KLASİK TÜRK EDEBİYATINDA ARUZ KALIPLARININ İSİMLERİYLE BİRLİKTE VERİLMESİ KONUSUNDA METALİ’ÜN NEZA’İR’İN II. CİLDİNDEN HAREKETLE BİR DEĞERLENDİRME

Abstract

Peşteli Hüseyin Hisali is known as Budinli or Peşteli Hisâlî. Little is known about his life in the sources. His most important contribution to Ottoman literature is the magazine called Metâli'ü'n-nezâ'ir, which he composed in two volumes with his own handwriting. It is an inevitable neces-sity to make use of magazines in order to make the history of Turkish literature fully formed. The divan or divançes of many poets who made significant contributions to the classical Turkish literature were either not created or survived. In order to reach the poets of these poets and to make evaluations about them, it is necessary to examine the magazines. In the last ten years, academic studies and publications have been made on classical Turkish literature poems or ma-gazines containing only couplets or mufra. This situation is undoubtedly gratifying. We believe that both volumes of Metâli'ü'n-nezâ'ir are noteworthy in terms of containing the poetry examp-les of hundreds of poets of classical Turkish literature. In this two-volume magazine, there are matla examples of Turkish poetry, of poets of Turkish literature that developed in the Ottoman geography and outside the Ottoman geography. There are a total of 27,310 couplets with matte in both volumes of the magazine. This is important in terms of exemplifying and exhibiting an important accumulation. They adopted the Arab and Persian culture-literature styles, which the Turks recognized immediately after their acceptance of Islam, and adapted them to their own literatures. One of these common features of Islamic literatures is the measure of prosody. Metâli'ü'n-nezâ gives important clues about what the full-fledged names of the measure of aruz used in classical Turkish poetry are. In 2011, at Gazi University Institute of Social Sciences, Prof. Dr. Peşteli Hisâlî Metâliü'n-nezâ'ir (Second - Volume) Examination - Text, which we pre-pared under the consultancy of Ahmet Mermer, is included in the full-fledged names of the pro-sody patterns in our doctoral thesis. In this study, which we prepared by making use of our the-sis and other sources, the prosody patterns used in Classical Turkish literature were given toget-her with their names.