Tevhids and Münacats: A General Overview

Conceptual Framework

Tevhid
In Alevism, the principle of tevhid-that is, the belief that God exists as one, without partner or equal-is generally accepted on the assumption that it is grounded in a Qur’anic foundation. Researchers who have conducted independent studies on this subject likewise proceed from this assumption and continue their work with the aim of proving it (Özdemir, 2017: 85-92). The term tevhid derives from the Arabic root vahhede and carries the meaning of “to make one”. In religious literature, it refers to accepting the oneness of God and recognising Him as a unique and incomparable being. From a literary perspective, tevhids are poetic or prose texts written on the theme of God’s singular and absolute existence. This genre has been widely employed in classical, folk, and tekke literature alike (Köprülü, 1981: 213).

In the Buyruks, the conception of God is examined within the framework of the principle of tevhid, and it is observed that the name of God is invoked through expressions denoting sublimity and transcendence, such as “Allah Teâlâ”, “Hak Sübhânehü ve Teâlâ”, and “Allah Azimüşşan” (Taşğın, 2015: 18-33). When the tevhid texts in the Buyruks are subjected to a general analysis, it becomes apparent that the conception of God is addressed in a manner consistent with the structure adopted in classical Islamic thought. In sections where verses from the Qur’an are cited, a language appropriate to the address of Allah Teâlâ is generally preferred. However, the appearance of expressions such as “Hakk Muhammed Alî are said to have declared” may give rise to a perception that this triad is regarded as occupying an equal position in terms of their respective natures (Bozkurt, 2004: 179).

Münâcat
Münâcat derives from the verb nâcâ and, in its dictionary sense, means ‘whispering’ or ‘speaking secretly’. As a term, it refers to poetic or prose expressions that articulate a person’s supplication to Hakk, their sincere entreaty, appeal for refuge, and devotional plea. Some of the earliest examples are the münâcats attributed to Imam Ali in Arabic literature. In addition, the fifteen münâcats contained in Imam Zayn al-‘Abidin’s work Sahîfe-i Seccâdiye constitute some of the most distinguished examples of the genre (Ateş, 1992: 88).

Historical Developments

Early Examples in Turkish Literature
The earliest example of the tevhid genre in Turkish literature appears in Kutadgu Bilig, written by Yusuf Has Hâcib in 1070. The work contains various couplets addressing the unity of God, some of which also bear characteristics of the münâcat style (Has Hâcib, 2019: 33-34).

The Period of Divan Literature
In Divan literature, almost every major poet composed both a tevhid and a münâcat. Tevhids were generally arranged as sections titled “tevhid” or “münâcat”, placed before the teşbib or nesib, which constitute the introductory parts of kasides. The tevhid and münâcats of poets such as Fuzûlî, Nef’î, Bâkî, and Şeyh Galip occupy a significant place in literary history.

An example from Fuzûlî’s famous tevhid:
“Ey ki hep mazhar-ı ihsan-ı Hudâsın sensin
Bir olan Hazret’e çok olmakla şerîk olmazsın.”
(Necatigil, 2000)

Tevhid and Münâcat in Folk and Tekke Literature
In tekke literature, the genres of tevhid and münâcat function not merely as modes of literary expression, but also as important instruments of dhikr, instruction, and spiritual guidance used in the moral and spiritual training of dervishes. In these works, mystical concepts such as vahdet-i vücut (unity of being), vahdet-i şuhûd (unity of witnessing), marifet (gnosis), aşk (divine love), and fenâ (annihilation of the self) occupy a central position. While tevhids explain the intellectual and spiritual dimensions of God’s unity, münâcats foreground the servant’s sincere supplication, sense of helplessness, and desire for closeness to God (Gölpınarlı, 1984).

One of the most distinctive features of these genres is their capacity to evoke the relationship between human beings, God, and the universe. Within the mystical tradition, the universe is perceived as a reflection of God’s existence; consequently, tevhid and münâcat texts establish a bridge between the mystery of creation and divine unity. According to the doctrine of vahdet-i vücut, all existence consists of different manifestations of a single truth. This understanding is powerfully reflected in Anatolian mystical poetry of the thirteenth and fourteenth centuries.

The ilâhis of Yunus Emre, characterised by an intense and consuming love and the servant’s heartfelt supplication, rank among the most striking examples of the münâcat tradition. The poet’s verses:

“Ben yürürüm yane yane
Aşk boyadı beni kane.”

symbolise both the transformative nature of mystical love and the spiritual burning endured by the dervish in pursuit of divine truth (Tatçı, 2013). These lines by Yunus embody the typical characteristics of the münâcat genre: the articulation of divine love, the servant’s desire for inner purification, and a sense of surrender before Hakk.

Tevhids and münâcats are not solely texts of individual contemplation; they also possess a functional role within the tekke setting. They are performed in both verbal and musical forms in gatherings where dervishes are trained, in rituals conducted collectively, and in dhikr assemblies. In this respect, these texts serve as instructional materials accompanying dervishes on their spiritual journey. Furthermore, their performance in specific musical modes (makam) has secured them an important place within both literary and musical traditions (Ocak, 2006).

In conclusion, tevhids and münâcats are works that simultaneously encompass the literary and religious-mystical dimensions of tekke culture; they fulfil a multifaceted function by supporting both individual spiritual development and internal instruction within Sufi orders.

Tevhid and Münâcat in Alevi-Bektashi Literature
In Alevi-Bektashi literature, tevhids occupy a highly significant place. Most poems written under the title of tevhid within this tradition display characteristics of both tevhid and münâcat. These poems are recited at the beginning of cem rituals and, at times, during the devran. In such texts, the following elements come to the fore:

– The unity of Hakk
– The doctrine of vahdet-i vücut
– Love for the Ahl al-Bayt and emphasis on their guardianship
– The enumeration of the names of the Twelve Imams
– References to the creation of the universe and the history of the prophets

An example from an Alevi-Bektashi tevhid:
“Bismişah Allah Allah deyü geldim meydana
İmamların aşkına döndüm semaha.”

In these examples, a plain yet profound mode of expression predominates; the poems are generally composed in syllabic metre.

Structure

Literary Structure
While aruz metre is generally preferred in Divan tevhids, syllabic metre predominates in folk and tekke examples. Tevhids often assume the character of methiye, whereas münâcats proceed in a manner that directly addresses God. In münâcats, themes such as the servant’s helplessness, the sincerity of devotion, the confession of sins, and seeking refuge in God’s mercy are particularly prominent.

Thematic Features
The most frequently encountered themes in tevhid and münâcat texts include:

– God’s power, unity, and attributes
– The significance of servitude
– The weakness of the human ego
– Destiny, sustenance (rızık), and trust in God (tevekkül)
– Love for the Prophet
– Emphasis on the Ahl al-Bayt (particularly in the Alevi-Bektashi tradition)

Musical Structure

Modal Organisation of Tevhids and Münâcats

Tevhids and münâcats continue to exist within oral culture not only as textual compositions but also as musical forms. In many regions of Turkey, these works are performed in specific musical modes (makams). The most commonly used modes include:

– Uşşak
– Hüseynî
– Karcığar
– Kürdî
– Hicaz

In some compositions, the Saba and Dügâh modes are also encountered. In addition, there are examples suited to the Rast mode, particularly those that resolve on the sol pitch (Soysal, 2015: 67).

Mode (Makam) in the Alevi-Bektashi Tradition
The tevhids and münâcats performed during cem rituals are bound to specific rhythmic patterns (usul) and modal structures. Generally, slow-tempo melodies that convey a sense of depth and high emotional intensity are preferred. This enhances the emotional impact of the text and ensures the integrity of the religious ritual.

Example Texts

An Example in the Classical Style (Tevhid)

“Çün cemâlinden açıldı gülsitân-ı kâinat
Zâtına yoktur nazîr, ey bir olan pâdişâh-ı zât.”

Such couplets express, within the symbolic language of Divan aesthetics, the idea that creation emanates from divine beauty (Köprülü, 1918: 153).

An Example in the Folk Style (Münâcat)
“Gözlerim yolda kaldı yâ Rab
Kapına geldim affeyle
Kulunam derdime derman
Sensin şâhım, sensin Mevlâ.”

This mode of expression represents the plain and sincere style of folk mysticism (Tatçı, 2013: 88).

Conclusion

The genres of tevhid and münâcat should be regarded as more than merely literary texts; they are multifaceted sources that deeply reflect a society’s world of belief, aesthetic sensibilities, devotional practices, and cultural heritage. Themes such as the unity of God, the consciousness of servitude, the acceptance of human helplessness, and orientation towards divine power are expressed across different periods and communities with similar sensitivities, thereby forming a shared mystical consciousness. From classical Turkish literature to folk literature, from tekke poetry to the Alevi-Bektashi tradition, tevhids and münâcats have found resonance across a broad spectrum. Through the diversity of their language, style, metre, and modes of expression, they have made significant contributions to the aesthetic richness of Turkish literature.

Furthermore, these genres have functioned within a wide range of cultural practices extending from oral tradition to written culture, from music to cem rituals. They have served as spiritual guides in both individual acts of worship and collective religious ceremonies. In this way, tevhids and münâcats have become important bridges that mediate cultural continuity, the transmission of belief, and the intergenerational circulation of mystical thought. For these reasons, the study of these genres occupies an indispensable place in understanding the history of Turkish literature and culture.