{"id":1483,"date":"2016-02-28T23:38:18","date_gmt":"2016-02-28T21:38:18","guid":{"rendered":"http:\/\/www.libridergi.org\/en\/?p=1483"},"modified":"2016-07-27T18:47:24","modified_gmt":"2016-07-27T15:47:24","slug":"lbr-0011","status":"publish","type":"post","link":"http:\/\/www.libridergi.org\/en\/2015-en\/lbr-0011","title":{"rendered":"Divan Edebiyat\u0131 Esteti\u011fi"},"content":{"rendered":"

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Divan Edebiyat\u0131 Esteti\u011fi<\/h2>\n

Cihan OKUYUCU<\/h3>\n
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ISBN:<\/strong>\u00a09756491442
\nTranslation:<\/strong>
\nPage:<\/strong> 255
\nPublication Date:\u00a0<\/strong>2005
\nLocation:\u00a0<\/strong>\u0130stanbul
\nPublisher:\u00a0<\/strong>L&M Yay\u0131nlar\u0131<\/p><\/div>

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<\/div>\nLIBRI<\/em> I (2015) 45-49<\/strong>
\nDOI<\/strong>: 10.20480\/lbr.2018115462
\nReceived Date<\/strong>: 14.09.2015\u00a0 \u00a0 Acceptance Date<\/strong>: 22.09.2015
\nOnline Publication Date<\/strong>: 28.12.2015
\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations, 2015<\/p>\n

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\"references\"\u00a0<\/strong> Get PDF<\/a><\/strong><\/p>\n

\"info\"\u00a0 <\/a>Citation<\/a>
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C. OKUYUCU, Divan Edebiyat\u0131 Esteti\u011fi. \u0130stanbul 2005. L&M Yay\u0131nlar\u0131, 255 sayfa. ISBN: 9756491442
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Her ne sanat kim cihanda i\u015flenir
\nAn\u0131 halk \u00fcst\u00e2d elinden \u00f6\u011frenir<\/em>
\nA\u015f\u0131k Pa\u015fa<\/p>\n

Prof. Dr. Cihan Okuyucu\u2019nun divanlar \u00fczerine yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalardan biri olan Divan Edebiyat\u0131 Esteti\u011fi <\/em>isimli eseri 2004 y\u0131l\u0131nda L&M Yay\u0131nlar\u0131 taraf\u0131ndan yay\u0131mlanm\u0131\u015f ve okuyucularla bulu\u015fmu\u015ftur. Doktora tezini Cinan\u00ee, Hayat\u0131, Eserleri, Divan\u0131n\u0131n Tenkitli Metni<\/em> \u00fczerine yapan Okuyucu, ilerleyen zamanlarda da divan sahibi \u015fahsiyetler \u00fczerine eserler v\u00fccuda getirmi\u015f, Divan Edebiyat\u0131 Esteti\u011fi<\/em> kitab\u0131nda ise Divan edebiyat\u0131na daha kapsaml\u0131 bir bak\u0131\u015f a\u00e7\u0131s\u0131 sunmu\u015ftur. Kitap, \u00d6ns\u00f6z<\/em> (XI-XIV), Giri\u015f<\/em> (3-33) ve \u00fc\u00e7 b\u00f6l\u00fcmden olu\u015fmaktad\u0131r. Bunlara ilave olarak yer alan Dipnot<\/em> ve<\/em> Indeks<\/em> (249-255) b\u00f6l\u00fcmleriyle toplam 255 sayfadan m\u00fcte\u015fekkildir. Kitab\u0131n kapa\u011f\u0131 ye\u015fil zemin \u00fczerine yerle\u015ftirilmi\u015f bir helezon ile tasarlanm\u0131\u015ft\u0131r.<\/p>\n

\u00d6ns\u00f6z<\/em> (XI-XIV) k\u0131sm\u0131nda Divan edebiyat\u0131n\u0131 ele al\u0131rken onun hayatla ve di\u011fer muhtelif sanatlarla olan karma\u015f\u0131k ili\u015fkilerinin var oldu\u011funa de\u011finilmi\u015f ve kitab\u0131n ana b\u00f6l\u00fcmlerindeki konu ba\u015fl\u0131klar\u0131 verilmek suretiyle de\u011finilecek konulara i\u015faret edilmi\u015ftir. Giri\u015f<\/em> (3-33) k\u0131sm\u0131nda ise sanat dallar\u0131ndaki farkl\u0131l\u0131klar\u0131n sebepleri, Osmanl\u0131 \u0130mparatorlu\u011fu kurulmadan \u00f6nceki k\u00fclt\u00fcrel atmosfer ile Osmanl\u0131 kurulduktan sonraki k\u00fclt\u00fcrel ortam ele al\u0131nm\u0131\u015ft\u0131r. Ayr\u0131ca Osmanl\u0131\u2019n\u0131n kendisinden \u00f6nce h\u00fck\u00fcm s\u00fcrm\u00fc\u015f Sel\u00e7uklu Devleti ve Anadolu Beylikleri D\u00f6nemi ile medeniyetler ba\u011flam\u0131nda kaynaklarla desteklenerek k\u0131yas\u0131 yap\u0131lm\u0131\u015f. Divan \u015fiirine v\u00fccut veren vasat\u0131n tespit edilebilmesi i\u00e7in Osmanl\u0131 toplumunun fikr\u00ee durumu irdelenmi\u015ftir. Bu irdelemeler Osmanl\u0131 mimarisi, minyat\u00fcr sanat\u0131, musikisi, yaz\u0131 sanatlar\u0131 g\u00f6z \u00f6n\u00fcnde bulundurularak yap\u0131lm\u0131\u015ft\u0131r. Bunlara ilaveten Osmanl\u0131\u2019da hayat\u0131n ve sanat\u0131n ortak elemanlar\u0131 olan \u00e7i\u00e7ekler ve bah\u00e7e k\u00fclt\u00fcr\u00fc bu eserde yerini alm\u0131\u015ft\u0131r.<\/p>\n

Birinci b\u00f6l\u00fcm\u00fcn ilk ba\u015fl\u0131\u011f\u0131 Divan \u015eiirinin D\u00fcnyas\u0131<\/em>d\u0131r (47). Bu ba\u015fl\u0131k alt\u0131nda, divan \u015fairinin varl\u0131k ve varl\u0131k etraf\u0131ndaki temel kavramlar\u0131n\u0131n ne anlama geldi\u011finin a\u00e7\u0131klanaca\u011f\u0131 belirtilmi\u015ftir (53). Ana ba\u015fl\u0131ktaki konu \u00e7e\u015fitli alt ba\u015fl\u0131klara ayr\u0131lmak suretiyle derinlemesine ele al\u0131nmaya \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Buna g\u00f6re ilk alt ba\u015fl\u0131k Tasavvuf ve Varl\u0131k Anlay\u0131\u015f\u0131 <\/em>(47) k\u0131sm\u0131nda Allah, e\u015fya ve varl\u0131k mertebeleri, yaratman\u0131n anlam\u0131, insan, bilgi dereceleri, sanat\u0131n gayesine de\u011finilmi\u015ftir. Bahsetti\u011fimiz bu b\u00f6l\u00fcm \u00f6zetle; \u0130smail Hakk\u0131 Bursev\u00eeye g\u00f6re Allah\u2019\u0131n varl\u0131k ve birli\u011fine inananlar aras\u0131nda g\u00f6r\u00fclen fikir ayr\u0131l\u0131klar\u0131n\u0131n nedenlerinin neler oldu\u011fu, mevcudat\u0131 meydana getiren yedi mertebenin var oldu\u011fu tezi etraf\u0131nda \u00f6r\u00fclm\u00fc\u015ft\u00fcr. Ayr\u0131ca Gibb\u2019in, Osmanl\u0131 \u015fiir tarihine ait eserinde uzun uzun \u00fczerinde durdu\u011fu \u015fairlerin ilham kaynaklar\u0131na da yine bu b\u00f6l\u00fcmde at\u0131fta bulunulmu\u015ftur. Yaratma fiili \u00fczerindeki farkl\u0131 felsefi bak\u0131\u015f a\u00e7\u0131lar\u0131 \u0130bn\u00fc\u2019l-Arab\u00ee, \u015eeyh\u00fc\u2019l-Ekber, A. Avni Konuk nazara verilerek \u00f6rnekler sunulmu\u015ftur (59-60). Tasavvuf ve Varl\u0131k Anlay\u0131\u015f\u0131<\/em> ba\u015fl\u0131\u011f\u0131n\u0131n \u0130nsan <\/em>(53) alt ba\u015fl\u0131\u011f\u0131nda ise Livingston\u2019un insana bak\u0131\u015f\u0131n\u0131n, \u0130ncil ve Kur\u2019an\u2019da insana bak\u0131\u015f\u0131n nas\u0131l oldu\u011fu ele al\u0131nm\u0131\u015ft\u0131r (61). Bilgi derecelerinde mutlak bilginin olu\u015fumu, kesretten kurtulmak isteyen salikin evvela kendini ifna yani yok etmesinin gereklili\u011fi \u00fczerinde durulmu\u015ftur (62). Son alt ba\u015fl\u0131k ise Sanat\u0131n Gayesi<\/em>dir (61). Burada Burckhardt\u2019a g\u00f6re sanat\u0131n neleri kapsad\u0131\u011f\u0131n\u0131n a\u00e7\u0131kland\u0131\u011f\u0131 b\u00f6l\u00fcm, A. Nihad Tarlan\u2019\u0131n bir \u015feyin g\u00fczelli\u011finin Allah\u2019\u0131 y\u00fcceltmesine ba\u011fl\u0131 oldu\u011fu ve ilahi bir niteli\u011fi yans\u0131tt\u0131\u011f\u0131 oranda g\u00fczel oldu\u011fu y\u00f6n\u00fcndeki c\u00fcmleleriyle noktalanm\u0131\u015ft\u0131r (63).<\/p>\n

Birinci b\u00f6l\u00fcm\u00fcn bir di\u011fer alt ba\u015fl\u0131\u011f\u0131 ise Divan \u015eiiri Esteti\u011fi<\/em>dir (56). Burada, Divan edebiyat\u0131nda \u015fiir ve \u015fair anlay\u0131\u015f\u0131n\u0131n nas\u0131l oldu\u011fu \u00fc\u00e7\u00fcnc\u00fc derecede alt ba\u015fl\u0131klarla estetik kavram\u0131 da g\u00f6z \u00f6n\u00fcnde bulundurularak ele al\u0131nm\u0131\u015ft\u0131r. Burada \u00f6ncelikle d\u00f6nemin \u015fiir anlay\u0131\u015f\u0131, \u015fiir ve \u015faire bak\u0131\u015f gibi hususlarda sadece baz\u0131 mensur divan \u00f6n s\u00f6zleri ve tezkirelerin giri\u015f k\u0131s\u0131mlar\u0131ndaki muhtelif bilgilere tesad\u00fcf edildi\u011fi vurgulanm\u0131\u015ft\u0131r. A\u015f\u0131k \u00c7elebi tezkiresinin bu konuya en fazla de\u011finen tezkire oldu\u011fu ifade edilmi\u015ftir (64-65). \u015eiire kutsall\u0131k atfeden bir \u015fair olan Latif\u00ee\u2019ye g\u00f6re ger\u00e7ek \u015fairlerin s\u00f6zleri varidat-\u0131 ilah\u00eedir. Nizami\u2019nin \u015fair ve \u015fiire bak\u0131\u015f\u0131: \u201cS\u00f6zleri dizen \u015fairler iki alemin hazinelerini nazma \u00e7ekerler. Hazine kap\u0131s\u0131n\u0131n has kilidi \u015fairlerin dili alt\u0131ndad\u0131r. \u015eairler ar\u015f\u0131n b\u00fclb\u00fclleridirler, di\u011fer insanlar bunlara nas\u0131l bunlara nas\u0131l benzerler.<\/em>\u201d \u015feklindedir. (S.66) Ayr\u0131ca bu k\u0131s\u0131mda ilk \u015fiirin ne zaman yaz\u0131ld\u0131\u011f\u0131na ili\u015fkin iki rivayete de\u011finilmi\u015ftir. Bunlardan birincisi, ilk \u015fiirin Hz. Adem taraf\u0131ndan, \u00f6ld\u00fcr\u00fclen o\u011flu Habil i\u00e7in yaz\u0131ld\u0131\u011f\u0131d\u0131r. \u0130kincisi ise ilk vezinli eserin yedinci g\u00f6kteki bir melekten ortaya \u00e7\u0131kt\u0131\u011f\u0131d\u0131r. Konunun devam\u0131nda ise di\u011fer peygamberlerden de \u015fiir s\u00f6yleyenlerin bulunmas\u0131na ra\u011fmen \u015fiirin as\u0131l revac\u0131n\u0131 Hz. Peygamber zaman\u0131nda buldu\u011fu \u00e7e\u015fitli \u00f6rneklerle desteklenerek okuyucuya sunulmu\u015ftur. (S.66)<\/p>\n

\u015eairler aras\u0131nda ho\u015f kar\u015f\u0131lanmayan \u015fair ve \u015fiirlerin vas\u0131flar\u0131 be\u015f madde halinde s\u0131ralanm\u0131\u015ft\u0131r. Bunlar: \u201cToplumun huzur ve d\u00fczenini bozucu olmak, \u015fairin kendisini ve toplumu din\u00ee g\u00f6revlerinden uzakla\u015ft\u0131rmak, insanlar\u0131 incitmek, k\u00f6kl\u00fc bir bilgi ve ilham kayna\u011f\u0131na dayanmamak ve son olarak da \u015fiiri tek ama\u00e7, tek me\u015fguliyet olarak almak kendisini bu yolda kap\u0131p koyuvermektir<\/em>\u201d (67). Bu a\u00e7\u0131klamalara ek olarak \u015fiir tekni\u011fi ile ilgili baz\u0131 ortak kabullerde konunun bu b\u00f6l\u00fcm\u00fcnde de\u011finilen hususlardan olmu\u015ftur. Mesela nazm\u0131 nesirden ay\u0131ran \u015feyin vezin ve kafiye oldu\u011fu; kafiyenin de en az iki m\u0131sray\u0131 zaruri k\u0131ld\u0131\u011f\u0131d\u0131r. Ancak tezkirecilerin be\u011fenmedikleri \u015fiire manzum mukaffa s\u00f6z demesinin bu iki \u00f6zelli\u011fi ta\u015f\u0131yan her s\u00f6z\u00fcn veya nazm\u0131n \u015fiir seviyesinde kabul edilmedi\u011fini g\u00f6sterdi\u011fidir. Eserde ge\u00e7en divan \u015fiiri i\u00e7in s\u00f6ylenmemi\u015f bir anlam bulman\u0131n \u00f6nemli oldu\u011fu ve bu kurallar\u0131 ve edeb\u00ee sanatlar\u0131 iyi bilmenin eski \u015fairleri iyi tan\u0131mak, dilin inceliklerine v\u00e2k\u0131f olmakla m\u00fcmk\u00fcn olabilece\u011fi \u015feklindeki tespit dikkate de\u011ferdir (69).<\/p>\n

\u015eair anlay\u0131\u015f\u0131<\/em> alt ba\u015fl\u0131\u011f\u0131na Latif\u00ee\u2019nin Filibeli Fani maddesindeki iyi \u015fair olmak i\u00e7in l\u00fczumlu g\u00f6rd\u00fc\u011f\u00fc maddeler s\u0131ralanarak konuya giri\u015f yap\u0131lm\u0131\u015ft\u0131r. Ayr\u0131ca bu k\u0131s\u0131mda ad\u0131 ge\u00e7en \u015fairin m\u00fcte\u015fairleri \u015fu \u015fekilde s\u0131n\u0131fland\u0131rd\u0131\u011f\u0131 g\u00f6r\u00fclmektedir: \u201cadi h\u0131rs\u0131zlar, mana h\u0131rs\u0131zlar\u0131, mukallitler, terc\u00fcmeciler ve manadan mana \u00e7\u0131karanlar<\/em>\u201d (71).<\/p>\n

Divan \u015eiirinin D\u00fcnyas\u0131<\/em> ba\u015fl\u0131\u011f\u0131n\u0131n alt ba\u015fl\u0131\u011f\u0131nda Klasik \u015eiirin ve Sanatk\u00e2r\u0131n \u00d6zellikleri<\/em> yer almaktad\u0131r. Bu k\u0131s\u0131m estetik meselesi ba\u011flam\u0131nda ve ihtiya\u00e7 nispetinde di\u011fer g\u00fczel sanatlar \u00e7e\u015fitli \u00f6rnekler verilmek suretiyle ele al\u0131nm\u0131\u015ft\u0131r. Bu k\u0131s\u0131mda ilk olarak \u015fiirin Arap\u00e7ada \u201csezmek, bilmek<\/em>\u201d manalar\u0131na geldi\u011fi belirtilmi\u015ftir (73). Nesre kar\u015f\u0131 \u015fiiri tercih edenlerin de varl\u0131\u011f\u0131 yine \u00f6rneklerle sunulmu\u015ftur. Coomarasvamy\u2019\u0131n nazari ve ilhama dayal\u0131 sanatlar\u0131n nihai konusunun Allah oldu\u011fu d\u00fc\u015f\u00fcncesi ve ilahi kaynaklara temas derecesine g\u00f6re sanatlar\u0131 s\u0131n\u0131fland\u0131rmas\u0131 bu b\u00f6l\u00fcmde yer alan bir ba\u015fka \u00f6nemli husustur. Bu s\u0131n\u0131flama eserde \u015fu \u015fekilde verilmi\u015ftir: \u201csaf akl\u00ee ve nazar\u00ee sanat, d\u00fcnyev\u00ee ihtiraslar ve duyu organlar\u0131yla ya\u015fanan tecr\u00fcbelerden kaynaklanan dinamik sanat ve son olarak sahte sembol kullanan sahte ve bir \u015fey s\u00f6ylemeyen sanat<\/em>\u201d (75).<\/p>\n

Realite Kar\u015f\u0131s\u0131ndaki Tutum <\/em>(73) ba\u015fl\u0131\u011f\u0131 alt\u0131nda, divan \u015fiirinin d\u0131\u015f \u00e2leme itibar etmedi\u011fi y\u00f6n\u00fcnde ele\u015ftirilerin oldu\u011fu dile getirilmi\u015f ve minyat\u00fcr sanat\u0131 \u00f6rne\u011fi merkeze konularak ele\u015ftirilere yan\u0131t verilmeye \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Ayr\u0131ca Fuzuli\u2019nin Gelin ey ehl-i hakikat \u00e7\u0131kal\u0131m d\u00fcnyadan \/ gayr yerler g\u00f6relim \u00f6zge safalar s\u00fcrelim<\/em> beyti, \u015fairinin ideler \u00e2lemine ve reel d\u00fcnyaya bak\u0131\u015f\u0131n\u0131 yans\u0131tmas\u0131 y\u00f6n\u00fcyle \u00f6rnek olarak sunulmu\u015ftur. \u0130lerleyen k\u0131s\u0131mlarda konu ile alakal\u0131 A. N Tarlan\u2019\u0131n, A. H. Tanp\u0131nar\u2019\u0131n, Cem Dil\u00e7in\u2019in konu ile alakal\u0131 g\u00f6r\u00fc\u015flerine yer verilmi\u015ftir.<\/p>\n

Sanatk\u00e2r\u0131n realite kar\u015f\u0131s\u0131ndaki tutumunu belirleyen di\u011fer bir kavram, z\u00e2t ve s\u0131fatlar\u0131 bak\u0131m\u0131ndan hi\u00e7bir \u015feyi Allah\u2019a benzetmemek anlam\u0131na gelen tenzih<\/em>tir. Bir\u00e7ok sanat ele\u015ftirmeninin \u0130slam sanatlar\u0131n\u0131 etkileyen en kuvvetli kavram oldu\u011fu y\u00f6n\u00fcnde ittifak ettikleri tenzih hakk\u0131nda Prof. Dr. Mehmet Ayd\u0131n\u2019\u0131n d\u00fc\u015f\u00fcnceleri \u015fu \u015fekildedir: \u201cHer dinin, b\u00fcy\u00fck \u00e7apta kendi tesiriyle olu\u015fmu\u015f bir k\u00fclt\u00fcr \u00e7evresinde do\u011fup b\u00fcy\u00fcyen sanatkar \u00fczerinde etkili olmas\u0131 kadar tabi\u00ee bir \u015fey olamaz. Din, sanat\u0131n hem formuna hem muhtevas\u0131na hem de sanat t\u00fcrlerinden bir k\u0131sm\u0131n\u0131n \u00f6n planda; di\u011fer bir k\u0131sm\u0131n\u0131n ise arka planda tutulmas\u0131na tesir eder\u2026<\/em>\u201d (91). Tenzih<\/em> ba\u015fl\u0131\u011f\u0131 alt\u0131nda de\u011finilen hususlardan biri tasvirin \u0130slam inanc\u0131ndaki yerine de\u011finilmi\u015ftir. Tasvir unsurlar\u0131ndan resim ile alakal\u0131 Buckhardt\u2019\u0131n \u015fu d\u00fc\u015f\u00fcnceleri zikredilmi\u015ftir: \u201c \u0130nsanda Allah\u2019takine benzer yedi nitelik vard\u0131r; g\u00f6rme, i\u015fitme, hayat vs. resimde ise bunlar\u0131n hi\u00e7birisi yok, s\u0131rf beden vard\u0131r. Bu y\u00fczden resim insana bir sayg\u0131s\u0131zl\u0131k say\u0131l\u0131r.<\/em> Hadiste Allah\u2019\u0131n yaratt\u0131klar\u0131n\u0131 taklit eden sanatk\u00e2rlar su\u00e7lan\u0131r. Ancak minyat\u00fcrdeki gibi canl\u0131 intiba\u0131 vermeyen \u015fekliyle resim var olabilmi\u015ftir<\/em>\u201d (93).<\/p>\n

Modern sanat hareketlerinde estetik ve fayda kavramlar\u0131n\u0131n birbirinden ayr\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fc, b\u00fct\u00fcnc\u00fc bir hakikat anlay\u0131\u015f\u0131na sahip olan \u0130slam\u2019da ise g\u00fczel ile faydal\u0131n\u0131n; bilim ile sanat\u0131n birbirinden ayr\u0131lmaz oldu\u011fu kitab\u0131n \u0130lim ve Sanat\/ G\u00fczel ve Fayda <\/em>(89) ba\u015fl\u0131\u011f\u0131 alt\u0131nda ele al\u0131nm\u0131\u015ft\u0131r. Ayn\u0131 ba\u015fl\u0131k alt\u0131nda Seyyid H\u00fcseyin Nasr\u2019\u0131n \u015fiiri hakikati ifade etmenin bir ba\u015fka yolu olarak g\u00f6rd\u00fc\u011f\u00fc ve onu mant\u0131\u011fa benzetti\u011fi; ancak onun saf mant\u0131kla ula\u015f\u0131lamayan y\u00f6nlerinin oldu\u011fu y\u00f6n\u00fcndeki tespitlerine de\u011finilmi\u015ftir (96-97).<\/p>\n

Klasik \u015fiirin \u00f6zellikleri yukar\u0131da verilen ba\u015fl\u0131klar alt\u0131nda ele al\u0131nd\u0131ktan sonra klasik sanatk\u00e2r\u0131n \u00f6zellikleri de ayn\u0131 \u015fekilde alt ba\u015fl\u0131klar halinde ele verilmi\u015ftir. Konu ile alakal\u0131 ilk alt ba\u015fl\u0131k Sanatta Ferdiyet<\/em>tir (101). Bu ba\u015fl\u0131kta ilk olarak Be\u015fir Ayvazo\u011flu\u2019nun Do\u011fu ve Bat\u0131 sanat\u00e7\u0131lar\u0131n\u0131 a\u00e7\u0131klarken kulland\u0131\u011f\u0131 tiplemeler ve bunlar\u0131n ne anlam ifade etti\u011fidir (108-109). \u0130lerleyen k\u0131s\u0131mlarda ise Berna Moran, G\u00f6lp\u0131narl\u0131, Tanp\u0131nar, Nihat Tarlan gibi isimlerin bu konu \u00fczerine d\u00fc\u015f\u00fcnceleri nakledilmi\u015ftir.<\/p>\n

Klasik \u015fairlerimizin bat\u0131l\u0131 meslekta\u015flar\u0131ndan ayr\u0131ld\u0131\u011f\u0131 temel noktalardan birisinin de bilgi kayna\u011f\u0131 hakk\u0131ndaki tasavvurlar\u0131 oldu\u011fu \u00f6ne s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. \u201cR\u00f6nesans, ger\u00e7eklik kavram\u0131n\u0131 ak\u0131l ve duyular d\u00fcnyas\u0131 ile s\u0131n\u0131rlayan ve bu \u00f6zelli\u011fiyle eskiden kopan bir d\u00f6nemi temsil eder. Oysa Gazali\u2019ye g\u00f6re duyular ve ak\u0131l bizi ger\u00e7e\u011fe g\u00f6t\u00fcremez. Zira ak\u0131l varl\u0131\u011f\u0131 b\u00f6lerek idrak eder, oysa marifet varl\u0131\u011f\u0131n birli\u011fini kavramak, z\u0131tl\u0131klardan kurtulmakt\u0131r<\/em>\u201d (115-115). Bu d\u00fc\u015f\u00fcncelerin yan\u0131nda Klasik edebiyat\u0131m\u0131zda a\u015fka mani olmas\u0131 bak\u0131m\u0131ndan akl\u0131n bir ayak ba\u011f\u0131 olarak g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Neredeyse b\u00fct\u00fcn \u015fairlerimizde c\u00fcn\u00fbn (delilik) halinin takdis edilmesi, Mecnun\u2019un ideal bir tip olarak benimsenmesi de bu telakkiyle ilgili g\u00f6r\u00fclm\u00fc\u015ft\u00fcr (117-118).<\/p>\n

Birinci b\u00f6l\u00fcm\u00fcn en son k\u0131sm\u0131nda kutsal sanatta sanat\u00e7\u0131 ve kurallara yer verilmi\u015ftir. Konuya klasik \u015fiirimizin bariz \u00f6zelli\u011finin geleneksel ve kuralc\u0131 oldu\u011fu ifade edilerek ba\u015flanm\u0131\u015ft\u0131r. Burckhardt\u2019\u0131n \u201cDin\u00ee sanat, zarur\u00ee olarak kuralc\u0131d\u0131r, zira gelenekten maksat ilah\u00ee kanunlara t\u00e2bi olmakt\u0131r<\/em>\u201d (112) s\u00f6z\u00fc de ilk c\u00fcmleyi destekleyici mahiyette ele al\u0131nm\u0131\u015ft\u0131r. Burckhardt\u2019\u0131n ifadelerini ard\u0131ndan Livingston\u2019un konu ile alakal\u0131 Geleneksel Edebiyat Teorisi<\/em> ismindeki eserde ge\u00e7en \u015fu tespitler vard\u0131r: \u201cDinde her beyan tarz\u0131 makbul say\u0131lmaz, baz\u0131 sabit kurallar vard\u0131r. \u0130nsanlar da klasik toplarda dinin ve toplumun \u00e7izdi\u011fi s\u0131n\u0131rlar i\u00e7inde hareket ederler. Ancak gelene\u011fin i\u00e7indeki hareket bir m\u00fcddet sonra al\u0131\u015fkanl\u0131\u011f\u0131 ve ard\u0131ndan da daha az fark\u0131ndal\u0131\u011f\u0131 beraberinde getirir. B\u00f6ylece bu kaideleri kendisinin ikinci f\u0131trat\u0131 haline getiren \u015fair bir otomat olarak onlara uymaya ba\u015flar<\/em>\u201d \u015feklindeki yorumuna yer verilmi\u015ftir (118-119).<\/p>\n

Kitab\u0131n ikinci b\u00f6l\u00fcm\u00fcne Divan edebiyat\u0131 hakk\u0131nda genel bilgiler verilerek ba\u015flanm\u0131\u015ft\u0131r (121). Burada ilk olarak divan edebiyat\u0131n\u0131n tarifi ve isimlendirme i\u015flemi yap\u0131lm\u0131\u015f ve Divan edebiyat\u0131 d\u00f6nemlere ayr\u0131ld\u0131ktan sonra bu edebiyat\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131 ve T\u00fcrk\u00e7eye bak\u0131\u015f\u0131n\u0131n nas\u0131l oldu\u011fu ifade edilmi\u015ftir (121-128). Bu b\u00f6l\u00fcm\u00fcn be\u015finci alt ba\u015fl\u0131\u011f\u0131 En Eski T\u00fcrk\u00e7e Divanlar<\/em>d\u0131r (122). Bu k\u0131s\u0131mda edebiyat\u0131m\u0131zda divan tertibinin Arap gelene\u011fine ba\u011fl\u0131 oldu\u011fu dile getirilmi\u015f ve bu sebeple konuya Arap edebiyat\u0131nda \u201cdivan<\/em>\u201d\u0131n ge\u00e7mi\u015fi hakk\u0131nda genel bilgiler verilerek girilmi\u015ftir. Daha sonra bu gelene\u011fin Anadolu\u2019ya ta\u015f\u0131nmas\u0131 s\u00fcreci ve bug\u00fcn elde bulunan kaynaklar\u0131n kayna\u011f\u0131 belirtilmi\u015ftir (128-130).<\/p>\n

Divan \u015fiiri gelene\u011finde hemen her \u015fairin ger\u00e7ek isimlerinden ba\u015fka \u015fiirde kulland\u0131klar\u0131 isim olan mahlas <\/em>konusuna girilmi\u015ftir. Mahlaslar\u0131n hangi hususlar g\u00f6z \u00f6n\u00fcne al\u0131narak edinildi\u011fi de maddeler halinde ele al\u0131nm\u0131\u015ft\u0131r (130-131). Divan \u015fiirinde s\u0131kl\u0131kla kullan\u0131lan s\u00f6zc\u00fckler ve bunlar\u0131n T\u00fcrk\u00e7e kar\u015f\u0131l\u0131klar\u0131 bir tablo haline getirilip s\u0131n\u0131flamas\u0131 yap\u0131lm\u0131\u015ft\u0131r (139-146). Nazm\u0131n yan\u0131nda nesir tarz\u0131 ile ilgili de baz\u0131 anekdotlar kitapta yerini alm\u0131\u015ft\u0131r. Bu k\u0131s\u0131mda Anadolu\u2019da nesir tarz\u0131n\u0131n geli\u015fimi hakk\u0131nda bilgiler verilip mensur eser \u00e7e\u015fitleri k\u0131sa olarak a\u00e7\u0131klanm\u0131\u015ft\u0131r (146-151).<\/p>\n

Divan edebiyat\u0131 hakk\u0131nda genel bilgiler alt ba\u015fl\u0131klar halinde verildikten sonra Osmanl\u0131 toplumunda \u015fiir ve \u015fair konusu da ayn\u0131 \u015fekilde alt ba\u015fl\u0131klar halinde ele al\u0131nm\u0131\u015ft\u0131r. Bu k\u0131s\u0131mdaki alt ba\u015fl\u0131klar \u015fu \u015fekildedir:<\/p>\n

    \n
  1. Osmanl\u0131 Toplumunda Meslek Olarak \u015eairlik<\/em> (151-153)<\/li>\n
  2. \u015eiirin Takdim \u015eekli<\/em> (153-154)<\/li>\n
  3. \u015eiir Mahfilleri ve Adab\u0131<\/em> (154-158)<\/li>\n
  4. Divan \u015eairlerinin Co\u011frafi ve Meslek\u00ee Da\u011f\u0131l\u0131m\u0131<\/em> (158-159)<\/li>\n
  5. \u015eairler Hakk\u0131nda Bilgi Veren Biyografik Kaynaklar ve Bilgi De\u011ferleri<\/em> (159-162)<\/li>\n<\/ol>\n

    \u0130kinci b\u00f6l\u00fcm biterken de\u011finilen son konu Divan \u015eiiri \u015eekil \u00d6zellikleri<\/em> ve<\/em> Naz\u0131m \u015eekilleri<\/em> (158) olmu\u015ftur. Bu ba\u015fl\u0131k alt\u0131ndaki \u00fc\u00e7\u00fcnc\u00fc derecedeki alt ba\u015fl\u0131klarda aruz, kafiye sistemi, redif, naz\u0131m \u015fekilleri tan\u0131t\u0131lm\u0131\u015f ve \u00e7e\u015fitli \u00f6rneklerle peki\u015ftirilmeye \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r (162-185).<\/p>\n

    Kitab\u0131n \u00fc\u00e7\u00fcnc\u00fc yani son b\u00f6l\u00fcm\u00fcn\u00fcn ana ba\u015fl\u0131\u011f\u0131 Gelene\u011fin Muhteva D\u00fcnyas\u0131<\/em>d\u0131r (185). Bu ana ba\u015fl\u0131\u011f\u0131n alt\u0131nda i\u015flenen ilk konu \u201cDivan \u015eiirinin Fikir Kaynaklar\u0131<\/em>\u201dd\u0131r (185). Bu kaynaklar da \u015f\u00f6yle s\u0131ralanm\u0131\u015ft\u0131r:<\/p>\n

      \n
    1. Ortak \u0130slam K\u00fclt\u00fcr\u00fc<\/li>\n
    2. Acem Esatiri<\/li>\n
    3. Mahalli Unsurlar<\/li>\n<\/ol>\n

      Yukar\u0131da say\u0131lan kaynaklar\u0131n hangi kaynaklardan beslendi\u011fi de bir alt ba\u015fl\u0131kta s\u0131ralanm\u0131\u015f ve k\u0131sa a\u00e7\u0131klamalarla okuyucuya \u015fu \u015fekilde sunulmu\u015ftur:<\/p>\n

      \u0130lk alt ba\u015fl\u0131k Dini-Tasavvuf\u00ee-Tarih\u00ee ve Efsanev\u00ee Kaynaklar<\/em>d\u0131r (185). Bu alt ba\u015fl\u0131kta tasavvufun Klasik \u015fiir i\u00e7in \u00f6nemi, peygamber k\u0131ssalar\u0131, veli menk\u0131beleri ile tarihi ve efsanev\u00ee \u015fahsiyetlere ait hik\u00e2yeler, efsane ve rivayetler, bat\u0131l ilimler yer almaktad\u0131r. 1.2 ba\u015fl\u0131\u011f\u0131nda \u015eehname Kahramanlar\u0131<\/em> (191) ve son olarak da 1.3 de Yerli Malzemeler<\/em> (192) belirtilmi\u015ftir. Gelene\u011fin Muhteva D\u00fcnyas\u0131<\/em> ana ba\u015fl\u0131\u011f\u0131n\u0131n alt\u0131ndaki bir di\u011fer ba\u015fl\u0131k Divan \u015eiirinin Felsefesi<\/em>dir (193). Bu alt ba\u015fl\u0131kta divan \u015firinin malzemesi ve ilham kayna\u011f\u0131n\u0131n b\u00fcy\u00fck \u00f6l\u00e7\u00fcde din\u00ee unsurlardan olu\u015ftu\u011fu ve bu sebeple divan \u015fairinin de buna uygun bir hayat felsefesine sahip oldu\u011funa de\u011finilmi\u015ftir.<\/p>\n

        \n
      1. Divan \u015eiirinin Ba\u015fl\u0131ca Konusu Olarak A\u015fk <\/em>(194-216)ana ba\u015fl\u0131\u011f\u0131 alt\u0131nda<\/li>\n
      2. \u015eiirimizde A\u015fk\u0131n Yeri<\/li>\n
      3. \u015eairli\u011fin \u015eart\u0131 Olarak A\u015fk<\/li>\n
      4. Arzu ve A\u015fk<\/li>\n
      5. \u0130slam K\u00fclt\u00fcr\u00fcnde A\u015fk Anlay\u0131\u015f\u0131n\u0131n tekam\u00fcl\u00fc; Cinsel Arzudan Ulv\u00ee A\u015fka<\/li>\n
      6. A\u015fk, \u00c2\u015f\u0131k ve Ma\u015fukla \u0130lgili Sembolik Kavramlar\u0131n Olu\u015fumu<\/li>\n
      7. Standart Sevgili Tipi ve Standart Duygular<\/li>\n
      8. Sevgilinin Fizik\u00ee \u00d6zellikleri ve Kayna\u011f\u0131<\/li>\n
      9. \u00d6ld\u00fcr\u00fcc\u00fc Sevgili Tipi ve Bu Tipin Kayna\u011f\u0131<\/li>\n
      10. Sevgilinin Cinsiyeti ve O\u011flan A\u015fk\u0131n\u0131n Toplumsal Kayna\u011f\u0131<\/li>\n<\/ol>\n

        \u00dc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm\u00fcn son alt ba\u015fl\u0131\u011f\u0131 Divan Edebiyat\u0131 Etraf\u0131ndaki Tart\u0131\u015fmalar<\/em>d\u0131r (220). Bu ba\u015fl\u0131k alt\u0131nda Eski \u015eiirin muhtevas\u0131na y\u00f6nelik tenkitler maddeler halinde s\u0131ralanm\u0131\u015ft\u0131r. Bu maddeler \u015funlard\u0131r:<\/p>\n

          \n
        1. Hayal D\u00fcnyas\u0131 ger\u00e7ekle ilgili de\u011fildir.<\/li>\n
        2. Konular Be\u015fer\u00ee his ve fikirleri yans\u0131tmaz.<\/li>\n
        3. Toplum Meselelerine yabanc\u0131d\u0131r.<\/li>\n
        4. S\u0131k\u0131, kuralc\u0131 ve mazmuncudur.<\/li>\n
        5. Ba\u015flang\u0131c\u0131ndan bitimine kadar hep ayn\u0131 kalm\u0131\u015ft\u0131r.<\/li>\n
        6. Samimi De\u011fildir, caize edebiyat\u0131d\u0131r<\/li>\n
        7. Ahlaken d\u00fc\u015f\u00fckt\u00fcr.<\/li>\n
        8. Dini ve dar bir edebiyatt\u0131r.<\/li>\n<\/ol>\n

          Yukar\u0131da say\u0131lan bu maddeler d\u0131\u015f\u0131nda Divan edebiyat\u0131n\u0131 Millilik-Gayrimill\u00eelik, taklit\u00e7ilik, y\u00fcksek z\u00fcmre edebiyat\u0131 oldu\u011fu ve Tanzimat \u015fiirinin dil bak\u0131m\u0131ndan elektik bir yap\u0131 arz etti\u011fi ve gayrimill\u00ee oldu\u011fu ve samimiyetsiz oldu\u011fu \u015feklinde ele\u015ftirenler olmu\u015ftur.<\/p>\n

          Sonu\u00e7<\/strong><\/p>\n

          Cihan Okuyucu\u2019nun haz\u0131rlam\u0131\u015f oldu\u011fu bu \u00e7al\u0131\u015fma, Divan Edebiyat\u0131 ara\u015ft\u0131r\u0131c\u0131lar\u0131 i\u00e7in ba\u015fucu kitab\u0131 niteli\u011fi ta\u015f\u0131maktad\u0131r. Ayr\u0131ca eser, klasik metinleri estetik ba\u011flam\u0131nda de\u011ferlendirirken ba\u015fvurulacak y\u00f6ntemlerin \u00f6\u011fretilmesi yolundaki \u00f6nemli bir bo\u015flu\u011fu dolduraca\u011f\u0131 ve bu alanda \u00f6\u011frenim g\u00f6ren, alana ilgi duyan herkes taraf\u0131ndan okunmas\u0131n\u0131n faydal\u0131 olaca\u011f\u0131 kanaatindeyiz.<\/p>\n

          Dicle\u00a0\u00dcniversitesi<\/strong>
          \nEdebiyat Fak\u00fcltesi, T\u00fcrk Dili ve Edebiyat\u0131 B\u00f6l\u00fcm\u00fc<\/strong><\/p>\n

          <\/div>\n

          Serdar DEM\u0130RCAN\u00a0(Ar\u015f. G\u00f6r.) <\/strong>
          \nserdardemircandicle@gmail.com<\/strong><\/p>\n

          <\/div>

          <\/div>\n

          <\/div>\n

          <\/a>