PERSIAN DÎVÂN (NEF'Î)

Name: PERSIAN DÎVÂN (NEF'Î)
Author: Nef'î, Ömer Efendi (b. 982?/ 1572?-d. 1045/1635)

Title	PERSIAN DÎVÂN (NEF'Î)
Author	Nef'î, Ömer Efendi (b. 982?/ 1572?-d. 1045/1635)
Publication Date:	13/09/2022
Subject	Written Literature / Divan Literature - poems
Type	Book
Language	Persian
Digital	No
Manuscript	No
Library:	Dictionary of Turkish Literature Works
Record ID	farsca-divan-nef-i
Date	?
Notes	It is the Persian Divan written by Nef'î, who lived in the 17th century and has an important place in the ode and satire valley of Divan poetry. The work, which contains almost all the features of Sebk-i Hindî, contains 16 odes, 21 ghazals, 1 terci'-bend (sâkî-nâme), 1 stanza-yi kebire, and 171 rubâ'î (Selçuk 2013: 578). His odes are 908, his ghazals are 122, his terci-bendi is 72, his 1st stanza is 20 and his ruba'is are 342 couplets (Atalay 2019). The number of couplets in the poems is variable and varies between 35 and 97 couplets. The first 8 (eight) odes in the work are na't. The second na't is titled Tuhfetü'l-Uşşâk. Afterwards, there are four odes in which the poet shows his respect for Mevlana. In this regard, we can say that although the poet was not a Mevlevi, he filled the void of his love for Mevlana, which he included in an ode in his Turkish Dîvân, in his Persian Dîvân (Armutlu 2019: 328). Afterwards, the Shaykh al-Islam of the period, Esad Efendi, Hüsam Giray Khan, and his main patron, Sultan IV. Murad's odes containing the praises of the Indian sultan Sultan Selim Nuruddin Cihangir (sal. 1014-1037) come to mind. Nef'î often started his Persian odes (K. 1, 4, 8) with fahriye, as in his Turkish odes. In his eulogies, he often praised himself more than he praised. For example, in one ode (K. 4), fahriye consists of 25 couplets and eulogy consists of 10 couplets, and in another eulogy (K. 12), fahriye consists of 45 couplets and eulogy consists of 10 couplets (Atalay 2019: 23, 24). The ghazals in the work, most of which are amorous and lustful, are written in a sensual tone (Armutlu 2019: 329).There are 21 ghazals in the divan, with the number of couplets varying between 5 and 9. 14 of these ghazals consist of 5 couplets, 5 of them consist of 7 couplets, and the other two consist of 8 and 9 couplets. Nef'î's Persian ghazals have rhymes and one of his ghazals (G. 14) is completely fahriye (Atalay 2019: 27). It is seen that the enthusiastic, exaggerated and extravagant style of the Turkish Divan is absent in his Fahriye and many of his ghazals. It is obvious that these discourses came from the pen of a fine, sensitive poet who is kind-hearted, speaks pure poetry, and does not pretend to be a miracle or magician. In these poems, it is seen that Nef'î successfully used the rich world of similes, metaphors and emotions belonging to Dîvân poetry. The poet's rubâ'îs are also in the same line. In these poems, it is seen that many elements about life, love and humanity are expressed with deep contemplation and belief. The influence of Hafez (d. 792/1390) is evident in his ghazals. An Iranian literary figure said: "The poet, who is certainly inferior to Hâfez in terms of the depth of contemplation and feeling, and his witty wit, is compared to Hafez in terms of the exterior of his poetry, that is, smoothness and harmony. Among the Turkish poets, Nef'î can be shown as the closest to Hafez" (Seyyîd 1953: 58; cf.: Atalay). 2019: 27) is an appropriate observation. Nef'î's only terci'-bend is a sakî-nâme consisting of 9 clauses, each couplet of which is 8 couplets. It has been stated that this is inspired by the terci'-bend of Iran's famous poet Vahşî-yi Bâfikî (d. 991/1583) and is in the same meter as the terci'-i clause of Firkâtî-yi Şîrâzî, which consists of 15 clauses, and rhymes with the terci'-hâne and 4 of the clauses. Since the saki, wine, love, beloved, glass, mutrip and wine assemblies are mentioned in a sarcastic style in Sâkî-nâme (Atalay 2019: 28), the style of Hâfız (d. 1390) is woven with a sarcastic tone. The only stanza of Nef'î in the Persian Divan is 20. It is a stanza consisting of couplets. The stanza in question also reveals the poet's indecisive personality or mood seen in his praises and satires. There are 171 rubâ'îs written in the ahreb pattern in the Persian Dîvân, where rhindâne, mostly amorous and sometimes mystical feelings are handled. Nef'î used a pseudonym in 15 of his ruba'is. Most of the rubâ'îs are redif and only 22 of them are without redif (Atalay 2019: 29). The feeling of love in the Rubâ'îs; It is woven with Sufi discourses. The total number of couplets of the divan is 1464, and its language is heavy. Although it is stated that the work is not as competent as the Turkish Divan in terms of literature, it is of great importance as it shows that the poet is extremely knowledgeable about Persian language and literature and is a productive poet who can compete with Persian poets. It is a reference book for those who will study Divan poetry, with its conceptual framework rich in literary arts, as well as its extremely successful simile, metaphor and deep, intricate world of meaning, including the Sebk-i Hindî style. There are four copies of the work identified. Ali Alptekin (1944) published a comparative study of four manuscripts in Istanbul libraries as his master's thesis. This work was translated into Turkish by Ali Nihad Tarlan (1944). Again, the first two odes of the Dîvân in question were published under the name Dîvân-ı Nef‘î (1313) (Atalay 1989: 7). Finally, Mehmet Atalay prepared his Doctoral Thesis on the Dîvân. This work was also published as a book by (2009). This book also includes the Turkish translation of the Persian Dîvâ. For the biography of the poet, see. “Nef'î, Ömer Efendi”.Turkish Literature Names Dictionary.
ISBN	978-9944-237-87-1
Madde Yazarı	Doç. Dr. Sadık Armutlu
Alfabesi	Arap
Yapısı	Manzum
Niteliği	Telif
Kaynakça	Alptekin, Ali (1944).Nef’î’nin Farsça Dîvânının Tenkitli Neşri. Mezuniyet Tezi. İstanbul: İstanbul Üniversitesi (Tez Nu: 818). Armutlu, Sadık (2019). “Nef’î Farsça Divan Metin – Çeviri (Prof. Dr. Mehmet Atalay)”.Doğu Esintileri,(11): 327-330. Atalay, Mehmed (1989).Şair Nef’î, Farsça Divanının Edisyon Kritiği ve Üslubu. Doktora Tezi. İstanbul: Atatürk Üniversitesi. Atalay, Mehmed (2009).Nef’i, Farsça Divan (Metin-Çeviri). Erzurum: Demavend Yay. Dîvân-ı Nef'î(1313). Dersaadet: Kasbar Matbaası. Selçuk, Bahir (2013). “Nef’î’nin Kasidelerindeki Farsça Yapılı İkilemelerin (Terkîb-i Tekerrürî) Ses ve Anlam Düzenine Etkisi”.Ahmet Atillâ Şentürk Armağanı. (edt.Ahmet Kartal ve Mehmet Mahur Tulum). İstanbul: Akademik Kitaplar. 577-595. Seyyîd, Naîmüddîn (1953).Nefî ve İran Şiiri. Doktora Tezi. Ankara: Ankara Üniversitesi. Tarlan, Ali Nihad (1944).Nef’înin Farsça Divanı Tercümesi. İstanbul: Selami Sertoğlu Kitabevi Neşriyatı Numune Matbaası.
Atıf Bilgileri	Armutlu, Sadık. "FARSÇA DÎVÂN (NEF'Î)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/farsca-divan-nef-i. [Erişim Tarihi: 25 Ağustos 2025].

View in source Dictionary of Turkish Literature Works

Dictionary of Turkish Literature Works

PERSIAN DÎVÂN (NEF'Î)

Author Nef'î, Ömer Efendi (b. 982?/ 1572?-d. 1045/1635)

Publication Date 13/09/2022

Subject Written Literature / Divan Literature - poems

Type Book

Language Persian

Digital No

Manuscript No

Library Dictionary of Turkish Literature Works

Record ID farsca-divan-nef-i

Date ?

Notes It is the Persian Divan written by Nef'î, who lived in the 17th century and has an important place in the ode and satire valley of Divan poetry. The work, which contains almost all the features of Sebk-i Hindî, contains 16 odes, 21 ghazals, 1 terci'-bend (sâkî-nâme), 1 stanza-yi kebire, and 171 rubâ'î (Selçuk 2013: 578). His odes are 908, his ghazals are 122, his terci-bendi is 72, his 1st stanza is 20 and his ruba'is are 342 couplets (Atalay 2019). The number of couplets in the poems is variable and varies between 35 and 97 couplets. The first 8 (eight) odes in the work are na't. The second na't is titled Tuhfetü'l-Uşşâk. Afterwards, there are four odes in which the poet shows his respect for Mevlana. In this regard, we can say that although the poet was not a Mevlevi, he filled the void of his love for Mevlana, which he included in an ode in his Turkish Dîvân, in his Persian Dîvân (Armutlu 2019: 328). Afterwards, the Shaykh al-Islam of the period, Esad Efendi, Hüsam Giray Khan, and his main patron, Sultan IV. Murad's odes containing the praises of the Indian sultan Sultan Selim Nuruddin Cihangir (sal. 1014-1037) come to mind. Nef'î often started his Persian odes (K. 1, 4, 8) with fahriye, as in his Turkish odes. In his eulogies, he often praised himself more than he praised. For example, in one ode (K. 4), fahriye consists of 25 couplets and eulogy consists of 10 couplets, and in another eulogy (K. 12), fahriye consists of 45 couplets and eulogy consists of 10 couplets (Atalay 2019: 23, 24). The ghazals in the work, most of which are amorous and lustful, are written in a sensual tone (Armutlu 2019: 329).There are 21 ghazals in the divan, with the number of couplets varying between 5 and 9. 14 of these ghazals consist of 5 couplets, 5 of them consist of 7 couplets, and the other two consist of 8 and 9 couplets. Nef'î's Persian ghazals have rhymes and one of his ghazals (G. 14) is completely fahriye (Atalay 2019: 27). It is seen that the enthusiastic, exaggerated and extravagant style of the Turkish Divan is absent in his Fahriye and many of his ghazals. It is obvious that these discourses came from the pen of a fine, sensitive poet who is kind-hearted, speaks pure poetry, and does not pretend to be a miracle or magician. In these poems, it is seen that Nef'î successfully used the rich world of similes, metaphors and emotions belonging to Dîvân poetry. The poet's rubâ'îs are also in the same line. In these poems, it is seen that many elements about life, love and humanity are expressed with deep contemplation and belief. The influence of Hafez (d. 792/1390) is evident in his ghazals. An Iranian literary figure said: "The poet, who is certainly inferior to Hâfez in terms of the depth of contemplation and feeling, and his witty wit, is compared to Hafez in terms of the exterior of his poetry, that is, smoothness and harmony. Among the Turkish poets, Nef'î can be shown as the closest to Hafez" (Seyyîd 1953: 58; cf.: Atalay). 2019: 27) is an appropriate observation. Nef'î's only terci'-bend is a sakî-nâme consisting of 9 clauses, each couplet of which is 8 couplets. It has been stated that this is inspired by the terci'-bend of Iran's famous poet Vahşî-yi Bâfikî (d. 991/1583) and is in the same meter as the terci'-i clause of Firkâtî-yi Şîrâzî, which consists of 15 clauses, and rhymes with the terci'-hâne and 4 of the clauses. Since the saki, wine, love, beloved, glass, mutrip and wine assemblies are mentioned in a sarcastic style in Sâkî-nâme (Atalay 2019: 28), the style of Hâfız (d. 1390) is woven with a sarcastic tone. The only stanza of Nef'î in the Persian Divan is 20. It is a stanza consisting of couplets. The stanza in question also reveals the poet's indecisive personality or mood seen in his praises and satires. There are 171 rubâ'îs written in the ahreb pattern in the Persian Dîvân, where rhindâne, mostly amorous and sometimes mystical feelings are handled. Nef'î used a pseudonym in 15 of his ruba'is. Most of the rubâ'îs are redif and only 22 of them are without redif (Atalay 2019: 29). The feeling of love in the Rubâ'îs; It is woven with Sufi discourses. The total number of couplets of the divan is 1464, and its language is heavy. Although it is stated that the work is not as competent as the Turkish Divan in terms of literature, it is of great importance as it shows that the poet is extremely knowledgeable about Persian language and literature and is a productive poet who can compete with Persian poets. It is a reference book for those who will study Divan poetry, with its conceptual framework rich in literary arts, as well as its extremely successful simile, metaphor and deep, intricate world of meaning, including the Sebk-i Hindî style. There are four copies of the work identified. Ali Alptekin (1944) published a comparative study of four manuscripts in Istanbul libraries as his master's thesis. This work was translated into Turkish by Ali Nihad Tarlan (1944). Again, the first two odes of the Dîvân in question were published under the name Dîvân-ı Nef‘î (1313) (Atalay 1989: 7). Finally, Mehmet Atalay prepared his Doctoral Thesis on the Dîvân. This work was also published as a book by (2009). This book also includes the Turkish translation of the Persian Dîvâ. For the biography of the poet, see. “Nef'î, Ömer Efendi”.Turkish Literature Names Dictionary.

ISBN 978-9944-237-87-1

Madde Yazarı Doç. Dr. Sadık Armutlu

Alfabesi Arap

Yapısı Manzum

Niteliği Telif

Kaynakça Alptekin, Ali (1944).Nef’î’nin Farsça Dîvânının Tenkitli Neşri. Mezuniyet Tezi. İstanbul: İstanbul Üniversitesi (Tez Nu: 818). Armutlu, Sadık (2019). “Nef’î Farsça Divan Metin – Çeviri (Prof. Dr. Mehmet Atalay)”.Doğu Esintileri,(11): 327-330. Atalay, Mehmed (1989).Şair Nef’î, Farsça Divanının Edisyon Kritiği ve Üslubu. Doktora Tezi. İstanbul: Atatürk Üniversitesi. Atalay, Mehmed (2009).Nef’i, Farsça Divan (Metin-Çeviri). Erzurum: Demavend Yay. Dîvân-ı Nef'î(1313). Dersaadet: Kasbar Matbaası. Selçuk, Bahir (2013). “Nef’î’nin Kasidelerindeki Farsça Yapılı İkilemelerin (Terkîb-i Tekerrürî) Ses ve Anlam Düzenine Etkisi”.Ahmet Atillâ Şentürk Armağanı. (edt.Ahmet Kartal ve Mehmet Mahur Tulum). İstanbul: Akademik Kitaplar. 577-595. Seyyîd, Naîmüddîn (1953).Nefî ve İran Şiiri. Doktora Tezi. Ankara: Ankara Üniversitesi. Tarlan, Ali Nihad (1944).Nef’înin Farsça Divanı Tercümesi. İstanbul: Selami Sertoğlu Kitabevi Neşriyatı Numune Matbaası.

Atıf Bilgileri Armutlu, Sadık. "FARSÇA DÎVÂN (NEF'Î)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/farsca-divan-nef-i. [Erişim Tarihi: 25 Ağustos 2025].