Abstract:

Prose in Divan literature has been used for specific aims. Şuara tezkiresi are among these. Yet, more commonly, religious texts have been written in prose. Those texts which mix prose and verse are more common. Sinan Pasha's Tazarruname which is the best example of this type is mainly composed of prose. most of these proses have internal rhymes. Those examples found in Divans and known as Bahr-ı Tavil can be identified as free verse and rhetoric. Aksoyak has a detailed study in this field. Zihni, who is known with his famous ballad in our literture, has two bahr-ı tavils in his organized divan. One of them is in naat section and the other one is in tevarih section; both of them are written on beauty and beloved person. While Islamic prophet is described in the first Bahr-ı Tavil, the elements of beauty, common language of Divan literature, some expressions of Qoran such as "ve’l-leyl, ve’şems, ve’d-duhâ" and splendid expressions on the love of prophet takes place there. Besides, the harmony internal rhymes bring into the story creates a different beauty and fluency. Naat topic used in odes reaches its peak in Bahr-ı tavîl. The second bahr-ı tavîl is an example of lyric. Zihnî, known for his famous ballad, shows his success also in this field and he gives perfect examples of bahr-ı tavil. Not every Divan poet writes bahr-ı tavil. Zihni has his exclusiveness by his two bahr-ı tavils in his Divan. In this study, both bahr-ı tavil texts will be investigated by their topics and texts.

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