Edebiyat ve psikoloji insan ve insanın hallerini inceleme alanı olarak ele aldıkları için birbirlerinden beslenen bilim dallarıdır. Bu çalışmada Emevî döneminde yaşayan ve kendi dönemi ve sonraki çağlar dâhil aşk şairlerinin hocası kabul edilen Ömer b. Ebî Rebîa'nın şiirleri psikanalitik açıdan incelenmiştir. Şair, varlıklı bir ailenin çocuğu olup müreffeh ve eğlence dolu bir hayat sürmüştür. Her fırsatta kadınlarla iç içe olmuş, onları tasvir eden şiirler yazarak ilgilerine mazhar olmuştur. Ömer b. Ebî Rebîa, şiirlerinde narsist eğilimlere sahip olan bir şahsiyettir. Zevk gazelinin öncüsü olduğu için şiirlerinin en önemli teması kadındır. Şiirlerinde kadın bazen açıkça yer alırken bazen de imgeler aracılığı ile yer alır. Psikanaliz biliminin kurucu olan Sigmund Freud, yaşam ve ölüm içgüdüsü olmak üzere iki olgunun varlığına yer vermiştir. Yapıcılık ve canlanma olgularıyla yaşam içgüdüsü ve bunun aksini temsil eden yıkıcılık, gerileme ve donukluk halleri ile ölüm içgüdüsü. Bunlar içgüdülerin ikicilliği (ölüm ve yaşam içgüdüleri ) adı altında Freud'da ifadesini bulmuştur. Bu çalışmada Ömer b. Ebî Rebîa'nın divanındaki şiirleri analiz edilerek kadın sembolü ve Freud'un ortaya koyduğu yaşam ve ölüm içgüdüsü arasında kadının yeri tespit edilmiştir. Yaşam ve ölüm içgüdüsünün mücadelesinin şairin şiirlerine nasıl yansıdığı ve hangi içgüdünün daha baskın olduğu tespit edilmeye çalışılmıştır

As they study the “man” and “states of man” literature and psychology are two fields that feed on each other. In this paper the poems by Omar b. Abī Rabi‘a, lived during the sultanate of the Umayyad and was regarded the master of love-poets both in his lifetime and after, has been psychoanalytically analysed. First of all his poetry is treated. He was of a well-being family, and pursued a wealthy and entertaining life. He was, even during the season of Hajj, almost always with ladies around and attracted to them with poems dedicated to their beauties. Omar was a sort of narcissist poet. Since he was the leading figure of “ode of lust” the most prominent theme in his odes was the ladies. Sometimes they were obviously mentioned, and sometimes with imagery. Freud, the founding father of psychoanalysis, put forth the duality of nature under the instincts of life and death. One is the instinct of re-creation, and the other is completely the opposite: the instinct of annihilation, decline and dullness. These are expressed as a duality in Freud’s terminology. In this study the place of woman is tried to be ascertained among the two given instincts, life and death. Then we have aimed to detect which of these two instinct prevailed in Omar's poetry and how In this paper I have critically examined the poems composed by Omar b. Abī Rabi‘a, an Umayyad period odist, in his dīwan. The pieces of the poet have been analysed in terms of the two instincts, put forth by Sigmund Freud, of life and death, and the place of woman in between. In the introduction you will find a general outlines regarding the poems by the poet, and the descriptions of terms of “the instinct of life and death”. Besides, there are some explanations upon the “imagery” and the “image of woman”. Then there is an analysis made on the pieces included in the poet’s dīwan, the elements that symbolise woman and the reflections of the two given instincts from the viewpoint of woman. As we have studied the biography of the poet in an earlier piece titled “Narcissim Exposed In Omar b. Abi Rabia’s Poems”, we have not felt the need to repeat it here again. One of the themes that the classical Arab poetry treats is woman and love. Though meaning literally to “say words of love to a woman” ode (ghazal) comes to be terminologically known as: “In Arab literature ghazal is not a distinctive kind of poetry, but is the name of the chapters on love and the lovers preceding the qasidas (eulogy) and used to be meant “nasīb”. Later on the poems, be it either long or short, that communicate the feelings of the poet excited by love, the loved one, wine and spring were named as ghazal. Yet with the advent of Islam and during the Caliphate of Rashidun (The Rightly Guided) the attraction to this kind of poetry considerably declined. On the contrary, in the following reign of the Umayyad there was an increase in the interest in leisure, music and women; and odes harassing the madams and mademoiselles gained popularity. In those times “ode” was not anymore a means to take the qasida (eulogy) to its true purpose; but became only the instrument used partly by the Bedouins and partly by the rural artists. Of the Umayyad period poets Omar ibn Abī Rabī‘a that we here try to treat as a subject was the master of the école of ode-saying and leader of those who used the very structure. Omar was brought up in riches and welfare; away from the hardships of life, but in the hugs of leisure. There had always been ladies at the centre of his work; not the men. Even during the season of pilgrimage he gathered with ladies, talked to them and wrote poems for their sake. He was fond of their attraction offered for his youth, charisma and of their love. It was mostly the ghazals that were examined by many when “woman in the eyes of the poets” is treated. The researchers have detailed the women in poet’s ghazals, their biographies, beauties, toilets, moral values, customs, and the affairs occurred between the poet and his loved one; not the psychological background that led Omar to use the “woman” overtly or symbolically. That’s why we’ve made a particular stress on those psychological factors that urged him to use woman in an open or symbolic way. Not all the poems in his dīwan is examined; but only the related pieces are tried to be evaluated to be able to shed light on the secret conscious concealed behind his psychological world. The poet secured himself a significant position in Arab literature with a colossal dīwan of poems. The elements of conscious and subconscious have important place in psychoanalysis. With those two elements Freud tried to explain the tendency of a human being to re-experience the past sufferings, no matter how much bitter they would be. The explanatory possibilities of the notion of leading a life on the axis of pleasure do of course have its limits. Freud maintained that there might have been something called the instinct of death. Life does always re-creates itself and is in continual struggle against the instinct of death. While the former labours to bring together and generate larger things, the latter always seeks for ways to severe, bring into pieces and at length to annihilate. These two instincts, in short, are in an endless strife. These are expressed as a duality in Freud’s terminology. In this study we have put an effort to find in Omar’s poems the reflections of these two instincts and the place of woman is tried to be ascertained among the two given instincts, life and death. As far as we have ascertained it might be said, depending on his poems included in the dīwan, that the instinct of life prevails. During the moments when the very instinct of life was dominant the poet tended to remember the lady he loved and the times that they spent together. Now and then he directly named her and sometimes just referred to her in a symbolic diction. There was always “woman” in the longing for the past, and also behind the beauties of anything in the nature, static or on the move. Among the elements that symbolise the woman the following might be numbered: the sun, the moon, the full moon, stars, shining pearls, rain-bearing clouds, the rain, bunch of grapes, twigs of lilies, deer and gazelle. These very symbols do also represent the desire for living, whereas the symbols (the like of which may be numbered as the “sun-screening clouds”, teardrops, emotional pain, affliction and sleepless nights) are the imageries reflecting the instinct of death.