Abstract
The Problem of Literariness and Allegory in Hüsn ü Aşk
In this article, first of all, it will be pointed out the connection between the beginning of allegorical interpretations regarding Hüsn ü Aşk and the negative meaning of the concept of allegory that has transformed in the historical process in aesthetic thought. After examining the relationship between the negative meaning that allegory gained in the nineteenth century and the symbol idea put forward as a criterion of literariness and autonomy, if Hüsn ü Aşk is interpreted allegorically, the question of whether there is a disagreement or contradiction between its allegory and its literariness will be discussed. If allegory is always perceived as a secondary linguistic manifestation of existing historical, political, religious, and moral realities in the text before the text, it will jeopardize the literariness and originality of Hüsn ü Aşk, and at the same time claiming that this is an inherently misuse of the concept of allegory, it will be suggested that allegory is openness to possible meanings that may arise due to the historical and temporality of the reader. Therefore, allegory in Hüsn ü Aşk is the event that the reader begins to speak in a different way with the literary text, as the text produces a space of free differentiation between what it says and what it means.
Keywords
Şeyh Galib, Hüsn ü Aşk, Allegory, Literariness, Logos.