Özet:

The divan collection called Dîvân-ı Belâgât-Unvân-ı Abdülkerîm, organized by Müderris-zâde Abdülkerîm Efendi, consists of the Divan of Nasır Ali el-Hindî and the Divan of Shaukat Bukhari. Müderris-zâde Sa‘dullah ‘İzzet, son of Abdülkerîm Efendi, recorded the annotation and/or translation of some couplets in the margin of Shaukat Bukhari Divan. However, it is a controversial issue whether these translations and commentaries belong to him or to his uncle, 'Arif Efendi, from whom he took Şevket-i Buhari lessons. Apart from translation and annotation in the Divan; By using some signs meaning a'la, gayet a'la, gayetü'l-gayet a'la, couplets have been graded aesthetically, and classifications have been made in terms of meaning, such as nükteli [witty] and müşkil [difficult]. These notes, which seem to have been recorded by Sa'dullah 'İzzet, who was also a poet, provide important information about the Indian style and Shaukat Bukhari's unique understanding of poetry. It also gives clues about how a poetry reader living in the 19th century looks at classical poetry and how he feels about poetry. In this article, the couplets subject to classification will be examined and it will be examined how these classifications are made; The "fine imagination", which has an important place in Indian style, will be determined and analyzed; By analyzing the couplets that are the subject of praise and appreciation expressions, it will be tried to understand and portray what kind of poetic aesthetics the commentator/reader has.

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