Özet:

In addition to the traditional commentary, foreign art theories have recently been added to the studies aimed at understanding classical Turkish literature poems. One of these modern aesthetic theories is the ontological understanding of art. The systematization of art ontology, which is one of the contemporary art philosophies, in Turkish literature was achieved thanks to İsmail Tunali (1922-2015). After Tunali's work entitled Art Ontology, the application of ontological analysis methods to literary works has been accepted in some academic circles, and the theory has been taken as reference by many academicians and researchers. When the classical Turkish literature is studied, Dursun Ali Tokel and Yavuz Bayram are observed to have made use of this method in their ghazal analysis and pioneered the method to become widespread. In particular, the methods and steps in the table developed by Yavuz Bayram based on Tunali's work were taken as an example in the ontological analysis studies after him. In this article, the ghazal of Sheikh Galip (d. 1799), who is accepted as one of the last great representatives of Sebkihindi (Indian style) movement, ending with the redif ‘düştü’ has been studied by the ontological analysis method. Within the context of the method followed, the examples used in the application of the theory to classical Turkish literature poems until today have not been excluded, and the table prepared by Yavuz Bayram with reference from İsmail Tunali has been used. The relevant ghazal has been found in the literature to be studied through classical annotation and structuralist methods. Also, in this article, ontic integrity is analyzed. Using the ontological analysis method, the sound and meaning layers of the poem are discussed, and also the concrete and abstract meaning levels as well as the Sufi level are revealed. Whether there are reflections from the poet’s mood and life in the ghazal is also questioned through these layers.

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