Özet:

When the poems written within the scope of Classical Turkish Literature are examined according to their genres, it will be seen that there are many works written to praise Prophet Muhammad (PbuH). It will be noticed that many genres, such as naats, mevlids, hijrat al-nabi, esma al-nabi, ghazwat al-nabi, mu'jizat al-nabi, ahlaq al-nabi, hilya, shafaat-nama, forty hadiths, vefat al-nabi, and Muhammadiyye, try to depict Prophet Muhammad's life, and their numbers are also remarkable. This situation that shows the love and value of Muslim Turkish people and divan poets for Prophet Muhammad has spread throughout our literature and has led to the emergence of many works written to reveal this love. His life has been an inspiration not only to literature but also to other fine arts. Many extraordinary events/miracles occurred in Prophet Muhammad's life. One of these, miraj, has been a frequently addressed topic both in Turkish literature and in the literatures of other Muslim nations. Works that tell the story of Miraj have been written mostly in Persian and Turkish literatures, called Mirajname or Miraciye. Although the most works have been produced in the literature field, it has been one of the subjects addressed in miniature, music, calligraphy, and book arts. Miraj, which has become one of the most addressed topics in Turkish literature, was initially considered as a part of siyar (the Prophet's biography), and then became an independent genre. Mirajnames, both in verse and prose, have been written since the 12th century. Miraj poems, which began to appear in divans in Turkish literature in the 16th century, later found a place in almost every divan in the following centuries. The tradition of writing Miraciye among the divan poets continued in the 19th century as well. Zuhrī, one of the 19th-century divan poets studied in this work, is also one of the authors who tell the story of Miraj. Information about Zuhrī's life could not be found in biographical sources. Therefore, although it is not possible to obtain comprehensive information, the information about Zuhrī was taken from his work named Nūr-nāme-i Muhammed. The author used his pen name in two places in the work. It is stated in the last couplet of the work that Nūr-nāme-i Muhammed was completed in 1253/1837. Gazi Sultan Mahmud Han is mentioned in three couplets in the mesnevi. Based on the date of the work, it is understood that this sultan was Sultan II. Mahmud. It is believed that Zuhrī was a Mevlevi because he mentions Mevlana Jalaluddin Rumi and his famous work Mesnevi in his mesnevi, and he addresses the reader as "oh dede" (oh grandpa) in a few places. The Nūr-nāme-i Muhammed is an 860-verse work written by Zuhrī in the form of Mesnevi and in the style of Miraciye. It is the only known work of Zuhrī. The author has divided the work into three sections. In the first section, Zuhrī devotes an important part to the idea of the "nūr-ı Muhammedī" (the light of Muhammad). In the main section, he narrates the story of Prophet Muhammad's journey from the Masjid al-Haram to Masjid al-Aqsa and then to Allah's presence. The work is written in the "fāilātün fāilātün fāilün" form with many redif and various types of kafiyes. No biographical information about the poet or the Nūr-nāme-i Muhammed can be found in the sources. Although the work often uses suffixes such as "-ısar/-iser," "-uban/-üben," and "-gıl/-gil," which are characteristic of Old Anatolian Turkish, it was actually composed in the mid-19th century. This paper examines Zuhrī's Nūr-nāme-i Muhammed in terms of its form, content, and language features. Such an analysis will contribute even if in a small way to Islamic Turkish literature.

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