Şiirlerde ahengi sağlayan unsurların başında gelen redif, kafiyenin dışında kalan ek veya kelimelerden oluşur. Sözlükte “arkadan gelen, takip eden” gibi anlamlara sahip olan bu kelime divan edebiyatında kafiye düzenini oluşturan bir terim olmuştur. Gazelin anlam dünyası irdelenirken gazelde tercih edilen redif kelimesi/kelimeleri önemli bir konumdadır. Bu tercihler yapılırken rediflerin, gazelin “yek-âvâz” veya “yek-âhenk” olmasına hizmet edecek niteliklere sahip olması beklenir. Klâsik Türk edebiyatı şairleri, adı redifiyle anılan birçok kaside ve gazel nazmetmişlerdir. İşte redif olarak tercih edilen bu kelimelerden bir tanesi de “istemez”dir. İstemek, sözlükte; araştırmak, beklemek, gözetmek, tahkik etmek gibi anlamların dışında “arzulamak, dilemek” gibi anlamlara da sahiptir. Bu kelimenin olumsuzu olan “istemez” kelimesi, araştırmanın konusunu oluşturur. Çalışmada şairlerin bu redifi kullanarak neyi istemediği meselesine beyit temelli değerlendirmeler yapılarak ışık tutulmuştur. On dördüncü yüzyıldan başlayarak yirminci yüzyıla kadar ulaşılabilen divanlardan ve kaynaklardan derlenilen “istemez” redifli gazeller ele alınarak konuyla ilgili istatiskî veriler ortaya konulmuştur. Ele alınan veriler neticesinde bu redifin en çok 18. yüzyılda kullanıldığı, ve şairlerin bu redifle daha çok fâilâtün, fâilâtün, fâilâtün, fâilün kalıbını tercih ettikleri görülmüştür. Makalenin devamında bu redifli gazellerden hareketle şairlerin istemediği unsurlar dokuz başlık altında toplanmıştır. Bu başlıklar: Başka Sevgili/Cânân/Yârân İstemez, Unvan İstemez,P ara/Mal/Mülk İstemez, Derman/Necat İstemez, Şöhret İstemez, Mutluluk/Sürûr/ Neşat İstemez, İster İstemez (İkileme Halinde Kullanım), İster … istemez (Zıtlık Kullanımı), İstemez Redifinin Soru Olarak Kullanımı şeklindedir. Makalede bu durumun sebepleri üzerinde durulacak ve açıklanmaya çalışılacaktır.

Redif, which is one of the elements that provide harmony in poems, consists of affixes or words that are outside the rhyme. This word, which has meanings such as "following, following" in the dictionary, has been a term that forms the rhyme scheme in divan literature. In Arabic and Persian literatures, the last letter of the word that constitutes the rhyme is called revî. While this is the case, Muallim Nacî states that everything after the revî letter should be called redif. Later, this proposal of Muallim Naci was accepted and accepted by everyone as a criterion while defining the rhyme scheme of Turkish literature products. Poems with redif are also called “mureddef”. While examining the semantic world of the ghazal, the redif word(s) preferred in the ghazal has an important position. Redifs used in Divan poetry, especially those used in word size, have an important place. Redifs are used frequently because they are an element that complements and enriches the rhyme. redif; helps the poem to turn to its own images and metaphors and to gain an original quality. Redif selections are important in terms of helping poets make a difference. While making these choices, redifs are expected to have the qualities that will serve to make the ghazal "yek-avaz" or "yek-ahenk". Classical Turkish literature poets have written many odes and ghazals, whose names are mentioned with redif. For example, Necati Bey's poems are "turn back", Şeyhülislâm Yahyâ's "gönül" and Fuzuli's su redif. One of these words, which is preferred as redif, is "does not want". Desire, in the dictionary; In addition to meanings such as researching, waiting, observing, investigating, it also has meanings such as "desiring, wishing". The negative word of this word, "does not want", is the subject of the research. In the study, the issue of what the poets do not want by using this redif is shed light by making couplet-based evaluations. Starting from the fourteenth century to the twentieth century, the ghazals with the redif "istemez (don’t want)" compiled from the divans and sources, and statistical data on the subject are presented. There are forty-three poets who use this word as a redif in divan literature. It has been determined that the redif "istemez (don’t want)" is used in sixty poems of these forty-three poets. As a result of the data discussed, it is seen that this redif is mostly used in the 18th century and this redif is mostly used from the remel bahri fâ'ilâtün / fâ' ilâtün/ fâ' ilün/ fâ' ilün (48%) and aruz from the muzari bahr mef' ûlü/ fâ' ilatü/ me' fâîlü/ fâ' ilün (31%) were found to be the most preferred patterns. Other preferred patterns are of course also available. However, their rate does not exceed 2%. In addition, one of our determinations is the fact that poets prefer this redif in ghazals with five couplets the most. It is followed by ghazals with seven couplets. The poet who preferred this redif the most is the eighteenth century poet Seyyid Câzım. The eighteenth century poet Kani comes in second place. The fact that this redif was mostly used in the 18th century can be explained by the political instability of the period. In addition, this century is the century in which a period of solution is seen in the social sense. It can be thought that the 18th century was the most suitable century for poets to want something. It can be thought that the reason for this is the period of poverty and economic crisis that follows the years of abundance. In the continuation of the article, based on these redif ghazals, the elements that the poets do not want are grouped under nine headings. These titles are: “He Doesn't Want Another Beloved/Janan/Yârân, He Doesn't Want a Title, He Doesn't Want Money/Property/Property, He Doesn't Want Remedy/Necat, He Doesn't Want Fame, Doesn't Want Happiness/Happiness/Neşat, Doesn't Want It (Use in Doubling), Doesn't Want ... (Contrast) Usage) is “Using the Wanted Redif as a Question”. The titles given here are explained in detail in the article and the content is enriched with couplet examples. While the bibliography of the poems in the text is shown, first the number of the poem is given, and then the number of couplets is given in which verse of the sample poem taken. While creating this article, hundreds of reference works were scanned. However, of course, there is the "does not want" redif that is outside of these scans. However, these scanned works are sufficient to reach a conclusion. Because these works make up the vast majority. These scans were carried out from the sofas within the scope of the Ministry of Culture E-book Project and the sofas within the scope of the Metin Bank Project.