Özet:

Whether Tasavvuf poetry or divan poetry, both of our poems have a universal attraction and classical value like the poems of many nations. The poet of both communities, taking power from the potential that existed before in the Turkish society, has created a decent society that has raised the individual level of consciousness of each ferdine. If there is a difference between the two poems, it is the static of the divan poem, and the tasavvuf poem is relatively more dynamic than the divan poem. As the Divan poem is a unique Nazim world, the Tasavvuf poem also has a sense universe shaped by different manâ and mefhum. In the poetry of Divan, pleasure and dreams are based on intelligence; in the poetry of Tasavvuf, inspiration is based on intuition and varidity. These are sometimes promises, sometimes mosques, sometimes poems; it becomes nazim, becomes gradually a mażmūna.  So far, when the mażmūn was said, the first thing that came to mind was the divan poetry, which left behind the mażmūns of Tasavvuf’s poetry. Thus, the poem of Tasavvuf is very interesting in terms of the mażmūn, and is so rich. The terms belonging to Tasavvuf literature, even if the name is a term, in poetry each one is a state, office or experience. Therefore, many concepts of the poem of Tasavvuf which we call the term can be included in telmih, teşbih and mecaz and a mażmūn. Under three titles and with the beats of our three mutasavvıf poets, the purpose of our article is to draw attention to the existence of a rich mażmūn staff independent of the divan poem of the Turkish tasavvuf poem. The topic of the mażmūn of Turkish tasavvuf poetry must be considered important in terms of the fact that it has not been mentioned so far. The poet designs in his name what the reader can’t imagine or express, sometimes even what he can’t imagine, and re-presents to him. Among daily runs many readers resolve the imaginary need of the heart by walking in the unique valleys of poetry.  Every poem has a certain audience and that audience speaks to the feelings of the audience. Every poem is decorated with fantasies and drawings; but it can be understood by praise accompanied by the words. Whether Tasavvuf poem or divan poem, both of our poems have universal attraction and classical value like the poems of many nations, the Tasavvuf poet and divan poet are the architects of an immaculate art existence that has ruled for centuries, and their works are the characters of their own fields. Both poems are a guide ship that, along with literary heritage, brings the entire cultural existence to the next generations, the leading art branches. The poet of both gems has created a well-known society, which has raised the individual level of awareness of each ferdine by taking power from the potential that existed before in the Turkish society. The poetry of Divan is so beautiful in the aesthetics that the dean adds, the poetry of Tasavvuf is so beautiful with the unfathomable and unfathomable intimacy of the heart-born vâridate. Without taking advantage of the rich mażmūn staff of Tekke poetry, making mażmūnu exclusively to divan poetry or looking for the mażmūns of divan poetry again in the tekke poetry and trying to interpret these mażmūns with the habits of divan poetry will be an insurgency and a very staticity. The clearest difference between Tasavvuf poetry and divan poetry is that the terms of Tasavvuf can be found in the divan poetry as a promise and a mesh; in the tasavvuf poetry the concepts such as vaḥdet, ḥalvet, tecellī and müşāhede are the feelings or conditions in which the mutasavvuf poet personally tastes. The poet’s nature paintings, spring and winter paintings, awaken the reader’s passion for a period of time; the poet’s impatience to this world, the unmistakable desire for the Cemāl and the vuslat excitement, the heart shots of the reader’s passion, the eternal peace of the world, the reader’s passion, the reader’s passion, the reader’s passion, the reader’s passion, the reader’s passion, the reader’s passion, the reader’s passion, and the reader’s passion. If there is a difference between the two poems, it is the static of the divan poem, and the tasavvuf poem is relatively more dynamic than the divan poem. As the Divan poem is a unique Nazim world, the Tasavvuf poem also has a sense universe formed by different manna and mefhum.  Even though the beauty they draw is material and spiritually different, the poet of both collections wishes to go beyond the beauty he meant and find himself there. Sometimes it is done with the praise, sometimes with the praise, sometimes with the praise. It succeeds with some types of mażmūn. In the poetry of Divan, pleasure and dream is based on intelligence, and in the poetry of Tasavvuf, inspiration and vâridât is based on intuition. These are sometimes promises, sometimes mosques, sometimes poems; it becomes nazim, becomes gradually a mażmūna. Divan poetry is the unlimited effort of the abstract poetry, and tasavvuf poetry is the unfinished enthusiasm of the concrete vecdin. Although both of them have found what they are looking for outside the everyday life, the pleasure that the divan poet finds, the poet of Tasavvuf is feyz. When Mażmūn is said, it comes to mind first divan literature and the length of the beauty of this literature (servi), hair (zülf), eye (nergis), leather (ya), scratch (ok) and teeth (sîmîn) and these mażmūns are shaped, cliched and spread, although each one is only herbabi's artistic words and magical narratives. There are many other verses of the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, the Qur’an, and the Qur’an. So far, when the mażmūn was said, the first thing that came to mind was the divan poetry, which left behind the mażmūns of Tasavvuf’s poetry. The poem of Tasavvuf is also a very interesting and rich poem in terms of the mażmūn. The terms belonging to Tasavvuf literature, even if the name is a term, in poetry each one is a state, office or experience. Therefore, many concepts of the poem of Tasavvuf, which we call a term, can be included in telmih teşbih and mecaz and a mażmūn. The fact that the Divan poets used the mażmūnu only as a word in time, and that its use as a term began with Tanzimat, made it inevitable that different definitions of the mażmūnu appear over time. Today, many researchers have different understanding and definition of mażmūnu. But all the poems that investigate or write about mażmūn, when they say mażmūn, only brought the divan poem into mind, and the mażmūn examples were chosen from the beits of the divan poet. This is also the missing part of the mażmūn topic. Nevertheless, our main objective in this article is not to discuss what mażmūnun is and what it is, but to try to express that the tasavvuf poem is as rich as the divan poem. Since the mażmūnun has no one general accepted definition; so Tasavvuf says that the poem may also have its own mażmūnus, we can illustrate it with the beits of the poem of Tasavvuf.