Özet:

Sebk-i was formed by the synthesis of Indian, Persian literature and Indian art pleasure and in the classical Turkish poem XVII. It began to be seen in the middle of the century. This is the style of the classical Turkish literature, which also shows its own qualities, XVII and XVIII. In the centuries, Nefi, Fehim-i Kadim, City, Nameti, Naili, Nedim-i Kadim, Neşâtî, Râsih, Nâbî, Arpaeminizâde Sâmî, Halepli Edîb and Sheikh Galib have been influential in the world. The XVII. Mahvî Ahmed Çelebi, a poet of the century, is one of the poets who remained in the possession of Sebk-i Hindî and in their poems used the language and the characteristics of this style in a clear manner. The information about the life of Mahvî is quite limited. There is no information about the poet’s profession. The poet’s only work is known. In Mahvî’s poems, the poets in Sebk-i Hindî tesir’s works mostly dominate and among the main themes of Sebk-i Hindî’s poems, the suffering and karamsarism are widely seen. In the poems of the poets who adopted Sebk-i India, it is often about the direction to the inner world rather than the external world of man. Poets have also used the outside world to tell their own feelings and dreams. This situation has brought the soul conditions like pain, element, and trembling into one of the subjects of Sebk-i Indian poetry. In this work, the example of the poems chosen from Mahvî and the poet’s poems showed a carameless spirit that is notable in size. The abundance of expressions that reveal his misfortune in the poems of Mahvî was assessed in the context of Sebk-i Hindî tesiri, the poet's preference for the "Mahvî" mahla calling negativity, which is almost the whole of his poems.

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