1. Introduction
Among the numerous poetic works composed on the basis of Nizami’s story of Leyli and Majnun, Abd al-Rahman Jami’s Leyli and Majnun and Molla Mohammad Fuzuli Baghdadi’s Leyli and Majnun hold a prominent position; because these two works, while connected to the narrative tradition of Nezami Ganjavi, represent two linguistic and cultural spheres, Persian and Azerbaijani Turkish. The present study has been conducted with the aim of elucidating the intertextual relations between Jami’s and Fuzuli’s Leyli and Majnun. The fundamental question of the research is to what extent Fuzuli was influenced by Jami’s text in his retelling of the story of Leyli and Majnun, and at what levels of structure, narrative, language, characterization, and mystical themes this influence is reflected.

2. Methodology
The research method is descriptive-analytical and comparative, and its information was collected through library and documentary methods. The theoretical framework of the research is based on Gérard Genette’s theory of “transtextuality.” In this study, the concept of “hypertextuality” has been employed to analyze the relationship between the earlier text and the later text.

3. Discussion
The findings of the research indicate that the relationship between the two poetic works is predominantly of the implicit intertextuality type. In Fuzuli’s poetic work, there is no direct and explicit reference to Jami’s Leyli and Majnun. At the structural level, both poetic works are accompanied by sections such as Tahmidiye, na't, munajat, the reason for composing the book, and the beginning of the narrative, and they follow the prevailing tradition of Persian masnavi composition. By also incorporating forms such as the ghazal and murabba' into the body of the masnavi, Fuzuli has enhanced the musical and emotional richness of his poetic work. This characteristic, along with the lyrical language, internal musicality, and greater emotional intensity, has caused Fuzuli’s narrative to acquire an independent identity.
At the content level, the theme of love is the central axis of both poetic works. In these works, love is not merely an individual and earthly emotion, but is connected with mystical concepts. In the thought of both poets, profane or metaphorical love can provide the ground for movement toward true love; the same well-known idea expressed as “al-majaz qantarat al-haqiqah” [metaphorical love is the bridge to truth]. Jami makes broader and more explicit use of the story’s capacity to express mystical teachings and regards the love of Leyli and Majnun as a symbol of humanity’s movement from form to meaning, from multiplicity to unity, and from human love to divine love. In his poetry, metaphorical love is regarded as a stage for attaining truth, and Majnun ultimately transcends the outward form of the beloved. Nevertheless, Fuzuli expresses this transformation in a more emotional and musical language, accompanied by an emphasis on pain, separation, lamentation, and the burning anguish of the lover. Therefore, it can be said that Jami is more inclined toward the mystical and didactic interpretation of the narrative, whereas Fuzuli, while drawing upon the same mystical foundation, emphasizes the lyrical and emotional capacities of the story.
Other common thematic aspects include the presence of mystical concepts such as the inadequacy of reason, bewilderment, annihilation, divine unity, negation of self-conceit, the station of contentment, the unity of being, and the oneness of the lover and the beloved. Jami, who is regarded as one of the prominent followers of Ibn Arabi’s mysticism and the doctrine of the unity of being, has incorporated these concepts into the narrative context with greater explicitness and breadth.

4. Conclusion
Based on the findings of the research, Fuzuli, while preserving the main cores of the narrative, structural patterns, certain shared mystical themes, and common linguistic elements, has paid attention to the tradition of Jami; however, at the same time, through changes in the organization of the sections, abridging or expanding parts of the story, increasing lyrical elements, employing diverse poetic forms, and highlighting emotion and the musicality of language, he has created an independent and innovative work. Consequently, although Fuzuli draws upon the tradition of Nezami, Jami, and other earlier narrators, his work is not merely a retelling of a familiar narrative; rather, it is a creative reproduction of that narrative within the literary and cultural horizon of the Azerbaijani Turkish language.