Fettâhî’nin Hosn u Dil (Hüsn ü Dil)’i İle Fuzûlî’nin Sıhhat ve Maraz’ının Mukayesesi

Abstract

The 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 15 th 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 H usn 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. ABSTRACT 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.