Aisha Teymur's position in modern poetry

Aisha Teymur who left her mark on the second half of the 19th century is one of the rare female Muslim figures in the field of literature especially in "Modern Arabic Literature" in the late 19th and early 20th centuries. The works that Aisha Teymur asserted with al-Barûdî and es-Saâtî who are her contemporaries in the literary field reflects the most precious and rare works of Egyptian literature in the period in question. In addition to being shown as 'the pioneer of women's awakening', Aisha Teymur has also been portrayed as one of the initials of the social and literary reforms in the Khedive Ismail era, as modern historians have pointed out. Aisha Teymur was named as a trilingual poet due to the fact that she wrote poetry in Turkish and Persian as well as her Arabic divan "Hılyetu't-tıraz" and she left three valuable works in prose (nesir) field. These are following as: "Netâicü'l-ahvâl fi'l-akvâli ve'l-ef'âl", "el-Likâ ba'de'ş- şetât"and "Mir'âtü't-teemmül fi'l-umûr". The poem of Aisha Teymur, who wrote her poetical (manzum) works mostly in the style of praise (medih), elegy (mersiye) and gazelle (gazel). The gazelle genre constitutes one-third of her divan. The fact that the writer had precisely expressed her feelings in a way that women poets could not express before has elevated her to be a groundbreaking and inspiring leader for the future poets and writers. The influence of the literary style of Aisha Teymur, who had followed the path of Barûdi in social issues contained in poems with regards to style, similitude, and allusion is evident in the works of Emine Necib and Bâhise el- Bâdiye.