Türk edebiyatı, tarihsel gelişimi göz önünde tutularak bütüncül bir yaklaşımla ele alınmalı ve değerlendirilmelidir. Türk edebiyatının klasik dönemi bu yaklaşım çerçevesinde daha doğru anlaşılıp yorumlanacaktır. Bu bağlamda Türk edebiyatının farklı sahalarına ait edebi ürünler, özellikle divanlar, araştırmacılar için büyük önem arz etmektedir. Bu çalışmada, bugün hayatı hakkında kesin bilgilere sahip olmadığımız Azerbaycan sahası şairlerinden Zevkî ve daha önce üzerinde hiçbir ilmi çalışma yapılmamış Divan'ı üzerinde durulacaktır. 17. yüzyılda yaşadığını tahmin ettiğimiz Zevkî hakkında Türkçe kaynaklardan ziyade Farsça kaynaklardan bilgi edinmekteyiz. Zevkî Divanı'nın tek nüshası ise Paris Milli Kütüphanesi El Yazmaları Bölümü'nde "Supplement Turc 733 (cote)" numarada kayıtlı olup 168 varaktan oluşmaktadır. Divan'da yer alan şiirlerin çoğu tasavvufî konuları işleyen sufiyane gazellerdir. Gazellerin dışında Divan'da, murabba, muhammes, müseddes ve müstezat nazım şekilleriyle yazılmış şiirler yer almaktadır. Zevkî Divanı'nda yer alan nazire şiirlerden hareketle, şairin en önemli hususiyetinin Nesîmî muakkibi olduğu anlaşılmaktadır. Bunun dışında Zevkî'nin şiirlerinde güçlü bir Şîî vurgusunun olması ve Hurufîlikten belli ölçülerde etkilenmesi onun diğer önemli özellikleri olarak göze çarpmaktadır. Zevkî Divanı'nda Türkçe şiirlerin yanında farklı nazım şekillerinde kaleme alınmış yine tasavvufî hüviyette Farsça şiirler de mevcuttur. Söz konusu Farsça şiirler Divan'ın derkernarlarında, başında ve sonunda yer almaktadır. Ayrıca Divan'ın son sayfasında Hz. Ali'den rivayet edilen yine Farsça kaleme alınmış bir fal metni mevcuttur

Turkish literature needs to be discussed and assessed in a holistic approach, taking its historical development into consideration. The classical period of Turkish literature will be understood and interpreted more accurately within this approach. In this context, literary products belonging to different fields of Turkish literature, especially divans, are of great importance for researchers. In this work, we will focus on Zevkî , one of the Azerbajiani poets whose life we do not have definite knowledge about today, and his Divan which is any scientific work has been done before. We get more information from Persian sources than Turkish sources about Zevkî who is supposed to have lived in the 17th century. The unique copy of the Divan is registered in the "Supplement Turc 733 (cote)" at the ‘’Collections of the Manuscripts Department of Paris National Library’’ and consists of 168 leaves. Most of the poems in Divan are sufi gazelles discussing sufistic subjects. Apart from the gazelles, Divan has poems formed in “murabba”, “ muhammes”, “müseddes” and “müstezat”. Conducting from the nazires in the Zevkî’s Divan, it is understood that the most important characteristic of the poet is him being a follower of Nesîmî. Apart from this, the other important characteristics of Zevki are that he has a strong Shi'i emphasis in his poems and he is influenced by Hurufism in a certain extent. In the Divan, besides Turkish poems, different forms of verse are involved and there are also Persian poems in mystical identity. The Persian poems are present at the beginning, at the sides and at the end of the Divan. On the last page of the Divan, there is also an augur text in Persian that arguedly was narrated by Hazrat Ali In this article, Zevkî and his Divan, which had never been studied before, were introduced. Today, we do not have accurate information about the life of Zevkî who is from Azerbaijani field . In only one Turkish source - Kamûsu’l-a’lâm – Iranian two poets are mentioned who are nicknamed Zevkî. This case strengthens the possibility that Zevkî, the subject of our article, has lived out of Anatolia. We learn more information about Persian poets from Persian sources. Foremost among them is a bibliographical work called Ferheng-i Sühenverân (Hayyampur, 1340, pp. 215-216). In Ferheng-i Sühenverân, it is recorded that in which sources the poets, who are nicknamed Zevkî, are mentioned . Some of those; Âteş- gede-i Âzer (Lutf Ali Beg, 1336), Tuhfe-i Sâmi (Sam Mirza-yi Safevi, 1314), Mecma'u'l-havâs (Sadık Bey Afşar, 2008), Tezkire-i Nasrâbâdî (Nasrâbâdî, 1361) and Tezkire-i Riyâzü'l-ârifîn (Kulihan, ty). In addition, the poets who are nicknamed Zevkî, are also seen in Ez-zarîa (Tahrânî, t.y) which is written in Arabic. In the specifical part of this source, only short biographies of Şîî poets were given. Persian, Turkish and Arabic sources mentioned above do not provide a definite information about Zevkî and Divan which we have worked on. However, we are predicting that Zevkî lived in the 17th century based on the written date ‘’H. 1098 / M. 1687- 1688’’ at the end of Zevkî’s Divan. The unique copy of the Zevkî’s Divan is registered in the "Supplement Turc 733 (cote)" at the “Collections of the Manuscripts Department of Paris National Library” and consists of 168 leaves. H. 1098/M. 1687-1688 (possibly copy date) , on the title page of the manuscript, is a striking date. On the first page of the manuscript, another record (possibly a seisin record) appears. Most of the poems in the Divan are mystical gazalles written in a “rindane” style that are about mystical subjects. In Zevkî’s Divan, there are Turkish poems written in the form of poetry, murabba, muhammes and müseddes poetry besides 539 gazelles on the subject of mysticism. There is a total of 555 Turkish poems in the Divan, which does not include ode poetry. There are also 38 Persian poems at the beginning,at the end and at the postscript of the Divan , 30 of which are gazel, 4 are rubai 2 muhammes and 2 are verse. Almost all of the poems in the Zevkî’s Divan are “rindane” gazelles and have a mystical identity. Although there is no definite information about Zevkî’s life, all the determinations we have made in this article show that Zevkî is a sufistic poet. Zevki, in many poems, implied mystic affairs and phenomena by adhering to a sufi tradition. The most- used subjects are "love", "sâkî", "tavern", "zülf", "zahid (pious)" and "ârif (intellectual)". In this context, we can easily say that "love" in Zevkî’s Divan is "divine love". It is seen that Zevkî's mystical love conception is built up with denominational layers. In this context, the most striking aspect of the Zevkî’s Divan is that it contains the elements of Shi'ism intensely. The most mentioned person in the Zevkî’s Divan is Hz. Ali. He is sometimes mentioned in the Divan with Haydar or Haydar-i Kerrâr, sometimes Shah-i Najaf and sometimes Murtaza or Aliyyû'l-murtaza. Zevkî, in many poems,emphasized the sacredness he has attributed to Hz. Ali by giving homage to him. The fact that he used a language insulting the other three caliphs is important in terms of indicating that he is a devout Shii supporter. Another feature of the Zevkî Divan in terms of content is that it include elements of Hurufism. It is difficult to say that Zevkî is a Hurufi poet, since we do not have the exact knowledge about the environment in which he lived. However, Zevkî's use of “mazmuns” based on the words "7 drawings", "istiva", "face (dîdâr, vech)", his having a grasp of Hurufi terminology and his mentioning the name of Fazlu'llah (Fazl) in a few places in the Divan, shows that he is seriously affected by Hurufism. It would not be wrong to claim that this interaction stems from the Nesîmî’s influence. It is also possible to talk about the existence of elements of Hurufism in Zevki's Persian poetry. One of the most important findings we have in this study is that Zevkî is a strict follower of Nesîmî. Zevkî wrote 64 nazires for Nesîmî, one of the most important poets of Turkish literature and the Azerbaijani field. 64 nazire poems in the Zevkî’s Divan clearly show the influence of Nesîmî on Zevkî's literary personality. In addition, this situation is important for Nesîmî, even after 200 years, to show his influence on Turkish poets. Many quotations were used in the Zevkî’s Divan. Generally, the use of quotation by Hurufi poets appears as a stylistic feature. It should be noted that the quotations used by Zevkî along with the nazires he wrote are parallel to those used by Nesîmî. The number of quotations Zevkî used almost equals to the number of quotations Nesîmî used. In this context, the expression "Qur'anic poet" for Nesîmî can also be used for Zevkî. However, it is difficult to say that Zevkî is as successful as Nesîmî in terms of using quotations. Although he is not as strong, lyrical and enthusiastic as Nesimi, Zevki has made his poetry by following in Nesimi’s footsteps. It can not be said that Zevkî successfully used aruz in his poems. Because Zevkî did not act cautiously and carefully in this respect by making a lot of “zihaf” in many parts of his poems. He has also tried to apply “aruz rhythm” by “med” and “imale”. In Zevkî’s Divan, he mostly used the block of "Fâilâtün Fâilâtün Fâilâtün Fâilün" which is in the Remel. There are also two poems in Zevkî’s Divan that resemble the popular sayings written in syllable rhythm. In the reorganized form of Divan of Zevkî, there are gazelles written by using all the letters in the Arabic alphabet. It is seen Zevkî wrote 61 pieces of gazelles by using mostly the "ى "letter. When the poems in the Zevkî’s Divan are analyzed in terms of rhyme and “redif”, it can be said that Zevkî is successful in general in spite of some rhyme flaws. Zevkî used a very simple language in his poems. In his poems, it is not possible to observe intricate meanings made up of literary arts. It is clear that Zevkî's purpose in writing poetry is to exalt the sufi principles rather than making art. This purposeful writing makes his poetry understandable. When the Zevkî’s Divan is examined, it can be seen that the language of the work carries the features of Azerbaijanian Turkish Language. As an example , we can often show -gil / -gil, -ginen -gilen / gilen / imperial mode suffixes and in the Divan we can see "b" consonant changes into "m" consonant and k>h differentiation. Through this article, it has been tried to determine the place and value of Zevkî and his Divan from Azerbaijani field in the light of the above-mentioned characteristics of Turkish literature