Author
Fuzuli (d. 888/1483 - ö. 963/1556)
Publication Date
05/07/2022
Subject
Written Literature / Divan Literature - allegorical story
Type
Book
Language
Persian
Digital
No
Manuscript
No
Library
Dictionary of Turkish Literature Works
Record ID
sihhat-u-maraz-husn-u-ask-ruh-name-munazara-i-ruh-ve-l-cesed-behcetu-l-irfan-fi-ahvali-l-ebdan-
Date
?/?
Notes
Persian allegorical, prose work written by Fuzûlî. In Sıhhat u Maraz, also known as Rûh-nâme and Hüsn ü Aşk, the journey of the Spirit to the land of the Body and the situations it encounters and the transformations it experiences during this journey are explained first on a physiological, then on a mystical and allegorical level. In the work, which starts with tahmid and naat and is dominated by an aesthetic prose style, after the introduction, it moves on to the main subject with the descriptions of the Spirit and the country of the Body, which is the place of the Spirit's journey. The template of the journey of the narrative hero, experiencing initiation/evolution in this journey and returning to his hometown, which is generally followed in pre-modern fictional narratives, is also seen in Sıhhat u Maraz. The narrative hero Rûh, who was born in the world of Ceberrut, takes the world of Lahut as his home and then heads towards the world of Nâsut, goes on a three-stage journey. The country of the body is ruled by four brothers (Ahlât-ı Erbaa) named Kan, Safra, Balgam and Sevda, and these brothers are connected to a beau named Mizac. Ruh marries Mizac and has a son named Sıhhat from this marriage. The first stage of the journey in search of Hüsn is carried out by Rûh, accompanied by his son Sıhhat and his wife Mizac, on a journey to the Mind, Liver and Gönül (the world of Nasut) in the country of the Body. Dimağ Castle has ten neighborhoods and officials responsible for the security and order of each neighborhood. Similarly, there are eight soldiers in the city of Liver and six in the city of Heart. The neighborhoods and officials in the narrative, just like cities, are human senses, emotions and organs in the body. Ruh, who liked the city of his heart and made it his capital, allowed the six soldiers Reca, Mahabbet and Ferah to stay in the city, while exiling Havf, Adavet and Gam from the city with the suggestions of his son Sıhhat. After this incident, Havf, Adavet and Gloom begin to harbor hostility towards Ruh and Health. At a time when Ahlat-ı Erbaa's harmony with each other is broken and they are resentful of Ruh, Havf, Adavet and Gam attack the city of Gönül and capture it. With the help of Reason, the soldiers of sorrow in the city of Heart are defeated and removed from the city. He finds the opportunity to escape and meets Maraz. Maraz is on the side of Adavet and bears hostility towards Spirit and Health. Taking advantage of Ahlât-ı Erbaa's resentment, Maraz causes diseases to occur in the body. The Spirit asks for help from the Mind again, and thanks to the steps taken under the guidance of the Mind, Disease is defeated. Thus, the soul discovers the cities of the body country (human physiology). Although Ruh is the central hero in all parts of the narrative, the weight of Sıhhat and Maraz in the fiction is also felt in this part. Here, there is a fiction accompanied by information parallel to scientific realities, including the physiological characteristics of the human body and the reflections of the medical understanding of the period. The acceptance that physical health depends on a state of balance (Temperament) of the four humors in the body (blood, bile, phlegm and love) comes to the fore in this part of the work. After this event, the soul becomes healthier and more beautiful than before. However, since there is no one left among his old friends who can understand him, he searches for a new friend and conversation partner. The first part of the narrative ends here. The second part of the story begins when Hüsn hears about Ruh's qualities and falls in love with him. Believing that he will make the Spirit fall in love with him, Hüsn goes to the land of the Body without being seen by the Spirit, with the help of a talisman. They come to the place under the sovereignty of the Spirit with their soldiers named Şive, Naz, Kirişme, İşve and Gamze and settle here. When Love sees that everything Love said about Hüsn is in the Spirit, they come to the country of the Body with Hüsn and Love and follow the Spirit. Love praises Hüsn to Ruh, and then Ruh wants to see Hüsn. Love gives the Mirror of Safa to the Soul, saying that it must first separate from itself. When the soul looks at itself in this mirror, it thinks of the perfect beauty it sees as Hüsn and falls in love with it. Love tells Ruh, who consoles himself with the image in the mirror for a while, to keep that mirror in the Treasure of Cognition, and if he wants to see the image, he should have Hayal paint a picture and be content with that. Following the advice, Rûh watches the picture he had made by Hayal for a while. However, realizing that seeing in the picture is not enough for him, Rûh sets foot in the Maşukluk Desert to search for Hüsn under the guidance of Love. Thus, the Spirit, who understands the physiology of the body, begins his journey of searching for Hüsn as a reflection of an existential pain. After various troubles, each with symbolic names, Rûh, in the land of darkness called Kâkül, becomes angry with Aşk, asking why they still cannot reach Hüsn's rank. Love, on the other hand, says that every place is actually Hüsn's place, and this truth cannot be realized unless Sürme-i Aşinayî is in the spotlight. Then, they leave the Masukluk Desert and head towards the Land of Minstrelsy, meet Mihnet and Severity in the city of Bela, become friends with Hayret and Hırman in the Hicran part of the Acz Desert, and when their journey in the Land of Minstrelsy is about to end, they see a country. When they return, realizing that this is the country of the Body, the Spirit reproaches Love again, seeing that the country of the Body is in ruins. Love then asks him to bring the Mirror of Safa. Rûh sees his own miserable state in the mirror and asks what happened to the previous state of emergency, which he thinks is Hüsn. Love then gives Sürme-i Aşinâyî to the Soul. With this familiarity in his eyes, when he looks in the mirror, he encounters a magnificent beauty. By seeing the worlds of God and God, he reaches the range of Truth and realizes that what he is actually looking for is not separate from himself. The first part of the work, which is organized in two parts, was written in parallel with the understanding of medicine and physiology of the period. Although there is no record that Fuzûlî received medical training, it is seen that he had sufficient knowledge of the subject to be able to transfer the understanding of medicine of his age to the work. Knowing one's physiology and needing physical health for the continuity of the soul constitutes the first stage of the narrative. The second stage is the inner journey of the Soul, which knows its body, for its more abstract and emotional needs such as beauty and love. The journey of the soul discovering itself through the body is discussed in an allegorical style. Hüsn is not actually a separate entity from the Spirit. However, at the beginning of the journey, Rûh cannot understand this and thinks that Hüsn is separate from her, so she has to deal with some difficulties. Hüsn's completion of the initiation/evolution process by realizing that he is not actually separate from himself, under the guidance of Aşk, constitutes the second, more mystical part of the work. This journey of the human being, who comes to the world from the world of spirits and takes up the body as a place, can be read as reaching Fenâfillah under the guidance of love, in other words, the journey of sufism. Although Fuzûlî's Sıhhat u Maraz is not a rewriting or translation of any work, it starts with Ibn Sina (d. 1037) and Suhrawardî (d. 1234). It has influences from the symbolic stories of the East, which became widespread through writers such as A. Gazzali (d. 1126) and Râzi (d. 1210). However, it also shows similarities with the works Hüsn ü Dil by Fettahî-i Nişâbûrî (d. 1448?) and Mûnisü'l-Uşşâka by Şehâbeddîn Sühreverdî. Sıhhat u Maraz also influenced Şeyh Galib's (d. 1799) Hüsn ü Aşk, which was written after him. Fuzûlî's Sıhhat u Maraz was translated into Turkish with the title Hikâye-i Rûhad by a translator named Mustafa el-Bağdâdî, whose life information is unknown. The copy of the translation is registered in Süleymaniye Library Manuscript Donations 1398/I (Author 2011: 905) and the translation in question was published as an intralingual translation together with Lebîb Efendi's translation in the work titled Fuzuli, Ruhun Yolculuğu Ruhname (Sıhhat u Maraz- Hüsn Aşk) by Ahmet Naim Çiçekler and Mücahit Kaçar (2018).Lebîb. Sıhhat u Maraz, translated into Turkish by Efendi (d. 1284/1867), was published twice in Istanbul in 1273/1856-57 and 1282/1865-66. The translation of the work was criticized because Persian verbs and some prepositions were translated into Turkish and the rest of the words used by Fuzûlî were transferred to the text verbatim, and it was not a sound translation and was more difficult to understand than the Persian original (Gölpınarlı 1940: 7). This translation was published in Trabzon in 1327/1909 by Kitapçı Ahmed Hamdi, with some interventions and arrangements regarding the language. Another translation of Sıhhat u Maraz belongs to a translator named Sadrî-i Vânî, about whom no information is available. Sadrî-i Vânî translated Sıhhat u Maraz, of which he saw the Persian original in a friend's possession, with the title Behcetü'l-İrfân fî Ahvâli'l-Ebdâna, in order to leave it as a souvenir to his friends who were members of the same sect (Kaçar 2019: 507). Pointing out the deficiencies in the translations of Lebîb Efendi and Ahmed Hamdi and the fact that their language was not up to date. Gölpınarlı published Sıhhat u Maraz by translating it back into Turkish with annotated notes in 1940, based on the copy in Istanbul University. In later years, the work was simplified by Hüseyin Ayan (1994, 2012) and translated from Persian by Kemal Küntaş and published (2017). The work was last published in Persian in the form of a review and text in Tehran under the title of Sefer-nâme-i Rûh ya Sıhhat u Marazali by Hüseyin Muhammedzade Sıddik Hekim Molla Mehemmed Fuzuli in 1389 (Hş). For the biography of the author, see. “Fuzûlî”.Turkish Literature Names Dictionary.
ISBN
978-9944-237-87-1
Madde Yazarı
Prof. Dr. Ayşe YILDIZ
Alfabesi
Arap
Yapısı
Mensur
Niteliği
Telif
Kaynakça
Ayan, Hüseyin (1997). “Fuzuli’nin Hüsn ü Aşk (Sıhhat u Maraz)ı”.Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi3: 115-120.
Ayan, Hüseyin (2012).Fuzûlî Rind ile Zâhid Sıhhat ile Maraz. İstanbul: Büyüyen Ay Yay.
Bulut, Gül (2020).Fuzûlî’nin “Sıhhat u Maraz” Adlı Eserinin Tasavvufî Açıdan Tahlili. Yüksek Lisans Tezi. Konya: Necmettin Erbakan Üniversitesi.
Çiçekler, Ahmet Naim ve Mücahit Kaçar (2018).Fuzûlî Ruhun Yolculuğu Ruhnâme (Sıhhat u Maraz-Hüsn ü Aşk). İstanbul: Büyüyen Ay Yay.
Eliaçık, Muhittin (2010). “Fuzuli’nin Sıhhat u Maraz’ında Ahlât-ı Erba’anın İşlenişi ve Bir Tıp Eseri Tercüme-i Hulasa-i Tıb ile Mukayesesi”,Türkiyat Araştırmaları Dergisi27: 131-147.
Eliaçık, Muhittin (2010). “Sıhhat u Maraz’da Ahlât-ı Erba’anın İşlenişi”.Mukaddime1: 125-141.
Fuzuli (1282).Risale-i Sıhhat u Maraz. (çev. Lebîb Efendi). İstanbul: Ceridehane Matbaası.
Fuzuli (2017).Sıhhat u Maraz. (çev. Kemal Küntaş). İstanbul: İbn-i Sina Yay.
Gölpınarlı, Abdulbaki (1940).Sıhhat ü Maraz. İstanbul: İstanbul Üniversitesi Tıp Tarihi Enstitüsü Yay.
Hüseyin Muhammedzade Sıddik (1389).Hekim Molla Mehemmed Fuzuli Sefer-nâme-i Rûh ya Sıhhat u Maraz. Tahran: İntişârât-ı Tekdıraht.
İçli, Ahmet (2013). “Ruh’un Kendine Yolculuğu: Arketipsel Sembolizm Bağlamında Sıhhat u Maraz Üzerine Bir İnceleme”.Turkish Studies8/13: 1017-1030.
Kaçar, Mücahit (2019). “Fuzuli’nin Ruh-nâmesi’nin Bilinmeyen Bir Tercümesi Sadrî-i Vânî’nin Behcetü’l-İrfân’ı”.Divan Edebiyatı Araştırmaları Dergisi, 23: 503-542.
Köprülüzade Mehmed Fuad (1924).Fuzuli- Hayatı ve Eseri.İstanbul: Yeni Şark Kütüphanesi Yay.
Mazıoğlu, Hasibe (1997).Fuzuli Üzerine Makaleler.Ankara: TDK Yay.
Nasih, Muhammed Ali (1309).Sefer-nâme-i Rûh. (Tahran)Mecelle-i ArmağanXI: 418-424, 505-517.
Nuhoğlu, Güller (2021). “Fettâhî’nin Hosn o Dil (Hüsn ü Dil)’i İle Fuzuli’nin Sıhhat ve Maraz’ının Mukayesesi”.Şarkiyat Mecmuası Journal of Oriental Studies38: 89-109
Süleyman Nazif (1926).Fuzûlî –Şair-i Şehîrin Hayat ve Âsârı Hakkında Ba’zı Ma’lumât ve Tedkikât-. İstanbul: Yeni Matbaa. 128-129.
Yazar, Sadık (2011).Anadolu Sahası Klâsik Türk Edebiyatında Tercüme ve Şerh Geleneği. Doktora Tezi. İstanbul: İstanbul Üniversitesi.
Atıf Bilgileri
YILDIZ, Ayşe. "SIHHAT U MARAZ/HÜSN Ü AŞK/ RÛH-NÂME (FUZÛLÎ)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/sihhat-u-maraz-husn-u-ask-ruh-name-munazara-i-ruh-ve-l-cesed-behcetu-l-irfan-fi-ahvali-l-ebdan-. [Erişim Tarihi: 25 Ağustos 2025].
