Ömer Necmî Efendi (1815-1889) asker olması nedeniyle Anadolu’nun çeşitli yerlerinde bulunmuş, Kula Redif binbaşılığından emekli olup Manisa Alaşehir’e yerleşmiştir. Halvetî, Şâzelî ve Rufâî tarikatlarına mensup olan şair, manevi yolculuğuna hayatı boyunca devam etmiş, emekli olduktan sonra da uzun müddet Alaşehir’de bir dergâhta görev yapmıştır. Ömrünün son zamanlarını İstanbul’da geçirmiştir. Şairin Türkçe Dîvân, Kasîde-i Elfiyye, Tuhfe-i Vahdet ve Farsça Dîvânçe olmak üzere dört eseri olduğu bilinmektedir. Bazı kaynaklarda ise Necmî’nin Farsça bir dîvânçesi olduğundan bahsedilmemiş, şairin sadece Farsçaya olan hâkimiyeti övülmüştür. Bunda Dîvânçe’nin Türkçe Dîvân ile birlikte basılmış olmasının etkili olduğu düşünülebilir. Ancak iki eserin de birbirinden müstakil başlıklarla ayrıldığı göz ardı edilmemelidir. Çoğunluğu tasavvufî gazellerden oluşan ve 3 farklı tarihte (H. 1280, H. 1284 ve H. 1287) basılmış olduğu görülen eser üzerinde şimdiye kadar herhangi bir çalışma yapılmadığı fark edilmiştir. Halbuki Necmî’nin hayatı hakkında kaynaklarda verilen bilgilerin sınırlı olduğu ve pek çok malumata şairin kendi eserlerinden hareketle ulaşıldığı düşünüldüğünde bu eserinin de gün yüzüne çıkması gerekmektedir. Bu doğrultuda, çalışmamızda Ömer Necmî Efendi’nin Farsça Dîvânçe’si biçim ve içerik yönüyle tanıtılıp değerlendirilmiştir. Ayrıca, şairin Dîvânçe’deki şiirlerini kaleme alırken en fazla tercih ettiği iki aruz kalıbının Türkçe Dîvân’ıyla benzerlik göstermesi ve Farsça şiirlerinde sıklıkla askerî terimler ile musikiye dair unsurlara yer vermesi eserin dikkat çekici yönleri olarak ön plana çıkmıştır.
Omer Necmî Efendi (1815-1889) was found in various places of Anadolu because of his military, retired from the Kula Redif generality and settled in Manisa Alaşehir. The poet, who belonged to the Halvetî, Shâzelî and Rufâî tarikates, continued his spiritual journey throughout his life, and after retirement, he served a long time in a magazine in Alazehir. He spent his last time in Istanbul. It is known that the poet has four works: Turkish Dîvân, Kasîde-i Elfiyye, Tuhfe-i Vahdet and Farsça Dîvânçe. In some sources, it was not mentioned that Necmî was a Persian dewan, the poet’s domination was only praised to Persian. It can be thought that it is effective that Dîvânçe was printed together with the Turkish Dîvân. But it is not necessary to ignore that both works are separated with separate headlines. It has been observed that no work has been done so far on the work, mostly composed of Tasavuf gazels, which appears to have been printed in 3 different dates (H. 1280, H. 1284 and H. 1287). But when the knowledge given in the sources about the life of Necmî is limited and many malumata poets are achieved by movement from their own works, this work must also come to the face of the day. In this direction, our work has been introduced and evaluated by the form and content of the Persian Dîvânçe of Omer Necmî Lord. Furthermore, the poet’s poems in Dîvânçe are the two most preferred aruz patterns that appear similar to the Turkish Dîvân and in the Persian poems often place the elements of military terms and music as the remarkable aspects of the work.
Omer Necmi Efendi (1815-1889) had been in various parts of Anatolia due to his military service, he served as a major at Kula and when he retired from his position, he settled in Manisa Alaşehir. Being a member of Halveti, Şazeli and Rufai sects, the poet continued his spiritual journey throughout his life, and after retiring, he worked in a lodge in Alaşehir for a long time. He spent the last times of his life in Istanbul. It is known that the poet had four works in Turkish Diwan, Kaside-i Elfiyye, Tuhfe-i Vahdet and Persian Diwanche. In some sources, it is not mentioned that Necmi has a Persian diwanche, and only the poet's dominance in Persian is praised. It can be thought that the fact that the Diwanche was published together with the Turkish Diwan was effective in this. However, it should not be overlooked that both works are separated by separate titles. It has been noticed that no work has been carried out on the work, most of which is composed of Sufi gazelles and printed in 3 different dates (H. 1280, H. 1284 and H. 1287). However, considering that the information given in the sources about Necmi's life is limited and that many information can be obtained from the poet's own works, this work should come to light. In this direction, in our study, the Persian Diwanche of Omer Necmi Efendi was introduced and evaluated in terms of form and content. In addition, the fact that the poet's most preferred two prosody patterns while writing his poems in Diwanche are similar to the Turkish Diwan and that they frequently include military terms and elements related to music in Persian poems stand out as the remarkable aspects of the work.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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