Divine Love, Eternity, and the Metaphysical Transformation of the "Self" in the Works of Yunus Emre and Magtymguly
Avezov Elbek
Zenodo (CERN European Organization for Nuclear Research) October 13, 2026 preprint DOI: 10.5281/zenodo.23332083 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Comparative typological literary analysis |
|---|---|
| Key points | Argues that metaphysical harmony is expressed in Yunus Emre's poetry primarily through inner spiritual experience and transcendence of the self, whereas in Magtymguly Pyragy's poetry this experience is expanded through cosmological imagery such as the "seven lands" and "nine heavens." Both poets treat love as an ontological and poetic category that transforms the inner world and connects the individual to Divine Being. |
Abstract
This article presents a comparative typological analysis of the poetic expression of metaphysical existence in the lyrical works of Yunus Emre and Magtymguly Pyragy. It explores the mystical and philosophical significance of such categories and images as love, “I” and “You,” being and non-being, and the figures of the “Friend” and the “Beloved.” Drawing on Yunus Emre’s lines “Aşkın aldı benden beni / Bana seni gerek seni,” the article examines the renunciation of the ego-centered self and the human aspiration toward Absolute Truth. In the poetry of Magtymguly Pyragy, the poetic interpretation of metaphysical space is explored through cosmological images such as “seven lands” and “nine heavens.” The study also compares the function of love as an ontological and poetic category that transforms the human inner world and establishes a spiritual connection between the individual and Divine Being. The analysis demonstrates that metaphysical harmony in Yunus Emre’s poetry is expressed primarily through inner spiritual experience and transcendence of the self, whereas in Magtymguly Pyragy’s poetry, this experience is expanded through cosmological imagery.