6rnekleri vermi\u015ftir. Gerek bir insan olarak ve gerekse bir \u015fair olarak ya\u015fad\u0131\u011f\u0131 ve hissetti\u011fi her \u015feyi, son derece samimi bir \u015fekilde ifade eden Fuz\u00fbl\u00ee, \u015fiir tekni\u011finde de ba\u015far\u0131l\u0131d\u0131r.Aruz kusurlar\u0131n\u0131n ses \u00f6zelli\u011finden bile istifade ederek, \u00f6zellikle bir bu\u00e7uk hece okutan medleri, birer \u00e7\u0131\u011fl\u0131k haline d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fcr. T\u00fcrk\u00e7e, duygu ve teknik uyumun sa\u011flanm\u0131\u015f olmas\u0131 y\u00fcz\u00fcnden, Fuz\u00fbl\u00ee’ nin \u015fiirleriyle, \u015fiir dili olma \u00f6zelli\u011fi kazanm\u0131\u015ft\u0131r.
\n Fuz\u00fbl\u00ee, T\u00fcrk \u015fiirinde, en fazla etkisi olan \u015fairlerden biridir. Fuz\u00fbl\u00ee devrinde veya daha sonra ya\u015fay\u0131p da, ona nazire yazmayan \u015fair azd\u0131r. Ta\u015fl\u0131cal\u0131 Yahya Bey Fuz\u00fbl\u00ee’ nin en \u00e7ok okunan \u015fiirlerinden biri olan Su Kasidesi” ne, N\u00e2il\u00ee, “sak\u0131n” redifli gazeline, Nedim “Peri\u015fan\u0131ndad\u0131r, yan\u0131ndad\u0131r” gazeline nazireler yazm\u0131\u015f, Bak\u00ee, me\u015fhur “usanmaz m\u0131 – yanmaz m\u0131”, gazelini tahmis etmi\u015ftir. Hasan Ali Y\u00fccel’ in Fuz\u00fbl\u00ee divan\u0131na nazire olarak tertip etti\u011fi divan\u0131 onun bire bir taklidi niteli\u011findedir. Fuz\u00fbl\u00ee’ nin tesiri g\u00fcn\u00fcm\u00fczde de tesir etmekte olup, \u015eahin U\u00e7ar, “\u015eeyd\u00e2 Div\u00e2n\u0131” ad\u0131n\u0131 verdi\u011fi eserinde, tamamen Fuz\u00fbl\u00eeyane bir s\u00f6yleyi\u015fi tercih etmi\u015ftir.
\n Fuz\u00fbl\u00ee’ nin edebi ki\u015fili\u011finin bir ba\u015fka y\u00f6n\u00fc de mensur eserlerinde g\u00f6r\u00fclmektedir. T\u00fcrk\u00e7e yazd\u0131\u011f\u0131 ve Hz. H\u00fcseyin’ in Kerbela’ da \u015fehadetini anlatt\u0131\u011f\u0131 Had\u00eekat\u00fc’s – S\u00fc’ed\u00e2 ( Saadete Ermi\u015flerin Bah\u00e7esi )’- s\u0131nda Fuz\u00fbl\u00ee, \u015fiirlerine nazaran Arap\u00e7a ve Fars\u00e7a unsurlara daha \u00e7ok yer vermi\u015fse de, pek uzun olmayan c\u00fcmleleriyle, konuyu \u00fcsluba feda etmemi\u015ftir. Manzum – mensur kar\u0131\u015f\u0131k olan bu eserde, Fuz\u00fbl\u00ee, duygu yo\u011funlu\u011funun artt\u0131\u011f\u0131 yerlerde veya hikmet ifade etme ihtiyac\u0131 duydu\u011fu k\u0131s\u0131mlarda k\u0131t’ alar ve beyitlerle anlat\u0131m\u0131na renklilik katm\u0131\u015ft\u0131r. Klasik nesrin \u00f6zelli\u011fi olan seciyi, b\u00fct\u00fcn eseri boyunca kullanan Fuz\u00fbl\u00ee, Hz. H\u00fcseyin’ in \u015fehadetini anlatt\u0131\u011f\u0131 k\u0131s\u0131mda, secilerden de istifade ederek, trajediyi \u015fiirle\u015ftirmi\u015ftir.
\n Fuz\u00fbl\u00ee, zaman zaman baz\u0131 devlet y\u00f6neticilerine yazd\u0131\u011f\u0131 mektuplarda da, dile olan hakimiyetini g\u00f6stermi\u015f ve b\u00f6ylece, T\u00fcrk nesir dilinin geli\u015fmesine de katk\u0131da bulunmu\u015ftur. Bilhassa, Ni\u015fanc\u0131 Celal-zade Mustafa Bey’ e yazd\u0131\u011f\u0131 ve “\u015eik\u00e2yet – n\u00e2me” ad\u0131yla bilinen mektubunda Fuz\u00fbl\u00ee, hem bir dil, hem bir hiciv ustas\u0131 oldu\u011funu g\u00f6stermi\u015ftir.
\n Fuz\u00fbl\u00ee, mektuplar\u0131nda da, secili nesir tekni\u011fini tercih etmi\u015ftir.
\n Fuz\u00fbl\u00ee’ nin edeb\u00ee \u015fahsiyeti hakk\u0131nda, sonu\u00e7 olarak \u015fu s\u00f6ylenebilir: O, dili ustaca kullanarak, T\u00fcrk\u00e7e ile kusursuz denebilecek \u015fiirler s\u00f6ylemi\u015ftir. Fuz\u00fbl\u00ee’ nin \u015fiirlerinde a\u015fk ve \u0131zd\u0131rap i\u00e7 i\u00e7edir ve \u015fiirlerin fonunda tasavvuf en belirgin \u00f6zellikleriyle yer al\u0131r. \u015eiirlerinde samimi olmas\u0131 dolay\u0131siyle, lirizmi yakalam\u0131\u015f ve buna paralel bir \u00fcslup kullanarak, \u015fiir sanat\u0131nda kal\u0131c\u0131l\u0131\u011f\u0131 yakalam\u0131\u015ft\u0131r. O, Fars\u00e7a bir beytinde de ifade etti\u011fi gibi, \u00fclkelerin askerlerle de\u011fil, dil k\u0131l\u0131c\u0131yla fetheden bir \u015fairdir.
\nSanat\u0131<\/p>\n
1 ) \u015eiirinin en \u00f6nemli \u00f6zelli\u011fi i\u00e7tenli\u011fi, co\u015fkunlu\u011fu ve sadeli\u011fidir.
\n2 ) \u015eiirlerinin ba\u015fl\u0131ca temalar\u0131; sevgi, \u0131st\u0131rap, d\u00fcnyan\u0131n fanili\u011fi, \u00f6l\u00fcm
\nvs.’dir.Bunlar\u0131n ele al\u0131n\u0131\u015f\u0131nda lirizm dikkati \u00e7eker.
\n3 ) Gen\u00e7lik \u015fiirleri dil bak\u0131m\u0131ndan Azeri edebiyat\u0131n\u0131n \u00f6zelliklerini
\ng\u00f6sterir.Osmanl\u0131lar\u2019\u0131n Ba\u011fdat’\u0131 almalar\u0131ndan sonra yazd\u0131\u011f\u0131 \u015fiirlerin ise
\ns\u00f6zl\u00fck ve gramer kurallar\u0131 bak\u0131m\u0131ndan T\u00fcrkiye T\u00fcrk\u00e7esi’ ne uydu\u011fu g\u00f6r\u00fcl\u00fcr.<\/p>\n
Divan\u0131<\/p>\n
– \u00d6ns\u00f6z
\n– Kasideler
\n* kaside der tevhid-i hazret-i bari ( Allah’a )
\n* kaside der na’t-i hazret-i fahr-i mevcudat ( Allah’a)
\n* na’t-i hazret-i nebevi ( Peygambere)
\n* na’t-i hazret-i fahr-i kainat
\n* \u015fah-i velayet ( Ali’ye )
\n* \u015fah-i velayet
\n* sultan s\u00fcleyman’a ( 4 adet )
\n* Aya\u015f pa\u015fa’ya ( 7 adet )
\n* Mehmet pa\u015fa’ya ( 4 adet )
\n* di\u011fer devlet b\u00fcy\u00fcklerine kasideler
\n– Gazeller ( 302 adet )
\n– M\u00fcstezad
\n– Terci-i bend
\n– M\u00fcseddes
\n– Muhammes
\n– Tahmis
\n– Murabba
\n– Mukatta’at<\/p>\n","protected":false},"excerpt":{"rendered":"
Fuzuli\u2019nin Hayat\u0131 (1480-1556) Ger\u00e7ek ad\u0131 Mehmed B. S\u00fcleyman’d\u0131r. Kerbel\u00e2’da do\u011fdu, do\u011fum y\u0131l\u0131 kesinlikle bilinmiyorsa da, kimi kaynaklara g\u00f6re 1480 dolaylar\u0131ndad\u0131r. 1556’da Kerbel\u00e2’da \u00f6ld\u00fc. Ya\u015fam\u0131, \u00f6zellikle gen\u00e7lik d\u00f6nemi ve \u00f6\u011frenimi konusunda yeterli bilgi yoktur. \u015eiirde “Fuz\u00fbl\u00ee” ad\u0131n\u0131, kendi \u015fiirlerinin ba\u015fkalar\u0131n\u0131nkilerle, ba\u015fkalar\u0131n\u0131n \u015fiirlerinin de kendisininkilerle kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131 i\u00e7in ald\u0131\u011f\u0131n\u0131, b\u00f6yle bir takma ad\u0131 kimsenin be\u011fenmeyece\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcnden kulland\u0131\u011f\u0131n\u0131, Fars\u00e7a …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1403,1405],"tags":[2056,4,2057],"class_list":["post-698","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-fuzulinin-hayati","tag-kerbela","tag-tasavvuf"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/698","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/comments?post=698"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/698\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=698"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=698"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=698"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}