{"id":815,"date":"2025-11-28T16:45:17","date_gmt":"2025-11-28T13:45:17","guid":{"rendered":"https:\/\/mehmetkirtorun.com\/?p=815"},"modified":"2025-12-03T13:17:07","modified_gmt":"2025-12-03T10:17:07","slug":"yuzun-isigi-kokun-karanligi-ahlakin-gorunmez-topragi","status":"publish","type":"post","link":"http:\/\/mehmetkirtorun.com\/index.php\/2025\/11\/28\/yuzun-isigi-kokun-karanligi-ahlakin-gorunmez-topragi\/","title":{"rendered":"Y\u00fcz\u00fcn I\u015f\u0131\u011f\u0131, K\u00f6k\u00fcn Karanl\u0131\u011f\u0131: Ahlak\u0131n G\u00f6r\u00fcnmez Topra\u011f\u0131"},"content":{"rendered":"\n

G\u00f6r\u00fcn\u00fc\u015f\u00fcn ard\u0131ndaki ahlak\u00ee derinli\u011fe bir bak\u0131\u015f.<\/em><\/p>\n\n\n\n

Bah\u00e7ede, her sabah g\u00fcne\u015fin ilk \u0131\u015f\u0131klar\u0131yla birlikte k\u0131rm\u0131z\u0131 g\u00fcller a\u00e7ar. Yapraklar\u0131n \u00fczerine d\u00fc\u015fen \u00e7iy damlalar\u0131, minik aynalar gibi sabah\u0131 yans\u0131t\u0131r. Ku\u015f sesleri aras\u0131nda, \u00e7itin ard\u0131ndan bakan biri i\u00e7in manzara b\u00fcy\u00fcleyicidir; renklerin uyumu, sessiz bir zarafetle insan\u0131n i\u00e7ine ferahl\u0131k salar. Fakat biri merakla yakla\u015f\u0131p e\u011fildi\u011finde, o g\u00fczelli\u011fin ard\u0131nda ba\u015fka bir hakikat belirir: topra\u011f\u0131n derinlerinden gelen a\u011f\u0131r, \u00e7\u00fcr\u00fcm\u00fc\u015f bir koku. K\u00f6klerin \u00e7evresinde, bir zamanlar besleyen topra\u011f\u0131n art\u0131k yorgun, nemli ve kararm\u0131\u015f bir h\u00e2li vard\u0131r. G\u00fcl h\u00e2l\u00e2 g\u00fczel g\u00f6r\u00fcn\u00fcr ama g\u00fczelli\u011fini ta\u015f\u0131yan zemin bozulmu\u015ftur.<\/p>\n\n\n\n

\u0130\u015fte o anda b\u00fcy\u00fc da\u011f\u0131l\u0131r. D\u0131\u015ftaki ihti\u015fam, i\u00e7teki \u00e7\u00fcr\u00fcmeyi saklayamaz. O k\u0131rm\u0131z\u0131 yapraklar\u0131n alt\u0131nda sessiz bir \u00e7\u00f6z\u00fclme vard\u0131r; hayat\u0131n en g\u00f6rkemli an\u0131nda bile gizli bir keder gibi. \u0130nsan da b\u00f6yledir. S\u00f6zleri, k\u0131yafeti, y\u00fcz\u00fcndeki zarafet ne kadar parlak olursa olsun; i\u00e7inde kibir, haset ya da hoyratl\u0131k bar\u0131n\u0131yorsa, o g\u00fczellik bir s\u00fcre sonra solmaya mahk\u00fbmdur. \u00c7\u00fcnk\u00fc suret, hakikatin cilas\u0131d\u0131r; huy ise cevherin rengi. Y\u00fcz bazen \u0131\u015f\u0131\u011f\u0131 yans\u0131t\u0131r ama huy, \u0131\u015f\u0131\u011f\u0131n kayna\u011f\u0131d\u0131r. E\u011fer i\u00e7teki kaynak bulan\u0131ksa, en parlak y\u00fcz bile karanl\u0131k g\u00f6r\u00fcn\u00fcr.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

F\u0131trat\u0131n Sessiz Mimar\u0131: \u00c7ocu\u011fun Ruhunda \u0130n\u015fa Edilen Huy<\/strong><\/p>\n\n\n\n

\u0130nsan\u0131n i\u00e7 topra\u011f\u0131nda \u00e7ocuklukla kurulan ahlak\u0131n temelleri.<\/em><\/p>\n\n\n\n

G\u00fcl\u00fcn k\u00f6k\u00fcne d\u00f6nd\u00fc\u011f\u00fcm\u00fczde topra\u011f\u0131 nas\u0131l yeniden canland\u0131rmak gerekiyorsa, insan\u0131n da kendi ahlak topra\u011f\u0131n\u0131 beslemesi gerekir. Bu besleyici zemin \u201cf\u0131trat\u201dt\u0131r. F\u0131trat, do\u011fu\u015ftan gelen saf y\u00f6nelimdir; insan\u0131n varl\u0131kla, g\u00fczellikle ve adaletle do\u011fal uyum h\u00e2lidir. Bu nedenle \u0130slam d\u00fc\u015f\u00fcncesi, insan\u0131 g\u00fcnahla de\u011fil, temizlikle tan\u0131mlar. Ancak bu saf potansiyel, ya\u015fant\u0131n\u0131n ilk y\u0131llar\u0131nda bi\u00e7im kazanmaya ba\u015flar.<\/p>\n\n\n\n

0\u20136 ya\u015f d\u00f6nemi, sadece davran\u0131\u015f de\u011fil, bir \u201chuy mimarisi\u201d in\u015fa eder. Anne karn\u0131ndan itibaren duyulan ses, hissedilen g\u00fcven, ebeveynin sabr\u0131 veya \u00f6fkesi\u2014hepsi \u00e7ocu\u011fun ruh topra\u011f\u0131na kar\u0131\u015f\u0131r. Bu toprak kimi zaman verimli bir bah\u00e7e olur, kimi zaman da \u00e7orakla\u015f\u0131r. F\u0131trat, suyu kabul eden toprakt\u0131r; huy ise o suyun alt\u0131nda ye\u015feren karakterdir.<\/p>\n\n\n\n

Ebeveynlik, ahlak mimarisinin en g\u00f6r\u00fcnmez ama en etkili sanat\u0131d\u0131r. \u00c7ocu\u011fa b\u0131rak\u0131lacak en b\u00fcy\u00fck miras, g\u00f6steri\u015fli e\u015fyalar de\u011fil, erdemli melekeler olmal\u0131d\u0131r. \u00c7\u00fcnk\u00fc huylar, melekeye d\u00f6n\u00fc\u015ft\u00fck\u00e7e davran\u0131\u015f bilin\u00e7ten ba\u011f\u0131ms\u0131z bir zarafet kazan\u0131r. O zarafet, yeti\u015fkinlikte bile \u00e7ocu\u011fun hareketlerinde s\u00fcrer: konu\u015furken ses tonunda, susarken duru\u015funda\u2026<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Huydan Melekeye, Potansiyelden Davran\u0131\u015fa<\/strong><\/p>\n\n\n\n

Huyun kal\u0131c\u0131l\u0131\u011f\u0131yla melekenin d\u00f6n\u00fc\u015f\u00fcm\u00fc aras\u0131nda insan\u0131n kendi terbiyesi.<\/em><\/p>\n\n\n\n

Huy, insan\u0131n derin yap\u0131s\u0131na yerle\u015fen e\u011filimdir; meleke ise o e\u011filimin tekrarla ustala\u015fmas\u0131. Bu fark, de\u011fi\u015fim imk\u00e2n\u0131n\u0131 da belirler. F\u0131trat de\u011fi\u015fmez; huy zor de\u011fi\u015fir; meleke ise terbiye edilir. Sinir sistemi tekrarlanan davran\u0131\u015flara yeni yollar a\u00e7ar, t\u0131pk\u0131 kaslar\u0131n haf\u0131zas\u0131 gibi. Bu y\u00fczden ahlak, sadece inan\u00e7 de\u011fil, bir al\u0131\u015fkanl\u0131k m\u00fchendisli\u011fidir.<\/p>\n\n\n\n

Bir marangozun elindeki keskinlik, bir hattat\u0131n kalem tutu\u015fu, bir cerrah\u0131n sabr\u0131\u2026 Bunlar\u0131n her biri meleke \u00f6rne\u011fidir. Ama ayn\u0131 mekanizma, ruhsal erdemlerde de i\u015fler. \u015e\u00fck\u00fcr, sab\u0131r, kanaat; hepsi pratikle keskinle\u015fir. \u201cCan \u00e7\u0131kar huy \u00e7\u0131kmaz\u201d diyen kadim g\u00f6r\u00fc\u015f, asl\u0131nda \u201cal\u0131\u015fkanl\u0131kla m\u00fch\u00fcrlenmi\u015f meleke zor \u00e7\u00f6z\u00fcl\u00fcr\u201d demektir. Terbiye, bu m\u00fch\u00fcrleri yeniden eritme sanat\u0131, f\u0131trat\u0131n g\u00f6lgesini tekrar ayd\u0131nlatma \u00e7abas\u0131d\u0131r.<\/p>\n\n\n\n

Tefekk\u00fcr Eden Teknik: Zihnin Abdesti, Melekenin Meyvesi<\/strong><\/p>\n\n\n\n

D\u00fc\u015f\u00fcncenin eyleme, eme\u011fin bilince d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc yer.<\/em><\/p>\n\n\n\n

Modern hayat, insan\u0131 s\u00fcrekli \u201cmef\u00e2sid ak\u0131\u015f\u0131\u201dna maruz b\u0131rak\u0131r. \u015eehir, ekran, trafik, bilgi g\u00fcr\u00fclt\u00fcs\u00fc\u2014hepsi birer kir \u00fcretim hatt\u0131d\u0131r. \u0130nsan, hen\u00fcz i\u00e7ini temizlemeden yeniden kirlenir. Bu y\u00fczden abdest metaforu yeniden anlam kazan\u0131r: suyla de\u011fil, dikkatle temizlenmek gerekir.<\/p>\n\n\n\n

\u201cTefekk\u00fcr eden teknik\u201d tam da bu noktada devreye girer. Tefekk\u00fcr, zihnin abdesti; teknik ise elin disiplinidir. Bu ikisini birle\u015ftirmek, hem i\u00e7 hem d\u0131\u015f temizli\u011fin s\u00fcreklili\u011fini sa\u011flar.<\/p>\n\n\n\n

Bir yaz\u0131l\u0131mc\u0131n\u0131n g\u00fcn sonunda yazd\u0131\u011f\u0131 kodu g\u00f6zden ge\u00e7irirken kendini sorgulamas\u0131, bir y\u00f6neticinin toplant\u0131dan \u00f6nce derin bir nefes al\u0131p niyetini d\u00fczeltmesi, bir bah\u00e7\u0131van\u0131n topra\u011fa su verirken sessizce \u015f\u00fckretmesi; bunlar\u0131n hepsi tefekk\u00fcr eden tekni\u011fin pratikleridir. Analog faaliyetler, bu zihinsel abdestin en do\u011fal formlar\u0131d\u0131r: bir enstr\u00fcman \u00e7almak, el eme\u011fiyle bir \u015fey \u00fcretmek, sessizce y\u00fcr\u00fcmek. Bunlar dikkati odaklar, zihni ar\u0131nd\u0131r\u0131r.<\/p>\n\n\n\n

\u0130badetten Bilince: Eylemin \u0130\u00e7inde D\u00fc\u015f\u00fcnmenin Sanat\u0131<\/strong><\/p>\n\n\n\n

Eylemin i\u00e7inde d\u00fc\u015f\u00fcnmenin, hareketin i\u00e7inde \u00f6zg\u00fcrl\u00fc\u011f\u00fcn sanat\u0131.<\/em><\/p>\n\n\n\n

\u0130slam\u2019\u0131n fiil\u00ee ibadetleri de ayn\u0131 bilin\u00e7li eme\u011fin bi\u00e7imleridir. Abdest, sadece temizlik de\u011fil, hareketin i\u00e7inde bilinci tazelemektir; her su dokunu\u015fu, insan\u0131n hem bedenini hem niyetini ar\u0131nd\u0131r\u0131r. Namaz, yaln\u0131zca bir rit\u00fcel de\u011fil, \u201cAllah\u2019tan ba\u015fkas\u0131na kul olmama\u201d fark\u0131ndal\u0131\u011f\u0131n\u0131n bedenle yeniden in\u015fas\u0131d\u0131r. K\u0131yam, r\u00fck\u00fb, secde ve oturu\u015f\u2014insanl\u0131k tarihinin kulluk bi\u00e7imlerini temsil eden d\u00f6rt hareket\u2014art\u0131k kula de\u011fil, yaln\u0131zca Allah\u2019a y\u00f6nelmenin ilan\u0131d\u0131r. Namaz, b\u00f6ylece insan\u0131n her e\u011fili\u015finde kendi \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc hat\u0131rlad\u0131\u011f\u0131 bir tefekk\u00fcr tekni\u011fine d\u00f6n\u00fc\u015f\u00fcr: secde, tahakk\u00fcm\u00fcn reddidir; k\u0131yam, onurlu duru\u015ftur.<\/p>\n\n\n\n

Ama namaz\u0131n tefekk\u00fcr y\u00f6n\u00fc sadece bu sembolik hareketlerde de\u011fil, ahlaki sonu\u00e7lar\u0131nda da \u00f6l\u00e7\u00fcl\u00fcr. Kur\u2019an\u2019\u0131n Ma\u00fbn suresi bunu a\u00e7\u0131k\u00e7a s\u00f6yler: \u201cYaz\u0131klar olsun o namaz k\u0131lanlara ki, yetimi iter, yoksulu doyurmaya te\u015fvik etmez.\u201d Yani namaz, eylemi olmayan bilincin ele\u015ftirisidir. \u0130nsan\u0131 k\u00f6t\u00fcl\u00fcklerden al\u0131koymayan, ba\u015fkas\u0131n\u0131n a\u00e7l\u0131\u011f\u0131na kay\u0131ts\u0131z kalan bir ibadet, sadece bedensel bir tekrar olur. Bu nedenle tefekk\u00fcr eden teknik, hem i\u00e7e d\u00f6n\u00fck bir disiplin hem de d\u0131\u015fa d\u00f6n\u00fck bir sorumluluk bilincidir.<\/p>\n\n\n\n

\u0130sar \u2014ba\u015fkas\u0131n\u0131 kendine tercih etmek\u2014 bu bilincin toplumsal formudur; insan, kendi rahat\u0131n\u0131 feda ederek ba\u015fkas\u0131n\u0131n ihtiyac\u0131na yer a\u00e7t\u0131\u011f\u0131nda ahlaki meleke kazan\u0131r. Cihad \u2014\u00f6nce i\u00e7teki da\u011f\u0131n\u0131kl\u0131\u011fa, tembelli\u011fe, bencilli\u011fe kar\u015f\u0131 verilen m\u00fccadele\u2014 tefekk\u00fcr\u00fcn eyleme d\u00f6n\u00fc\u015fm\u00fc\u015f h\u00e2lidir. Zek\u00e2t ve infak ise eme\u011fin manas\u0131n\u0131 safla\u015ft\u0131r\u0131r: \u00fcretimin i\u00e7inden payla\u015f\u0131m bilincini do\u011furur.<\/p>\n\n\n\n

Bu pratiklerin her biri, bedenin hareketiyle zihnin y\u00f6n\u00fcn\u00fc birle\u015ftirir; yani \u201cfiil\u00ee tefekk\u00fcr\u201dd\u00fcr. Elin eme\u011fi, kalbin niyetiyle birle\u015fti\u011finde teknik, bir zikir bi\u00e7imine d\u00f6n\u00fc\u015f\u00fcr. Modern insan\u0131n yeniden \u00f6\u011frenmesi gereken \u015fey tam da budur: eylemin manay\u0131 besledi\u011fi, eme\u011fin \u015f\u00fck\u00fcrle birle\u015fti\u011fi bir ya\u015fama bi\u00e7imi.<\/p>\n\n\n\n

\u0130\u015f b\u00f6ylece ibadetten ayr\u0131lmaz; d\u00fc\u015f\u00fcnce soyut bir alanda de\u011fil, g\u00fcndelik hayat\u0131n i\u00e7inde olgunla\u015f\u0131r. Bir marangozun \u00f6l\u00e7\u00fcs\u00fcnde, bir \u00f6\u011fretmenin sabr\u0131nda, bir y\u00f6neticinin karar\u0131ndaki adalette \u2014her yerde\u2014 \u201ctefekk\u00fcr eden teknik\u201d gizlidir. \u00c7\u00fcnk\u00fc hakikati ta\u015f\u0131yan sadece fikir de\u011fil, onu bi\u00e7imlendiren i\u015ftir.<\/p>\n\n\n\n

\u00d6l\u00e7\u00fcn\u00fcn \u0130n\u015fas\u0131: Hikmet, Cesaret ve \u0130ffet Aras\u0131nda Adalet<\/strong><\/p>\n\n\n\n

Erdemlerin \u00e7at\u0131\u015ft\u0131\u011f\u0131 yerde adalet, dengeyi yeniden kurar.<\/em><\/p>\n\n\n\n

Ahlaki e\u011fitim \u00fc\u00e7 hamleyi ayn\u0131 anda ister: ar\u0131nma (def-i mef\u00e2sid), meleke (iyinin otomatikle\u015fmesi) ve denge (adalet). Adalet, bu \u00fc\u00e7l\u00fcn\u00fcn mihenk ta\u015f\u0131d\u0131r. \u00c7\u00fcnk\u00fc adalet, pasif bir hedef de\u011fil, aktif bir dengeleme eylemidir.<\/p>\n\n\n\n

Hikmet, iffet ve \u015fecaat, adaletin \u00e7evresinde d\u00f6ner. Hikmet \u00f6l\u00e7\u00fcs\u00fczse kibir olur; iffetin a\u015f\u0131r\u0131s\u0131 ruhbanl\u0131k, eksikli\u011fi sefahat; \u015fecaat fazlas\u0131yla zorbal\u0131k, eksi\u011fi korkakl\u0131k \u00fcretir. Adalet bunlar\u0131n hepsine yerini hat\u0131rlat\u0131r. \u00d6l\u00e7\u00fc bilmeyen erdem zulme d\u00f6ner; merhamet yanl\u0131\u015f yerde g\u00f6sterilirse haks\u0131zl\u0131\u011f\u0131 b\u00fcy\u00fct\u00fcr.<\/p>\n\n\n\n

Bir kriz an\u0131n\u0131 d\u00fc\u015f\u00fcnelim: Bir y\u00f6netici, \u00e7al\u0131\u015fanlar\u0131n\u0131n hatas\u0131 y\u00fcz\u00fcnden firmay\u0131 zarara sokan bir kararla kar\u015f\u0131 kar\u015f\u0131yad\u0131r. Merhamet mi a\u011f\u0131r basmal\u0131, adalet mi? E\u011fer sadece affederse, \u00f6l\u00e7\u00fc bozulur; sadece cezaland\u0131r\u0131rsa hikmet kaybolur. Burada devreye phronesis girer\u2014Aristoteles\u2019in pratik bilgelik dedi\u011fi \u015fey. \u0130slam ahlak\u0131nda bu, hikmetin canl\u0131 h\u00e2lidir. \u00d6l\u00e7\u00fc, ezberle de\u011fil, ba\u011flamla bulunur. Adalet, soyut de\u011fil, s\u00fcrekli in\u015fa edilen bir denge h\u00e2lidir.<\/p>\n\n\n\n

Toplumsal d\u00fczlemde de ayn\u0131 ilke ge\u00e7erlidir. Bir \u015fehirde g\u00fcr\u00fclt\u00fcye kar\u015f\u0131 al\u0131nan \u00f6nlem, sadece teknik de\u011fil, ahlaki bir karard\u0131r. G\u00fcr\u00fclt\u00fc, sesin de\u011fil, dikkat ekonomisinin adaletsizli\u011fidir; birinin reklam\u0131, di\u011ferinin tefekk\u00fcr\u00fcn\u00fc bast\u0131r\u0131r. Adalet, bu bast\u0131rmay\u0131 fark edip dengeyi yeniden kurma cesaretidir.<\/p>\n\n\n\n

D\u00dc\u015e\u00dcNCEN\u0130N EL\u0130, EYLEM\u0130N KALB\u0130<\/strong><\/p>\n\n\n\n

\u0130nsan\u0131n i\u00e7 mimarisinde anlam\u0131n, eme\u011fin ve adaletin kesi\u015fim noktas\u0131.<\/em><\/p>\n\n\n\n

\u0130nsan, kendi i\u00e7 mimarisinin hem ustas\u0131 hem malzemesidir. Ta\u015f\u0131d\u0131\u011f\u0131 her huy, bir zamanlar d\u00f6k\u00fclen bir davran\u0131\u015f\u0131n ta\u015fla\u015fm\u0131\u015f izidir. Fakat ta\u015f, yeterince uzun bak\u0131ld\u0131\u011f\u0131nda suyu hat\u0131rlar; su, yeterince sab\u0131rl\u0131 oldu\u011funda ta\u015f\u0131 yontar. Ahlak da budur: ta\u015fta suyun sabr\u0131, suda ta\u015f\u0131n haf\u0131zas\u0131.<\/p>\n\n\n\n

F\u0131trat\u0131n sessiz derinli\u011fi, halin gelip ge\u00e7ici r\u00fczg\u00e2rlar\u0131yla, melekenin i\u015flenmi\u015f eme\u011fiyle birle\u015fti\u011finde, insan\u0131n ruhu bir mimariye d\u00f6n\u00fc\u015f\u00fcr. O mimaride \u00f6l\u00e7\u00fc, sadece davran\u0131\u015f\u0131n de\u011fil, varl\u0131\u011f\u0131n eksenidir. \u00c7\u00fcnk\u00fc \u00f6l\u00e7\u00fc, sadece denge de\u011fil; anlam\u0131n hareket h\u00e2lidir. \u00d6l\u00e7\u00fcs\u00fcz bir iyilik zul\u00fcm, \u00f6l\u00e7\u00fcl\u00fc bir \u00f6fke adalettir.<\/p>\n\n\n\n

\u0130nsan\u0131n y\u00fcr\u00fcy\u00fc\u015f\u00fc, i\u00e7indeki terazinin ayar\u0131yla \u015fekillenir. Her niyet bir \u00e7izgi, her eylem bir a\u011f\u0131rl\u0131kt\u0131r. Bazen bir s\u00f6z, bir adalet saray\u0131n\u0131 y\u0131kar; bazen bir sessizlik, bir mazlumu aya\u011fa kald\u0131r\u0131r. Bu y\u00fczden ahlak, \u201cne yapmal\u0131\u201dn\u0131n de\u011fil, \u201cnas\u0131l olmal\u0131\u201dn\u0131n bilgisidir.<\/p>\n\n\n\n

Modern insan, teknikle h\u0131zland\u0131; ama h\u0131z, y\u00f6n\u00fcn yerini ald\u0131. \u015eimdi yava\u015flaman\u0131n, d\u00fc\u015f\u00fcnmenin, niyetle eylemi yeniden ayn\u0131 potada eritmenin vaktidir. Her hareketin ard\u0131na bir anlam, her anlam\u0131n alt\u0131na bir emek yerle\u015ftirmek: i\u015fte tefekk\u00fcr eden tekni\u011fin \u00f6z\u00fc budur.<\/p>\n\n\n\n

Hayy\u2019\u0131n sessiz g\u00f6zlemiyle Crusoe\u2019nun titiz eme\u011fi birle\u015fti\u011finde, insan kendini yeniden kurar. \u00c7\u00fcnk\u00fc d\u00fc\u015f\u00fcnmek, varl\u0131\u011fa kulak vermektir; \u00e7al\u0131\u015fmak, o sesi eyleme \u00e7evirmektir. Ahlak, bu ikisinin kesi\u015fiminde do\u011far: d\u00fc\u015f\u00fcncenin kalbe, kalbin ele, elin adalete d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc yerde.<\/p>\n\n\n\n

Sonunda insan \u015funu \u00f6\u011frenmelidir: iyilik, b\u00fcy\u00fck iddialarda de\u011fil, k\u00fc\u00e7\u00fck tutarl\u0131l\u0131klarda ya\u015far. Her sab\u0131r, bir in\u015fa; her \u015f\u00fck\u00fcr, bir temeldir. Ahlak, \u00f6\u011fretilmez\u2014\u00f6r\u00fcl\u00fcr. Ve en sa\u011flam yap\u0131, g\u00f6r\u00fcnmeyen ta\u015flardan, sessiz emeklerden, niyetin berrakl\u0131\u011f\u0131ndan kurulur.<\/p>\n\n\n\n

D\u00fc\u015f\u00fcnceyle eylem aras\u0131nda bir k\u00f6pr\u00fc kurabilen insan, art\u0131k ne salt d\u00fc\u015f\u00fcn\u00fcr ne de sadece yapar; o, ya\u015fayan bir \u00f6l\u00e7\u00fcye d\u00f6n\u00fc\u015f\u00fcr, meleke sahibi olur, meleklerden dahi \u00fcst\u00fcn olur.<\/p>\n\n\n\n

Kaynak\u00e7a:<\/p>\n\n\n\n

    \n
  1. Klasik ve Geleneksel Kaynaklar<\/li>\n\n\n\n
  2. Gaz\u00e2l\u00ee, Eb\u00fb H\u00e2mid. (2019). Kimy\u00e2-y\u0131 Sa\u00e2det.<\/em> \u00c7ev. A. Faruk Meyan. \u0130stanbul: Bedir Yay\u0131nlar\u0131.<\/li>\n\n\n\n
  3. \u0130bn Miskeveyh. (2017). Ahlak E\u011fitimi (Tehz\u00eebu\u2019l-Ahl\u00e2k).<\/em> \u00c7ev. Prof. Dr. Abdulkadir \u015eener, \u0130smet Kayao\u011flu, Cihat Tun\u00e7. \u0130stanbul: B\u00fcy\u00fcyenay Yay\u0131nlar\u0131.<\/li>\n\n\n\n
  4. Nas\u00eer\u00fcddin T\u00fbs\u00ee. (2014). Ahl\u00e2k-\u0131 N\u00e2s\u0131r\u00ee.<\/em> \u00c7ev. Anar Gafarov. \u0130stanbul: \u0130z Yay\u0131nc\u0131l\u0131k.<\/li>\n\n\n\n
  5. K\u0131nal\u0131z\u00e2de Ali \u00c7elebi. (2017). Ahl\u00e2k-\u0131 Al\u00e2\u00ee.<\/em> Haz. Ay\u015fe S\u0131d\u0131ka Oktay<\/a>. \u0130stanbul: \u0130z Yay\u0131nc\u0131l\u0131k.<\/li>\n\n\n\n
  6. \u0130bn B\u00e2cce.<\/strong> (2020). Kit\u00e2bu\u2019n-Nefs: Bireysel \u00d6z\u00fcn Ke\u015ffi.<\/em> \u00c7ev. Prof. Dr. Mevl\u00fct Uyan\u0131k. Ankara: Elis Yay\u0131nlar\u0131.<\/li>\n<\/ol>\n\n\n\n

    Modern ve Felsefi Kaynaklar<\/p>\n\n\n\n