Karaduman, Ruken

Most of the time, scientists and artists use distinct concepts to explain the self that a person seeks to understand and explain. Divan (Ottoman Divan Poetry Tradition) poets, on the other hand, processed historic information, teachings, and beliefs in a universal way, based on human traits, even if they were labelled differently in different eras and geographies. Indeed, analyses based on literature and findings from other fields reveal that divan poetry is a unity encircled by a framework of logic and universality. Studies in Psychology and psychoanalysis provide many options for analysing the human being represented in classical poems from a distinct perspective in this context. With his structural theory of personality, Freud, who conducted major studies on psychoanalysis, states that human emotions and behaviours emerge as a result of the effects of mental systems called id, ego, and superego. The id, as a structure that acts in accordance with unconscious desires, impulses, and the pleasure aiming principle, the ego, as a conscious balance mechanism that attempts to connect with reality, and the superego, as the inner delegate of traditional values and ideals, are all described in detail in this theory. The ego's effort to dominate the impulses, which tries to satisfy its ego functions, and on the other hand, to reconcile the id and the superego with reality is mentioned as a contrast between the immoral claims of the id and the moral and conscientious aspect of the superego, which tries to achieve perfection. These systems, which can be described as elements of the self, are frequently discussed in the tradition, notably in mystical poems, with the concepts of nafs, mind, and heart. The nafs, which pursues mundane pleasures and irrational desires that are incompatible with the aim of human existence, appears in traditional Turkish poetry as a humiliated and criticized element with these traits. The heart, which acts according to its desires and is unaware of divine reality, is portrayed as a spiritual structure that defines good and evil, particularly within the context of mystical teachings, as it strives to achieve the ideal of being a perfect human being. The mind, on the other hand, must resist the nafs' urges and activate the reality principle in opposition to the pleasure principle. However, in accordance with external conditions, the mind must also control and regulate the heart's wants. Divan poets, who typically side with the heart, take a stand against the mind, which tries to rule over the heart's wishes at this juncture. They regard it as inadequate and unable to grasp true meaning. By removing the mental barrier and eliminating the nafs, Divan poets frequently highlight their desire to be united simply with the heart. The purpose of this study is to determine the semantic framework of the nafs, mind, and heart, as well as the images associated with them, which provide various clues about the poet's perspective on inner world of human beings and life at the conscious or subconscious levels with the overlapping meaning connection with the id, ego, and superego. The focus of this study is to evaluate and understand numerous expression qualities and notions based on the concepts of nafs, mind, and heart in Fuzuli's Divan (Collected Poems), using Freud's theoretical conceptual framework. The undesirable aspirations of the nafs, as well as the mind's ability to distinguish between good and evil, are highlighted in Fuzûlî's narratives, which are particularly reflections of his spiritual concepts. The poet, however, prioritizes the values of the heart, which is the embodiment of ultimate beauty, in response to the mind that doubts and causes obstacles. It elevates the heart to a higher spiritual status. In this study, the content analysis method was applied to determine the contexts in which the concepts of nafs, mind, and heart were used in Fuzûlî's Divan. Following the grouping of these concepts in the divan by using the tagging method, a broad assessment of the concepts’ meanings has maintained that the poet has assigned to concepts within the context of the poems' themes.

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