XVIII yüzyıl Osmanlı şiirinde değişim ve Sünbülzâde Vehbi'nin Şevk-engiz'i

Abstract

An obvious change can be seen in the Ottoman Poetry and especially in the “mesnevi” tradition towards the end of the eighteenth century. The most popular samples of this change which is called “localization” (mahallîleşme), have been written by Bosnalı Sâbit, Enderunlu Fâzıl and Sünbülzâde Vehbî. In the works of these writers, most distinctive components that appear are local way of speaking and sexual contents. Şevk-engîz is one of the poems that has these features and Sünbülzâde Vehbî, for the first time, made “sex object” debatable for the mesnevi genre. With the daily-life of İstanbul, its both neighboorhoods and well-known inhabitants have been cited in Şevkengîz which is also, at the same time, the first book ever censored. This mesnevi in which two fictional protagonists argue about which one (women or young boys) is the “best” as a “sex object”, brought many innovations to both “münazara” and “şehrengiz” tradition. Although this work which has so many manuscripts and printed versions, gained popularity in its period, it has been standing far from the attention of literature histories and criticism. This period of time has an obvious change in miniature painting and architecture, as well. Especially, the changes which are seen in miniature painting has lots of similarities with mesnevis of the poets mentioned above that are “realistic” and a little bit “obscene” and can be evaluated as “pre-modern” attempts. Basically, miniature painting and poetry resemblance, in terms of appearance of sexual contents and realism, is one of the major artistic changes of the eighteenth century. A similar change is also exact for the Ottoman architecture which created the rococo style and “Turkish baroque” due to Western influence, so this field’s products may be seen in square fountains (meydan çeşmesi), residences in Western style, sultans’ rooms in mosques (hünkâr mahfili), and especially on the façades of mosques. Primarily, in the dissertation, the changes in the eighteenth century poetry are examined together with the innovations in other arts and reflections of Sâbit influence in the mesnevi tradition, especially in Fâzıl Bey’s and Vehbî’s works, were tried to be shown. The position of the Şevk-engîz among the eighteenth century mesnevis, and its similarities or differences with the şehrengiz and münazara texts are other topics of the thesis. The transcription of the printed version of the text in 1869 has been placed in the “Appendix” in order to understand better and so as to make the Şevk-engîz which has never been translated before, “readable”.