On the Effect of the Surah of Yusuf in Hamdullah Hamdi's Yusuf u Zuleyha: The Example of the Word Usbe

Abstract

This article delves into the intertextual relationship between Yusuf u Zuleyha, a distinguished masnavi by Hamdullah Hamdi, and Surah Yusuf from the Qur'an. Hamdi's poetic work is not merely a literary adaptation of a prophetic story but is also viewed in classical sources as a poetic exegesis (tafsir) of Surah Yusuf. As a scholar well-versed in Islamic sciences and the author of a Qur'anic commentary (Mecalis & uuml;'t-Tefasir), Hamdi's literary production is marked by a dual commitment to religious fidelity and poetic expression. This study employs document analysis to explore how closely Hamdi's masnavi aligns with the verses of Surah Yusuf. It compares selected couplets from the masnavi with the original Arabic verses to trace literal translations, interpretive decisions, and poetic elaborations. A particular focus is placed on the usage of Qur'anic terms, especially the Arabic word usba ( ), which appears in Surah Yusuf to describe the collective identity of Yusuf's brothers. The study argues that Hamdi's rendering of this term marks a significant departure from traditional interpretations, shedding light on his motivations and theological considerations. In the Qur'anic narrative, the term usba is employed in two critical verses (12:8 and 12:14) and refers to the brothers' strength, unity, and numerical advantage. Lexically, it signifies a closely bound group of ten to forty individuals, typically sharing a common goal and, in some usages, a common paternal lineage. However, Qur'anic exegetes emphasize that the intended meaning in these verses revolves around strength and solidarity rather than blood relations. Hamdi, however, chooses to interpret usba through the lens of genealogical unity. In his couplets corresponding to the relevant verses, he translates the term as our origin is one (asl & imath;m & imath;z bir) and we are of the same essence (asl & imath;m & imath;z yeks & acirc;n), thereby emphasizing a shared paternal identity over the intended Qur'anic emphasis on collective strength. While lexically permissible, this choice deviates from the immediate context of the verses, wherein the brothers use the term to justify their claim to their father's favor due to their greater numbers and perceived usefulness. This deviation is not incidental but is rooted in Hamdi's personal narrative and interpretive philosophy. In his work's sebeb-i telif (reason for composition) section, Hamdi draws parallels between his own experiences and those of Prophet Yusuf, especially regarding familial conflict. His poetry often alludes to the injustices he suffered at the hands of his own brothers. In this context, Hamdi's reinterpretation of usba as a fraternal bond based on blood becomes a literary device for both personal catharsis and theological reflection. It allows him to reframe the betrayal of Yusuf not as an act of collective strength, but as a tragic failure of brotherhood. The study also contrasts Hamdi's treatment of Yusuf's brothers with that of Molla Jami, whose Persian version of the story profoundly influenced Hamdi. While Jami adopts a critical and sometimes harsh tone toward the brothers-depicting them as morally corrupt and envious-Hamdi opts for a more forgiving portrayal. He explicitly warns against harboring su' al-zann (negative assumptions) toward them, citing their repentance and eventual spiritual elevation. This theological sensitivity aligns with Hamdi's broader literary aim of presenting the story as a romance and a family saga grounded in divine wisdom and mercy. Another key feature of Hamdi's masnavi is his consistent effort to incorporate Qur'anic vocabulary directly into his verses. Terms like ta'wil (interpretation), ni'mah (blessing), dalal (error), and zahid (indifference) are either borrowed directly or translated into poetic Turkish with careful attention to nuance. For example, the Qur'anic word zahidun, often rendered as uninterested or unconcerned, is translated by Hamdi as cold or distant, a choice that arguably captures the emotional tone of the original more effectively. Hamdi also introduces unique narrative elements not found in Jami's work, such as the description of Yehuda's wrath and the idea that only a member of Ya'qub's lineage could calm him. This element, which draws from extra-Qur'anic sources, reinforces the theme of familial bonds and divine lineage. It also underscores Hamdi's interpretive originality and desire to expand the moral and spiritual dimensions of the Yusuf story. Ultimately, the article argues that Hamdi's Yusuf u Zuleyha exemplifies a sophisticated integration of exegesis, personal reflection, and literary creativity. His reinterpretation of usba is not merely a lexical variation but a window into his theological worldview and emotional landscape. Hamdi elevates his masnavi beyond a romantic epic into a spiritually rich and morally complex narrative by transforming a Qur'anic term into a symbol of fraternal pain and reconciliation. This exploration contributes to a deeper understanding of how classical Islamic literature engages with sacred texts-not as rigid reproductions, but as dynamic conversations between revelation, experience, and artistic expression. Hamdi's work is a compelling example of this interplay, offering insights into the aesthetics and ethics of Qur'an-inspired poetry.