User:Golden/sandbox/f

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Poetry[edit]

Fuzuli composed poetry and prose in Azerbaijani, Persian and Arabic. Of his works, fifteen remain extant. According to the Encyclopædia Iranica, Fuzuli's work is distinguished by "the way in which he integrates the mystic and the erotic, in the combination of the conventionality of his topics with the sincerity of his style, and in his intense expression of feelings of passionate love, of pity for the unfortunate, and of patience in the face of adversity".[1] Alireza Asgharzadeh, an academic studying Iranian and Azerbaijani culture, describes Fuzuli's poetry as having "manifested the spirit of a profound humanism, reflecting the discontent of both the masses and the poet himself towards totalitarianism, feudal lords, and establishment religion".[2] Fuzuli's poems have also been described as having a multi-layered structure due to his skillful use of mystic metaphors and symbols.[3] According to the literary researcher Muhsin Macit, Fuzuli's poems in Azerbaijani "have a multi-faceted structure, which, combined with perfection of expression, gives them permanence".[4]

Works[edit]

Leyli and Majnun[edit]

Main article: Leyli and Majnun (Fuzuli)

Fuzuli is most famous for his works in Azerbaijani, especially his ghazals (a form of amatory poem) and his masnavi Leyli and Majnun. This epic poem, written in the lyric form in 1535,[a] is Fuzuli's interpretation of the Middle Eastern tragic love story of Layla and Majnun. Fuzuli reveals in the work that he was prompted to write it by a request from some Ottoman poets who had accompanied Sultan Suleiman during his invasion of Baghdad. He accepted the request as a challenge and completed the work in a short amount of time.[6] Before beginning his work, Fuzuli studied Persian versions of the story, particularly drawing inspiration from the 12th-century poet Nizami Ganjavi's rendition. However, Fuzuli made significant changes to the narrative, particularly in the way the subject was handled. For instance, while Nizami's work concludes with Majnun's death, Fuzuli's version sees the two lovers reunited in heaven and their graves transformed into mausoleums.[7]

Fuzuli's interpretation of the story generated more interest than previous Arabic and Persian versions, which the Turkish literature scholar İskender Pala attributes to the sincerity and lyricism of Fuzuli's expression.[8] The work has been described by the Encyclopædia Iranica as the "the culmination of the Turk[ic] masnavi tradition in that it raised the personal and human love-tragedy to the plane of mystical longing and ethereal aspiration".[1] Through Fuzuli's interpretation, the story of Layla and Majnun became widely known and is considered one of the greatest works of Turkic literature.[9]

Ḥadīqat es-suʿadā[edit]

Page depicting two nude individuals and a group of winged figures
Manuscript of the Ḥadīqat es-suʿadā in Brooklyn Museum

Another famous work by Fuzuli is the maktel (poem about a historic death) Ḥadīqat es-suʿadā [az] (lit. 'The Garden of the Blessed') which deals with the Battle of Karbala, a military engagement in 680 CE between the army of the second Umayyad Caliph Yazid I and a small army led by Husayn ibn Ali, the grandson of the Islamic prophet Muhammad. The work, which includes an introduction, ten chapters and an epilogue, was written mostly in Azerbaijani to provide Turkic people with access to the Battle of Karbala narrative. In the introduction, Fuzuli explains that while there were existing works about the event in Arabic and Persian, there were none in a Turkic language, leaving the Turkic people deprived of this knowledge.[10] Adapted from Husayn Kashifi's Rawżat al-šohadāʾ (lit. 'The Garden of Martyrs'), it is considered a masterpiece of the Turkic maktel genre and is the most popular among other contemporary works on the Karbala events.[11] Although the work does not specify its date of creation, it is believed to have been written before 1546. This estimation is based on the oldest available copy, the Cairo manuscript, which was recorded in library records as dating back to 1546.[12]

Azerbaijani divan[edit]

Main article: Fuzuli's Divan in Azerbaijani Language

Fuzuli was also the author of a divan (collection of short poems) in Azerbaijani, which is his most extensive work in this language. It comprises 302 ghazals, 27 qasidas, several panegyrics, and rubaʿis (four-line poems).[13] In the preface of his divan, Fuzuli writes that "poetry without science cannot be permanent, just like a wall without a pillar".[14] Abdülkadir Karahan, a scholar of medieval Turkic literature, regards several of the qasidas in the divan as masterpieces, including the radif na'ts [tr] (poems praising the Prophet Muhammad) titled sabâ (lit. 'Sabbath'), su (lit. 'Water'), gül (lit. 'Flower'), and hançer (lit. 'Dagger'), as well as the qasida composed by Fuzuli to commemorate Sultan Suleiman's capture of Baghdad. Despite this, it was Fuzuli's ghazals that brought him widespread recognition. According to Karahan, Fuzuli "reached the peak of lyricism, mystical love and excitement in his ghazals".[15]

Other Azerbaijani works[edit]

Other works by Fuzuli in Azerbaijani include the 445-couplets-long allegorical-satirical poem Beng ü bāde, which imagines a dispute between wine and hashish over their respective merits;[16] a translation of the Persian poet Jami's Forty Hadith titled Ḥadīth-i arbaʿīn tercemesi (lit. 'Translation of Forty Traditions'); and an allegorical masnavi titled Sohbetü’l-esmâr [az] (lit. 'Conversation of Fruits'), which depicts vineyard fruits engaging in self-praise and arguments. Additionally, Fuzuli wrote a poetic letter to Sultan Bayezid II and four others to his Ottoman officials.[17]

Persian divan[edit]

Fuzuli also authored several works in Persian, including a divan. According to Karahan, this collection of short poems, comprising 410 ghazals, 46 qasidas, 106 rubaʿis, and other works, demonstrates Fuzuli's proficiency in Persian equal to that of any classical Iranian poet.[15] The collection opens with a prose preface, where the poet praises the merits of poetry, his enduring fascination with it, and its ability to turn pain into pleasure.[1] In the divan, Fuzuli shows great influence from Persian poets like Hafez and Jami.[15]

Other Persian works[edit]

Fuzuli also wrote Haft jām (lit. 'Seven Goblets', also called Sāqī-nāma, lit. 'Book of the Cupbearer'), a seven-part masnavi of 327 couplets with each part focusing on a specific musical instrument. Another Persian masnavi by Fuzuli is Ṣeḥḥat o marazµ (lit. 'Health and Sickness', also called Ḥosn o ʿEšq, lit. 'Beauty and Love'), which was inspired by the 15th–century Persian poet Fattahi Nishapuri's Ḥosn o Del (lit. 'Beauty and Heart') and is an important work in demonstrating Fuzuli's knowledge of medicine.[17] It tells the story of a dervish losing and regaining his body's health physically due to its struggle with a disease and later psychologically due to its struggle with love.[15] Fuzuli also has a prose work in Persian titled Rend o zāhed (lit. 'Sufi and Ascetic'), which imagines a discussion between an ascetic who is attempting to instruct his son Rend, who tries to justify his lack of interest in education.[18] Additionally, he wrote Resâla-ye moʿammīyāt (lit. 'Treatise of Idioms'), a work consisting of 190 riddle poems, and Anīs al-qalb (lit. 'Anis Heart'), a 134-couplet long qasida written for Sultan Suleiman.[17]

Arabic works[edit]

Arabic works by Fuzuli include eleven qasidas and a prose work titled Maṭlaʿ al-iʿtiqād (lit. 'The Birth of Faith'). The prose work describes the idea that man can reach God by learning the secrets of the universe through gaining knowledge and is related to the Islamic theological discipline ʿIlm al-Kalām.[4] Fuzuli's Arabic qasidas are believed to be fragments from a larger divan. All of them discuss the Islamic prophet Muhammad and Ali, the cousin and son-in-law of Muhammad and the first Shia Imam.[19]

References[edit]

Notes[edit]

  1. ^ While most sources indicate that the work was completed in 1535,[5] the Encyclopædia Iranica states that it was finished in 1536.[1]

Citations[edit]

  1. ^ a b c d Encyclopædia Iranica 2000.
  2. ^ Asgharzadeh 2007, p. 11.
  3. ^ Macit 2013.
  4. ^ a b Macit 2014.
  5. ^ Karahan 1996; Macit 2014; Macit 2013; Pala 2003.
  6. ^ Macit 2014; Pala 2003.
  7. ^ Pala 2003; Encyclopædia Iranica 2000.
  8. ^ Pala 2003.
  9. ^ Macit 2014; Skilliter 1972, p. 157.
  10. ^ Hyder 2008, p. 22; Güngor 1997.
  11. ^ Taner 2019, p. 144.
  12. ^ Güngor 1997.
  13. ^ Encyclopædia Iranica 2000; Karahan 1996, p. 373; Péri 2020.
  14. ^ Çelebioğlu 2017, p. 601; Macit 2014.
  15. ^ a b c d Karahan 1996.
  16. ^ Péri 2020, p. 374; Aynur 2020, p. 287.
  17. ^ a b c Encyclopædia Iranica 2000; Karahan 1996.
  18. ^ Macit 2014; Encyclopædia Iranica 2000.
  19. ^ Karahan 1996; Macit 2013.

Sources[edit]

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