HEFT-CÂM/ SÂKÎ-LETTER (FUZULI)

Name: HEFT-CÂM/ SÂKÎ-LETTER (FUZULI)
Author: Fuzuli (d.888/1483-ö.963-1556)

Title	HEFT-CÂM/ SÂKÎ-LETTER (FUZULI)
Author	Fuzuli (d.888/1483-ö.963-1556)
Publication Date:	11/10/2021
Subject	Written Literature / Divan Literature - sâkî-nâme
Type	Book
Language	Persian
Digital	No
Manuscript	No
Library:	Dictionary of Turkish Literature Works
Record ID	heft-cam-saki-name-fuzuli
Date	?/?
Notes	Fuzûlî's Persian, mystical and allegorical masnavi, known as Heft-Câmya da Sâkî-nâme. The date of writing of the work, which consists of 327 couplets and is written in the "Fe'ûlün fe'ûlün fe'ûlün fe'ûl" pattern of the mutekarib bahri, is not exactly known. Heft-Câm, in verse, short It consists of an introduction, followed by seven parts and an epilogue. In the work, a drinking and musical meeting is described: The poet speaks with different musical instruments. (İpekten 2005: 62). Heft-Câm contains many words and images related to sin, and these carry a mystical meaning in the text (Mengi 2004: 145). The mesnevi can be summarized as follows: The narrator, waking up from the sleep of heedlessness and coming to his senses, comes to the tavern and shares his troubles with the pîr-i mugân. Pîr-i Mugan says that his problem is due to his excessive intelligence and that his solution is wine that will save his mind from delusions. Thus, Fuzûlî drinks in the tavern for a week, starting from Sunday, and after each drink, he chats with a musical instrument. On the first day, he drinks fire-colored wine and chats with Ney. After drinking the second glass, he starts chatting with Def. The poet, who chatted with Çeng during the third glass, directs his questions to Oud after the fourth glass. After the fifth glass, he continues his conversation with Setar (Tanbur). The poet, who chatted with Kanun after drinking the sixth glass, asks the cupbearer for the last glass on the seventh day and starts talking with Mutrib after drinking it. Hatimede thanks God for being able to easily finish this treatise of trouble thanks to wine (Koncu-Çakır 2011: 20). In Heft-Câm, which is a Sufi work, wine is the symbol of divine love, and the problem that Fuzûlî seeks a cure for is divine love. Heft-Câm was inspired by Nizâmî's work Heft Peyker. Araslı states that Fuzûlî gives his thoughts about the world and creation through musical instruments in this work. Each musical instrument depends on a different world view and philosophy, and all of them put forward their ideas based on their own view. However, the last person he talked to, Mutrib, explains that musical instruments are inanimate beings and that he does not tell him the truth and that all these thoughts are empty. Thus, Fuzûlî eliminated all these ideas and revealed the secrets of the world only to Hz. He says that it will be discovered by following the path of Muhammad and obeying the sharia (Araslı 2005: V/9). It was published in Heft-Câm (Sakî-nâme), Fuzûlî Collection editions and in the Persian Divan. During the Republican Period, the work was first published as an Arabic script text by Köprülüzâde Mehmed Fuad in 1924 under the name Fuzuli, His Life and His Works, and was translated into prose by Ali Nihad Tarlan in his Translation of Fuzulî's Persian Divan in 1950; At the end of the work titled Mergubü'l-Nazirîna, translated into Chagatai by Muhammed Resul Mirza; Fuzûlî, in his Selected Works by M. Sultanof in Baku in 1958; Finally, it was published as a critical edition by Hasibe Mazıoğlu in Fuzûlî, Persian Dîvân in 1962. The most current edition of the work was published with its verse translation into Azerbaijani Turkish in the 5th Volume of Fuzuli Collection, which was published in 6 volumes in Baku in 2005 by Shark-Garb Publishing House. For the biography of the poet, see. “Fuzûlî”.Turkish Literature Names Dictionary.
ISBN	978-9944-237-87-1
Madde Yazarı	Dr. Öğr. Üyesi AYŞE ÇELEBİOĞLU
Alfabesi	Arap
Yapısı	Manzum
Niteliği	Telif
Kaynakça	Araslı, Hemid (hzl.)(2005).Mehemmed Fuzûlî Eserleri.C. V. Bakı: Şerq-Qerb Yay. Gibb,E.J. Wilkinson (1999).Osmanlı Şiir Tarihi. C.III-V. Çev. Ali Çavuşoğlu. Ankara: Akçağ Yay. İpekten, Haluk (2005).Fuzûlî Hayatı, Sanatı, Eserleri. Ankara: Akçağ Yay. Koncu, Hanife-Çakır, Müjgân (2011).Bu Alâmet İle Bulur Beni Soran, Fuzûlî Kitabı. İstanbul: Kesit Yay. Köprülüzâde Mehmed Fuad (1924).Fuzûlî Hayâtı ve Âsarî.İstanbul: Yeni Şark Kitabhânesi. Mazıoğlu, Hasibe (2011).Fuzûlî Üzerine Makaleler. Ankara: TDK Yay. Mengi, Mine (2004).Eski Türk Edebiyatı Tarihi, Edebiyat Tarihi-Metinler.Ankara: Akçağ Yay. Tarlan, Ali Nihad (1950).Fuzulî’nin Farsça Divanı (Tercümesi). İstanbul: MEB Yay.
Atıf Bilgileri	ÇELEBİOĞLU, AYŞE. "HEFT-CÂM/ SÂKÎ-NÂME (FUZÛLÎ)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/heft-cam-saki-name-fuzuli. [Erişim Tarihi: 25 Ağustos 2025].

View in source Dictionary of Turkish Literature Works

Dictionary of Turkish Literature Works

HEFT-CÂM/ SÂKÎ-LETTER (FUZULI)

Author Fuzuli (d.888/1483-ö.963-1556)

Publication Date 11/10/2021

Subject Written Literature / Divan Literature - sâkî-nâme

Type Book

Language Persian

Digital No

Manuscript No

Library Dictionary of Turkish Literature Works

Record ID heft-cam-saki-name-fuzuli

Date ?/?

Notes Fuzûlî's Persian, mystical and allegorical masnavi, known as Heft-Câmya da Sâkî-nâme. The date of writing of the work, which consists of 327 couplets and is written in the "Fe'ûlün fe'ûlün fe'ûlün fe'ûl" pattern of the mutekarib bahri, is not exactly known. Heft-Câm, in verse, short It consists of an introduction, followed by seven parts and an epilogue. In the work, a drinking and musical meeting is described: The poet speaks with different musical instruments. (İpekten 2005: 62). Heft-Câm contains many words and images related to sin, and these carry a mystical meaning in the text (Mengi 2004: 145). The mesnevi can be summarized as follows: The narrator, waking up from the sleep of heedlessness and coming to his senses, comes to the tavern and shares his troubles with the pîr-i mugân. Pîr-i Mugan says that his problem is due to his excessive intelligence and that his solution is wine that will save his mind from delusions. Thus, Fuzûlî drinks in the tavern for a week, starting from Sunday, and after each drink, he chats with a musical instrument. On the first day, he drinks fire-colored wine and chats with Ney. After drinking the second glass, he starts chatting with Def. The poet, who chatted with Çeng during the third glass, directs his questions to Oud after the fourth glass. After the fifth glass, he continues his conversation with Setar (Tanbur). The poet, who chatted with Kanun after drinking the sixth glass, asks the cupbearer for the last glass on the seventh day and starts talking with Mutrib after drinking it. Hatimede thanks God for being able to easily finish this treatise of trouble thanks to wine (Koncu-Çakır 2011: 20). In Heft-Câm, which is a Sufi work, wine is the symbol of divine love, and the problem that Fuzûlî seeks a cure for is divine love. Heft-Câm was inspired by Nizâmî's work Heft Peyker. Araslı states that Fuzûlî gives his thoughts about the world and creation through musical instruments in this work. Each musical instrument depends on a different world view and philosophy, and all of them put forward their ideas based on their own view. However, the last person he talked to, Mutrib, explains that musical instruments are inanimate beings and that he does not tell him the truth and that all these thoughts are empty. Thus, Fuzûlî eliminated all these ideas and revealed the secrets of the world only to Hz. He says that it will be discovered by following the path of Muhammad and obeying the sharia (Araslı 2005: V/9). It was published in Heft-Câm (Sakî-nâme), Fuzûlî Collection editions and in the Persian Divan. During the Republican Period, the work was first published as an Arabic script text by Köprülüzâde Mehmed Fuad in 1924 under the name Fuzuli, His Life and His Works, and was translated into prose by Ali Nihad Tarlan in his Translation of Fuzulî's Persian Divan in 1950; At the end of the work titled Mergubü'l-Nazirîna, translated into Chagatai by Muhammed Resul Mirza; Fuzûlî, in his Selected Works by M. Sultanof in Baku in 1958; Finally, it was published as a critical edition by Hasibe Mazıoğlu in Fuzûlî, Persian Dîvân in 1962. The most current edition of the work was published with its verse translation into Azerbaijani Turkish in the 5th Volume of Fuzuli Collection, which was published in 6 volumes in Baku in 2005 by Shark-Garb Publishing House. For the biography of the poet, see. “Fuzûlî”.Turkish Literature Names Dictionary.

ISBN 978-9944-237-87-1

Madde Yazarı Dr. Öğr. Üyesi AYŞE ÇELEBİOĞLU

Alfabesi Arap

Yapısı Manzum

Niteliği Telif

Kaynakça Araslı, Hemid (hzl.)(2005).Mehemmed Fuzûlî Eserleri.C. V. Bakı: Şerq-Qerb Yay. Gibb,E.J. Wilkinson (1999).Osmanlı Şiir Tarihi. C.III-V. Çev. Ali Çavuşoğlu. Ankara: Akçağ Yay. İpekten, Haluk (2005).Fuzûlî Hayatı, Sanatı, Eserleri. Ankara: Akçağ Yay. Koncu, Hanife-Çakır, Müjgân (2011).Bu Alâmet İle Bulur Beni Soran, Fuzûlî Kitabı. İstanbul: Kesit Yay. Köprülüzâde Mehmed Fuad (1924).Fuzûlî Hayâtı ve Âsarî.İstanbul: Yeni Şark Kitabhânesi. Mazıoğlu, Hasibe (2011).Fuzûlî Üzerine Makaleler. Ankara: TDK Yay. Mengi, Mine (2004).Eski Türk Edebiyatı Tarihi, Edebiyat Tarihi-Metinler.Ankara: Akçağ Yay. Tarlan, Ali Nihad (1950).Fuzulî’nin Farsça Divanı (Tercümesi). İstanbul: MEB Yay.

Atıf Bilgileri ÇELEBİOĞLU, AYŞE. "HEFT-CÂM/ SÂKÎ-NÂME (FUZÛLÎ)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/heft-cam-saki-name-fuzuli. [Erişim Tarihi: 25 Ağustos 2025].