Hermeneutic analysis of metaphors for the rebap instrument in Divan-i Shams-i Tabrizi
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Tarih
2022
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Genç Bilge Yayıncılık
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info:eu-repo/semantics/openAccess
Özet
Both rebap has been one of the important instruments of Mevlevi music over time, and it has been used as a metaphorical expression language in the transmission of mystical subjects in non-musical works. Although it is seen that the rebap instrument has been used many times among the works that do not constitute a direct theoretical source, it plays an important part in the science of mysticism, which is called the highest among all sciences, in terms of the various messages given over the instrument in question. When seen in this context, along with having a rich musical element in the written works of Mawl?n? Jal?l-ad-D?n Rumi, one of the thirteenth century mystics, it is a literary text that presents important messages about mystical subjects through instruments, and it also has the quality of constituting a source for mystical and artistic texts. At this point, it is seen that he reflects various messages with an intense metaphorical language of expression on the rebap instrument, as in other instruments. As a matter of fact, he brought the most important examples to the fore in the couplets in his work called Divan-i Shams-i Tabrizi, as in many of his works. In many of these couplets, the metaphor of rebap reflects a multidimensional content that includes various messages about the relationship between belief and music in Sufi thought. In the study, indirect expression forms expressed through the metaphors of rebap in Divan-i Shams-i Tabrizi are focused and these expression forms are analyzed by associating them with the depth of philosophical meaning based on mysticism. Therefore, hermeneutic interpretation techniques and methods are used in the study. Mawl?n? Jal?l-ad-D?n Rumi (1207-1273) is an important mystic who adopted the belief of Sufism throughout his life and reflected this belief in his philosophy, works and messages he gave through the art of music, as well as in his way of life. Rumi gave examples of the instruments and their performers many times on the way of conveying the truth in his works that he wrote together with mystical thought. While including these examples in his works, he presented the depth of knowledge and meaning through metaphors. When the content of these metaphors is examined, a semantic depth built on the philosophy of ‘wa?dat al-wuj?d’ (the Unity of Existence” or “the Unity of Being) is encountered. In Mawl?n? Jal?l-ad-D?n Rumi’s world of thought, reflecting the God-human relationship in many couplets, it is seen that many elements from life can be a tool for this semantic depth. One of the most striking points in explaining the divine secrets, the depth of spiritual knowledge and the idea of unity of existence is that art and music are interpreters of this subject. For this reason, Mawl?n? Jal?l-ad-D?n Rumi’s works, which are in the field of study of many disciplines such as theology, philosophy, literature or folklore, also presented a content that was researched and followed in terms of art and music. This world of thought, which also inspired the Mevlevi tradition, which reveals the most striking examples of the relationship between faith and music in the Anatolian geography, also reveals the view of Sufism towards music within the written heritage of the thirteenth century. Along with Divân-ı Kebîr which is the work that gives the most place to music, the instruments, the performers and the other musical elements among the works in question, it is seen that art and music are emphasized in other works of Rumi, too. As a matter of fact, when it is looked at his work named Mesnevî, the name of the ney instrument is mentioned a lot in the couplets in the first eighteen couplets of the work. In these couplets, we encounter a metaphorical language of expression, in which expressions on the way of being a perfect human being adorned with deep meanings focused on God-human relationship through the ney instrument are frequently included, and in the same way, mysticism and secrets are explained through this instrument. It is important in terms of the relationship between faith and music that Rumi is explained by giving examples more on the rebab instrument besides the ney instrument in his work Divan-i Shams-i Tabrizi, also called Divân-ı Kebîr, as well as the examples that Rumi often gives on the the subject of the miniatures widely used; was both in the palace and outside the palace; and was for about three centuries in the Seljuk Empire and in the Ottoman Empire for six centuries began to be forgotten as its traces were gradually erased in the course of time, tracing the tracks in the depth of meaning of the Divân-ı Kebîr is important. In this study, the metaphors related to the rebab in the work of Mawl?n? Jal?l-ad-D?n Rumi’s Divan-i Shams-i Tabrizi are dealt in terms of the relationship between faith and music, and it is aimed to analyze the depth of philosophical meaning expressed through this instrument, starting from the indirect forms of expression in the text. Therefore, the methods of the hermeneutic interpretation and techniques are used in the study. © 2022, Fikri Soysal. All rights reserved.
Açıklama
Anahtar Kelimeler
Faith and music relationship, Hermeneutic, Metaphor, Rebap, Sufi thought
Kaynak
Rast Müzikoloji Dergisi
WoS Q Değeri
Scopus Q Değeri
N/A
Cilt
10
Sayı
1
