Emrah Gündüz | Bingol University (original) (raw)

Papers by Emrah Gündüz

Recep Tayyip Erdoğan Üniversitesi Fen-Edebiyat Fakültesi Türk Dili ve Edebiyatı Dergisi, 2024

The 18th century, which expresses the last classical period of Turkish literature, is a period wh... more The 18th century, which expresses the last classical period of Turkish literature, is a period when the Ottoman Empire experienced political and economic decline. In this century, the reflection of the negative atmosphere brought by the period of regression in literature has spread over a long time, and there has been a great increase in the number of poets compared to previous periods. Despite the increase in the number of poets, the depth of meaning and imagination in literary works became vulgar, and very few poets were able to write poetry in the style of the antecedents. According to sources, one of these poets is Mehmed Musîb Efendi (d. 1754-55). Mehmed Efendi, who wrote poems with the Musîb pen name in the tezkires of the period and who was reported to have a true style, lived in the first half of the 18th Century and served as a deputy of kadi. In addition, the poet, who is originally from Cyprus, has a prose dictionary commentary work called Tuhfet al Irfan with the author’s line. It is not known whether Musîb, who is reported to be a scholar in the sources of the last classical period and who is the only poet in our literature with his pen name, has a divan. However, in the examinations made, poems written in different verse forms belonging to Musîb were noticed in various manuscripts. Based on these poems, it was tried to comment on the period, life and literary character of Musîb. In addition, four qasidas, two parallel ghazals, five couplets, one tahmis and one stanza registered under the name of Musîb were included in various manuscripts and these texts were examined in terms of content. At last, these poems bearing the poet’s pen name were transferred to today's alphabet with translation and the manuscripts containing these poems were introduced.

Bingöl Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 2024

Since before, fortune telling has been one of the efforts of human beings to find meaning in the ... more Since before, fortune telling has been one of the efforts of human beings to find meaning in the face of the uncertainty of time and the world. In our culture, many types of fortune telling were used, and Qur'an fortunes were preferred in line with religious sensitivity, especially after Islam in the Ottoman Empire. This fortune telling, which is applied as the interpretation of the letters and verses of the Qur'an with the bibliomancy method, is also called Tefeulname. Tefeul (Bibliomancy), which is an Arabic word, means to interpret favourably. Many artefacts have been given in our history of this type of literature. One of them is the work called Terceme-i Tefeulname, which is covered in this article. The work written in Ottoman Turkish and determined in The Khalidi Library in Jerusalem is dated 1793-1794. It is noteworthy that the fortune-telling culture, which is not applied especially from an Islamic point of view and whose credibility is incorrect, is texted by including the Qur'an in the form of bibliomancy. On the other hand, the curiosity of Muslim societies and the enthusiasm to know the future have enabled different meanings to be given to bibliomancy and increased the interest in these fortune texts. Based on this, in this article, the meaning world of the Qur'an fortunes, which were texted in Ottoman society, was tried to be interpreted, and the translated written text of the aforementioned work was presented.

HİKMET-Akademik Edebiyat Dergisi (Journal Of Academic Literature)

ÖZET Bu makalede hayatının bir bölümünü İstanbul’da geçirmiş Azeri kökenli Abdülmecid Şirvânî’ni... more ÖZET
Bu makalede hayatının bir bölümünü İstanbul’da geçirmiş Azeri kökenli Abdülmecid Şirvânî’nin (d. 18??- ö. 19??) Türkçe tek eseri olan Hitâb-ı Sihrî”nin tanıtımı ve muhteva incelemesi yapılmıştır. Eserin müellif hattı el yazması, tek nüsha hâlinde Vatikan Kütüphanesi Türkçe Yazmaları Kataloğu vat.turco.135 numarada tespit edilmiştir. Eserde Mevlânâ Celâleddîn Rûmî’ye nispet edilen bir Farsça şiirin şerh ve tercümesi yapılmıştır. Sabah erken kalkmanın fazileti üzerine yazılan ve dönemin padişahı Mehmet Reşat’a takdim edilen eser, dinî-tasavvufi türde olup süslü nesir özellikleri taşımaktadır. Üç dilde yazılmış eserde şerh edilen manzumeyle ilgili tercümelerde Türkçe, dinî alıntılarda Arapça, şiir alıntılarında Farsça kullanılmıştır . Es e rin içe riğiy le ilgili olarak, Şirv ânî taraf ında n Mevlânâ’ya izafe edilen “Berhîz vakt-i subh-dem” redifli 16 beyitlik Farsça şiirin, muteber Mevlânâ kaynaklarında geçmediği tespit edilmiştir. Bu çalışmayla söz konusu şiirin Mevlânâ’ya aidiyeti irdelenmiş ve bu konu tartışmaya açılmıştır. Bununla birlikte Türk edebiyatı şerh ve tercüme geleneğine katkı sunacak olan Hitâb-ı Sihrî adlı eserin ilim âlemine sunulması hedeflenmiştir. Eserde şerhi yapılan manzumenin Mevlânâ’ya aidiyeti konusunda şüpheler dile getirilmiş ve bu konuda ihtiyatlı olunması gerektiği vurgulanmıştır.
Anahtar Kelimeler: Farsça, Mevlânâ Celâleddîn Rûmî, Şirvânî, şerh, şiir, tercüme.

COMMENTARY ON A POEM ATTRIBUTED TO RUMI: ABDULMECID SHIRVANI’S WORK “HITAB-I SIHRI”
ABSTRACT
This study identifies and analyzes the content of Hitâb-ı Sihrî, the only work written in Turkish by Abdülmecid Şirvânî (b. 18?? - d. 19??), who spent a part of his life in Istanbul. The manuscript of the work written by the author himself was found in a single copy in the Vatican Library Turkish Manuscripts Catalogue numbered vat.turco.135. In the work, a Persian poem attributed to Mawlana Jalaladdin Rumi was commented and translated. The work, which was written on the virtue of waking up early in the morning and presented to the sultan of the period, Mehmet Reşat, is in the religious-mystical genre and has the characteristics of ornamented prose. In the work written in three languages, Turkish was used in the translations related to the verse annotated, Arabic in religious quotations and Persian in poetic quotations. Regarding the content of the work, it has been determined that the Persian poem of 16 couplets with the redif “Berhîz vakt-i subh-dem” attributed by Şirvânî to Mawlana was not mentioned in the respected Mawlana sources. Through this study, the belonging of the poem in question to Mawlana is examined, and this issue was brought into discussion. In addition, this study aims to present the work called Hitâb-ı Sihrî, which will contribute to the tradition of commentary and translation of Turkish literature, to the world of science. Some doubts are expressed about the belonging of the verse commented in the work to Rumi, and it is emphasized that one should be attentive in this regard.
Keywords: Persian, Mawlana Jalaladdin Rumi, Şirvânî, scholium, poem, translation.

2015, 2015

Bu makalede Koyunoglu Muzesi Kutuphanesi’ndeki 134611 numarali siir mecmuasi tanıtılmıştır. Yaz... more Bu makalede Koyunoglu Muzesi Kutuphanesi’ndeki 134611 numarali siir mecmuasi tanıtılmıştır. Yazma 126 varaktır. Çoğunlukla on yedinci ve on sekizinci yüzyıl şairlerinin şiir örneklerini içeren mecmuada 52 saire ait 336 şiir vardır. Bazı şairlerin mecmuada olup da yayınlanmış divanlarda bulunmayan şiirleri ortaya çıkarılmıştır. Makalede bu şiirlerin transkripsiyonlu metinleri verilmektedir. Mecmuada en çok gazel nazım şekli yer almakta olup murabba, kıt’a, beyit gibi diğer nazım şekilleriyle yazılmış şiirler de bulunmaktadır.

MEHMED MUSIB EFENDI AND HIS WORK TITLED “TUHFAT-AL IRFAN” IN THE TYPE OF AN COMMENTARY OF SHAHIDI’S PRESENT, 2021

The works written in Ottoman Turkish since the foundation of the Ottoman Empire shed light on our... more The works written in Ottoman Turkish since the foundation of the Ottoman Empire shed light on our literary history and culture as well as our history. The historical documents for Anatolian culture, these manuscripts have spread to various libraries around the world. It is vital for our classical Turkish literature history to discover these manuscripts and to translate them into modern Turkish. This research aims to contribute to the dictionary and scholium studies in our literary history of Tuhfet-al Irfan, which was introduced in this research and had been discovered in a library abroad. The first dictionary studies and the scholium on them made by literary scholars in the Ottoman Empire, which was a bilingual society, are considered valuable in terms of lexicography and they contribute to the dictionary studies related to Persian teaching even today.
In this context, a Persian-Turkish verse dictionary, Tuhfe-i Shahidi, about which nearly 60 scholium had been written in our literary history, is accepted as a pioneering work for dictionary studies written after him. This work was written by Ibrahim Shahidi Dede (d. 1550) so that the Mathnawi of Rumi can be understood better in 1514. It was found that the work named Tuhfet-al Irfan, name of which is not mentioned in the scholium books written about Tuhfe-i Shahidi, contains the commentary of the first 14 couplets of Tuhfe-i Shahidi and is a new work specific to this field. We found that Tuhfet-al Irfan is in the David Eugene Smith Collection of New York Columbia University Rare Book and Manuscript Library in the USA, number of Ms. Or. 385, and the manuscript is considered to be written between the years 1720-21 and 1754-55. The work, which does not have another copy and was written by the author himself, is incomplete. In the manuscript written in naskh style, red and black ink was used. The author is Mehmed Musîb Efendi from Nicosia, Cyprus (d. 1754-55).
The 18th century is considered the most productive period in terms of poetry and poets in the history of classical Turkish literature. In this century, when great diwan poets such as Nedim and Sheikh Galib lived, the literary man named Mehmed Musib Efendi also lived, who was both a naip (assistant of kadi) and a diwan poet. There is not much information about Musib Efendi in the tazkiras in which his name was mentioned survived until today. On the other hand, in the same tazkiras, it was stated that the poet was a master in poetry and perfect in science. This research presents the literary personality of Musib Efendi and his poems that have not been mentioned anywhere before. It was found that Musib Efendi, who was also an expounder, has a work called Tuhfet-al Irfan similar to Tuhfe-i Shahidi scholium. Our research has so far revealed that Musib Efendi was an assistant of kadi in various regions of the Ottoman Empire, a diwan poet who is good at Arabic and Persian, and after 1721, he got married and settled in Cyprus. We deduced this information through his own expressions in the preface of Tuhfet-al Irfan, his only work discovered so far. The autobiographical information in the preface and the chapters of poetry not found elsewhere provide information about Musib Efendi and his understanding of art. All these data are presented in the research under the poet’s biography.
Tuhfet-al Irfan is a verse dictionary scholium containing the philological explanation of the words in the first 14 couplets of Tuhfe-i Shahidi and the explanation of bahir, tef’ile and taktîs of Arabic prosody. In this scholium, the Turkish definition of the words in these first 14 couplets and their Arabic and Persian meanings are given. Musib Efendi sometimes goes beyond the scholium and conveys the parallel or opposite ideas to his readers using the methods of proof and exemplification often seen in the commentary studies. The verses, hadiths, aphorisms, and poems of famous poets he addresses give clues about the sources inspiring him and his world of imagination, as well as presenting different aspects of his work to the attention.
This research reveals information about Musib Efendi’s literary personality and life with his poems discovered for the first time. In addition, the poet’s work, titled Tuhfet-al Irfan written in the form of a verse dictionary commentary whose existence remained unknown in the sources, was discovered. We hope that this newly discovered work will be a source for the works related to Tuhfe-i Shahidi and its scholium and contribute to lexicography studies in this context.

Akademik Dil ve Edebiyat Dergisi: Mi‘râciye Türünde Yeni Bir Örnek: Lebîb Efendi’nin Mi‘râciye’si, 2021

In the Ottoman Empire, which adopted the religion of Islam, it is seen that religious themes were... more In the Ottoman Empire, which adopted the religion of Islam, it is seen that religious themes were transferred to the literature by the connoisseurs of the pen. The miraj event that happens to prophet Muhammed is only one of these religious themes reflected in literature both in verse and in prose. It is seen that the works written about miraj in Ottoman literature is handled with general motifs and the source of these motifs is based on the surahs of Necm and Isrâ. Lebib Efendi's Mirajiye, in which the miraj event is handled with general motifs, is one of these works. There is not much information about the author of the Mirajiye, which is thought to have been written in the 18th century. In the work, which is a mixture of verse and prose, it is seen that different motifs are processed together with typical motifs. Mirajiye carries the earliest fevaid record dated 1792 and was found in a manuscript library abroad. It has been noticed that this identified manuscript was not evaluated in academic studies in previous compilations on this genre.
In this article, Lebib Efendi and his Mirajiye were introduced and pre-examined. Mirajiye, which will be a new example of such works, is intended to be transcribed and introduced to the world of literature.

Atatürk Üniversitesi Türkiyat Araştırmaları Enstitüsü Dergisi, 2019

Öz Divan şiirinin son dönemi olarak adlandırılan XIX. yüzyıl, yenilik arayışı içerisindeki şairl... more Öz
Divan şiirinin son dönemi olarak adlandırılan XIX. yüzyıl, yenilik arayışı içerisindeki şairler ile geleneğe bağlı kalan divan şairlerinin bir arada eserler verdiği bir geçiş dönemidir. Yeni karşısında klasik olanı yaşatma ve geleneği devam ettirme arzusunu birçok divan şairinin eserlerinde görmek mümkündür. Bu şairlerden biri de Abdünnâfi İffet Efendi’dir. Divanında tasavvufi mana ve mefhumlarla kaleme almış olduğu Sâkµ-nâmesi, şairin geleneğe bağlılığının delillerindendir. Sâki-nâmeler, divan edebiyatının en sık kullanılan edebµ türlerinden biri olmakla birlikte, içki ve içkiye dair öğelerin gerçek veya mecaz anlamlarıyla ele alınıp işlendiği manzumelerdir. İslamiyet’i benimsemiş bir toplumun edebiyatında gerek gerçek gerekse de mecazi anlam ve kavramlarla bir tür olarak varlığını her dönem göstermiştir.
Bu çalışmada Abdünnâfi İffet Efendi hakkında kısa bir bilgi sunulmuştur ve Divan’ı içerisindeki Sâki-nâmesi şekil ve muhteva bakımından incelenmiştir. Sâki-nâme, 11 bentten oluşan terkib-i bent nazım şekliyle yazılmıştır. Her bendinde on beyti olan şiir toplam 121 beyitten meydana gelmiştir. Sâki-nâme, türünün son dönem örneklerinden olması ve tasavvufi mana ile kaleme alınmış olması bakımından önemlidir.
Anahtar Kelimeler: XIX. yüzyıl, Abdünnâfi İffet Efendi, Sâki-nâme, tür, tasavvuf.

THE SAKI-NAME OF ABDUNNAFI IFFET EFENDI
Abstract
19th century that is named as the last period of Diwan poetry is a transition period when both the poets who seek for the new and the poets who pursuit the tradition produce works all together. It is possible to see the desire to keep the classical and to continue the tradition in the works of many diwan poets. Abdünnâfi Iffet Efendi is one of these poets. Sâki-nâme which is written with sufistic sense and conception proves his commitment to the tradition in his Diwan. Saki-nâmes besides of being frequently used literary genres of diwan literature in which drink and drinking the elements are processed and handled realistically and metaphorically. It has shown its presence in literature in the societies that adopted Islam, both with metaphorical and realistic meanings and concepts.
In this study, a brief information about Abdünnâfi Iffet Efendi is presented and Sâki-nâme in his Diwan is examined in terms of shape and content. Sâki-nâme is composed of 11 verses written in composition verse form. The poem which has 10 couplets in each verse, consists of 121 couplets in total. Sâki-nâme is important in terms of being one of the last examples of his genre and written in sufistic meaning.
Key Words: 19th century, Abdünnâfi Iffet Efendi, Sâki-nâme, genre, sufism.

Doktora Tez, 2018

Bu çalışma, klasik Türk edebiyatının genellikle geç dönemi olarak tanımlanan ve bitiş yüzyılı ola... more Bu çalışma, klasik Türk edebiyatının genellikle geç dönemi olarak tanımlanan ve bitiş yüzyılı olarak kavramsallaştırılan 19. yüzyıl klasik Türk şiiri içinde, Abdünnâfi İffet Efendi (1823-1891) ve Divanı’nın edebî konumunu belirlemeyi amaçlar. Bu çalışmayla, 19. yüzyıl Türk edebiyat tarihi çalışmalarına katkıda bulunmak hedeflenmiştir. Abdünnâfi İffet Efendi Divanı’nı konu alan bu çalışma, ana hatlarıyla giriş ve üç bölümden oluşmaktadır. Çalışmamızda öncelikli olarak 19. yüzyıl klasik Türk şiirinin genel durumu ele alındı. Bu bölümden hareketle Abdünnâfi Efendi’nin hayatı ve edebî eğilimleri tespit edilmeye çalışıldı. Tezin ikinci bölümünde Abdünnâfi İffet Efendi Divanı’nın biçim ve muhteva incelemesi yapıldı. Üçüncü bölümde ise nüshaların tavsifi yapılıp divanın transkripsiyonlu-tenkitli metnine yer verilmiştir.

Özet Tanzimat sonrası gelişen Türk edebiyatının da etkisiyle toplumsal aidiyet yönünden eksik gör... more Özet Tanzimat sonrası gelişen Türk edebiyatının da etkisiyle toplumsal aidiyet yönünden eksik görülen Klasik Türk şiiri, saray edebiyatı adıyla anılmış olsa da, sanılanın aksine toplumsal bir şiir hareketidir. Dîvan edebiyatı şairleri kendi dünyalarına dair birikimlerini yine kendilerine has üslupla ifade ederler. Bunun sonucunda ise farklı mecralara ait unsurların şiirin içine çekildiğini görürüz. Şiirdeki bu farklı unsurlar edebiyat ve toplumsal hayatımızın çeşitliliğini ve zenginliğini ortaya çıkarması bakımından önemlidir. Klasik edebiyatımızda sıkça rastladığımız deniz, gemi ve gemicilik etrafında oluşan terimler ve bunların çevresinde gelişen tür ve tarzlar bunlardan sadece birkaçıdır. Gemi, gemicilik ve denizciliğe ait unsurların 16. Yüzyıldan itibaren dîvan şiirinde kullanılmaya başlanmasıyla, Keştî-nâmeyi yeni bir nazım türü olarak görmekteyiz. Bu tür/tarzda yazılmış şiirlerin sayıca çokluğu ve henüz yeterince araştırılmaması bu konunun incelenmesine sebep olmuştur. Bu makalede, tespit edilen Keştî-nâme örneklerinden hareketle türle ilgili tanım yapılmıştır. İncelenen metinler doğrultusunda, dîvan şiirinde Keştî-nâme türü değerlendirilmiş ve bununla birlikte bu türe ait kaynaklar tasnif edilmeye çalışılmıştır.

Abstract
Although Classical Turkish poetry, which is thought to be lack of social belonging due to the effect of Turkish literature developed following the Tanzimat, aka the Edict of Gülhane, is regarded as palace literature, it is a social poetry movement contrary to what is believed. Each poet of Divan literature expresses the knowledge of his own world with his unique style. As a result, several elements are included into the poem. These different elements in the poetry are significant in terms of revealing the diversity and wealth of our literature and social life. The terms common in classical literature about sea, ship and shipping, and the styles that centered on these terms are only a few of these. " Keştî-nâme " is regarded as a new verse style with the usage of elements related to ship, shipping and navigation in Divan poetry in 16th century. The high number of these poems written in this style and not being enough investigation yet have given rise to studying this subject. The definition of the style is made with reference to the samples of Keştî-nâme identified from this article. With reference to the texts examined, the style of Keştî-nâme is evaluated and additionally the sources belonging to this style are tried to be classified.

Books by Emrah Gündüz