The Last Words of The Qur'an as an Aesthetics of Speech: An Analysis in Terms of The Art of Husn al-Khātimah

Mehmet Zahid Çokyürür

Makale detayları

The Last Words of The Qur'an as an Aesthetics of Speech: An Analysis in Terms of The Art of Husn al-Khātimah

Yazarlar:

Mehmet Zahid Çokyürür

Yayıncı:

Marmara University

Ana Başlıklar:

Arap Dili ve Belagatı

Dergi:

Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.67 Issue 67, pp.102-125

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001335163

pISSN:

1302-4973

Anahtar kelimeler:

Özet:

 The ijāz aspect of the Qurān can be revealed by the sciences of maānī and beyān, which are the most important disciplines of rhetoric, and can also be explained by the artistic arts. Because the Quran is the basic dynamic of eloquence. In this study, the Quran is analysed in the context of husn al-khātimah, which is one of the semantic artistic arts and has an important position in the aesthetics of speech. In Arabic rhetoric, husn al-khātimah is to make the interlocutor feel that the word will end and to make the end sweet to the ear, the form beautiful, and the meaning pleasant. Therefore, the concept has nothing to do with the term khātimah, which means passing away from the world with faith. In the history of Arabic literature, husn al-khātimah has been a matter of care by poets, writers, and orators. Especially the poets and orators of the Abbasid period successfully applied this art to the word in various forms. Although there is rich data on art in the Qurān al-Karîm, its presence at the end of the suras comes to mind in the first place. However, when the study was deepened, the presence of the art was detected not only at the end of the suras but also in the sections within the suras, even at the end of the verses, and in the passages stating the end of the revelation. This situation has been the source of inspiration for the present study. When the available literature is reviewed in this context, there is no academic study similar to the content and method of this study. When the studies that can be called close were analysed, it was observed that their content, aims and methods were completely different. For example, İsmail Durmuşs article İntihâ in the Encyclopaedia of Islam is a summary within the limits required by an encyclopaedia article, but it does not include some features in its content. Again, although Faruk Tuncers work titled Tenasüp İlmi Açısından Kuran Sûrelerindeki Eşsiz Ahenk deals with the subject relatively under the subtitle of Kuranı Kerîm Surelerinin Sonları Hâtime, he did so from the perspective of the issue of tenasüp in the science of tafsir, not from the perspective of artistic arts in the science of eloquence due to the nature of the study, and as the title suggests, he only deals with the endings of the suras. Similarly, Ebubekir Sıddık Şahins Şiirin Üç Güzeli: Hüsn-i Matlaʻ, Hüsn-i Tahallüs, Hüsn-i Maktaʻ is related to the field of Turkish literature. In the Arab world, there is no modern study that deals with this art or, in other words, the issue at a problematic level in the modern period. Therefore, it is hoped that the research will contribute to the literature. On the other hand, the literature review method was used in the research. In this context, the conceptual framework of art was first examined, along with the scholars who addressed it in its theoretical dimension. The discussion also included the fundamental criteria for evaluating art and its place in key Arabic literary forms such as poetry, prose, and oratory. Following this, an attempt was made to define the boundaries and key features of the phenomenon of husn al-khātimah in the Quran. As a result, it has been determined that art is used with many concepts in the literature, as a result of this, scholars of literature and rhetoric cannot agree on who is the first inventor of art, and there is a disagreement between Ibn Rashīq and Abū Hilāl al-Askarī on whether art existed in the poetry of the Jahiliyyah period. It is hoped that this situation may be due to the differences in the two scholars views on the art of husn al-khātimah and the criteria of husn al-khātimah. Again, the existence of the phenomenon of husn al-khātimah in the Quran not only at the end of the suras but also at the end of the suras, at the end of the verses and in the verses that indicate the end of the revelation has been another conclusion reached in the research.

 The ijāz aspect of the Qurān can be revealed by the sciences of maānī and beyān, which are the most important disciplines of rhetoric, and can also be explained by the artistic arts. Because the Quran is the basic dynamic of eloquence. In this study, the Quran is analysed in the context of husn al-khātimah, which is one of the semantic artistic arts and has an important position in the aesthetics of speech. In Arabic rhetoric, husn al-khātimah is to make the interlocutor feel that the word will end and to make the end sweet to the ear, the form beautiful, and the meaning pleasant. Therefore, the concept has nothing to do with the term khātimah, which means passing away from the world with faith. In the history of Arabic literature, husn al-khātimah has been a matter of care by poets, writers, and orators. Especially the poets and orators of the Abbasid period successfully applied this art to the word in various forms. Although there is rich data on art in the Qurān al-Karîm, its presence at the end of the suras comes to mind in the first place. However, when the study was deepened, the presence of the art was detected not only at the end of the suras but also in the sections within the suras, even at the end of the verses, and in the passages stating the end of the revelation. This situation has been the source of inspiration for the present study. When the available literature is reviewed in this context, there is no academic study similar to the content and method of this study. When the studies that can be called close were analysed, it was observed that their content, aims and methods were completely different. For example, İsmail Durmuşs article İntihâ in the Encyclopaedia of Islam is a summary within the limits required by an encyclopaedia article, but it does not include some features in its content. Again, although Faruk Tuncers work titled Tenasüp İlmi Açısından Kuran Sûrelerindeki Eşsiz Ahenk deals with the subject relatively under the subtitle of Kuranı Kerîm Surelerinin Sonları Hâtime, he did so from the perspective of the issue of tenasüp in the science of tafsir, not from the perspective of artistic arts in the science of eloquence due to the nature of the study, and as the title suggests, he only deals with the endings of the suras. Similarly, Ebubekir Sıddık Şahins Şiirin Üç Güzeli: Hüsn-i Matlaʻ, Hüsn-i Tahallüs, Hüsn-i Maktaʻ is related to the field of Turkish literature. In the Arab world, there is no modern study that deals with this art or, in other words, the issue at a problematic level in the modern period. Therefore, it is hoped that the research will contribute to the literature. On the other hand, the literature review method was used in the research. In this context, the conceptual framework of art was first examined, along with the scholars who addressed it in its theoretical dimension. The discussion also included the fundamental criteria for evaluating art and its place in key Arabic literary forms such as poetry, prose, and oratory. Following this, an attempt was made to define the boundaries and key features of the phenomenon of husn al-khātimah in the Quran. As a result, it has been determined that art is used with many concepts in the literature, as a result of this, scholars of literature and rhetoric cannot agree on who is the first inventor of art, and there is a disagreement between Ibn Rashīq and Abū Hilāl al-Askarī on whether art existed in the poetry of the Jahiliyyah period. It is hoped that this situation may be due to the differences in the two scholars views on the art of husn al-khātimah and the criteria of husn al-khātimah. Again, the existence of the phenomenon of husn al-khātimah in the Quran not only at the end of the suras but also at the end of the suras, at the end of the verses and in the verses that indicate the end of the revelation has been another conclusion reached in the research.

 The ijāz aspect of the Qurān can be revealed by the sciences of maānī and beyān, which are the most important disciplines of rhetoric, and can also be explained by the artistic arts. Because the Quran is the basic dynamic of eloquence. In this study, the Quran is analysed in the context of husn al-khātimah, which is one of the semantic artistic arts and has an important position in the aesthetics of speech. In Arabic rhetoric, husn al-khātimah is to make the interlocutor feel that the word will end and to make the end sweet to the ear, the form beautiful, and the meaning pleasant. Therefore, the concept has nothing to do with the term khātimah, which means passing away from the world with faith. In the history of Arabic literature, husn al-khātimah has been a matter of care by poets, writers, and orators. Especially the poets and orators of the Abbasid period successfully applied this art to the word in various forms. Although there is rich data on art in the Qurān al-Karîm, its presence at the end of the suras comes to mind in the first place. However, when the study was deepened, the presence of the art was detected not only at the end of the suras but also in the sections within the suras, even at the end of the verses, and in the passages stating the end of the revelation. This situation has been the source of inspiration for the present study. When the available literature is reviewed in this context, there is no academic study similar to the content and method of this study. When the studies that can be called close were analysed, it was observed that their content, aims and methods were completely different. For example, İsmail Durmuşs article İntihâ in the Encyclopaedia of Islam is a summary within the limits required by an encyclopaedia article, but it does not include some features in its content. Again, although Faruk Tuncers work titled Tenasüp İlmi Açısından Kuran Sûrelerindeki Eşsiz Ahenk deals with the subject relatively under the subtitle of Kuranı Kerîm Surelerinin Sonları Hâtime, he did so from the perspective of the issue of tenasüp in the science of tafsir, not from the perspective of artistic arts in the science of eloquence due to the nature of the study, and as the title suggests, he only deals with the endings of the suras. Similarly, Ebubekir Sıddık Şahins Şiirin Üç Güzeli: Hüsn-i Matlaʻ, Hüsn-i Tahallüs, Hüsn-i Maktaʻ is related to the field of Turkish literature. In the Arab world, there is no modern study that deals with this art or, in other words, the issue at a problematic level in the modern period. Therefore, it is hoped that the research will contribute to the literature. On the other hand, the literature review method was used in the research. In this context, the conceptual framework of art was first examined, along with the scholars who addressed it in its theoretical dimension. The discussion also included the fundamental criteria for evaluating art and its place in key Arabic literary forms such as poetry, prose, and oratory. Following this, an attempt was made to define the boundaries and key features of the phenomenon of husn al-khātimah in the Quran. As a result, it has been determined that art is used with many concepts in the literature, as a result of this, scholars of literature and rhetoric cannot agree on who is the first inventor of art, and there is a disagreement between Ibn Rashīq and Abū Hilāl al-Askarī on whether art existed in the poetry of the Jahiliyyah period. It is hoped that this situation may be due to the differences in the two scholars views on the art of husn al-khātimah and the criteria of husn al-khātimah. Again, the existence of the phenomenon of husn al-khātimah in the Quran not only at the end of the suras but also at the end of the suras, at the end of the verses and in the verses that indicate the end of the revelation has been another conclusion reached in the research.

 Kurânın iʻcâz veçhesi, belagatin en mühim disiplinleri olan meânî ve beyân ilimleriyle ortaya konulabileceği gibi bedîî sanatlarla da pek tabii izah edilebilir. Zira Kurân belagatin temel dinamiğidir. Bu araştırmada Kurân, anlamsal bedîî sanatlardan olup önemli bir söz estetiği konumuna haiz olan hüsnül-hâtime bağlamında incelemeye alınmıştır. Arap belagatinde hüsnül-hâtime; muhataba sözün biteceği hissettirilerek sonunun kulağa hoş gelecek şekilde tatlı, biçiminin güzel, manasının ise latif kılınmasıdır. Arap edebiyatı tarihinde hüsnül-hâtime şair, yazar ve hatiplerce özen gösterilen bir husus olmuştur. Özellikle Abbasîler dönemindeki şair ve ediplerce bu sanat çeşitli vecihleriyle söze başarılı bir şekilde uygulanmıştır. Kurânı Kerîmde de hüsnül-hâtimeye dair zengin bir veri bulunmakla birlikte ilk etapta bu sanatın sure sonlarındaki varlığı akla gelmektedir. Hâlbuki çalışma derinleştirildiğinde sadece sure sonlarında değil, sure içi bölümlerde, hatta ayet sonları ile vahyin sona erdiğini bildiren pasajlarda dahi bu sanatın varlığı tespit edilmiştir. Bu durum eldeki çalışmanın ilham kaynağını oluşturmuştur. Mevcut literatür bu bağlamda tarandığında bu araştırmanın muhteva ve metoduna sahip olan başka bir akademik çalışmaya rastlanmamıştır. Yakın denilebilecek çalışmalar incelendiğinde ise bu çalışmaların içerik, gaye, usul ve ulaştığı sonuçlar bakımından kısmen benzeşen yönleri olsa da büyük ölçüde farklılık arz ettiği gözlenmiştir. Söz gelimi özellikle tefsir literatüründe bu sanat daha çok tefsir ilmindeki surelerin başı ile sonu arasındaki münasebet açısından ele alınırken bu çalışmada, Arap edebiyatçı ve belagatçilerinin belirlemiş olduğu hüsnül hâtime kriterleri açısından meseleye yaklaşılmıştır. Dolayısıyla bu çalışmanın, özellikle bu açılardan literatüre katkı sunacağı umulmaktadır. Araştırmada literatür tarama yöntemi kullanılmıştır. Bu meyanda öncelikle bu sanatın kavram çerçevesi, teorik boyutuyla ilk kez hangi âlimlerce ele alındığı, sanatın icrasındaki temel ölçütlerin neler olması gerektiği hususları ile şiir, nesir ve hitabe gibi temel Arap edebiyatı yazınlarındaki yeri incelenmiş, daha sonra Kurânı Kerîmdeki hüsnül-hâtime olgusunun mertebeleri ve temel niteliklerinin tespitine çalışılmıştır. Neticede bu sanatın literatürde çok sayıda kavramla kullanıldığı, bunun bir sonucu olarak edebiyat ve belagat âlimlerinin sanatın ilk mucidinin kim olduğu noktasında uzlaşamadıkları, yine İbn Reşîk ile Ebû Hilâl el-Askerî arasında Cahiliye Dönemi şiirinde sanatın var olup olmadığı çerçevesinde bir uzlaşmazlığın olduğu gibi hususlar tespit edilmiştir. Bu durumun iki âlimin hüsnül-hâtime sanatına bakışlarının ve hüsnül-hâtime ölçütlerinin farklılığından kaynaklanmış olabileceği düşünülmektedir.

Makale detayları

The Last Words of The Qur'an as an Aesthetics of Speech: An Analysis in Terms of The Art of Husn al-Khātimah

Yazarlar:

Mehmet Zahid Çokyürür

Yayıncı:

Marmara University

Ana Başlıklar:

Arap Dili ve Belagatı

Dergi:

Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.67 Issue 67, pp.102-125

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001335163

pISSN:

1302-4973

Arabic Language and Rhetoric

Bedi'

The Holy Qur'an

Good Ending

The İngeunity of The Passage

Word AestheticsArap Dili ve Belagatı

Bedi'

Kur'an-ı Kerîm

Hüsnü'l-Hâtime

Berâatü'l-Makta

Söz Estetiği

Sayı

Makale detayları

Yazarlar: Mehmet Zahid Çokyürür

Yayıncı: Marmara University

Ana Başlıklar: Arap Dili ve Belagatı

Dergi: Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.67 Issue 67, pp.102-125

Belge Tipi: Makale

Yayın Tarihi: 12/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001335163

pISSN: 1302-4973

Sayı

Yazarlar:

Mehmet Zahid Çokyürür

Yayıncı:

Marmara University

Ana Başlıklar:

Arap Dili ve Belagatı

Dergi:

Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.67 Issue 67, pp.102-125

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001335163

pISSN:

1302-4973