EVOLUTION AND TRANSFORMATION IN FUZULI'S LEYLA AND MECNUN MESNEVI

Abstract

The course of live which is limited from uterus (as the beginning of an individual) to the earth (as the end of an individual) is a "road/journey" adventure. In this symbolic journey which is named as "the eternal journey of the hero" by Joseph Campbell, there is a pilgrim as a heroic figure. The pilgrim leaves his starting point with an excuse and comes back where he has started drawing a cyclical route. This cyclical process which has a dynamic structure can be summarised as a departurephases-return sequence. The individual who is in the creation cycle, evolves and transforms any time during his testing process (phases) under the thumb of a new comprehension. Evolution and transformation in the adventure of life is bidirectional. While the external (physiological) change of the individual follows an ordinary route for each individual, the internal journey is different. Evolution and transformation which can also be expressed as "maturation and spiritual purification" is each individual's own choice. This situation can also be explained as "awareness". Individuals who are conscious of the awareness interiorise the journey of life through the influence of conveying and uniting spiritual impulse which has the characteristic of "a call for journey". It is trouble some for this journey to reach the ultimate goal. The sorrowful individual in this process, is not the same person as he was at his starting point, he is mature and has reached fenafillah while reaching fenafillah the most powerful emotion which triggers the individual is love. The individual who is under the powerful commutating and modifying influence of love finds the opportunity to recognize his inner self. He sees himself in his beloved. Seeing himself means finding his essence=absolute and his existence=God. Lover individual embarks on the adventure, experiences the various struggles with intuitional force of his subconscious and discovers the original truth in creation. Fuzuli's Leyla and Mecnun masnavi has also fictionalized on such a basis. The heroes who embark on an adventure with the impulse of love, transform by changing throughout the adventure and complete the adventure. In this study, the searchings, changes, transformations, and their consequences in Leyla and Mecnun will be dwelled on. Regarded as appearance of of real world, literary works come into exist in artists' imagination and idea world. Therefore, it is possible to find everything that is about human in literary works. Containing directly or symbolically several factors about human, Mesnevis pertain to a specific term of Turkish literature. The one that is considered to be the top level of in terms of Mesnevi of Leyla and Mecnun in terms of literal qualification is written by Fuzuli in 16th century, which was used by different poets. Even if mesnevi of Leyla and Mecnun by Fuzuli is perceived as a narrative of love at the background, it tells the progress of human or in other words, process of transformation. In the narration, it is found that there is a dynamic form beginning from character to time and place. In this article, this mechanism of transformation is examined in details. Human life is a journey that is made up of "birth - life - death" People go on this adventure with the effect of different impulses and complete it with different results by covering a distance. Joseph Campbell named impulse of setting out as ''call for adventure" in his work "The Hero with a Thousand Faces" and he also named "journey process" as " going - process - turning". It is explained in sufistic explanation " unity of existence". It means the course of life from all eternity to ever, abundance by breaking from unity and return to unity in mysticism. Both explanations cross at the point of existence of circular movement. Namely, the course of life is both dynamic and circular. Human life is scrutinized vertically and horizontally when it reflects to literary work in this way. In this two dimensions, horizontal dimension means the general situation that all readers or everyone can understand whereas vertical dimension corresponds to situation that can be seen with higher-up reading or evaluations. The charm which puts Fuzuli's Leyla and Mecnun Mesnevi a higher position compared to other narratives with the same theme comes from both its efficient language and its narration of a simple love story metaphorically with two dimensions. Leyla and Mecnun examines horizontally a love story of two people and indications of this love, but vertically, it examines how the protagonist, Mecnun, sets out an adventure with the passion of love and his transformation in the aftermath of the experiences he has been through and lastly his going back to where he has started. The transformation of Mecjnun and indirectly other characters linked to the protagonist is also called "individuation process". None of the narrations can remain the same till the end of it. This change and transformation can only be discovered with a meticulous reading and a vertical evaluation. Fuzuli explains the reason for writing Leyla and Mecnun Mesnevi at the beginning of it. According to that, it can be said that this work has a didactical nature. However; processing form of Mesnevi has some clues about alteration and transformation. It also shows that usage of language has a lyric form. According to Fuzuli's explanation, Majnun represents a person who is ''searching for God" while Layla represents guarding a divine secret (God). Symbolic expression in text corresponds to unity of existence. Namely, Fuzuli follows a process that goes from concrete to metaphor. Even this kind of processgives a signal of change and transformation. This change and transformation are highly seen in every part of narrative in vertical dimension. Not only in Mesnevi but also in story, epic and legend, transformation is threaded. Another reason for writing this essay to show Fuzuli's Leyla and Mecnun Mesnevi's has no difference from oth

Özet

Bireyin başlangıcı ana rahmi ve bitişi toprak olarak sınırlandırılan yaşam süreci bir "yol/yolculuk" serüvenidir. Joseph Campbell'in "kahramanın sonsuz yolculuğu" olarak adlandırdığı bu sembolik yolculukta kahraman figüründe birey bir yolcudur. Yolcu, herhangi bir gerekçeyle başladığı noktadan ayrılır, dairesel bir döngü çizerek ayrıldığı noktaya geri döner. Devingen yapıdaki bu döngüsel süreç gidiş-aşamalardönüş dizgesi olarak özetlenebilir. Yaratılış döngüsü içerisindeki birey, sınanma sürecinde (aşamalar) her an yeni bir idrakin tesirinde değişim ve dönüşüme uğrar. Yaşam serüvenindeki değişim/dönüşüm çift yönlüdür. Bireyin dışsal (fizyolojik) değişimi her birey için olağan bir seyir takip ederken içsel yolculuğu farklıdır. "Olgunlaşma, tinsel arınma" olarak da tabir edilebilen değişim/dönüşüm her bireyin kendi tercihindedir. Bu durum "farkındalık" olarak da izah edilebilir. Farkındalık şuurundaki bireyler "yolculuğa çağrı" niteliğindeki ulaştırıcı ve kavuşturucu manevî dürtünün tesiriyle yaşam yolculuğunu içselleştirir. Yolculuğun nihaî hedefe ermesi sıkıntılıdır. Bu süreçteki elemli birey, başladığı noktadaki birey değildir, olgunlaşmış, tasavvufî manada ise fenafillaha ermiştir. Fenafillaha ermede bireyi harekete geçiren en güçlü duygu aşktır. Aşkın kuvvetli değiştirici ve dönüştürücü tesirinde kalan birey kendi benliğini tanıma imkânı yakalar. Maşuğunda kendini görür. Kendini görmek; aslını=Mutlak Varlığı=Tanrı'yı bulmaktır. Âşık birey maceraya atılır, bilinçaltının sezgisel kuvvetiyle türlü mücadeleleri deneyimler ve yaratılıştaki asıl hakikati keşfeder. Fuzûlî'nin Leylâ ve Mecnûn mesnevisi de böyle bir esas üzerine kurgulanmıştır. Aşkın dürtüsüyle bir maceraya atılan kahramanlar, macera boyunca değişerek dönüşür ve macerasını tamamlar. Bu çalışmada da Leylâ ve Mecnûn'daki arayışlar, değişimler, dönüşümler ve bunların neticesi üzerinde durulacaktır