Mecmualar, derleyicinin zevk anlayışına göre şekillenen derleme eserlerdir. Edebiyat tarihinin inşasında önemli rol oynayan mecmualar, içeriği kullanılan şekil, yazılış sebebi gibi unsurlar göz önünde bulundurularak sınıflandırılır. Bu mecmualardan biri de inceleme konumuz olan Ravzatü'l-Eşèâr adlı mecmuadır. Ravzatü'l-Eşèâr, Hindistan'ın Haydarâbâd şehrinde bulunan Oriental Manuscripts kütüphanesinde yer alan bir eserdir. Mecmua ilk defa Prof. Dr. Ali Fuat Bilkan tarafından "Hindistan'da Gelişen Türk Edebiyatı" adlı çalışmada tanıtılmıştır. Bu mecmua, Kerbela hadisesi ve Ehl-i Beyt sevgisini konu alan şiirler içermesi yönüyle tematik bir mecmuadır. Mecmuanın bir diğer önemli özelliği de Azeri sahası ve Anadolu sahasında yetişmiş şairlerin şiirlerini içermesidir. Divan edebiyatı ve halk edebiyatı şairlerinin bir araya getirilmiş olması da mecmuayı farklılaştıran diğer bir özelliktir. Derleyicinin, mecmuadaki şairleri seçmede gösterdiği özen de eserin dikkate değer yönlerinden bir diğeridir. Ravzatü'l-Eşèâr'da yer alan şairlerin yaşadığı dönem göz önünde tutulduğunda mecmuanın 19. yy'da istinsah edildiği anlaşılmaktadır. Anadolu ve Azeri Edebiyatı'nın önemli şairlerinden alınmış şiirlerin yer aldığı mecmua, bu iki kültürü bir araya getiren önemli bir kaynak durumundadır. Bu çalışmada, Ravzatü'l-Eşèâr'ın şekil ve içerik özellikleri incelenerek, bu eserin bilim dünyasına tanıtılması amaçlanmıştır. Eser, Prof. Dr. İsmail Hakkı Aksoyak danışmanlığında tarafımızdan doktora tezi olarak hazırlanmıştır.

Majmuas are anthologies that are changeable according to the sense of pleasures of their anthologists. The word ‘Majmua’ had been derived from the root of ‘Jam’ which means to combine as an Arabic Word. The word majmua has been mostly used for combination books of ‘mensur’ or ‘manzum’ pieces in literal area. Majmuas also have importance to reflect the life conceptions, the sense of pleasures and the frame of minds of the poets and the authors of the pieces which they include. Because the messages, those artists give in their works or the topics which they dwell on their arts inhold important tips to let us understand and know their ages. Majmuas which carries an important role in the construction of the literature history are classified by considering some issues such as content, font type and matter. Majmuas are literal works that are shaped according to the pleasures of its compilers. While some of these works had been made up from the poems of poets which share the same ideas and styles, some of them had been from the works about an important topic of their ages. One of these majmuas is also Ravzatü’l-Eşear as our subject of study. Ravzatü’l-Eşear is a work which places in the Library of Oriental Manuscripts in the Haydarabad province of India. This majmua is firstly introduced in a book named ‘Hindistan’da gelişen Türk Edebiyatı’ (Turkish Literature which had been improved in India) written by Professor Ali Fuat Bilkan. This majmua, is a thematic work by including poems about Karbala event and The Ahl-e Bayt love. The subject of majmua, Karbala event and the Ahl-e Bayt is one of the most painful incidents which had affected communities over centuries. The martyrization of Hosayn, (who is grandchild of the prophet Mohammad) and his friends is an event which had been remembered over centuries and had referenced to many areas. While sometimes the dramatic scenes of Karbala event had been subject to a miniature, sometimes it had been portrayed on a theatre stage. Karbala event which had been reflected to many areas such as architecture, music, theatre is an historical age that we mostly encounter as an important subject of the literature area. Within the scope of Karbala, which had been investigated as an important subject in the Turkish Literature, various species an correspondingly various works had been shown up. Maqtal-a Hosayn, Karbalanaghma, Duvazdah, Moharamaya, Nafas are from commonly used examples of those. Another important feature of the majmua is also it is content of poems of poets which had been grown up in Azeri field and Anatolian field. One of these Azeri fielded poets is Hatayî nicknamed Shah Esmael. Shah Esmael, who was born in Ardabyl had encountered with Yawoz Soltan Salem in the Chaldyran War. The poet who reserve an important place in Alawy and Baktashy culture had written poems in folkloric and dewan literature styles both. Another important name of the Azeri field is Fuzuli. Fuzuli who also reserves an important place as a great poet in the Anatolian side, had told the martyrization of Hosayn in Karbala in his famous piece named Hadyqat-as Suada. Nesimi is also a known name as an important poet of Azeri poetry. Nesimi who has many poems in this majmua had believed in Hurufism thought. Another Azeri poet who takes a place by his poetry in the majmua is Sheikh Safy. Sheikh Safy is known as the ancestor of Shah Esmael. Gathering the dewan and the folk literature poets in one work is another differentiative feature of the majmua. While there are some poems in the ‘koshma’ style about Karbala, which are written by folk literature poets, there are also ghazal, mourabba, mouhammas, musaddas styled poetries about the Ahl-i Bayt love and the Karbala event written by dewan literature poets. Ninety five percent of the poems in this majmua are poems written by dewan literature’s verse styles. While the compiler of the majmua had prefered dewan poets in general, he had also chosen poetries from the folk literature field in the five percentage. Because of the writing styles of species about Karbala incident such as Douwazdah, Karbalanaghma, Mouharrameya are in dewan literature templates, it is in sight that in the respect of the subject of this majmua, dewan literature templates had been more preferred. The attention that the compiler had paid while choosing the poets of the majmua is also from another remarkable sides of this work. The majmua features a remarkable point for the togetherness of SunniAlawy sects. The conjunction of Sunni and Alawy poets in the majmua, the feelings of Sunni poets in their Karbala and Ahl-i Bayt poetries indicates the ensurance of that togetherness over centuries. Six poets of the group known as the seven great poet (Yedi Ulu Ozan) which have an important value in the Alawy-Baktashy culture, take places in this majmua except Yamyny. Also there are eight poets who use ‘Baba’ (the father) nickname which is used for Shia originated cult members. And also Sayyed Nezamzaade Sayfy and Baghdathly Rouhy who are known with their proximity to the Alawy-Baktashy culture have scores of poems in the majmua. Poetries which are included to the majmua belongs to the poets who lived during 13th and 19th centuries. These poetries which are written in a long period that spread over five centuries, have importance to let those ages be understood well. When the periods which the poets of majmua had lived in are considered, it is understood that the copying of the majmua had been done in the 19th century. The majmua had been written on an ordinary paper with ‘rekah’ script, and titles, pseudonyms and scales had been shown with red colour. It had not been reached any information nor detail about the compiler of the majmua. Page numbers are used in the majmua instead of leaf numbers. This situation verifies the recentness of the copying date of work. The majmua which had gathered poetries those are taken from respectable poets of Azeri and Anatolian literature, is an important resource which combines these two cultures. In our work, by studying Rhawdhat-al Ashaar’s characteristics and features, the presentation of this piece to science world is aimed. This work is studied by us in the counselings of Professor İsmail Hakkı Aksoyak, as our Phd Dissertation.