Kahramanlarını gök cisimlerinden alan çift kahramanlı aşk mesnevilerinden olan Hurşîd ü Hâver, 16. yüzyılda III. Murad devri şairlerinden Hamîdî tarafından yazılmıştır. Eserin yazılış tarihi tam olarak bilinmemektedir. Toplam 163 varaklık hacimli bir eserdir. Şair eserini monotonluktan kurtarmak için farklı nazım biçimleriyle ve farklı aruz kalıplarıyla zenginleştirmiştir. Özellikle asıl hikâye kısmında kahramanların dilinden söylenen gazeller Hamîdî'nin şairlik yeteneğini gösteren başarılı örneklerdir. 16. yüzyıl Osmanlı şiirinin olgunlaştığı, Arapça, Farsça kelimelerin şiir diline hakim olmaya başladığı bir yüzyıldır. Ancak Hurşîd ü Hâver giriş bölümündeki kasideler hariç, sade bir dille yazılmıştır. Eserde uzun tamlamaların bulunduğu sanatlı beyitlere neredeyse hiç rastlanmaz. Uzun nasihat bölümlerindeki atasözü ve deyim kullanımlarıyla eser, mahallî üslup özellikleri de gösterir. Anlatı çocuğu olmayan padişâh motifiyle başlar. Padişâhın çocuk özlemi Hurşîd'in doğumuyla giderilir. Hurşîd'in çocukluğu, büyümesi, eğitim alması eserde ayrıntısıyla anlatılır. Hikâyenin ikinci bölümünde sahneye Hâver çıkar. Bir aşığın elinde Hurşîd'in resmini görür ve ona kavuşmak için yola çıkar. Mesnevideki olayların ağırlıklı bölümünü Hâver'in yaşadıkları oluşturur. Hurşîd'e kavuşmak için şebçerâğı getirmek üzere başlayan yolculuğu boyunca bindiği geminin fırtınaya yakalanması, cadıya esir düşme, sihirle ceylana dönüşme, iftiraya uğrama gibi pek çok zorlukla mücadele eder. Uzun vaka kurgusu boyunca şair, hem sosyal hayat unsurlarından hem de çeşitli masal motiflerinden faydalanarak eserini zenginleştirir. Çalışmamızda Hurşîd ü Hâver'in biçim ve muhteva özellikleri üzerinde durulmuştur

Hurşîd ü Hâver, a masnavi derive from characters’ names after celestial bodies, was written in 16th century by Hamîdî, poet of the Murad III era. The exact date of the writing of the work is unknown. This sizable work is about 163 leaves. The poet enriched his work with different poet types and prosody. Especially in the actual story part, in the poetry of heroes, Hamîdî demonstrate successful examples of poetry. The 16th century Ottoman poetry has matured, Arabic and Persian words began to dominate the language of poetry. However, Hurşîd ü Hâver was written in a modest language except the eulogiums in the entrance section. There are hardly any artistic andpropositional phrase couplets in the work. Also it shows local style with the use of proverbs and idioms in the long advice sections. The work starts with the childless sultan's motif. The Sultan's child longing is resolved by the birth of Hurşîd. Hurşîd's childhood, growth and education are explained in detail. In the second part of the story, Hâver takes to the stage. He sees Hurşîd's picture in the hands of a lover and take the road to reach her. The major part of the events in masnavi comprise of the life of Hâver. Hâver takes the road to get şebçerağ for reaching Hurşîd, He struggles with many difficulties such as taken prisoner by a witch and slander. The poet enriches his work by making use of both social life elements and various fairy tale motifs in the process. In this article Hurşîd ü Hâver is analyzed in terms of form and content Fate, planets and stars, comes up in different ways in classical Turkish literature works. According to old astronomy beliefs, planets undertake different roles are used as an imitation element in Divan poetry. During 14th century sky became a new source for poets who want to separate themselves from the usual aspect of multiple-character love stories. In Persian literature the trend of using celestial bodies as masnavi characters begin with Assar's 'Mihr ü Müşterî’' and followed by Cemâlî’s 'Mihr ü Mâh'. It is said that the first sample about this theme belongs to 15th century however, all the accessible works belongs to 16th century. Hurşîd ü Hâver in which the character named after celestial bodies is one of the samples from late this century. Hurşîd ü Hâver was written by Hamîdî. 'Salim Tezkiresi' is the only source giving information about the poet. According to Tezkire poet originating from Afşar town of Hamid sanjak is an Anotolian Kazasker clerk. It can be understood from the eulogy which Hamîdî wrote for Murad III that he was alive in late 16th century. Due to poet's conflicting information about his age on his masnavi it is impossible to determine his true age. 'Hurşîd ü Hâver' is the only accessible work of the poet. 6570 couplets long work was written in prosody's 'mefâ’îlün mefâ’îlün fa’ûlün' model. Poet used 11 different prosody models that was placed inside his work in form of 17 odes, 2 eulogies and 1 terkib-bend, 1 terci-bend. The usage of different prosodies in diverse nazım types is an evidence for his capability on poetry other than masnavi. 'Hurşîd ü Hâver' is comprised of two parts. In the first part dedicated to Hurşîd, his birth, growth and education is explained in detail. The second part begins with Hâver's falling in love with Hurşîd. This part of the poet is about the struggle that male character subject to reach the loved one. The time line of the events is indefinite and the poet contains great numbers of events. He went from his country to Hurşîd's country in a short time interval. (Hâver was fallen love with Hurşîd's picture) However, it took months for Hâver to leaving this country for taking precious jewel and return to his own country. The only obvious period of time is seasons in the poem. The poet chooses the seasons according the situation that the characters live in. All of the four seasons are appear in the poet. It is winter when he was fallen for Hurşîd and he take the road to find Hurşîd. It is summer when he left his lover to find the precious jewel. In the long run they were succeeding in getting each other in a spring day and they died in autumn. In the work, places are used to reflect the characteristics of the people and the psychological situation that they live in. Hurşîd's castle is high and ostentatious, and the cave of the witch who kidnapped Hâver is dirty and smelly.In this work there is a rich staff number and almost every person has an effect on the way the event is going. Besides the auxiliary characters who accompany with the main characters, there are some auxiliary characters who manipulate maincharacters’’ decision. By this way they might support or obstruct them. The poet usually takes the observer narrator role in this voluminous work, and remains in the background. However he comes to the forefront when he going from one event to another or when there is a message that he wants to convey to the reader. In couplets where he uses dialogue or internal conversation he releases the speech to his masnavi hero and takes on the role of narrator. Hamîdî, generally successful in the use of prosody and rhyme. However he made some prosody defect like in Turkish words med, in Arabic words zihaf and rhyme defects. The work is also rich with regard to literary arts. Especially similitude and hüsn-i talil are remarkable. The depictions of the nature that the poet usually makes are also very successful. His work does not include religious content except invocation, tevhid and eulogy which are located at the beginning of the masnavi. Within the story, religious concepts are only used because of tradition. However, the sections those given for to counsel in the work are too many that they can be a separate work in total. In the introduction section he writes the advices given to him by his poet friend. Afterwards he counsels himself and his son. He gives advice to the characters when needed in the text. The requirements of being good people, the characteristics of the good manager, and the characteristics of the moral woman can be recovered under the counsel headings. Masnavi is very rich in terms of the elements of the social life in which many events take place. From the state order to war, from exchanging letters to telling fortunes many events in the work explained in details sometimes within a coupletand sometimes with multiple couplets. The work resembles to previous “Mihr ü Mâh” style masnavi’ with respect to masnavi pattern and fairy tale patterns. However, because of case establishment and different events it discriminates from others. Because of the female character remain in the forefront of the story, appearance of male character depending on the presence of female character, the struggle of the male character against obstacles which does not appear on other masnavi, it is possible to say that Hurşîd ü Hâver is genuine piece of work