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Sa‘dî-e Shirazi one of the most famous poets of Persian language and literature, was born in Shiraz, completed his primary education in this city, then went to Baghdad and took lessons from various teachers at Nizamiyah Madrasa. He visited many cities and countries, was with many scholars and noble figures, came to Anatolia and met with Mewlana. After his long travels, he returned to Shiraz in 654 (1256) or 655 (1257) and met with Salgurlu Atabek Ebû Bakr b., the ruler of the Fars region of Iran. Sa'd b. Zengi's prince Sa'd b. Abu Bakr b. He joined Sa'd's relatives. When the Salgurlu dynasty collapsed and Shiraz came under Mongol rule in 663 (1264), he went to Mecca to perform the pilgrimage. On his way back to Mecca, he stopped by Tabriz; There he was well received by the Ilkhanid statesman Alâeddin Ata Malik Juvaynî and his brother Shemseddin Juvaynî; He met with the Mongolian ruler Abaka Khan through these two people; He wrote poems praising the mentioned statesmen and other notables; He spent his life providing guidance and serving the public. Sa‘dî, who spent the last years of his life in asceticism and worship in Shiraz, died on 27 Dhu al-Hijjah 691 (9 December 1292). The poet, who wrote many works in verse and prose, wrote works that translated the thoughts and wishes of the society by making use of verses and hadiths, proverbs, stories, and the events and conversations he lived, learned and experienced during his travels. In his Bostan, justice, benevolence, love, humility, consent, contentment, discipline, gratitude, repentance, supplication, and in his Gulistan, the behavior of sultans, the morality of dervishes, the virtue of contentment, the benefits of silence, love and youth, weakness and old age, He dealt with topics such as the effect of good manners and conversation etiquette. In his divan consisting of ghazals, odes, stanzas, terciibents and rubais, he wrote poems about love, the lover, the beloved, wine and nature, and in some places he dealt with the same subjects that he had covered in Bostan and Gulistan, and also gave advice. In addition to writing praises to many statesmen in his poems, he also wrote tawhid, munacat and naats, and in these poems he also included couplets or poems praising the caliph of the righteous religion. He praised the four great caliphs without any discrimination, did not see them as separate from each other, approached them with respect and love, and when necessary, explained them by giving examples to his praises and readers. In this study, Sa‘dî’s views and thoughts about the four great caliphs, that is, the four great caliphs, and the poems he wrote about them will be explained by translating them into Turkish. [ABSTRACT FROM AUTHOR]

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This study aims to examine the rich tradition of panegyric odes composed by Arab poets in honor of Ottoman sovereigns, highlighting the historical, cultural, and political context that gave rise to this distinctive form of literary expression. The paper seeks to explore the reciprocal relationship between Arab poets and the Ottoman Empire, shedding light on how these poets paid tribute to the imperial majesty, conveyed the sultans’ might, and helped to legitimize their rule. By focusing on a diverse range of panegyric odes from the later periods of the Ottoman Empire, the research encompasses the evolving dynamics of power, patronage, and poetic expression that underpinned this unique interaction between Arab poets and the Ottoman court. The primary purpose of the study is to offer a comprehensive analysis of the thematic and stylistic features of these panegyric odes, elucidating the creative strategies employed by Arab poets to extol the virtues of the Ottoman sultans and to articulate their own political, social, and religious allegiances. The paper utilizes historical, literary, and textual analysis, to examine panegyric poetry’s role in fostering cultural exchange and diplomatic communication between the Arab and Ottoman worlds, and its function in bolstering imperial ideology and projecting the Ottoman state’s image. This paper further delves into the critical intersections of politics, religion, and artistic expression within these odes, illuminating how the poets navigated these spheres to construct a nuanced portrait of Ottoman rule. By interpreting the subtexts, allegories, and metaphors employed within these poems, the research uncovers the profound philosophical, spiritual, and cultural paradigms that underscored the political landscapes of the time. Through this lens, the panegyric odes emerge as invaluable literary artifacts that bear testimony to the grandeur of the Ottoman Empire and the intricate socio-political relationships that existed between the Arab poets and the Ottoman court.

This study aims to examine the rich tradition of panegyric odes composed by Arab poets in honor of Ottoman sovereigns, highlighting the historical, cultural, and political context that gave rise to this distinctive form of literary expression. The paper seeks to explore the reciprocal relationship between Arab poets and the Ottoman Empire, shedding light on how these poets paid tribute to the imperial majesty, conveyed the sultans' might, and helped to legitimize their rule. By focusing on a diverse range of panegyric odes fromthe later periods of the Ottoman Empire, the research encompasses the evolving dynamics of power, patronage, and poetic expression that underpinned this unique interaction between Arab poets and the Ottoman court. The primary purpose of the study is to offer a comprehensive analysis of the thematic and stylistic features of these panegyric odes, elucidating the creative strategies employed by Arab poets to extol the virtues of the Ottoman sultans and to articulate their own political, social, and religious allegiances. The paper utilizes historical, literary, and textual analysis, to examine panegyric poetry's role in fostering cultural exchange and diplomatic communication between the Arab and Ottoman worlds, and its function in bolstering imperial ideology and projecting the Ottoman state's image. This paper further delves into the critical intersections of politics, religion, and artistic expressionwithin these odes, illuminating how the poets navigated these spheres to construct a nuanced portrait of Ottoman rule. By interpreting the subtexts, allegories, and metaphors employed within these poems, the research uncovers the profound philosophical, spiritual, and cultural paradigms that underscored the political landscapes of the time. Through this lens, the panegyric odes emerge as invaluable literary artifacts that bear testimony to the grandeur of the Ottoman Empire and the intricate socio-political relationships that existed between the Arab poets and the Ottoman court. [ABSTRACT FROM AUTHOR]

Cahiliye Döneminin başlarında müstakil tema olarak kullanılmayan medîh teması daha çok diğer temalarda kaleme alınan şiirlerin içerisinde işlenmiştir. Bu dönemin ortalarından itibaren Nâbiğa ez-Zubyânî methiye türünde kaleme almış olduğu şiirleriyle gelir elde etmeye başlamıştır. Bu durum dönemin diğer şairlerine cazip gelmiş ve artık müstakil kaside formunda methiyeler kaleme almaya başlamışlardır. Sadru’l-İslâm Dönemine gelindiğinde, medîh teması ile nazmedilen kasidelerin kısmen kesintiye uğradığı görülmektedir. Bunun sebebi, bu dönemde İslamiyet’in yeni yerlere yayılmasından dolayı Müslümanların devamlı savaş ve mücadele halinde olmaları olarak gösterilmektedir. Bu dönemde methiyelerde kullanılan motiflerde önceki döneme göre bazı değişiklikler meydana gelmiştir. Emevî Dönemine gelindiğinde, Müslüman topraklarının genişlemesi ve yaşanan siyasî gelişmeler methiyeye doğrudan etki etmiştir. Bu dönemde nazmedilen medîh temalı şiirlere bakıldığında büyük ölçüde Cahiliye Döneminde kaleme alınan methiyelerin içeriklerine geri dönüldüğü görülmektedir. Bu dönemde Emevî, Şîa, Hâricî ve Zubeyrî hizipleri ortaya çıkmıştır. Şairler bu siyasî akımlardan kendilerine yakın gördükleri hizbin taraftarlığını yaparak medîh temalı şiirleri bir siyasî propaganda aracına dönüştürmüşlerdir. Şairlerin toplum tarafından gördükleri itibar sebebiyle pek çok devlet adamı yanında kendisini öven şair gezdirerek büyük ihsanlarda bulunmuştur. Abbâsî Döneminde İslâm medeniyeti ilmî, sosyal, kültürel ve siyasî açılar gibi farklı yönlerden bir hayli ilerleme kaydetmiştir. Kaydedilen bu ilerleme doğal olarak methiyenin farklı konularda gelişmesine imkân sağlamıştır. Abbâsî Döneminde de methiyeler iktidarı elinde bulunduran kimseler tarafından kendilerini halka benimsetmek için siyasî bir silah olarak kullanılmaya devam etmiştir. Bunun yanı sıra dönemin methiyeleri kazanılan zaferleri ve iç karışıklıkları tasvir etmesi bakımından tarihi kayıtlar olarak ta karşımıza çıkmaktadır. Abbâsî Döneminin medîh şairleri Emevî Döneminin medîh şairlerinden miras aldıkları, şiirle kazanç elde etme huyunu daha da ileriye taşımışlardır. Zikredilen dönemde üst tabakaya mahsus olan, resmi şiir gibi itibar gören, gerçeklikten ve toplumsal duyguları yansıtmaktan oldukça uzak olan methiyelerin yanı sıra halk arasında, bütün toplumla ilişkili genel duyguları yansıtan methiyeler de nazmedilmiştir. Arap hâkimiyetindeki Endülüs’te kaleme alınan ilk medîh temalı şiirler, Doğu Arap şiirindeki genel çerçevede nazmedilmiştir. Endülüs’te nazmedilen medîh temalı şiirler her ne kadar üslup ve konu bakımından Doğu Arap şiirinin kopyası ve devamı gibi görünse de Araplar, Endülüs’ü fethettikten sonra burada daha öncesinde alışık olmadıkları iklim koşulları ve doğal güzelliklerle karşılaşmışlardır. Endülüs’ün bu doğal güzellikleri Arapların şiir konusundaki yetkinliklerini daha da geliştirerek onları şiirlerinde kısa ve hafif bahirler kullanmaya sevk etmiştir. Endülüs İslâm Devletinde de tıpkı Doğu İslam Devletlerinde olduğu gibi yaşanan siyasî çekişmeler methiyeye doğrudan etki etmiştir. Endülüslü methiye şairleri öncüleri ve çağdaşları olan Doğulu şairler gibi medîh temalı şiirleri kendilerine kazanç kapısı olarak görmeye devam etmişlerdir. Klasik Arap şiirinde önemli bir yer tutan methiye hakkında bütün dönemleri kapsayıcı bir çalışma bulunmaması bu makalenin hazırlanması ihtiyacını doğurmuştur. Bu çalışma ile klasik Arap şiirinde methiyenin doğuşu ve göstermiş olduğu gelişim irdelenerek dönemler arasındaki farklılıkları ortaya çıkarmak amaçlanmıştır. Çalışmamızın verileri, araştırma tekniklerinden nitel araştırma tekniği ve yorumlayıcı araştırma tekniği kullanılarak elde edilmiştir.

يدرس ھذا البحث قصيدة المدح في شعر ابن الجيَّاب الغرناطي؛ الشاعر والأديب والوزير ورئيس ديوان الكتَّاب في غرناطة لسنين عديدة،والقريب من أربعة سلاطين من بني الأحمر، ويدقق البحث أكثر ما يدقق في صورة الممدوح في شعر ابن الجيَّاب الذي أوقف ديوانه أومشروعه الشعري على المدح؛ سواء مدح سلاطين بني الأحمر وھو أغلب الديوان، أو للوزراء وبعض الأعيان والإخوان. ويحاول البحث منخلال تحليل صورة الممدوح في شعر الرجل الإجابة عن الأسئلة الآتية: ما وظيفة الشاعر القريب من السلاطين في العصر الغرناطي، وكيفصوَّر الشعراء أھل السلطة في ذاك الزمان، وھل طرأ على قصيدة المدح عندھم تغييرات أسلوبية أو طُرحت معاني جديدة لم يسبقھم إليھاالشعراء في زمن مضى، وھل كانت ھذه القصيدة استمراراً لقصيدة المدح في العصور السابقة. والأھم من ذلك كله: لماذا غرقت العصورالمتأخرة في قصائد المديح؟ إن الاھتمام بدراسة الأدب الأندلسي وتحليل نصوصه ضرورة فنية وتاريخية؛ ضرورةٌ فنيةٌ لفھم الذوق الأدبيوتطور مفھوم الشعر ونظرة الأندلسيين له، وضرورةٌ تاريخيةٌ لفھم طبيعة الحياة السياسية والأدبية والاجتماعية في ذلك الزمان.

Bu çalışma, literatürdeki genel tanımlamaya göre 1821-1885 yılları arasındaki zaman dilimini kapsayan Türk hâkimiyeti döneminde, Afrikalılık ve Araplığı sentezleyerek bu coğrafyaya özgü bir Afro-Arap kültürü oluşturmayı başarmış Sudan’da bu kültürün en önemli öğelerinden biri olan Sudan Arap şiirinin incelenmesini konu edinmektedir. Konuyu temellendirmek ve meseleye bütüncül bir bakış açısı sağlamak amacıyla çalışmada, Sudan şiirinin başlangıç evresi olarak bilinen Func döneminden önceki erken dönemden itibaren Arap şiirinin gelişim aşamalarından söz edilmiştir. Bu dönemde Sudan’da Arap şiirinin durumunu ortaya koymak adına Arap edebiyat tarihi kaynaklarında yer alan bilgilerden yararlanılmıştır. Söz konusu dönemin meşhur şairlerine nispet edilen gerek edebiyat tarihi kaynakları gerekse şairlerin divanlarında yer alan şiirler tema analizine tâbi tutularak dönemin önemli şiir türlerinin tespiti için çaba gösterilmiştir. Tespit edilen şiirlerin içerikleri üzerine yapılan incelemeler, şairlerin yoğun bir şekilde üzerinde durdukları konuların belirlenmesine imkân tanımıştır. Bu bağlamda methiye ve mersiye şiirlerinin, Türk hâkimiyeti döneminde şairlerin en çok örnek verdikleri iki şiir türü olduğu tespit edilmiştir. Çalışmanın odağında yer alan dönemde Sudanlı şairlerin ortaya koydukları eserler ile Câhiliye, Emevî ve Abbâsî dönemi şairlerinin şiirleri arasındaki bağın güçlü olduğu görülmüştür. Sudan şiirinin önceki dönemlerinde halk dili olan âmmiceyle söylenen şiirlerin fasîh Arapçayla nazmedilmesi, Fasîh Klasik Şiir Akımı adında bir akımı başlatmıştır. Türk hâkimiyeti döneminde Sudanlı şairlerin özellikle Mısır ve Hicâz gibi bölgelerde dinî eğitim almaları, dinî-tasavvufî akımların etkisiyle muhafazakâr bir kişiliğe sahip olmaları, söyledikleri şiirlerde dinî anlamların yoğunlaşmasına yol açmıştır. Bu şiirler sadece dinî anlamlar içermekle yetinmemiş, eserlerin ritim, name ve melodik yönlerini ön planda tutan tasavvuf şiirinin aksine sağlam yapı, etkileyici üslup, güzel anlam ve hatasız dil gibi şiirin kalitesini artıracak hususlara odaklanmıştır. Sudan’da Türk hâkimiyeti döneminde pek çok şair yetişmiştir. Bu şairlerin büyük bir kısmı şair kişiliklerinin yanında din âlimi vasfına sahiptir. Şeyh el-Emîn ed-Darîr, eş-Şeyh İbrâhîm Abduddâfi‘, Ahmed el-Ezherî, Hüseyin ez-Zehrâ, Muhammed Osmân el-Mîrğanî, el-Medâvî Abdurrahmân, Muhammed Ahmed Hâşim, Ömer el-Ezherî, Muhammed Ömer el-Bennâ, Abdulğanî es-Sillâvî, Yahyâ es-Sillâvî ve Muhammed Tâhir el-Meczûb gibi şairler, dönemin Arap şiirinin önemli isimlerindendir. Bu dönemde pek çok şair yetişmiş olsa da günümüze ulaşan şiir miktarı oldukça sınırlıdır. Bu şiirler büyük ölçüde methiye ve mersiyelerden ibaret olmakla birlikte, bu iki tür kadar çok olmasa da fahr ve hamaset şiirleri de bizlere seçkin örnekler sunmaktadır. İçerdiği anlam itibarıyla ele alındığında methiyelerin genellikle; Hz. Peygamber’e (sas), devlet yöneticileri ve tasavvuf ehli din adamlarına tahsis edildiği anlaşılmaktadır. Mersiyelerin ise Sudan toplumuna siyasî, askerî, dinî-tasavvufî alanlarda önderlik yapan şahsiyetlerin vefatlarından duyulan hüznün dile getirilmesinde kamuoyunun duygularına tercüman olduğu görülmektedir. Fahr ve hamaset şiirlerinin olumlu veya olumsuz bir şekilde Sudan’daki Türk yönetimini konu edinmekten uzak durması, dikkatleri çeken bir husus olarak ön plana çıkmaktadır. Türklerden bahseden methiye ve mersiyelerin aksine fahr ve hamaset şiirlerinin Sudan’ın coğrafî sınırlarını aşarak Mısır’daki ʻUrâbî isyanı gibi Arap milliyetçiliği temelli hareketleri destekleyici bir karakter sergilediği görülmektedir. Sudan’daki Türk-Mısır hükümetine karşı savaşmış, Mehdîlik iddiasında bulunmuş ve kendi adıyla kurduğu harekete dinî ve siyasî liderlik yapmış Muhammed Ahmed el-Mehdî’nin, dönemde görülen tüm şiir türlerine konu olan önemli bir karakter olduğu anlaşılmaktadır. Şiirlerin dua, rahmet, şefaat, bağışlanma temennisinin yanında ebced harfleriyle tarih düşürerek sona ermesi, Kur’ân ayetlerinden iktibâsı önemsemesi, muhtelif bedî sanatları içermesi, fasîh Arapçayla âmmicenin bir arada kullanılması gibi hususlar, dönem şiirinin karakteristik özellikleri arasında yer almaktadır.

Türk-İslam toplumlarında yaygın olan şairlerin padişaha methiye şiirleri sunma geleneğinin sağlam dinî temelleri vardır. Halk içinde saltanat ilâhî kaynaklıdır; padişaha itaat, Allah ve Resûlü’ne itaattir. Osmanlı padişahları, adaletiyle nizâm-ı âlemin son hâmisi olarak görüldükleri için halk padişahlara hürmet etmiştir. Kasideler, mesneviler gibi edebî eserlerde ve tarihî, dinî-tasavvufî eserlerde bunun birçok örneği vardır. Bu yüzden padişaha kaside sunan her şairin sadece makam ve maddi çıkar beklentisinde olduğunu düşünmek çok yüzeysel bir yaklaşımdır. Sultan II. Bayezid Amasya’daki şehzadeliği döneminde ve otuz bir yıllık saltanatında (salt. 886-918/1481-1512) dünyanın dört tarafından gelen âlimleri, sanatkarları ve özellikle şairleri cömertçe himaye eden sanatkâr bir padişahtır. Önemli bir hattat, bestekâr ve şair olan Sultan II. Bayezid halk arasında velî olarak meşhurdur. Sultan II. Bayezid devrine ait bir İn‘âmât Defteri’nde kayıtlı şairlere verilen hediyeler, şairlere verdiği önemin göstergesidir. Ancak Sultan II. Bayezid’in himaye ettiği şairlerin çoğu bilinmemektedir. Bu şairlerden biri olan Cevherî’nin hayatı ve eserleri meçhuldür. Bu makalede şairlerin kaside sunma geleneğinin dinî temelleri hakkında bilgi verilerek Cevherî’nin yeni bulunan şiirleri ve hayatı hakkında tespitler yapılmıştır. Makalede ayrıca Cevherî’nin yeni bulunan şiirleri tanıtılarak özellikleri, edebî değeri ve metin neşri yapılmıştır.

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The theme of eulogy which cannot be used as the main theme at the beginning of the Age of Jahiliyyah was scrutinized much more within the poems written about other themes. From the middle of this period, al-Nābigha ad-Dhubyānī began to earn money by writing poems in the genre of eulogy. This situation attracted the other poets of the period and they started to write eulogies in the form of qasida. It is seen that the qasida with the theme of the eulogy was partly interrupted in the Golden Age of Islam because in this period, the Muslims were in constant wars and struggle owing to the spread of Islam in new places. In this period, some changes occurred in the motifs used in the eulogy. The expansion of Muslim lands and the political developments experienced during the Umayyad Period had a direct impact on the eulogy. The poems with the theme of eulogy in the abovementioned period focused on the elements such as boasting about race and tribe as in the Age of Ignorance. In this period, Umayyad, Shi’a, Hāricī and Zubeyrī factions appeared. The poets turned the poems with the theme of eulogy into a political propaganda tool by supporting the faction they feel close to these political movements. Due to the reputation of the poets by society, many statesmen praised by the poets took these poets with them and bestowed on the poets much. In the Abbasid period, the Islamic State made great progress in different such as scientific, social, cultural, and political aspects. This progress naturally allowed the eulogy to develop in different topics. Even in the Abbasid Period, eulogies continued to be used as a political weapon by the people in power to be accepted by society. Additionally, the eulogies of this period also appear as historical records in terms of describing the victories and internal turmoil. Eulogy poets of the Abbasid Period took the habit of making money with poetry inherited from the eulogy poets of the Umayyad Period a step further. Apart from the eulogies that were special to the upper class, respected as official poetry, and far from reflecting reality and social feelings in the abovementioned period, there were also eulogies reflecting the general feelings associated with the whole society among the people. The first eulogy poems written in Andalusia under Arab rule were penned in the general framework of Eastern Arabic poetry. Even if the eulogy poems written in Andalusia seem to be a replica and a sequel of Eastern Arabic poetry in terms of style and subject, after they conquered Andalusia, the Arabs encountered climatic conditions and natural beauties that they were not accustomed to before. These natural beauties of Andalusia further developed the competence of the Arabs in poetry and prompted them to use short and light couplets in their poems. The political conflicts experienced in the Islamic State of Andalusia, just as in the Eastern Islamic States, had a direct impact on the eulogy. Andalusian eulogy poets maintained to see the eulogy poems as a source of income for themselves like the Eastern poets who are their predecessors and contemporaries. The absence of a study covering all periods of the eulogy that has an important place in classical Arabic poetry paved the way for this article. This study aims to show the differences among the periods by analysing the birth of eulogy and its development in classic Arab literature. In this study, the data was obtained by the qualitative and interpretive research methods. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Hz. Mevlânâ (ö. 1273) ve eserleri Osmanlı toplumuna derinden tesir etmiş, bu etki klasik Türk edebiyatına da yansımış, Mevlevî olsun ya da olmasın birçok divan şairi eserlerini Mevlevîlik unsurları ile süslemiştir. Bunun yanı sıra Mevlânâ için methiyeler yazılmış, bu şiirlerde Mevlânâ’nın yakın çevresi ve aile fertlerinden de bahsedilmiştir. Mevlevî şairler Mevlânâ’nın annesi Mümine Hatun’u tıpkı Mevlânâ’yı andıkları gibi anıp övmüş, Mâder-i Mevlânâ’ya hürmetlerini şiirle ifade etmişlerdir. Mevlevî şeyh ve edibi Ahmet Midhat Beytur (ö. 1971) Mümine Hatun için bir kıta yazmış, son dönem Mevlevî şeyh ve şairlerinden Ahmed Remzi Akyürek (ö. 1944) Bir Günlük Karaman Seyahatnamesi içinde geçen beş beyitlik bir tegazzülü Karaman Mevlevîhanesi’ni ziyareti esnasında Mâder-i Mevlânâ’nın manevi huzuruna sunmuştur. Zira Mevlevî adabına göre bir “berg-i sebz” ile de olsa hediye vermek gerekir. Mevlevîlikte kutsal sayılan 9 ve 18 sayıları hediyeleşirken de geçerli olmuştur. Mâder-i Mevlânâ için 18 beyitten oluşan bir kaside kim olduğunu tespit edilemeyen Gâlib (ö. ?) mahlaslı Mevlevî bir şaire aittir. Gâlib’in talik hatlı levha şeklindeki kasidesini görüp çok beğenen Hattat Giritli Şükrü (ö. ?) önce bu kasidenin sonuna nesih hatla 4 beyit eklemiş, ardından kendisi de 19 beyitlik nesih hatlı ayrı bir kaside yazmıştır. Bu levha günümüzde Karaman Mevlevîhânesi’ndedir. Eldeki çalışmada Mâder-i Mevlânâ hakkında kaynaklarda yer alan kısıtlı bilgi verildikten sonra onun için yazılmış dört manzume bir araya getirilmiştir. İncelenen şiirlerin tamamında Mevlânâ’nın annesinin çeşitli sıfatlarla övüldüğü, annelik vasfı ve dinî unsurlar ile kendisinden himmet, yardım, merhamet istendiği görülmüştür.

There are many works about a city or a settlement in classical Turkish literature, which has existed in various genres and styles for about six centuries. In these works, which can serve as a source for the history and culture of the city it deals with as well as being literary works, the city in question is praised in many ways, from its natural beauties to its architectural works, from its beauties to its famous people. However, there are also few elegies and satires among the works on the city. This work it is about the praises of Kesdel, Tekfur and Kızıldağ in the Dîvân of Kilisli Rıfkî, one of the 17th century divan poets. In our study, first of all, information about city poems and their characteristics will be given. Then, Rıfki's life and his only known work Dîvân, will be briefly introduced. In the main part of the article, the praises of Kesdel, Tekfur and Kızıldağ, which are included in Rıfkî's Dîvân and have not been studied before, will be examined in terms of form and content. At the end of the article, the transcripted text and facsimiles of the aforementioned city poems will be presented to the readers. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Didactic poetry, the first examples of which are encountered in ancient Greek and Indian, finds its correspondence in Arabic Literature as is al-shi‘r el-ta‘limi. The type of rajaz and urjūza seen in the early period is considered as the first manifestation of didactic poetry in Arabic literature. When it comes to didactic poetry, the first thing that comes to mind in Arabic literature is the alfiyya. It can be said that many works have been given in the style of didactic poetry on the science of ʿarūd and rhyme. Born in 1265/1849 in Haifa, in the north of Palestine, Yūsuf al-Nabhānī met many famous thinkers at al-Azhar University in Egypt, where he was for education. Having a close relationship with Sultan Abdul Hamid, al-Nabhānī worked as the editor of al-Jawāʼib newspaper, as well as serving in various judicial organs of the state. The author's work titled Nazmu evzâni'l-buhûr fî medhi’r-Rasūl by the author, who has written many works in various branches of Islamic sciences, is a didactic work that has a very small volume in which he gave praise about the Prophet by using all of the poetic prosodies. In the work, each prosody is mentioned with the example of a two couplet eulogy. The work, which offers those who want to learn ʿarūd prosodies the opportunity to remember easily with the technique of memorization, includes some literary arts along with a plain language. [ABSTRACT FROM AUTHOR]

Gazavât veya Müridizm olarak isimlendirilen Kafkasyaʼnın Rus işgalcilere karşı direnişi Gâzi Muhammed ile başlamıştır. Gazavâtʼın başlamasından itibaren bu harekâta önderlik eden isimler Ruslarla beraber bölgedeki bazı siyâset ve ilmîye ehliyle de savaşmak zorunda kalmışlardır. Bu liderlerden olan Şeyh Şamil de sadece Ruslarla savaşmamış, aynı zamanda bölgede kendisine muhâlif olanlarla hem siyâsî hem edebî hem de ilmî alanlarda mücâdele vermiştir. Kurduğu İmâmet Devletiʼnin resmî dili olarak Arapça tercih edilmiş ve buna bağlı olarak Arapça ilmî ve edebî literatür oluşturulmuştur. Yaklaşık olarak otuz yıllık Şeyh Şamil Devleti döneminde bu Arapça ilmî literatüre katkıda bulunanlar olarak Muhammed Tâhir el-Karahî, Murtaza Ali el-Uradî, Abdurrahmân el-Gâzikumȗhî ve diğer âlimler öne çıkmaktadır. Bahsedilen müellifler fıkıh, târih ve edebî alanlarda eser vermiş âlimlerdir. Şeyh Şamil döneminden sonra Hasan Alkadârî de bu silsileye katılmıştır.

Copyright of Selçuk University Journal of Faculty of Letters is the property of Selcuk Universitesi Edebiyat Fakultesi Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There are various poems written by the Classical Turkish poets about the sultans of the Ottoman. These were in various verse forms such as kaside, mesnevi and kıt'a-ı kebîre, usually written in methiye or mersiye types. In this respect, we could argue that Selim III was one of the Sultans in the Ottoman Empire, for whom the poets wrote about the most. It is clear that this was mainly based on the protective attitude of the Sultan towards the poets and artists. Hence, Classical Turkish poets did not appreciate Sultans who were distant to art and they did not write about them. This could be exemplified through the fact that no manzume was written by the poets about Mustafa IV (1807- 1808). On the other hand, it is known that there have been more than eighty manzume appraising Selim III. In this article, a Kıt'a-ı Kebîre, which belongs to Yûnus Edîb, one of poets the 18th Century and has not been studied until today, was reviewed in terms of its form of manzume and content. This study aims to add a new piece to the literature of manzume written for Selim III and to introduce this unknown poet (Yûnus Edîb) to the world of science along with his poem. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of BEÜ Ilahiyat Fakültesi Dergisi is the property of Bulent Ecevit University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

al-Akhtal al-Taghlibî was one of the great panegyrists of the Umayyad period. He became famous for his satires and panegyrics in a period when poetry was an important political instrument. al-Akhtal was introduced to Yazîd b. Mu'âwiyah by Ka'b b. Ju'ayl. He became a close friend of the crown prince. Yazîd, when he succeeded to the throne, was very kind to al-Akhtal. Although he was Christian, he was favoured by leading Umayyad caliphs. All his life al-Akhtal followed the reigning Umayyad Dynasty. He lauded in his panegyrics Yazîd, ʿAbd al-Malik b. Marwân and al-Walîd b. ʿAbd al-Malik and in his satires attacked all opponents of the caliphs. al-Akhtal became the ofcial poet to the caliph 'Abd al-Malik, to whom he dedicated a number of panegyrics. But he fell into disfavour under Walîd I. The pre-Islamic bedouin tradition is always apparent in the poems of al-Akhtal, and his panegyrics show the continued vitality of this tradition. The panegyrics of al-Akhtal acquired a classical status. His poetry was accepted by critics as source of pure Arabic.

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The first studies on the history of Turkish literature were made in Europe and the past of these studies dates back to the seventeenth century. One of these is the work titled The History of the Art of Ottoman Poetry written by Joseph von Hammer-Purgstall in 1836. The work was made known to the literary community for the first time by Mehmet Fuat Köprülü in No. 113 of the Hayat Mecmuası (Life Journal) dated 24 January 1929. In this article, Köprülü mentioned that the work by Hammer-Purgstall had appeared at the secondhand booksellers and moreover, the introduction had been translated to Ottoman Turkish by someone whose name was not revealed. The original name of the work titled The History of the Art of Ottoman Poetry, which was Geschichte der Osmanischen Dichtkunst bis auf unsere Zeit, was composed of four volumes and was published between 1836 and 1838. An important attribute of the book and from the aspect of also determining the scope of this study is the fact that within the work there is a methiye (laudatory poem) written in person by Hammer-Purgstall on 6 December 1835 for Sultan Mahmut II in the historical verse genre. The text, for which prosody was written with the pattern of mefâîlün mefâîlün feûlün, was composed of twentysix couplets in the mesnevi (poem made up of rhymed couplets, each couplet being of a different rhyme) verse form and was written both in German and in Turkish. In this study, the subject work was evaluated from the aspect of content characteristics by comparing the German and Turkish sections. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In his period, Mehmed Asad Hodja is a poet, an author and one of the famous lecturers on philosophy and his literary works are written in Turkish, Arabic and Persian. He had his reputation, especially with his qasidahs. Asad Afandi has written a 82 couplets of praise to the Ottoman Sheikh ul-Islam Faizollah Afandi. Aforementioned poem is kept as a manuscript registered in the Library of Solaimaniya, Asad Afandi Section and in this work this manuscript is translated into Turkish, examined with a written critique and interpreted shortly. Additionally, a brief information about both Faizollah Afandi and Asad Afandi's life is given. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Poet Sultan Walad, a famous Mawlawi Skeikh and sufi, who told Mawlawism and its caliph along with various religious and sufistic subjects in his prose and poems praised family members and a general governor from Monghols as well as other celebritios or viziers, princes, sultans of Anatolian Seljuks, Mawlawian caliphs and wrote poems praising the cities and people living in these cities. In this article, we have examined the praises Sultan Walad wrote about Grand Vizior of Anatolian Seljuks Sahib Ata Fakhraddin Ali and his son, Tajaddin Hosain and Turkish translations of these praises have been given. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)