Özet:

One wants to be understood and does not hesitate to try many ways to achieve this. Throughout history, people with different abilities have produced works from many branches of art in order to express their feelings and thoughts, and they desire that these be understood by other people. The situation is no different for written copywriters. Because the fact that a text starts to be taken by the reader means that its existence becomes meaningful. The aesthetic of reception, which was introduced in the second half of the 20th century, is reader-centered and demands the reader to put aside their prejudices and approach the text. The meaning of the work is not ready in the text and the writer expects the reader to understand it with clues that will enable it to reach the meaning. Considering that the text cannot exist alone, theorists of reception aesthetics emphasize the necessity of a reader-centered reading and reveal the basic principles that determine the roles of the reader. In Divan poetry, the poet wants to express his feelings and thoughts in a few words. It is important for the reader to receive many images, expressions and expressions in the poem in terms of interpreting what the poet wants to tell. In this study, weexamined Baki's “kendidür” ghazel with redif in the light of reception aesthetics. In our study, while examining this ghazel of Baki, we also benefited from the ode of Şeyhülislam Yahya, who made the verse to this poem. It was tried to reveal how these gaps and uncertainties were removed by revealing the gaps and ambiguities left by Baki in his gazelle, and how the ghazel, written by Yahya as a nazire, was effective in this kind of reading.

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