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Klasik Osmanlı şiirinin geleneksel çizgisi 19. yüzyılda kendisini göstermeye devam etmiştir. Edebî eserlerin niteliği her ne kadar tartışmaya açık olsa da şiir ve edebiyatın canlı bir şekilde Osmanlı halkında yankı bulduğu görülmektedir. Osmanlı coğrafyasında 19. yüzyılın ikinci yarısıyla 20. yüzyılın ilk çeyreğinde yaşayan Yazıcı-oğlu Mehmed Bahâeddin Tevfik önemli devlet kademelerinde görev yapmış bir isim-dir. Eserleri günümüze ulaşan pek çok devlet adamı gibi Bahâeddin Tevfik de şiirler kaleme almıştır. Şiirlerinin tamamı olmasa da bir kısmı oğlu tarafından derlenerek 1911 yılında yayımlanmıştır. Eserde toplam 50 manzume yer almaktadır. Bunların çoğunluğu gazeldir. Gazelden başka na’t, müfred, kıt’a, şarkı ve tarih manzumeleri yer alır. Gazellerin üç tanesi başka şairlerle müşterektir. Dört gazel de Nedim gibi bazı şairlerin şiirlerine naziredir. Bahâeddin Tevfik şiirlerinde Osmanlı şiirinin klasik üslu-bunu takip etmiştir. Vezin ve kafiye bakımından başarılı olan şiirler yazmıştır. Klasik Osmanlı şiirinin alışılmış mazmunlarını kullanan Bahâeddin Tevfik, bazı yerlerde İstanbul’un gerçek mekân ve kişilerini şiire taşımıştır. Bazı şiirlerinde Nedîm’in etkisi görülür. Bu yazıda Bahâeddin Tevfik’in yayımlanan eserinin tamamı Latin harfleriyle neşredilmiştir.
The traditional line of classical Ottoman poetry continued to show itself in the 19th century. Although the nature of literary works is open to debate, it appears that poetry and literature live in the Ottoman people. In the Ottoman geography in the second half of the 19th century and in the first quarter of the 20th century, Yazıcıoğlu Mehmed Bahâeddin Tevfik is a name that has served in important state stages. Like many of the people of the state who have reached the present day, Bahá’u’lláh’s Tevfik has also received poems. Although not all of his poems, some of them were collected by his son and published in 1911. There are a total of 50 spots. Most of them are gasoline. In addition to Gazden, it includes na't, mufred, kitt, song and historical manuscripts. Three of the Gazels are associated with other poets. The Four Gazels are the poems of some poets like Nedim. Bahâeddin Tevfik followed the classical style of the Ottoman poetry in his poems. He wrote poems that were successful in the field of poetry and poetry. Bahâeddin Tevfik, using the usual mazmunes of classical Ottoman poetry, has in some places transferred the real place and persons of Istanbul to poetry. In some poems, the influence of Nedim is seen. In this article, all of the work published by Bahá’u’lláh Tevfik is filled with Latin letters.
The traditional line of classical Ottoman poetry continued to manifest itself in the 19th century. Although the quality of literary works is open to debate, it is seen that poetry and literature resonate vividly in the Ottoman people. Yazıcıoğlu Mehmed Bahâeddin Tevfik, who lived in the Ottoman Empire in the second half of the 19th century and the first quarter of the 20th century, served as an important figure in the state. Like many statesmen whose works have survived, Bahâeddin Tevfik wrote poems to. Some but not all of his poems were compiled by his son and published in 1911. There are a total of 50 verses in the work. Most of them are ghazals. Apart from gazel, there are naat, mufred, stanza, şarkı and history verses. Three of the ghazals were partners with other poets. The four gazels, like Nedim, are the poems of some poets' poems. Bahâeddin Tevfik followed the classical style of Ottoman poetry in his poems. He wrote poems which were successful in terms of rhythm and rhythm. Bahâeddin Tevfik, who used the traditional mazmuns of classical Ottoman poetry, mentioned the real places and people of Istanbul in some places. In some of his poems, the influence of Nedim is visible. In this article, all of Bahâeddin Tevfik's work is published in Latin letters.
Journal Type : Uluslararası
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