Third Murâd's Dîvân in the context of Arûz applications (1-500. poem)

Âhenk is among the basic elements that distinguish verse and prose texts from each other. In this way, it is an element that makes it easier to memorize and remember the texts of poetry. In this context, prosody stands out with its feature of providing harmony and rhythm in classical Turkish poetry. As it is known, aruz, after being used in Arabic and Persian literature, has also penetrated into Turkish literature. The harmony provided by the syllabic meter in Turkish literature before Islam provided a field of use for the aruz meter with the acceptance of Islam by the Turks. Due to the structural features of the Turkish language, some difficulties have been experienced in the application of aruz to Turkish. Poets have applied to some practices, also called "prosody savings", for the solution of these problems. With these savings, the verse has been tried to be made suitable for the meter. In other words, the savings to eliminate the deficiency, excess or open-closed syllable incompatibility in words and syllables are always aimed at providing the measure. Arûz meter has been used in Turkish poetry for centuries and countless works have been given with this meter. As a matter of fact, a classical poetry tradition was formed in Turkish poetry, which has a deep-rooted past. Within the framework of this tradition, very valuable works written in aruz prosody were produced. In this study, the first 500 ghazals in the Murâdî (Sultân Third Murâd) Divan were examined in terms of aruz prosody and it was determined which aruz prosody the poet included. The savings identified are shown with appropriate signs and interpretations are made by using the numerical data. Therefore, the study will provide the opportunity to evaluate the success level of Sultan Murad III in using the meter with an objective attitude based on concrete data. It is hoped that the study will contribute to the literature by giving a different perspective and increasing the diversity of sources. Thus, it is aimed to contribute to Turkish poetry and the subject of prosody, albeit small, and to draw the attention of the world of culture and literature to this subject. The study consists of three parts. In the first chapter, brief definitions of prosody and aruz dispositions are given by giving general evaluations on prosody. In the second part, information about the application is given, the table related to the application and the points that are considered are mentioned. Then, the relevant savings are shown with various signs on the first 500 ghazals in Murâdî's Divan. In the third part, there are numerical data obtained and evaluations related to them. The study is completed with Conclusion and Bibliography.