DILEMMA OF SUFFERING-LOYALTY IN FUZ█L╬: CONSIDERING SUFFERING AS LOYALTY AND CONSENTING TO THE SUFFERING OF LOVE

Abstract

Author(s): Ahmet AKG├ťL

Love in classical Turkish literature, as in all literary traditions, is a theme handled with all its manifestations. Poets belonging to this tradition have dealt with the concept of love in various aspects, ranging from basic and human desires to otherworldly and mystical dimensions. Almost every classical poet behaves as if they are obliged to fall in love with a beloved one who has common traits and to expatiate on her. The source of lyricism at the basis of this literature is love, and one of the heroes of this love is the unconditional loving side, which is the lover, while the other is the party who likes to inflict pain and anguish on the lover, which is the beloved one. This lover-beloved relationship, whose examples we can see in the diwan of almost every classical poet and whose rules are predetermined, is seen exactly in some of the poems of Fuzûlî (d. 1556), one of the 16th century poets, while it shows significant differences in some of his poems. The poet can be said to be loyal to the general rules of classical Turkish literature in terms of his ideas and aesthetics. However, there are also ideas that differ from tradition in his diwan. In this study, the relationship between the lover and the beloved in Fuzûlî's ghazals in his Turkish diwan is examined and attention is drawn to two issues in which the poet stands out in the tradition. The first of these is the evaluation of the torments from the lover in terms of loyalty or goodness. According to Fuzûlî, the beloved one’s maltreatment to the lover is actually a sign of loyalty. This idea is quite original in terms of the tradition the poet belongs to. The other one is the drawing of a 'lover' profile, who gladly endures the maltreatments of the beloved. According to Fuzûlî, maltreatments of the beloved one are also a blessing for the lover, and he should never complain about them. The original expressions of the poet on both subjects are tried to be explained with sample couplets selected from his diwan.

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