Abstract:

Walter Andrews (d.2020), has questioned the stereotypical views that Divan poetry was an notional poem, detached from society, and has revealed the connection between Divan poetry and the culture that produced it. The author has taken a linguistic approach to gazel studies and has touched on the role of syntax in creating emotional value, and tried to classify the vocabulary of Divan poetry with a small sample. Andrews, who defines words that have expanded meaning over a long period of time as "poetic words", has associated the richness of meaning that divan poets have captured with a limited number of words with multi-layered readings suitable for the complex structure of Ottoman society. Thus, he has criticized Gibb's views, which interpreted Divan poetry as unrelated to social life. For him, to begin to understand the nature of any poem it must be viewed from different perspectives. Andrews, has revealed the patterns of meaning reflecting the Ottoman social life under the headings "the voice of sufism and religion, the voice of power and authority, the voice of emotion, and ecology of the gazel".In this study, in the light of the meaning patterns revealed by Andrews in the context of the gazel studies, an interpretation of Bâkî's Hazân Gazeli will be made. In the introduction part, the place of Bâkî in Turkish poetry will be discussed in comparison with his contemporary Fuzûlî, and the negative perceptions of Divan poetry, which started to form in our cultural life as a result of the Westernization movements that started with the Tanzimat, will be discussed. In the main part, four different meaning layers (ecological meaning layer, mystical meaning layer, patrimonial meaning layer,emotional meaning layer) determined in Hazân Gazeli will be interpreted by associating them with four different poetic speaker.

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