Seyf-i Fergânî was born in Fergâna in the second quarter of the 13th century. After staying in Tebriz for a while, he came to Anatolia and he lived in Aksaray. Seyf who lived in this city until the end of his life is a mystic poet. There is a divan consisting of 10,277 couplets composed of ode, verse, gazelle and rubai poetry genres. Being in the first place his poetries written in intellectual, amorous, mystic and advising manner his citing from verses and hadiths, his showing the prophet’s anecdotes as reference, his full knowledge on aruz prosody and rhyme and especially his literary arts is remarkable. İn this work, we used thesis with tittle of the analysıs of Seyf-i Fergânî’s Gazelles. After a brief introduction was given about Seyf-i Fergânî’s life, the arts used in his poetries were investigated with examples of couplets. The arts used are shown in the selected couplets. First, brief information was given about the art, and then the art part in the couplet was made bold. Moreover, selected couplets were translated into Turkish. In our study, various sources, especially, work named Funûn-i Belâgat ve Sınâ‘ât-i Edebî were used.
Seyf-i Fergânî was born in Fergâna in the second quarter of the 13th century. After staying in Tebriz for a while, he came to Anatolia and he lived in Aksaray. Seyf who lived in this city until the end of his life is a mystical poet. There is a divan consisting of 10,277 couplets composed of ode, verse, gazelle and rubai poetry genres. Being in the first place his poems written in intellectual, amorous, mystic and advising manner his citing from verses and hadiths, his showing the prophet's anecdotes as reference, his full knowledge on the desire prosody and rhyme and especially his literary arts is remarkable. In this work, we used the thesis with the title of the analysis of Seyf-i Fergânî's Gazelles. After a brief introduction was given about Seyf-i Fergânî's life, the arts used in his poems were investigated with examples of couplets. The arts used are shown in the selected couplets. First, brief information was given about the art, and then the art part in the couplet was made bold. Moreover, selected couplets were translated into Turkish. In our study, various sources, especially, work named Funûn-i Belâgat and Sünâât-i Edebî were used.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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