On altıncı yüzyılda yaşadığı bilinen Bahârî, Üngürüs'ün fethi ve Mohaç Meydan Muharebesi'ni kronolojik biçimde bütün ayrıntılarıyla anlattığı 306 beyit, 9 bölümden oluşan kısa mesnevisi bizlere önemli tarihi olayları edebi üslupla sunmaktadır. Mesnevide anlatılan olayların tarihsel verilerle önemli oranda örtüştüğü görülmektedir. Bu bağlamda eser, edebi olmayan tarihi kaynakları tamamlayacı, eksikliklerini giderici bir vesika olarak da değerlendirmemizi sağlamaktadır. Her ne kadar kaynaklarda bilgi verilmemiş olsa da Bahârî bu eserinde bizlere savaşa katıldığı izlenimi uyandırmakta; kadı ve müderris kimliğinin dışında başka bir yönünün daha olduğunu ortaya koymaktadır. Tezkireler ve diğer biyografik kaynaklar şairin bu savaşa katıldığını belirtmemektedirler. Bu eserinin dışında Dîvân'ı ve Yusuf u Züleyha adlı eserlerinin olduğu kaynaklarca belirtilse de henüz nüshaları tespit edilememiştir. Bu çalışmada öncelikli olarak Bahârî'nin fetihnâme türündeki mesnevisinin elde başka nüshasının olmaması nedeniyle Süleymaniye Kütüphanesi Hacı Mahmud Efendi:5345 nolu tek nüshadan hareketle transkripsiyonlu metni verilmiş; verilen metinden yola çıkılarak şairin tarihi olayları anlatışı açıklanmaya çalışılmıştır. Edebi yönü oldukça başarılı olan şairin eserinden örneklerle yapmış olduğu edebi sanatlar da gerekli görüldüğü yerlerde irdelenmiştir. Ayrıca elde bulunan veriler ışığında şairin hayatı ve edebi kişiliği oluşturulmuştur. Fetihnâmeler, savaşları ve bu savaşların neticesinde elde edilen başarıları kimi zaman manzum, kimi zaman mensur, kimi zaman da manzum ve mensur karışık bir şekilde edebi bir üslupla anlatan eserlerdir

Known to have lived in the sixteenth century, Bahari, whose short mathnawi composed of 306 couplets and 9 chapters, in which he narrates the conquest of Üngürüs and Mohaç victory with chronological order, presents us important historical events with a literary stlye. It is seen that the events narrated in the mathnawi corresponds with the historical events to a great extent. In this context the work can be seen as a document, and a complementary of non-lierary historical sources. Although it is not mentioned in the historical sources, Bahari gives us the impression that he attended the war and thus proves that he has a different side, except for his identity as kadi and a professor. Both tezkiras (collection of biographies) and other biographical resources do not mention about his attendance to the war. Apart from this work, though they haven’t been able to reached today, it is known that he has also a Diwan and a matnawi named Yusuf and Zuleyha. First of all, since Bahari’s mathnawi in the style of fetihname (war romance) has no other copy, in this study its phonetic transcription is given according to the single copy in Suleymaniye Library Hacı Mahmud Efendi: (no 5345); poet’s narration of the events has been explanied with references to the text. The literary arts in the text have been examined, where necessary. Moreover, in the light of present data, poet’s life and literary personality has been elucidated. Fetihnamas are literary works in which the wars and the military victories are narrated with a literary style either in prose or verse; or sometimes with a mixed style. Mathnawi is an exceptionally important document for its features such as narrating events which are most probably real when tested with historical documents. While the poet talks about the battles, he makes the reader feel that he really attended the wars. Since there is no precise information, it is better not to reach a certain conclusion about its truthiness, but as his style suggests us, he has a military identity. He created his work in order not for emotional purposes but to praise the sultan and other statesmen. Occasionally, he does not hesitate to use a wrathful and pejorative tone for the adversary forces. Although sections that should be in Fetihnama’s are whole and complete to a great extent, it has not been paid attention to those sections that should be present in matnawis. Especially sections such as tevhid, münacat and nat are not present. Sections are divided according to main episodes. They also mention about different specific events under the same titles. The length of the sections is in parallel with the length of the historical events. The poet has used two different meters in his work. Meter were used quite successfully. With respect to the meters the words he has chosen are very authentic. The poet has employed some methods such as imale and zihaf where the verse suits ill. When he was composing the mathnawi, Bahari has often utilized all available means of classical poetry. When he narrates the events, he usually makes references to historical events. Two of the most conspicuous of these are the stories of prophet Solomon and Joseph. In this respect, it is possible to come across with beliefs that are common among people. The literal work is is also quite rich in arts. Analogy (teşbih) is among the most noticeable of all arts. Kanuni is likened to Prophet Solomon, İbrahim Paşa is likened to Asaf and The Ottoman army is likened to the sun which rises in the east. As he likened the ones that he wants to commend to the celestial bodies, he indicates that Kanuni is more exalted than others. To an another verse, the poet likened the narcissus to the stars and the rose garden to the sky. He often uses astronomical objects in his imagery. Another object that he mostly used in his analogy is natural beauty. If we consider the standards of those days, the likening of the rose to the spark which comes out of the gun is a brand new thought of simulating. The second most used art is symmetry (tenasüp). Another most outstanding art is metaphor (istiare). We do not have an information regarding whether the work is copied by the poet himself or by someone else. However the person has written the work has used the correct forms of words carefully. The writing is successful except one word. The version of mathnawi we can reach has a remarkable feature. Mathnawi has been separated into different sections with specific subjects. The author who writes the work has tried to finish each subject at the end of the pages by not using space from the next pages. Or he has started the new subjects in new pages. We believe that giving several examples can clarify the situation. The page numbered 14a starts with the subjects of bringing the keys of the city of Budin and its governance by Ottomans then the tax issues. He finishes the story of Prophet Solomon and the ant at the end of the page 15b. The story of the file given to Korkud starts at the beginning of the page 14b and finishes at the same page. It is possible to increase the number of examples. These examples help us to think that the work is coming directly from the writings of the author himself.