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İslam ve insanlık tarihinin en üzücü ve dehşetli hadiselerinden birisi hiç şüphesiz ki Kerbela hadisesidir. Bu elim hadise, tarihe kara ve kanlı bir leke olarak geçmiş ancak günümüze kadar etkisini yitirmeden gelmeyi başarabilmiştir. Kerbela hadisesinin yüzyıllar boyunca tarihî, siyasî, itikadî, toplumsal, edebî vb. pek çok sonucu ortaya çıkmış. Kerbela hadisesi kendisine has toplumsal geleneklerin ve edebî ürünlerin ortaya çıkmasını sağlamış, klasik edebiyatımıza genel anlamda Kerbela mersiyeleri, daha özelde ise maktel / maktel-i Hüseyn adında bir tür olarak yansımıştır. Kerbela hadisesi ve Hz. Hüseyin ile ilgili mersiye söyleme geleneği hadisenin hemen akabinde Arap edebiyatında ortaya çıkmış, günümüze kadar farklı din ve milletlere mensup sanatçılarca çok sayıda eser verilmiştir. Türk edebiyatında da bilinen ilk örnekleri XV. yüzyılda görülmeye başlanan Kerbela mersiyeleri ve maktel-i Hüseyinler, klasik edebiyatın her döneminde en fazla eser verilen türlerin başında gelmektedir. Bu eserlerde Kerbela hadisesi ile öncesi ve sonrasında yaşanan olaylar duygusal bir şekilde dile getirilmiştir. Kerbela mersiyeleri ve maktellerde anlatılanlar, farklı şahsiyetlerle ilintili olarak ele alınmıştır. Bu eserlerde Kerbela hadisesi ve Hz. Hüseyin bağlamında bahsi en fazla geçen şahıslardan birinin de, Hz. Hüseyin’in dedesi olması sebebiyle Hz. Muhammed olduğu görülmektedir. Şairler eserlerinde kimi zaman yaşananları Hz. Muhammed’e şikâyet ederken kimi zaman ondan şefaat dilemektedirler. Bu çalışmada Hz. Muhammed’in Kerbela mersiyelerinde hangi özellikleri ile yer aldığı Hz. Hüseyin ile olan münasebeti çerçevesinde ele alınmıştır.

This doctoral dissertation is a study of two late Middle-English dream-vision poems that demonstrates the utility of the generic category of elegy in reading Pearl and the Book of the Duchess. It is my argument that elegy is a form that offers a literary context to the pathological nature of grief in these poems that is otherwise illegible in their historical context. In the study, I define elegy as a mode that resists the consolation, a textual form that tends towards a completed mourning. Ultimately the thesis demonstrates that we can perceive an acute generic difference between the representations of mourning in consolation and elegy in these two poems. In the first chapter I demonstrate that the ubiquity of socio-religious forms of morally corrective mourning in the fourteenth century was conducive to the consolation form. Following on from this, I show how the period's strong preference for a consolatory approach to mourning through a popular belief in Purgatory occasions new literary experimentations in vernacular languages that sought to subvert and redefine the consolation tradition. This experimentation in forms of textual mourning is epitomised by the elegiac qualities of Pearl and the Book of the Duchess, making them excellent subjects for the study of elegiac genre given their obvious resistance to the pervasive consolatory ideology of their time. In chapter two, I argue that Chaucer's Book of the Duchess stands as a resistant and secularising monument to suffering that avoids Christian consolation and explores the ambivalence of mourning. In chapter three, I read the recursive poetic structure of Pearl as a similar resistance to the definitive resolutions of the consolation. I conclude the dissertation by reflecting on the similarities between these two poems in their vernacular and oneiric forms and posit the ways in which the reading of these poems as elegy sharpens our definition of the genre more generally.

Friedrich Hölderlin’s elegy “Brod und Wein” (Bread and Wine) includes a simile that compares words to flowers. Paul De Man performs a semiotic critique of the simile in his well-known essay, “Intentional Structure of the Romantic Image.” For De Man, Hölderlin’s elegy wants to seduce us into assenting to the illogical notion that human language can spring into existence spontaneously, just as flowers spring up from the ground. I attempt to read against the grain of De Man’s critique by focusing attention on the elegy’s discursive imbrication within Romantic-era vital materialism to which Hölderlin was committed. To perform this reading I turn to Friedrich Schelling’s unfinished Ages of the World (1811–15), arguing that its articulation of vital materialism helps to delineate and support a materialist rather than a semiotic reading of Hölderlin’s simile, connecting and contrasting Schelling’s ideas with twenty-first century New Materialism.

In “Peele Castle,” Wordsworth excludes from his land-and-seascape the gleam that was still available to the visionary child in the Intimations Ode, drawing on Beaumont’s painting in part for confirmation of this new austerity. Until the last line, when “hope” makes its surprising appearance, Wordsworth’s elegy for his brother is a rigorously stoical poem. Constable knew both the Beaumont and the poem very well, had been to the Weymouth coast, scene of John Wordsworth’s death, and quoted from “Peele Castle” to accompany a mezzotint gift of a stormy painting he had made on the occasion of that visit. We can then view Hadleigh Castle, Constable’s 1828 elegy for his recently deceased wife, as a response to the poem in which the painter restores a providential gleam to the appearances of the natural world, as if to say that the imagination and traditional faith are not at odds with each other.