Üstadın şiirini geçme ya da üstadı takip etme arzusu ile kaleme alınan nazireler, farklı yüzyıllarda yaşayan şairleri birbirine yaklaştıran bir bağ gibidir. Genel olarak bir şairin beğenilen bir şiirine, başka şairler tarafından aynı vezin, şekil ve redif ile kaleme alınan ve içerik yönünden benzeyen şiirlere nazire denmektedir. Türk Edebiyatında pek çok örneğine rastlanan nazire, en çok gazel ve mesnevi nazım biçimlerinde yazılmıştır. XIII. yüzyıl sonu ve XIV. yüzyıl başında Azerî sahasında yetişmiş Hasanoğlu, Azerbaycan'da anadiliyle şiirler yazan ilk şair olarak bilinmektedir. Hasanoğlu'nun Azerî Türkçesi ile yazdığı üç şiiri mevcuttur. Bunlardan Apardı gö?lümi bir ?oş ?amer yüz c?n-fez? dilber / Ne dilber dilber-i ş?hid ne ş?hid ş?hid-i server matlalı gazeline kendisinden birkaç yüzyıl sonra yaşamış Ahmedî ve Ahmed-i Dâ'î tarafından gazel nazım biçimiyle nazireler yazılmıştır. Hiç kuşkusuz şiirin genel yapısına hakim olan ne...ne bağlacıyla yaratılan anlam ve ahenk birliğinin de bu ilgide etkisi bulunmaktadır. Yapılan bu tekrarların ahenk unsurunu oluşturmasının yanı sıra söz konusu bağlacın nazirelerde "tekrarlanan söz kalıpları"na da bir misal teşkil ettiği görülmektedir. Makalede Hasanoğlu'nun şiirini model alan Ahmedî ve Ahmed-i Dâ'î'nin gazelleri karşılaştırmalı olarak incelendi, manzumeler arasındaki benzerlik ve farklılıklar ortaya konmaya çalışıldı. Ek olarak Mehmet Fuat Köprülü'nün 1925 yılında Darü'l-Fünun Edebiyat Fakültesi Mecmuası'nda yayımladığı "Âzerî Edebiyatına Aid Notlar: Hasanoğlu-Habîbî" adlı makalesinin Hasanoğlu ile ilgili kısmı yeni harflere çevrilerek eklendi

The nazires taken with the desire to pass the master’s poetry or pursue the master are like a bond that brings poets living in different centuries closer together. The poetry of the master is called nazire by poems which are generally similar to a poet’s acclaimed poem, similar poems, shapes and redifs taken by other poets and similar in content. The nazire, which is found in many examples in Turkish Literature, is mostly written in the form of gazel and mathnawi poems Hasanoglu, raised in Azerbaijan at the end of the 13th century and the beginning of the 14th century. There are three poems written by Hasanoglu. Gazel is one the of these poems and subject of this article. There are two gazel is models of Hasanoglu’s poem was written by Ahmedi and Ahmed-i Dai. There is no doubt that the unity of harmony and harmony created by the connection of “what...what” dominates the general structure of poetry. It is seen that these repetitions made an element of harmony as well as an example of the “repetitive word patterns” in the nazires. The gazelles of Ahmedi and Ahmed-i Dai, models of Hasanoglu’s poetry, were studied comparatively similarities and differences between the poems were tried to be revealed. Mehmet Fuat Köprülü has article is titled “Notes to Azeri Literature: Hasanoglu-Habibi” published in the magazine of Darü’l-Fünun Literature Faculty in 1925. STRUCTURED ABSTRACT The information about Sheikh Izzeddin Hasanoglu is mostly based on the “Devlet Shah Tezkire”. Date of birth is not known accurately. Azerbaijan and Iran Hasanoglu, considered to be the oldest poet of Turkish literature for the time being, XIII. the end of the century XIV. Hasanoglu who lived in the beginning of the century and who used Hasanoglu in Turkish poems, Hasan Khan in Persian poems, and whose original name is Sheikh Izzeddin Hasanoglu or Sheikh Izzeddin Esferayani. Hasanoglu VIII. / XIII. must have lived in the first half of the century. Mehmet Fuat Köprülü expresses that he preferred sufi style in current poems and that he was influenced by poets such as Senai and Mevlana. Moreover, in the translation of Gülistan, a poem by Hasanoglu and Seyf-i Serayi's poetry wrote that both poets were either contemporaries or Hasanoglu had lived a little before Seyf-i Serayyi. Köprülü, who came to the conclusion that Hasanoglu was a well-known poet in the Harezm, Kipchak and Egypt fields because of the fact that this gazel is included in the work, went on the way to protect the gazel marking exactly in text and to show the truth in the article “Notes to Azeri Literature I Hasanoglu”. Köprülü also pointed out that Hasanoglu did not remain alien to Yesevi’s works and even received poetry in his style, considering Ali Lala’s conception with Ahmed Yesevi of Radiyuddin. In addition to this, Hasanoglu, who preferred Turkish language in Turkish poetry, is also concerned with the possibility of writing poetry with the syllabus because he is a poet who attaches importance to the national language. Köprülü is cautious about the fact that Hasanoğlu folk songs, known in Anatolia in the Xth century, belong to poetry as conveyed by Aşık Çelebi. However, he does not totally reject the fact that some of the divine and Turkish folk songs belonging to him have been transferred to the Western lands of Anatolia, perhaps due to some dialect modification. Ertaylan believes that the most valuable works of the poet are the Turkish folk songs which have been repeated for centuries. According to Ertaylan, the Turkish folk songs, while not being uncovered at all, shows his true poetry. Izzeddin Hasanoglu’s three poems in Turkish are known. One of them is the subject of this article, which is at the end of Seyf-i Serayi’s Gülistan Tercümesi. Gazel also has an important place in the Azerbaijani literature. Poetry is memorized by many people; this gazels was also written by Azerbaijani poets. However, there is no sign that Hasanoglu’s famous poem is written in a nazira magazine. M. Fuat Köprülü reports that Ahmed-i Dai’s gazel was a nazira to Hasanoglu in his article on Hasanoglu. In addition, according to Yavuz Akpınar’s opinion, Ahmed-i Dai and Nesimi had written naziras to the gazel. But Akpınar, not to mention what these poems are, is probably due to the indisputable resemblance between poetry and poetry. The other poem in Turkish is located in the work called Mecmuatü’n-Nezair. This poem has been recorded in the magazine with “Hasanoğlu Rast” title and there are poetry writings written by poet Namusi and Ömer. The third poem was published by Barbara Flemming in a journal in Egypt and published under the title “Hasanoğlu’nun Bir Gazeli” the book “The Proclamation to the 1st Turkish Language Scientific Conference” published by the Turkish Language Institution in 1975. This article argues that Ahmed-i Dai and Ahmedi took the poetry of Hasanoglu as the ground and that the common features born of “what…what” link and “reddü’l-acuz” art form this evidence. At this point, similar and divergent features of poetry should be determined. When examined in terms of beyit number, rhyme structure, and “aruz vezni”, the following are observed: Hasanoglu and Ahmed-i Dai consiste of 7 and 10 beyits. All three gazels are written with the phrase of mefâîlün / mefâîlün / mefâîlün / mefâîlün. The gazels were not redesigned and the “mücerred” rhyme was used. The most obvious and striking aspect of poetry is the “what...what” link that is repeated in the series. In Hasanoglu’s ground poetry, “what...what” binders form inwardly dilemmas. The same structure is manifested in Ahmed-i Dai’s gazel. In Ahmedi’s gazel the use of the “what...what” link is similar, but the same spiral structure manifests itself in a different form. Ahmedi extended the poetry by adding other couplets; he used art of return instead of art of redact. In addition to all these, the sentences of “what...what” the vineyards make up should be regarded as negative adjectives that do not include the word predicate, but which are established by noun or noble words and which are positively meaningful. Hasanoglu, who was known as the first poet of the zodiac, is a sufi poet who was able to continue his influence even among the poets living a few centuries later. Hasanoglu’s the subject gazel - although not mentioned in the passage of the nazira-Ahmed-i Dai and Ahmedi written by the naziras. Because the common items carried by all three gazels (what...what, reddü’l-acuz-iade arts, rhyme resemblance) proves to the extent that this situation is not in doubt. From the point of view of the nazira, it is more remarkable than Ahmedi’s poetry of Ahmed-i Dai by Ahmedi in terms of his peculiarities of adding meaning, style and discourse to these poems which are accepted to be used for trickery. Because Ahmedi extended the poetry by adding other couplets and managed to create a more spiral structure than Hasanoglu’s gazel without harming understanding