Author
Mevlânâ Celâleddîn-i Rûmî, Muhammed Celâleddîn, Hudâvendigâr (b. 06 Rebîülevvel 604/30.09.1207 - d. 05 Cemâziyelâhir 672 /17.12.1273)
Publication Date
03/06/2022
Subject
Divan-Tekke Literature - poems
Type
Book
Language
Persian
Digital
No
Manuscript
No
Library
Dictionary of Turkish Literature Works
Record ID
divan-i-kebir-divan-i-sems-divan-i-sems-i-tebrizi-mevlana
Date
?
Notes
The work of Mevlânâ (Celâleddîn-i Rûmî, Muhammed Celâleddîn, Hudâvendigâr, also known as Dîvân-ı Şems and Dîvân-ı Şems-i Tebrîzî. Dîvân-ı Kebîr consists of 21 divans arranged in alphabetical order according to the 21 aruz bahris it contains. The work includes Mevlana's ghazals, rubai and other poems, but since Hazrat did not mention his own names and nicknames in any of the poems, the names of Şems-i Tebrîzî, Selâhaddîn-i Zerkûbî and Çelebi Hüsâmeddîn as poets in the poems, and in addition the pseudonym "Hâmûş". The number of couplets in Dîvân-ı Kebîr varies greatly depending on the manuscripts. According to these copies, the number of couplets of the work varies between 21,000 and 70,000. This big difference between the couplet numbers of the copies makes us think that it may be true that Mevlana burned some of his poems and said "He came from the sky, he went to the sky" when asked why. 1994: 432). According to one of the oldest copies of Dîvân-ı Kebîr found in the Konya Mevlana Museum Library, the number of couplets of the work is 21,366 and the number of ghazals is 2073 (Can 2006: 384). It is 35,885. It is possible to date the writing dates of the poems in Dîvân-ı Kebîr as before Şems and after Şems. However, there is no certain criterion that clearly distinguishes these poems from each other. The reason for this situation is the single and great style that dominates Mevlânâ's poems. Dîvân-ı Kebîr is written in various places and places, especially Mevlânâ's sema assemblies. It is a work that was created by immediately writing down the poems he wrote improvisationally by his secret scribes, since Mevlana did not write any of his works personally. Dîvân-ı Kebîr is a work consisting of poems that take as a starting point the emphasis of both Mevlana and other Sufis on the impotence of the mind in understanding the truths and the inadequacy of the language in comprehending sublime meanings. In order to draw attention to the hindering situation created by contradictions in the perception of truths, Mevlana deals with contradictions such as existence-non-existence, reason-irrationality, space-non-space, speaking-silence, blasphemy-religion in a paradoxical sequence. What he wants by expressing these paradoxical structures is the situation where the truth remains hidden due to the nature of these contradictions. In Dîvân-ı Kebîr, Mevlana draws attention to this disadvantageous form of perception in understanding the truths and reaching the secret of the meanings, and calls us to the perception of unity, which is a form of perception in which contradictions disappear. In this form of perception, it is essential to disregard the contradictions that cover the truths and the information and news coming from the multitude that blocks the path of the meanings, the source of wisdom, which is a new form of knowledge. and we begin to come into contact with the climate of meanings, which is a new form of knowledge. Since this knowledge of contact requires the perception of oneness, in this form of perception, the symmetrical mind is replaced by love, which is the asymmetrical mind. In the asymmetric mind, existence ends in non-existence, swearing ends in religion, and speaking ends in silence. This is why silence, which is a frequently repeated theme with a remarkable emphasis, is given a special place in Divan-ı Kebir. That is why silence has an important place in Dîvân-ı Kebîr, which is a large and comprehensive speech, rather than a contradiction. In Dîvân-ı Kebîr, Mevlana draws attention with his identity as a conscious language theorist who complains about the language difficulties he encounters in expressing the perception of love, which is an asymmetrical mind. Although the issue is not only his problem, Hazrat differs from others with different determinations and solution suggestions on this issue. In Dîvân-ı Kebîr, emblems are seen in three different dimensions in terms of symbolic meanings that everyone knows, metaphorical meanings that can be known by the experts, and specific meanings loaded with unusual metaphors. Depending on these dimensions, it is necessary to point out the existence of a wide simile system in Dîvân-ı Kebîr. As a reflection of Mevlana's vast insight, a range of objects from the ground to the sky (ez mâhî be mâh) fills the content of the ghazals, this richness leads to the expansion of the simile system and the diversification of the symbols, as Mevlana is a person who is both in touch with the dimension of meaning very well and observes life and the elements surrounding it very differently. Kebîr contains very different poetic colors arising from the composition of the elements he brought from these aspects. The linguistic deviations in Dîvân-ı Kebîr are like the recorded elements of Mevlânâ's effort and ability to go beyond the limits. In this respect, the poems in Dîvân-ı Kebîr bear traces of aesthetic influence from Rûdeki (d. 940), Hakîm Senâyî (d. 1141), Enverî (d. 1187), Hâkânî-yi Şirvânî (d. 1199), Nizâmî-yi Gencevî (d. 1217?) and Ferîdüddîn Attâr (d. 1230) wander in valleys where they have not set foot. Whereas his poems are generally flour under the millstone, most of the poems in Divan-ı Kebîr jump out from under the millstone. These leaps, which are nothing more than a poetic show, are seen in Divan-ı Kebîr as follows: However, Mevlana, who does not compromise on the aesthetic level of his poems, is a poet who sings poems that are technically sound and strong in terms of expression and harmony, even though he complains about meter, rhyme, words, sounds and letters, and poetry. They are like rivers of words that convey the cries of the desire to be reunited with a thousand metaphors in an impressive and fluent language. These rivers first flow and fall silent as they are included in a great sea of meaning. The first critical text of Divan-ı Kebîr was written by Bediüzzaman Furûzânfer in Iran, comparing 9 old manuscripts and referring to Mevlana. It was published in 8 large volumes under the title of Külliyyât-ı Şems yâ Dîvân-ı Kebî (1336-1345), with 36,360 verses arranged alphabetically according to rhyme, and a dictionary, index and explanations in the VIII volume. 1995 rubai. Dîvân-ı Kebîr publications in Iran were based on this work of Furûzanfer. The complete Turkish translation of Dîvân-ı Kebîr was made by Abdülbaki Gölpınarlı and published by Nevit Oğuz, based on Gölpınarlı's translation. Ergin translated Dîvân-ı Kebîr into English, and this translation was published in the USA (California) in 22 volumes between 1995 and 2003, by Midhat Bahari Beytur, which includes poems that do not belong to Mevlana. He translated his anthology titled Şemsü'l-Hakâik (Tabriz 1280) into Turkish and published it under the title Selected Poems from Dîvân-ı Kebîr (1959-1965). The first translation of Dîvân-ı Kebîr into Western languages begins with Hammer's translations of ghazals in his work Persian Literature (1818). This selection is followed by Rückert's work titled Mystische Ghaselen nach Dschelaleddin Rumi, based on the translation-commentary of 40 ghazals he selected from Dîvân-ı Kebîr in 1821, by Schwannau (d. 1865)'s Auswahl aus den Diwanen des Grössten, published in Vienna in 1838. He followed the publication titled Mystichen Dichter Persiens Mewlana Dschelaleddin Rumi in the West. After these German translations, in 1898, Reynold A. Nicholson published the poems he selected from Divân-ı Kebîr with the translation-commentary method, titled Selected Poems from the Divanı Shamsi Tebriza. It is followed by the selection titled Mystical Poems of Rumi, published in 1968. It is also necessary to mention the selection of Rumi poems titled Open Secret: Versions of Rumi, published in English by John Moyne and Coleman Barks in 1987, and the translation titled The Essential Rumi, published by Coleman Barks in 1997, with Eva de Vitray Meyerovitch and Mohammad Mokri. He published a selection of ghazals and rubas called Odes Mystiques Dîvân-e Shams-e Tabrîzî in French (1982). For the biography of the poet, see “Mevlânâ Celâleddîn-i Rûmî, Muhammed Celâleddîn, Hudâvendigâr”. Turkish Literature Names Dictionary.
ISBN
978-9944-237-87-1
Madde Yazarı
Prof. Dr. Ziya AVŞAR
Alfabesi
Arap
Yapısı
Manzum
Niteliği
Telif
Kaynakça
Bedîüzzamân Furûzânfer (1336).Külliyyât-ı Şems yâ Dîvân-ı Kebîr-i Mevlânâ Celâleddîn Rumî. 8 C. Tahrân: İntişârât-ı Dânişhâh-ı Tahrân.
Beytur, Midhat Bahari (1959-1965).Dîvân-ı Kebîr'den Seçme Şiirler. C. 2. İstanbul: MEB Yay.
Can, Şefik (2006).Mevlânâ Hayatı - Şahsiyeti - Fikirleri. İstanbul: Ötüken Yay.
Ergin, Nevit Oğuz (1995-2003).Mevlânâ Celâleddîn Rumî, Dîvân-i Kebîr. C. 22. USA California: Echo Publications.
Gölpınarlı, Abdülbâki (1957-1974).Mevlânâ, Dîvân-ı Kebîr. VII C. İstanbul: Ofset Baskı.
Gölpınarlı, Abdülbâki (2007).Mevlânâ, Dîvân-ı Kebîr VII-2. İstanbul: Türkiye İş Bankası Kültür Yay.
Yazıcı, Tahsin (1994). "Dîvân-ı Kebîr".İslâm Ansiklopedisi. C. 9. İstanbul: TDV Yay. 432-433
Atıf Bilgileri
AVŞAR, Ziya. "DÎVÂN-I KEBÎR / DÎVÂN-I ŞEMS / DÎVÂN-I ŞEMS-İ TEBRÎZÎ (MEVLÂNÂ)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/divan-i-kebir-divan-i-sems-divan-i-sems-i-tebrizi-mevlana. [Erişim Tarihi: 25 Ağustos 2025].
