Yazarların okuduğu metinler aynı zamanda onların beslenme kaynaklarıdır. Yazarlar tarafından okunan metinlerin ve dinlenilen anlatıların bir eserde kendini dolaylı veya doğrudan göstermesi ise metinlerarası ilişkilerin somut göstergeleridir. Metinlerarası ilişkiler, metinlerin yazılma sürecinde yazarın tercihi doğrultusunda diğer metinlerin yeni oluşturulan metin içerisinde var olmasıdır. XIX. yüzyılda metin incelemeleriyle ortaya konulan metinlerarası ilişkiler kuramının isimlendirilmesi yakın zamana dayanmakla birlikte, metinlerde kullanımı oldukça eskilere uzanmaktadır. Metinlerarası ilişkiler bakımından bu makalede incelenecek olan Şeyh Gâlib'in Hüsn ü Aşk adlı tasavvufî-alegorik mesnevisi, Türk edebiyatında dil ve anlatımıyla, kullanılmış olan sembollerle dikkat çeken bir eserdir. Bir edebiyat araştırmacısı olarak bu eseri incelediğimizde, tasavvuf öğretisine göre insanın olgunlaşma serüveni sırasında geçilen basamakların alegorik bir anlatımla ifade edildiği görülmektedir. Edebî bir metin olarak birçok kez bilimsel incelemelere tabi tutulan Hüsn ü Aşk mesnevisi, henüz metinlerarası ilişkileri bakımından incelenmemiştir. Bu sebeple bu çalışmada, Hüsn ü Aşk mesnevisi metinlerarası ilişkiler kuramı doğrultusunda incelenerek, yazarın bu eserde yapmış olduğu alıntı, gönderme ve anıştırmaların ortaya konulması amaçlanmıştır. Makalede metinlerarası ilişkilerin ortaya konulması neticesinde klasik Türk şiiri örneklerinde metinlerarası ilişkilerin kullanımı hakkında bilgi sahibi olma imkânı bulunmuştur

Introduction: Texts read by authors also become their sources of nourishment. Direct or indirect reappearance of texts read or narratives heard by authors in an oeuvre are concrete indications of intertextual relationship. Intertextuality is the inclusion of different texts in a newly authored text during the writing process as per the author’s choice. Although the designation of intertextuality theory that emerged with 19th Century text studies is rather recent, however its use in the texts date back to earlier times. Purpose of The Study: The subject matter of this article, the Sufiallegorical masnavi Hüsn ü Aşk (Beauty and Love) written by Şeyh Gâlib, a notable oeuvre in Turkish literature with its langue and expression, will be studied with respect to intertextuality. The work, when studied from the point of view of a literary researcher, demonstrates an expression of a narrative of the stages that an individual experiences during the adventure of maturation according to the Sufi doctrine. Hüsn ü Aşk masnavi, scrutinized in literature several times for its allegorical narrative, has never been examined for its intertextuality. This article aims to conceive Hüsn ü Aşk using intertextuality textuary theory to exhibit author’s citations, crossreferences and allusions in the work. Intertextual relations depicted in the article provided knowledge on the use of intertextuality in classical Turkish verse specimens and as noted by Şeyh Gâlib at the end of his work; with Masnavi of Mevlânâ from whom he received his “enigma” and other works articulated in the text, Hüsn ü Aşk masnavi was reread. Studying the relations between literary works and to discover how the shadows of different texts fell on a new work written for the first time could only be conducted by the text readings of “scholar readers.” Methodology: This study will exemplify the significant characteristics of Hüsn ü Aşk masnavi initially, and then determine the intertextual relation in the text and the reasons behind the author’s use of intertextual relations. Exhibiting all textual relations in a text requires a rigorous study. This study includes all existing and established citations, references and allusions within the boundaries of an article. In the article, intertextual relations in the Hüsn ü Aşk masnavi are examined under two distinct headings; direct relations with other texts and indirect relations. Discussion: It is necessary to discuss the relations between intertextual relations and the significant element in Turkish literature; tradition, before discussing the intertextual relations in Hüsn ü Aşk, an example of Turkish literature. Tradition is a concept that entails ongoing, continuing meanings, thus including the continuous borrowing within the texts. When the tradition of parallelism in Turkish poetry is considered within the context of intertextual relations, it would be observed that the intertextual relations technique exists on the boundaries drawn by the tradition. One of the reasons causing the author to reread Hüsn ü Aşk within the context of intertextual relations was the couplets Şeyh Gâlib included at the end of his work. To prevent the impression of plagiarism that might occur in the readers since he used certain names from the oeuvres of Mevlana, he indicated his sources for citations, references and allusions in his work by the verse; “Çaldım velî mîrî mâlı çaldım” (“I have stolen the patron’s public property, I have stolen”) (2020), thus precluding the possibility of the perception that the intertextual relations in his text were plagiarism. We concluded that the use of intertextual techniques by the author that the readers were not aware of necessitated an explanation in the style of Şeyh Gâlib. In the text inspected, it was observed that usually citation and reference/referral techniques were preferred in verse and hadith alienisms. This tendency was due to the belief that paraphrasing would not be appropriate when quoting sacred texts and the words of the prophet, who was the conveyor of the sacred, in another text. Thus, either a part of verses and hadith was quoted directly in the text or a word was referred upon. In the beginning of his work, Gâlib compared the protagonists of Hüsn ü Aşk masnavi with the protagonists of other love stories. The significant point in references to different stages of the voyage that Aşk (Love) sailed towards the “kalp ülkesi” (Land of Heart) is that Aşk was compared to several prophets in history. Gâlib, using these references/referrals, puts Aşk in paths travelled by the prophets before. Gâlib, with allusions used in Hüsn ü Aşk, going further than elevating Aşk to the level of a prophet, he stresses the processes of trial and purification that prophets pass through, highlighting the necessity of trials on the path to become a “whole human.” Results: It was determined that Hüsn ü Aşk masnavi, as much as it should be read within its Sufi dimension, it is a work that should as well read carefully for its intertextual relations. When Hüsn ü Aşk masnavi is reread in the context of intertextuality, the texts that the author purposefully articulated to his work is effective in perception of the subject matter in a broader sense. When the work is read with texts directly cited and indirectly articulated, it is observed that the author stresses the fact that the events depicted in the story did not only happened to Aşk, but other protagonists had similar difficulties as well. Thus, the piece could be read as an individual story of Aşk, however it could also be read as the story of all people, who thrive to become a whole human. However this feature was not given to the work in a shallow manner, but found its way into the text implicitly with intertextual relations. Şeyh Gâlib used the intertextual relations functionally in the work he penned and enabled the reader to read these relations correctly. Gâlib in the verses located at the end of his work, explained the feeding sources of Hüsn ü Aşk to the reader and by doing so in a way stated that the work was not centered on a single text but it is formed byintertextual relations and thus it should be read. Gâlib, who was a Mevlevi, by alluding that he had read Mevlana’s Mesnevî and influenced by it when he authored his work prevented the evaluation of intertextual relations he concocted to be considered as plagiarism. Therefore Gâlib demonstrated that intertextual relations was a situation that should be expressed directly and not plagiarism. The research conducted within the scope of this article demonstrated that quotation/restitution and references used functionally in Turkish poetry overlap with the techniques of citation and allusion in intertextual relations, however, the techniques providing intertextual relations in Turkish poetry were accepted as literary art forms. Thus, considering that the arts of quotation and references in classical Turkish literature works were intertextual relations techniques at the same time should be remembered during reading for better understanding the works.