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Divan şiirinin son dönemi olarak adlandırılan XIX. yüzyıl, yenilik arayışı içerisindeki şairler ile geleneğe bağlı kalan divan şairlerinin bir arada eserler verdiği bir geçiş dönemidir. Yeni karşısında klasik olanı yaşatma ve geleneği devam ettirme arzusunu birçok divan şairinin eserlerinde görmek mümkündür. Bu şairlerden biri de Abdünnâfi İffet Efendi’dir. Divanında tasavvufi mana ve mefhumlarla kaleme almış olduğu Sâkµ-nâmesi, şairin geleneğe bağlılığının delillerindendir. Sâkµ-nâmeler, divan edebiyatının en sık kullanılan edebµ türlerinden biri olmakla birlikte, içki ve içkiye dair öğelerin gerçek veya mecaz anlamlarıyla ele alınıp işlendiği manzumelerdir. İslamiyet’i benimsemiş bir toplumun edebiyatında gerek gerçek gerekse de mecazµ anlam ve kavramlarla bir tür olarak varlığını her dönem göstermiştir.
The 19th edition of the poetry is the last edition of the poetry. The century is a transition period in which the poets in the search for innovation and the divan poets who remain connected to the tradition bring together works. The desire to live the classic in the new face and to continue the tradition can be seen in the works of many divan poets. One of these poems is the Lord of the Abbey. The name of the poem, which has been written in the covenant with the tasavvufi man and mefhum, is one of the proofs of the poet's devotion to the tradition. Sâkμ-names are one of the most commonly used literature species, but are manuscripts in which the items related to beverage and beverage are treated and processed in real or mecasic meanings. In the literature of a society that has adopted Islam, even if it is true, the mecazm has demonstrated its existence as a kind of meaning and concepts. In this study, a brief information was presented about the Abdünâfi Iffet Lord and the Divan was studied in terms of the shape of the sâkμ-namesi and the muhteva. It is written in the form of 11 bits, and it is written in the form of 11. Each of these poems has a total of 121 poems. Sâkμ-nâme is important in terms of being from the last period examples of the species and being tagged with tasavvufi mana.
19th century that is named as the last period of Diwan poetry is a transition period when both the poets who seek for the new and the poets who pursuit the tradition produce works all together. It is possible to see the desire to keep the classical and to continue the tradition in the works of many diwan poets. Abdünnâfi İffet Efendi is one of these poets. Sâkµ-nâme which is written with sufistic sense and conception proves his commitment to the tradition in his Diwan. Saki-nâmes besides of being frequently used literary genres of diwan literature in which drink and drinking the elements are processed and handled realistically and metaphorically. It has shown its presence in literature in the societies that adopted Islam, both with metaphorical and realistic meanings and concepts. In this study, a brief information about Abdünnâfi Iffet Efendi is presented and Sâkµ-nâme in his Diwan is examined in terms of shape and content. Sâkµ-nâme is composed of 11 verses written in composition verse form. The poem which has 10 couplets in each verse, consists of 121 couplets in total. Sâkµ-nâme is important in terms of being one of the last examples of his genre and written in sufistic meaning.
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