Fettâhî’nin Hosn u Dil (Hüsn ü Dil)’i İle Fuzûlî’nin Sıhhat ve Maraz’ının Mukayesesi
Güller Nuhoğluİslâmi edebiyatta seyr ü sülûkun alegorik tarzda anlatımı ilk olarak Arap Edebiyatı’nda ortaya çıkmış, Fars Edebiyatı yoluyla Türk Edebiyatı’na geçmiştir. İbn Sinâ Arapça kaleme aldığı Salamân u Absâl eseriyle bu türün ilk örneğini vermiş, bu türde eser veren diğer kalem erbabı onu takip etmişlerdir. Fars Edebiyatı’nda ise Suhreverdî’nin Munisü’l- ‘uşşâk’ı ve Attâr’ın Mantıku’t- tayr’ı ilk örneklerdir. 15.yy. Fars Edebiyatı’nın önemli şahsiyetlerinden Fettâhî-yi Nişâbûrî bu türün ilk temsilcilerinden olmasa da aşk, güzellik, gönül v.s. mazmunları kişileştirerek Hosn u Dil (Hüsn ü Dil/ Güzellik ve Gönül) adıyla alegorik tarzda mesnevi yazan ilk kişidir. Eserin konusu görünüşte, Mağrip hükümdarı Akl’ın oğlu Dil ile Maşrik hükümdarı Aşk’ın kızı Hosn arasındaki muaşaka olsa da esasında bir iç yolculuk ve arayış hikayesidir. Bu iç yolculukta kat edilen her bir mekan bedenin bir uzvu veya insana ait bir kavram olup bu mekanlar seyr ü sülûkta bir basamak olarak tasarlanmıştır. Hosn u Dil, Doğu ve Batı edebiyatlarında büyük bir şöhrete sahip olmuş, eserin tercümeleri, tanzirleri yapılmış; ondan esinlenerek eserler ortaya konmuştur. Özellikle 16.yy. Türk şairleri eserden derinden etkilenmiş, Lâmiî, Ahî, Vâlî, Muhyî, Sıdkî aynı isimle eseri manzum veya mensur olarak Türkçe’ye çevirmişlerdir. Ayrıca W. Price ve A. Browne taraflarından İngilizce, R. Dvorak tarafından da Almanca çevirileri yapılmıştır. 16.yy. Türk Edebiyatı’nın güçlü şairlerinden Fuzûlî’nin Sıhhat ve Maraz isimli eserinin de Hosn u Dil’in alegorik kurgusundan izler taşıdığı ileri sürülmüştür. Bu çalışmada Hosn u Dil’in, Sıhhat ve Maraz üzerindeki etkisi irdelenirken iki eserin örtüştüğü ve ayrıştığı noktaları ortaya koymak için eserler şahıs, mekan ve olay örgüsü yönünden karşılaştırılacaktır.
A Comparison of Fettahi’s Husn u Dil with Fuzuli’s Sıhhat ve Maraz
Güller NuhoğluThe allegorical expression of seyr ü sulûk in Islamic literature first appeared in Arabic texts and was transmitted to Turkish literature via Persian. Ibn Sinâ wrote the first example of this genre, his Salaman u Absâl written in Arabic, and other writers in the genre followed him. In Persian literature, Suhreverdî's Munisü'l-uşşâk and Attâr's Mantıku't-tayr are the first examples. Although Fattâhî, an important figure of 15th century Persian literature, was not one of the first representatives of this genre, he was the first to write an allegorical mathnawi (the name Husn u Dil) by personifying ideas such as love, beauty, heart, etc. Although the subject of the work is superficially a love story between Dil (Heart), the son of the Maghreb ruler Akl (Reason), and Husn (Beauty), the daughter of the Mashrik ruler, Ishk (Love), its theme is actually an inner journey and a quest. Each place traversed in this inner journey is a part of the body and each is designed as a step on seyr ü sulûk. Husn u Dil has gained a great reputation in both Eastern and Western literature, and has been translated into various other languages, as well as inspiring the publication of many other works of literature. The 16th century Turkish poets were particularly influenced by the work, and those such as Lâmiî, Ahî, Wâlî, Muhyî, and Sıdkî translated the work into Turkish both as poetry and prose. Subsequently, W. Price and A. Browne translated the work into English, and R. Dvorak into German. It has been claimed that Fuzulî's work, Sıhhat ve Maraz, also contains traces of the allegorical fiction of Husn u Dil. In this article, we will examine that the influence of Husn u Dil on Sıhhat ve Maraz, particularly overlapping and contrasting points of both works in terms of place, person, and storyline.
It is well known that sufis, produced various works by equating the adventure of a human attaining truth with their ontological understanding. Underlying these works is an understanding of vahdet-i vücûd (unity of existence), according to which existence is one and what really exists is only the existence of God. A person wishing to understand the truth of this absolute existence must be abstracted from his human existence through the experience of seyr ü sulûk (special training of a religious order). Thus, it was deemed inappropriate for those with such experience to simply transcribe their inner experience directly in writing, and an allegorical style of expression was preferred.
The allegorical narration in Islamic literature of seyr ü sulûk started with Ibn Sinâ, and other authors of similar works generally imitated him. However, Fattâhî Nishapur was the first to include seyr ü sulûk, the subject of his work Husn u Dil, by using classical personifications such as love, beauty, and heart. Ostensibly, the subject of the work is the love between Dil (Heart), the son of the Maghreb (West) ruler Akl (Reason) who was appointed the sultan of Beden castle, and Husn (Beauty), the daughter of the Mashriq (East) ruler Aşk (Love), and the events that occur in other parts of the body as they come together.
This work, which attracted great attention in both Eastern and Western literature, has been translated and replicated with the same or different names. There is a common opinion that Fuzûlî’s work, Sıhhat ve Maraz, also contains traces of Husn u Dil's allegorical approach. To reveal the overlapping and contrasting points of the two works, this study examines them both in terms of person, place, and storyline, and draws conclusions on this basis.
Fuzûlî's work is narrated in two parts, the first of which is an adaptation of the author's understanding of the medicine of his time to literature. It would not be wrong to say that this section is completely original and has been written in a robust and artistic style in terms of both expression and storyline. In the second part of the story, on which this comparison is based, the impact of Fattâhî is clearly apparent. Although this section is comparable Fattâhî’s work in terms of style, it seems to be more concise and superficial relative to Fattâhî’s detailed fiction.
This is because Fattâhî, who preferred a solitary lifestyle, identified with the main character of his work, Dil, and recounted his inner adventure through Dil. In fact, there are statements to this effect at the beginning and end of his work. Fuzûlî, meanwhile, declares that his story was transmitted at the beginning of the Sıhhat and Maraz.
In both works, which are inner journey or quest stories, the characters who will undertake this journey or search and the places where they settle or visit are invented, the former as abstract concepts of human beings and the latter as personifications of the body parts of the lover that are used as place names. These abstract and concrete concepts used in both works, both as person and space, sometimes overlap and sometimes diverge. While Fattâhî associates almost every character with another character or place, Fuzûlî does not endeavor to do so. While Fattâhî generally applies his descriptions to individuals, Fuzûlî prefers to use places.
In terms of storyline, both works contain a long seyr ü sulûk. The place to be visited is Beden. In the course of the stories, there are parallels both in events and in the use of common metaphors (such as getting one’s desire with magic, overcoming obstacles with hair strands, mirrors, and rings, etc.). Both works conclude with a sufistic expression; in other words, Dil and Rûh have attained Marifetullah (knowledge of God).
As a result, while Fattâhî's work seems more successful in terms of seyr ü sulûk, Fuzûlî's work is more complementary in so far as it combines medicine and Sufism.
