Fużūlī (Azerbaijani: Füzuli فضولی, c. 1494 – 1556) was the pen name of theAzerbaijani[1][2][3] of the Bayat tribes of Oghuz Turks[4][5][6] poet, writer and thinker Muhammad bin Suleyman (Azerbaijani: Məhəmməd Ben Süleyman محمد بن سليمان). Often considered one of the greatest contributors to theDîvân tradition of Azerbaijani literature,[7] Fuzûlî in fact wrote his collected poems (dîvân) in three different languages: in his native Azerbaijani[8] and also in Persian and Arabic. Although his Turkic works are written in the Azerbaijani dialect of Turkish, he was well-versed in both the Ottoman and the ChagataiTurkic literary traditions as well. He was also well versed in mathematics andastronomy.[9]

Fuzûlî is generally believed to have been born around 1494 in what is now Iraq, when the area was under Ak Koyunlu Turkmen rule; he was probably born in either Karbalā’ or an-Najaf.[9] He is believed to belong to Bayat tribe, one of the Turkic Oghuz tribes who were related to the Ottoman Kayı clan and were scattered throughout the Middle East, Anatolia, and the Caucasus at the time[citation needed]. Though Fuzûlî's ancestors had been of nomadicorigin, the family had long since settled in towns.

Fuzûlî appears to have received a good education, first under his father—who was a mufti in the city of Al Hillah—and then under a teacher named Rahmetullah.[10] It was during this time that he learned the Persian and Arabic languages in addition to his native Azeri. Fuzûlî showed poetic promise early in life, composing sometime around his twentieth year the important masnavi entitled Beng ü Bâde (بنگ و باده; "Hashish and Wine"), in which he compared the Ottoman Sultan Bayezid II to hashishand the Safavid shah Ismail I to wine, much to the advantage of the latter.

One of the few things that is known of Fuzûlî's life during this time is how he arrived at his pen name. In the introduction to his collected Persian poems, he says: "In the early days when I was just beginning to write poetry, every few days I would set my heart on a particular pen name and then after a time change it for another because someone showed up who shared the same name".[11] Eventually, he decided upon the Arabic word fuzûlî—which literally means "impertinent, improper, unnecessary"—because he "knew that this title would not be acceptable to anyone else".[12] Despite the name's pejorative meaning, however, it contains a double meaning—what is called tevriyye (توريه) in Ottoman Divan poetry—as Fuzûlî himself explains: "I was possessed of all the arts and sciences and found a pen name that also implies this sense since in the dictionary fuzûl (ﻓﻀﻮل) is given as a plural of fazl (ﻓﻀﻞ; 'learning') and has the same rhythm as ‘ulûm (ﻋﻠﻮم; 'sciences') and fünûn (ﻓﻨﻮن; 'arts')".[13]
In 1534, the Ottoman sultan Süleymân I conquered the region of Baghdad, where Fuzûlî lived, from the Safavid Empire. Fuzûlî now had the chance to become a court poet under the Ottoman patronage system, and he composed a number ofkasîdes, or panegyric poems, in praise of the sultan and members of his retinue, and as a result, he was granted a stipend. However, owing to the complexities of the Ottoman bureaucracy, this stipend never materialized. In one of his best-known works, the letter Şikâyetnâme (شکايت نامه; "Complaint"), Fuzûlî spoke out against such bureaucracy and its attendantcorruption:
سلام وردم رشوت دگلدر ديو آلمادىلر
Selâm verdim rüşvet değildir deyü almadılar.[14]
I said hello, but they didn't accept as it wasn't a bribe.
Though his poetry flourished during his time among the Ottomans, the loss of his stipend meant that, materially speaking, Fuzûlî never became secure. In fact, most of his life was spent attending upon the Shi`ite Tomb of `Alî in the city of an-Najaf, south of Baghdad.[15] He died during a plague outbreak in 1556, in Karbalā’, either of the plague itself or of cholera.
• bin Süleyman." Encyclopædia Britannica. 2006.
Ottoman poetry
This article deals with the Ottoman Divan poetry tradition. For the tradition of folk poetry in the Ottoman Empire, see Turkish folk literature.
The poetry of the Ottoman Empire, or Ottoman Divan poetry, is fairly little known outside modern Turkey, which forms the heartland of what was once the Ottoman Empire. It is, however, a rich and ancient poetic tradition that lasted for nearly 700 years, and one whose influence can still be felt in the modern Turkish poetic tradition.

Even in modern Turkey, however, Ottoman Divan poetry is a highly specialist subject. Much of this has to do with the fact that Divan poetry is written in Ottoman Turkish, which was written using a variant of the Arabic script and made extensive use of Arabic and Persian words, making the language vastly different from modern Turkish. In its own time, knowledge of this form of literary Turkish was largely limited to the educated classes.

The Ottoman Divan poetry tradition embraced the influence of the Persian and, to a lesser extent, Arabic literatures. As far back as the pre-Ottoman Seljuk period in the late 11th to early 14th centuries CE, this influence was already being felt: theSeljuks conducted their official business in the Persian language, rather than in Turkish, and the poetry of the Seljuk court was highly inflected with Persian.
When the Ottoman Empire arose in northwestern Anatolia, it continued this tradition. The most common poetic forms of the Ottoman court, for instance, were derived either directly from the Persian literary tradition (the gazel; the mesnevî), or indirectly through Persian from the Arabic (the kasîde). However, the decision to adopt these poetic forms wholesale led to two important further consequences:[1]
• the poetic meters (Persian: beher; Turkish: aruz) of Persian poetry were adopted
• Persian- and Arabic-based words were brought into the Turkish language in great numbers, as Turkish words rarely worked well within the system of Persian poetic meter
Out of this confluence of choices, the Ottoman Turkish language—which was always highly distinct from standard Turkish—was effectively born. This style of writing under Persian and Arabic influence came to be known as "Divan literature" (Turkishdivân edebiyatı), as divân was the Ottoman Turkish word referring to the collected works of a poet.
Beginning with the Tanzimat reform period (1839–1876) of Ottoman history and continuing until the dissolution of the empire in the early 20th century, the Divan poetic tradition steadily dwindled, and more and more influence from both Turkish folk literature and European literature began to make itself felt.
Mesnevi (masnavi) in literary term "Rhyming Couplets of Profound Spiritual Meaning" is style developed in Persian poetrywhich Nizami Ganjavi and Jami are the famous poets of type. In Turkic literature first mesnevi was Yusuf Has Hajib's Kutadgu Bilig. Generally social concepts Ferdowsi's Shahnameh, Fuzûlî's Leyla ile Mecnun'u, military events, educational concepts such as Yusuf Nabi's Hayriye or related to religion or philosophy such as Mevlana's Masnavi is covered.

A peculiarity of the masnavi of the Ottoman period is that they almost always possess, beneath the literal meaning, a subtle spiritual signification. Many poems, of Mesnevi of Mevlana and the Divan of Aşık Paşha examples of confessedly religious, moral, or mystic but a much larger number are allegorical. To this latter class belong almost all the long romantic mesnevis of the Persian and mid Ottoman poets; in the stories of the loves of Leyla and Mecnun, Yusuf and Zuleykha, Kusrev and Shavin, Suleyman and Ebsal, and a hundred of like kind, can see pictured, if we look beneath the surface, the soul of man for God, or the yearning of the human heart after heavenly light and wisdom. There is not a character introduced into those romances but represents the passion not an incident but has some spiritual meaning. In the history of Iskender, or Alexander, we watch the noble human soul in its struggles against the powers of this world, and, when aided by God and guided by the heavenly wisdom of righteous teachers, its ultimate victory over every earthly passion, and its attainment of that point of divine serenity whence it can look calmly down on all sublunary things.
Kaside is generally about God, religious or government leaders and their values. Most famous poets are Ahmed Paşa,Necati, Bâkî, Nedîm, most importantly Nef'i.

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