Abdurrahman Kâmil Efendi, 1850 yılında Amasya’da doğmuş ve 1941’de Amasya’da vefat etmiştir. Dedesi Mustafa Mecdî Efendi, babası Ahmed Rif’at Efendi’dir. Kırım’ın Ruslar tarafından ilhakı üzerine ailesi, o dönemde Amasya’ya bağlı bir kaza olan Mecitözü’ye yerleşmiştir. Dedesi Mustafa Mecdî Efendi’ye nisbetle aile Mecdîzâdeler olarak bilinmektedir. Abdurrahman Kâmil Efendi, çocukluğundan itibaren iyi bir dinî eğitim almış; eser yazacak kadar Arapça ve Farsçaya vâkıf olmuştur. Amasya Sultan Bayezid Camii kürsü şeyhliği ve uzun yıllar Amasya müftülüğü yapmıştır. Millî mücadelede önemli görev ve sorumluluklar üstlenmiş; bir din adamı olarak halkı milli mücadeleye destek vermeye çağırmıştır. Dinî nitelikte çok sayıda eser veren Abdurrahman Kâmil Efendi’nin bu eserleri ve milli mücadeledeki rolü ile ilgili günümüze kadar çok sayıda çalışma yapılmış; ancak şiirleri ve şairliği üzerinde hiç durulmamıştır. Oysa Abdurrahman Kâmil Efendi, Kâmil mahlasıyla Arapça, Farsça ve Türkçe şiirler yazmıştır.  İnceleme sonunda, Abdurrahman Kâmil Efendi’nin 4 mesnevi, 2 kaside, 1 muhammes, 1 müsemmen ve 6 gazel olmak üzere, toplam 14 Türkçe şiiri tespit edilmiştir. Kâmil Efendi, şiirlerinde divan şiiri geleneğinin mazmun ve benzetme unsurlarını kullanmıştır. Dinî ve tasavvufî mahiyette olan şiirlerinin konusu ilâhî aşktır. Bu makalede Abdurrahman Kâmil Efendi’nin Kâmil mahlasıyla yazdığı Türkçe şiirlerinin tespiti yapılmış, bunların çeviriyazılı metinleri ortaya konmuş ve şiirlerinden hareketle şairliği hakkında bilgiler verilmiştir.

Abdurrahman Kâmil Efendi was born in Amasya in 1850 and died in the same city in 1941 His family moved from Crimea in 1783 when the Crimea was invaded by tre Russian army. They first settled in Mecitözü which was a town of Amasya in those years. They were called as Mecdîzâdeler. His father was Ahmet Rif’at Efendi and his grandfather, Mustafa Mecdî Efendi, was a scholar and a sheik of Nakşibendiyye.Kâmil Efendi received a perfect thelogical education from the best scholars of his period and learned Persian and Arabic languages as much as to write poems in those mentioned languages. When he completed his education, he became a müderris (academician in madrasah) in Amasya, a preacher at Sultan Bayezid Mosque and he taught interpretation of Quran in different mosques. Abdurrahman Kâmil Efendi, who fulfilled the longest duty as a mufti in Amasya, was appointed as a mufti to Amasya at the age of 50 in May 1900, after the death of Amasya mufti Mehmed Efendi. He was retired in 1915 because of the age limitation. He taught some subjects between the years 1916-1920 at Dârülhilâfe Madrasah. After the death of Mufti Mehmed Tevfik Efendi in 1921, he was once again appointed as a mufti to Amasya by the order of Gazi Mustafa Kemal in 1922 and he carried on this duty up to 1941 which was the year he died.  He took a mission in the National struggle of Anatolia against enemies between the years 1919-1922. Gazi Mustafa Kemal Pasha who was seeking the support of the Anatolian people in those years visited Amasya as the first city to start the National struggle and the Amasya mufti Hacı Tevfik Efendi and Abdurrahman Kâmil Efendi welcomed and greeted him at the entrance of the city. Abdurrahman Kâmil Efendi who was the preacher of Sultan Bayezıd Mosque at that period addressed to the people on Friday, 13th June 1919 about the importance of the National Struggle to depict his support to Mustafa Kemal Pasha.  Müdafaa-i Hukuk Cemiyeti was established on 14th June, 1919 with 17 members for the first time in Amasya and the first member of this community was Müftü Tevfik Efendi (d.1921) and the second one was Abdurrahman Kâmil Efendi.  Kâmil Efendi was married to Emine Hanım, the daughter of scholar Anaç Hoca in 1883 and he had three sons with the names Mehmed Sabri Yetkin, Ahmed Emri Yetkin and Mustafa Niyazi Yetkin and a daughter, Fatma Zehra.  His sons also became the famous scholars of Amasya like himself.There have been many studies done about the life, personality, books, poems and the role in National Struggle of Abdurrahman Kâmil Efendi who wrote many books on theological content. In these studies, it was mentioned that he was a poet with ''Divançe''. However, there has been no study about his poesy and his poems up to now. In this study, it is aimed to explain the poesy and the characterisitcs of his poems through giving the translated written texts in ''Divançe'' recorded under the name of Abdurrahman Kâmil Efendi with the number Yz. A 8993 in the handwritten book section of Ankara National Library. This book in which we based on to determine the poems of Abdurrahman Kâmil Efendi was written as a mixture of verse-prose. The mystical ideas expressed in the prose sections were supported by poems written in Turkish, Arabic and Persian languages and they were put into the appropriate places related to the topic. He used nickname Kâmil in his poems. He wrote 14 Turkish poems in this book. In all these poems, verse styles, prosody forms and simile elements belonging to classical divan poem tradition are used successfully. In this aspect, it is possible to evaluate Abdurrahman Kâmil Efandi as one of the follower and a good example of a classical divan poem tradition in twentieth century.This poem was written in the form of verse and consists of 4 masnavi, 2 odes (kasida), 1 muhammes (a section with five lines), 1 müsemmen (a section with six lines) and 6 ghazal(lyrics). These poems were techniquelly written excellently and they reflect all the characteristics of the verse styles.He used 7 different prosody forms in his poems. However, he used double prosody form in his two poems which is accepted as an exception in classical poem tradition.  The poet was successful at using prosody verse. There have sometimes seen reduction of the pronounciation of the syllable (zihaf) in some of his poems. The words and syllables which must be pronounced with two syllables in which one of them is open and the other one is closed as in bîh, hîç, yâr and tîz are pronounced as one closed syllable. The words which should be pronounced as two syllables (med) are pronounced without two syllables (med), some consonants of Arabic language are pronounced related to the rules of Turkish pronounciation are the characteristics which the poet prefered in his poems. Most of these prosody faults in the poems of Abdurrahman Kāmil Efendi are the reflection of the characteristics of Turkish prosody changed in time to his poems. The main theme of Abdurrahman Kâmil’s poems is the love of God. He used the words to describe love in his poems with the meaning of mysticism where as the other poets of divan literature used these words to describe their love to their lovers. Lirism is dominant in his poems. The book starts with a mesnevi with 19 couplets. The first poem of the book was written in the form of classical poem tradition and the poem starts with besmele, praise to God and pray to the Prophet. These subjects are stressed throughout the poem.  The themes of his other poems are about the pain of separation and convergency to the lover. His fourth book is a Mesnevi with 55 couplets. He wrote that Mesnevi for his great admiration to Seyh Şadi buried in Şeyhsadi village in Amasya.  Among the poems of Abdurrahman Kâmil Efendi, there is an eulogy written in ''elifname'' style. In this ''elifname'', Kâmil Efendi wrote one line for each letter of Arabic language consisted of 29 letters starting from the alphabet elif to last letter y. The letters in the poem are included into a rhythm. His son Ahmet Emrî Yetkin claimed that his father had destroyed some of his poems and some of them were lost because of unknown reasons. Why he ruined his poems by himself was not known clearly. The destruction of the poems of Abdurrahman Kâmil who was one of the good example of 16th century classical divan poem tradition in 20th century was a great lost for Turkish literature. If his lost poems are found and then published, it will yield to make a healthier evaluation about his poesy and poems.