Turkish Islamic literature has developed throughout history by internalizing the cultural and religious values of Islamic civilization, passing on to future generations through literary forms the characters engraved in the memory of society. Among these characters, the trio of âşık, lover, and rival stands out as the fundamental figures that establish the fabric of the love theme, especially in the ghazal genre. However, these characters have generally been addressed in a singular manner in the literature, limited to period-specific or poet-centered analyses. This situation points to the lack of studies that holistically explore the relational context of these characters, their social representations, and their literary functions. The purpose of this research is to thoroughly examine the âşûk, lover, and rival characters in Turkish Islamic literature in terms of their formation processes, physical and psychological qualities, gender perception, literary functions, and social counterparts. This study aims to contribute to the understanding of these three characters not only as literary figures but also as cultural elements by integrating fragmented approaches in the literature. Methodologically, the concept of ‘type’ was first examined in light of sociological and literary definitions, followed by an examination of the historical background, culture, mythology, and the influences of Sufism. The cultural structure, social values, and literary traditions of the period were taken into account in determining the types. The research findings reveal that the âşûk type is defined by the characteristics of self-sacrifice, patience, suffering, and refusal to shy away from social criticism within the framework of the Sufi understanding of love; the lover type is symbolized by beauty, coquetry, changeability, and inaccessibility, interweaving human and divine dimensions; and the rival type is defined by its role as an obstacle and tension factor between the lover and the beloved. The lover, beloved, and rival types are not merely aesthetic elements; they are also multilayered cultural symbols reflecting the period's understanding of love, belief system, and social structure.
Abdulsamet Ceran (Sat,) studied this question.