Yunus Emre and the voice of the ineffable absolute (Hakk)

In this work I seek to analyze the work of Yunus Emre in order to understand its reception, or rather lack of reception, and muted acclaim, in many circles. His poetry needs to be better known in an English-speaking academic context where, unfortunately, interest in the esoteric dimension of Islam, especially in languages which are not Arabic or Persian, is still very limited. On the contrary, what is too often highlighted is the more exoteric aspects that are usually linked to the legal dimension and more closely related to the Arabic language. I tried to find an answer to the following: what is the understanding of language in Yunus Emre? This question arises from the observation that the whole Divan is pervaded by a constant concern regarding the origin and nature of the same poet's words. We can speak of an obstinate self-enquiry with respect to the poetic gesture. Why is there this centrality of the language in Yunus Emre‟s poetic production? What is the main aim of this self-enquiry in his poetry? What are the ethical consequences of Yunus Emre‟s understanding of language? I have discovered that in general esotericism is a dimension that remains on the fringes of academic inquiry. This is true whether it is Islamic, Christian or Jewish esotericism, or even other traditions less studied in academia. Unfortunately, the post-enlightenment rationalist approach to the construction of knowledge has generally marginalized these types of knowledge. For this reason, there is still a need to shed light on other ways of engaging with the koranic revelation. Yunus Emre, with his poetry in vernacular Turkish and his esoteric perspective, in my opinion can and should play a key role in the creation of a counter canon that can complexify such an important historical phenomenon as Islam within world history.