Divan şiiri Türklerin İslamiyet'i kabulü ile Türk kültürü içinde yer etmeye başlamış ve 13. yüzyıldan itibaren Anadolu'da divan edebiyatı eserleri görülmeye başlanmıştır. Klasik Türk Edebiyatı olarak da adlandırılan bu dönem 18. yüzyıla kadar devam ederek Anadolu Türk kültürünü ve yazın geleneğini büyük ölçüde şekillendirmiştir ve günümüzde de etkisini devam ettirmektedir. Ali Günvar şiirinde de görülen naat, münacat, tasavvuf kültürü ve şiiri, varlık ve bilgi anlayışlarının temelleri bu dönemde görülebilmektedir. Çalışma 1980 sonrası eser veren şairlerinden biri olan Ali Günvar şiirinde bu etkinin görünümleri metinlerarasılık bağlamında tespit etmeye çalışacaktır. Ali Günvar şiiri ile divan şiiri geleneği arasındaki paralellikler dikey ve yatay boyutlarda incelenecektir. Metinlerdeki eşdeğerlikler ve bunların ardında yatan derin anlamlar tespit edilmeye çalışılacaktır. Böylece geleneğin yeni Türk şiirine ne şekilde kaynaklık ettiği ve Yeni Türk şiirinin Osmanlı dönemindeki kökleri, günümüzdeki geleneğin algılanış biçimi ve gelenek ile bugün arasındaki benzerlikler ve farklılıklar zihniyet/paradigma değişiminin metinlere yansıyan yüzü vasıtasıyla gösterilmeye çalışılacaktır. Çalışmanın yöntemi olarak kullanılmıştır. En basit tanımıyla metinlerarasılık edebi metinlerin birbiri ile konuşmasıdır ve başka metinlerdeki yansımalarıdır. Yansımalar, bilinçli bir tercih, bilinçsiz bir etkilenme ya da yakın bir kültür dünyasının doğal benzerliği şeklinde görülebilmektedir. Günvar şiirinde tespit edilebilen divan şiiri geleneğine ait izler, çeşitli dilbilimsel göstergelerle tespit edilerek, yukarıdaki verilen amaçlar doğrultusunda analiz edilmeye çalışılacaktır

As a “Dasein” person artist is intercommunicating with current conditions and cultural accumulation. Today’s poet accepting the art the way it is, is making use of art of Ottoman culture artworks as an escape or healing way from toughness of modern life. By this way, for almost two long century, Classic Turkish literature still maintain living and is a resource for Turkish literature. This situation applicable for Ali Günvar putting pen to paper his works between 1985 and 2013. The loudest and most clear proof of influences are epigraphs and quotation. The quotations in Günvar’s poems, like a lighthouse, is giving clue about code of texts. Some of these quotation whole or partial. Collected from a lot of cultural environment the quotations prove their artistic richness and canalize readers’ perception to where wish of poets. The massive percentage of quotations is epigrams. In his poems, Fuzuli’s Su Kasidesi (eulogy of water), Nedim’s and Nabi’s lyrics and Galib’s Hüsn ü Ask (Beauty and Love) is quoted. Besides, some books, for example Mevlid, Gül ü Bülbül (Rose and Nightingale), Leyla ü Mecnun, is memorialized with reference saying their names. In aestetic level, classic Turkish poetry, prejudice Modern Turkish Literature with phonic usage, harmony and rhythm. In his poems, first impressive aspect is usage of aruz (prosody in Ottoman style). Some poems named for Gazel, Munacat and Naat. Aruz, used in two poems and some poetic parts, is an instrument of communication between tradition and modern life. Both of these two poem written with the aruz meter that “mefûlü mefâîlü mefâîlü feûlün”. Separately, to bring into consonance, some Ottoman poetic styles take a place in his works. Ottoman lyrics style and its couplet and rhyme system are used intensely. Likewise, mustezad libre is used even with some differences. Because of major importance of sound, Ali Günvar’s books, especially Ricatlar Kitabı, have a strong impact of music. Some song names and even musical notes can be encountered. Besides some of quotations is selected by special poems that be composed for Mevlevi ceremonials. In spite of weakness for originality, symbolic language is took advantage of Günvar’s poetics. Symbols serve the purpose of composing multilayered expressions and implicate some distant and shadowy meaning for readers. According to Ali Günvar, historical and cultural consciousness created by if and only traditional texts and art pieces. Traditional symbolism provide the awareness instrumentally. For that matter, the symbols should be comment as a traditional image rather than outdated and banal usage. Traditional imagination not only express historical conscience, but also in some situations, symbolic language transform and express modern meaning ironically. By the help of a vivid contrast, symbol of traditional metaphysic and harmony switch to modern depression and melancholy. For instance çemenzar (lawn), selvi (cypress) and sahra (sahara), with a reversal meaning, stand for tension between psychic unity and modern life. Traditional life style is addressed an issue that still living at the present, not a nostalgic and historical situation. The kind of usage argue that adaptation of tradition or possibility of its existence. Günvar claim that traditional life style is pushed some small circles and under the risk of disappearance step by step. In contrast to this pessimistic scene, traditional susceptibil ity still is capable of returning to life with refreshing power of words. Tradition is a shelter in harshness of modern life for Ali Günvar. In the poems, it emphasized that tradition unify individual and society, liberate from captivity of materialistic world and has powerful emotional side. For this reason, imaginations and symbols belonging to sufistic unity perception is used frequently. As a response of unstable and undetermined people of modern world, constant and stable principles of past and orientation of traditional people attempt to restoration. Tradition evaluate unilateral because of its sheltering structure. A negative critique or comment about tradition can’t be seeing in his poems. The mentioned characteristic of tradition is an objection to depression of modern world, standardizing of technical life style, discrimination in no only society but also individual’s himself and the perception based on hedonism. Traditional texts and art piece can be thinking a stepping stone from present mood into transcendental intellect. Because of that the texts remembered in Günvar’s poems is selected from the poems that have some sufistic remark. Besides suffer the pangs of love that main theme of Classic Turkish literature transform into transcendental depression in daily life. In this way, Ali Günvar’s poems construct a bridge modern and traditional and aim to give suggestion about solving modern life problems.