THE SMALL QASIDAS ENTITLED AS MÜZEYYEL GHAZALS AND GHAZALS IN THE POEMS OF SEBK-I HINDI POETS.

The exploration of divans of Sebk-i Hindi poets reveals numerous qasidas written for various sultans and statesmen. This genre is not the only genre that was used for contributing to the patron-patronized relation even though this praising patron genre is also used for the same reason. Müzeyyel ghazals and qasidas entitled as ghazals can also considered as poems written for praising the patrons. In addition if the poet praises himself in his poem, the poem is considered as fahriye (self-praising poem). In this paper after introducing müzeyyel ghazals, ghazals and qasidas entitled as ghazals from the divans of seven Sebk-i Hindi poets (Naili, Şehri, İsmeti, Neşati, Fehim-i Kadim, Şeyh Galib ve A. Sami) are explored. This paper aims to determine for whom these poets wrote their müzeyyel ghazals. Beside that how they praised themselves with this poems is also explored. In this paper also the structural features of müzeyyel ghazals and qasidas, which are entitled as ghazals but considered as qasida due to containing prays are tried to be determined.

"Müzeyyel ghazals" as a poetic genre is structured as a result of extending the poem after tahallüs couplet with a few couplet which follows poet's starting his poem with the subjects of wine, love, beauty, nature, cup bearer. These added couplets are named as "zeyl". In zeyls the poet praises sultans, statesmen, religion men and followers of religious order and the poets he admires. Müzeyyel ghazals do not exceed fifteen couplets. (Dilçin 1986, 87) Also Haluk İpekten makes a similar definition as "After poets mention their pen name, they add a few couplets to their ghazals to praise someone. These ghazals are named as müzeyyel ghazals and these added couplets are named as zeyl" (İpekten 1985, 19) In addition to these definitions Cemal Kurnaz and Halil Çeltik think that if any pray is added after the zeyl couplets of müzeyyel ghazals these poems should be considered as qasidas.
"Sometime poets add a few couplets of praising and compliment. In that case, in the first section of the ghazals a subject and in the section after the pen name another subject take place and a poem with two sections of meaning is constructed. These ghazals are named as 'müzeyyel ghazals' which means zeyl added, extended. If after the praising couplets a praying exists this poets is named as qasida." (Kurnaz, Çeltik 2013, 120-121) In this paper, in the light of thes information, müzeyyel ghazals and qasidas, which are entitled as ghazals but considered as qasida by Kurnaz and Çeltik that are in the divans of seven Sebk-i Hindi poets are determined. The aim of this paper is state how the praised are praised in addition to determine the structural features of müzeyyel ghazals and qasidas. Another aim is to determine whether writing müzeyyel ghazals is a poetic style or not among the poets of Sebk-i Hindi movement. During the paper qasidas entitled as poets will be named as "small qasida" (küçük kaside). 2 1. Naili: Naili wrote four small qasidas for Nakibü'l-Eşraf Kudsizade Efendi, Şeyhülislam (the chief of religious officials in Ottoman Empire) Yahya Efendi, Nef'i ve Sultan Mehmed IV and a müzeyyel ghazal for İsmeti. Since he was distanced form the capital of the sultanate he preferred writing poems rather for the poets he admired.
The seven couplets of the twelve couplets in the poem that he wrote for Nakibü'l-Eşraf Kudsizade Efendi are zeyls. Before the tahallüs couplet he praises the one with a heart and tell them what to do for being a good follower. After the praising couplets he seeks shelter in the heart of the praised person, the bright conscience of this person is a sacred world to him, this person mends the hearts. He ends his poem with likening Kudsizade to the light of prosperousness and dignity.
Ola  Vakfı, Couplets are cited from "İpekten, Haluk (1990), Nâilî Divanı, Ankara: Akçağ." The poet in the poem he wrote for ŞeyhülislamYahya with the couplet Yahyâ Efendi hazreti kim mihr-i şefkati Hârâya feyz-i gevher eder hârzâra gül G. 230-8 praises the praised before the tahallüs couplet. This case is considered as proof to the necessity of considering this kind of poems as small qasidas. Because in müzeyyel ghazals, the praising couplet is placed after tahallüs couplets. The couplets following the tahallüs couplet express the beauty of rose, the jealousy for the beloved, the coyness of the beloved, which are not usual properties of müzeyyel ghazals. The poem ends with the pray for Şeyhülislam Yahya Her dem-bahâr-ı ömrün ola reşg-i Çârbâğ Ol vakte dek ki mihri ola bu bâğ-ı çâra gül G. 230-15 In the small qaside written for Nef'i, the poet continues his praising during the whole poem. In the poem written like a qasida he express that he sees Nef'i as a teacher, he desires his attention he accepts Nef'i's words as a revelation and Quran's verse.
Mahal nâzikdir erbâb-ı ma'ârif etsin istimdâd Cenâb-ı İsmetînin lutf-ı tab'-ı kâmrânından G. 255-6 As it seen, even though İsmeti poet is entitled as ghazal since the four mentioned praised are praised and the poem is completed with a pray, it is in qasida shape. Considering this poet as a müzeyyel ghazal only because of the presences of the zeyls after the tahallüs couplets is not possible. Because poems should be evaluated in terms of not only structure but also meaning.
1. Şehri: Şehri wrote one qasida, four müzeyyel ghazals as two for Şeyhülislam Yahya, and two for himself. Unfortunately for whom he wrote the small qasida is not remarked. Probably this poem is written for Veziriazam (grand vizier) Gürcü Mehmed Paşa who is an important person in Şehri's life and for whom Şehri worked as a clerk for a while. (Demirel 1999, 14). In addition to this qasida Şehri wrote two müzeyyel ghazals for himself and two müzeyyel ghazals for Şeyhülislam Yahya.
In one of the qasidas he complains about his fortune. The next stage in in those poems is praising the person whom the poem is written for. In that way the poets let his patron or his expected patron know his situation and asks for their favor. So evaluating the poems that demonstrates same features but entitled as ghazals as qasida is possible.
Galib depicts various situations of lover and beloved in the ghazals that he devoted to Mevlana and Şems. He sorts out qualities that supposed to be in good lovers of God and followers of religious orders. The praises, which are one of two for each ghazals can be summarized as: 5 Couplets are cited from " Kaplan, Mahmut (1996), Neşâtî Divanı, İzmir: Akademi Kitabevi".
The servant of Mevlana reaches to the potion of meaning. The ones that do not comprehend him will comprehend the truths only in judgment day. His virtue has no boundary. The vigilant lover should arrive to his convent and prostrate on his earth. Because he is the one of the heirs of prophet Muhammed. Each leaf ripped off from his Mesnevi is a garnish on the hairs of houris of the heaven and the morning of spring of oneness. At the end, the ones ignorant to his enlightenment will be admonished. 6 In the zeyl of his ghazals that does not consist any praise but express his respect for Mevlana, his desire from the wind is as such: Varırsan arz-ı ubûdiyyetim sabâ söyle Harîm-i Hazret-i Monlâya rûy-mâl olunur G. 44-8 7 One of these ghazals is particularly remarkable. The poet, in each couplets of the ghazals bring ups the instruments that companies the sacred dance ritual of the dervishes: Tuning pin and drum are fabulous instruments. Çeng ( a string instrument string) is master of instruments. Tanbur is signs the oneness. Rebab, santur and kanun suit to the atmosphere of gathering. Even though the poet references to an incidence by saying "the gift, ring is nothing other than a legend" its content could not resolved by us: Verdi haber celâcil-i def bahş-ı Pîrden Gûş eylemem 'atiyye-i hâtem fesânedir G. 53-12 Şeyh Galib, among those poems, mentions Şems even more than Mevlana which probably because of the enlightenment he gave to Mevlana. Not only Mevlana but also Galib benefits from the enlightenment of Şems whom he praised through seventeen müzeyyel ghazals. Even seven universes is filled with his enlightenment and immersed with his divine light. Galib attained to the morning of reuniting which is full of divine light. The gaze of Şems fosters the thirsty souls with rose attar. This gaze turns even the vile gaze of Zerkub into gold. Even the curves of the hairs of the beloved became ruined by the love for Şems's face. His love would not leave his tears on the ground. There are the omens of comfort and pleasure under his shadow and the omens of enlightenment in his place. The splendor of his benefaction is at a level of mightiness that he can circumambulate with the Archangel Gabriel in the highest heaven. 8 6 G. 14, G. 44, G. 46, G. 53, G. 66, G. 108, G. 144, G. 173, G. 175, G. 182, G. 195, G. 196, G. 269, G. 309, G. 312. 7 Couplets are cited from " Kalkışım, Muhsin (1994), Şeyh Gâlib Divanı, Ankara: Akçağ". 8 G. 1, G. 16, G. 37, G. 60, G. 62, G. 109, G. 129, G. 161, G. 166, G. 176, G. 179, G. 194,  G. 205, G. 234, G. 236, G. 250, G. 307, G. 308. Galib wrote also a müzeyyel ghazal in which he praises two person rather than only one. In long ghazals with eighteen couplets there are praising couplet for Mevlana and Yusuf-ı Sineçak one for each: Hazret-i Monlâya tevellâdayız Bizlere her şeb şeref-i mâhtâb Bendesi Yûsuf gibi bir Sîneçâk Kim eteğin tutdu kef-i mâhtâb G. 14-17-18 In the other ghazals that he depicts scene of dervish or lover all over the ghazal he explains how close Şeyh Galib and Yusuf-ı Sineçak.
Yâd eylemez olduk haber-i Yûsuf-ı Mısrı Südlücede bir mâh ile şîr ü şekeriz biz G. 107-14 In the müzeyyel ghazals that are devoted to Vakanivüs (Historian) Pertev and Hoca Neş'et Efendi who are his supporters he describe Pertev as an illuminating sun and he states that he wrote all of his epigrams for Pertev.
Himmetin masrûf edip tecdîd-i dîn ü devlete Kârı hep lutf u inâyet hem ihsândır bize El açıp bâlâya mânend-i sadef hengâm-ı feyz Farz-ı 'ayn olan du'âda çeşm-i giryândır bize G. 300-10-11 4. Arpaeminizade Sami: There are two small qasidas and three müzeyyel ghazals in the divan of Sami. It is unknown that which pasha the qasida entitled as ghazals is dedicated to. It is understood that this person is a vizier but his name is not mentioned in any part. This poem is written for probably Şehid Ali Paşa who patronized the poet more than any pasha. (Kutlar 2004, 17) Three couplets are added after tahallüs couplet to qasida, which is composed of ten couplets. The poem ends with a pray: İcrâ idüp hadîka-i evsâf-i âsafa 9 Cûy-i bihişt-i hoş-cereyân söylerüm sana Ol âsaf-i yegâne ki medh-i bülendini Ser-satr-i levh-i mihr-i cihân söylerüm sana Subh ü mesâ du'âsın idüp zîver-i lisân Ey 'arş vird-i feyz-resân söylerüm sana G. 2-8, 9, 10 In the second poem is fourteen couplets small qasida with four couplets of zeyl and dedicated to praise Nabi. The poem sees Nabi as the shah of the poem land who, the poet thinks, illuminates the universe with his poems. He states that Nabi turn the talented youngsters into master with his superior nature.
Mevrûsdur sadâret ana gayra 'âriyet Yokdur şerîki da'vi-i câh ü celâlde G. 113-24 The expression of "the vizierate inherited to him" refers to the viziership of Kara İbrahim Pasha who is the father of Kaymak Mustafa Pasha. 10 Fourteen of the twenty four couplets are devoted to praising. The length of the zeyl couplets in this poem is like an inclination of the love for the pasha.

CONCLUSION
In conclusion, considering all the poems five Sebk-i Hindi poets except İsmeti and Fehim Kadim wrote fifty four müzeyyel ghazals and ten small qasida. Ten of those müzeyyel ghazals are for any poets, five are for praising themselves, thirty seven are for praising sheikhs and two are for praising pashas. As it seen, they generally preferred müzeyyel ghazals to praise themselves and the sheikes and poets whom they admired; small qasidas to praise sultans and statesmen. However müzeyyel ghazals differ according to whom they praised. Naili, Şehri, Neşati and Sami prefers to praise themselves or a poet. Şeyh Galib praises Mevlana and Şems.
Müzeyyel Ghazals: As a general tendency, in the müzeyyel ghazals, the poets mostly do not write any title. Therefore, it is hard to determine the name of the praised person, if the name is not mentioned in the poem. In the fifty four müzeyyel ghazals examined in that study, the poets praise themselves and compares their poetic skills to some poets. These poems can be evaluated as fahriye (self-praising) poems.
Generally most of the poets of Classical Turkish Literature use müzeyyel ghazals. Müzeyyel ghazals is detected in 95% of the divans that Ünlü looked through. The portion of the müzeyyel ghazals in all of the divans is 5%. (Ünlü 2012, 50). Considering these portions, Sebk-i Hindi poets' writing fifty four müzeyyel ghazals can not be accepted as a stylistic feature. However, Şeyh Galib wrote plenty of poems for Mevlana and Şems like the other mevlevi (follower of Mevlana) poets. (Ünlü 2012, 45) This is a significant feature of the mevlevi poets and must be proved by also other studies.
In the other ghazals, which in the praised people are subjected, their name and attributes are mentioned as such: 1. Şeyh Galib is the one among the other Sebk-i Hindi poets who wrote most of the poems. He prefers to write the names of the praised ones, too. The names of the praised people are mentioned in twenty six ghazals as twenty five of them is Şeyh Galib and one of them is Naili. 2. The poets prefer to use an adjective or a title associated with the praised person. The title "Hazret-i Monlâ, pîr, Hazret-i Hünkâr, Monlâ-yı Rûm" for Mevlana and "Hazret-i Mollâ-yı edîbü'l-'asrun, müftî-i 'âlem" for Yahya shows for whom these poems are written. 3. Sometimes the poets use an expression or a clue to point to the praised people. For Yusuf-ı Sineçak "Monlâ-yı Rûm gibi sürâgı var, Südlüce'de bir mâh"; for Hoca Neş'et "Tarz-ı Şevket kepenek-pûş-ı reh-i Monlânın" bring them to mind.
The features of the ghazals are written in the following table.  The zeyl couplets of the müzeyyel ghazals which have twenty four couplets at most and six couplets at least differ between fourteen and one at least. Considering their percentages, Sebk-i Hindi poets prefer most one couplet zeyl. One couplet in 77.77 %, two couplets in 14.81 %, four couplets in 3.7 %, five couplets in 1.85 % and fourteen couplets in 1.85 % of ghazals are determined.
If the percentage of using zeyl couplet is evaluated, it is seen that:

Small Qasidas:
The number of the qasidas entitled as ghazals is ten. Only two of them is written for poets and the rest is written for statesmen and sultans. In both ghazals and small qasidas beloved, lover, love, drinking gatherings, and spring are the main subjects. The zeyl couplets of the qasidas, which have fifteen couplets at most and eight couplets at least are seven at most or one at least. 30 % of those are three couplet zeyls. Beside that 20% of them are two couplet zeyls, 20% of them are four couplet zeyls and %10 of them are seven or one couplet zeyls.