Hoca Saadeddin Efendi, Osmanlı coğrafyasında 16. yüzyılda yetişmiş önemli isimlerden biridir. O, devrin kültür, bilim ve devlet hayatına damga vurmuş önemli bir şahsiyettir. Renkli bir kişiliğe sahip Hoca Saadeddin Efendi'nin bu yönünü oluşturan önemli ögelerden biri de şairliğidir. Türkçe'nin yanında Arapça ve Farsça'da şiirler yazabilen Hoca Saadeddin Efendi, ebcedi kullanma ve tarih düşürmeki becerisi de onun şairliği açısından ciddi bir göstergedir. Tüm bunlara rağmen onun şairlik yönü tam anlamıyla ortaya konulamamıştır. Ankara Milli Kütüphane yazma eserler bölümünde bulunan Hoca Saadedin Efendi'nin elif-nâme tertip şekliyle yazılmış içerik olarak dini tasavvufi şiirinin yayımlanması onun şairlik yönünün daha iyi ortaya çıkarılamasına yardımcı olacaktır.Bilim hayatına sunulan elif-nâme örnekleri dikkate alındığında örneklerin Türk edebiyatının halk, klasik ve tasavvuf alanlarına ait olduğu görülmektedir. Hoca Saadeddin Efendi'nin elif-nâmesi de bu çerçeveye uymaktadır. Bu çalışma bahsi geçen şiirin Osmanlı Türkçesi ile yazılmış Ankara Milli Kütüphanede bulunan el yazma metninin transkribe edilmesi, incelenmesi ile metnin şâiri ve elif-nâmeler hakkındaki bilgiyi bünyesinde barındırmaktadır. Makalenin inceleme kısmı; metin olarak sunulan şiirin vezin, nazım şekli, içerik, dil ve üsl?p açısından değerlendirilmesi biçiminde olacaktır. İçerik, dil ve üslup değerlerdirmesi metinden örneklerle de desteklenecektir. Çalışmayla elifnâme şiir tertip türünün bilim çevrelerince daha iyi tanınmasına ayrıca dini- tasavvufi bir tür olan ilâhinin örneklerinin zenginleşmesine katkı sağlamak amaçlanmaktadır.

This study contains research on the poem in the style of elif-nâme written by Hoca Saadeddin Efendi, a writer, statesman, historian and thinker during Ottomans. Hoca Saadeddin Efendi was a writer who could write poems in Turkish, Arabic and Farsi. In addition, his special ability (Tarih Düşürme Ebced) is an important feature in terms of his poetry. Although many aspects of Hoca Saadeddin Efendi have been evaluated, his poetry has not been fully evaluated. We hope the poem that we have published would be an introduction to revealing his poetry ability. Elifnâme is a noun which is formed by the combination of the words elif and nâme. Elif is Tthe first letter of the Arabic alphabet; and nâme in Persian language means letter, pamphlet, book and corpus. The Elif-nâmes are considered as a subdivision of muvashshah (acrostic), but has acquired literary style qualities in many patterns, which have been recently discovered. Considering the examples of the elif-nâme presented to the scientific life, it is observed that the patterns belong to the popular, classical and mystical fields of Turkish literature. The study includes the information about transcription and analysis of the manuscript text found in the National Library of Ankara, written in Ottoman Turkish and the information about the poetry of the text and elif-nâmeler. The examination part of Article Will be in the form of content, language and style evaluation of the poem which is presented in text form. This study’s aim is to contribute to better recognition of the literary style of elif-nâme in scientific areasThe letters, in the history of humanity, since they emerged have been used as the alphabet as well as the source for a lot of belief systems and conceptions. As we check the Islamic civilization in which the Turkish nation is bound to, we see the understanding and systematic developments based on letters. Especially in all areas of literature, letters have been used as ingredients. One of these uses is as Elif-nâmes(plural). Elif-nâmes emerge as a product of acrostic art and in addition to that, it exhibits an independent poetry feature due to its myriad examples and its name as Elif-nâme. Elif-nâme is a noun which is formed by the combination of the words elif and nâme. Elif is Tthe first letter of the Arabic alphabet; and nâme in Persian language means letter, pamphlet, book and corpus. Elifnâme, which has the dictionary meaning in these forms, has many definitions as literary terms, too. One of these meanings is like this: when the first letters of the verses or couplets are vertically put together in order, the alphabet is sorted alphabetically from the first letter Elif to the last one Ye mostly in the format of a fâ‘ilâtün fâ‘ilâtün fâ‘ilâtün fâ‘ilün or with 11 units syllabic verse. It can be seen in different verse types such as Ghazal, Müseddes and Qasida. Furthermore, it can be used in various topics and forms of writings such as religious and didactic subjects. Method This study has focused primarily on translating a text written in Ottoman Turkish into current Turkish language. For this reason, writing text in translation methods are used. In addition, in order to provide information about the type of text and the author, resources have been collected, classified and then an article has been created in accordance with a scientific composition. Findings and Discussion Elif-nâmes Besides categories such as Anatolian classical, lover and mystic poetry, have many examples in other different Turkish communities as well. For example, Ahmet Özçimen by introducing the elif-names in Turkmen literature has contributed to the learning of them outside the Anatolian region. The first example of the Elif-names for the Anatolian territory belongs to Aşık Pasha (1332) and based on the current findings the most examples belong to Bursa Feyzi with nine elif-nâmes. There are a lot of researchers who have worked on elif-nâme. In order to contribute to the researches, we decided to use the Ankara National Library 06 Mil Yz. A 1977/2 registered page numbers 58b-60a, for publishing the elif-nâme which belongs to Hoca Saadedin Efendi. We think that one of the famous scholars and historians of the Ottoman Empire, Hoca Saadeddin Efendi’s elif-nâme, which is the divine essay in the format of writing, will help scientists in understanding his poetry taste. Hoca Saadeddin Efendi was a writer who could write poems in Turkish, Arabic and Farsi. In addition, his special ability (Tarih Düşürme Ebced) is an important feature in terms of his poetry. Although many aspects of Hoca Saadeddin Efendi have been evaluated, his poetry has not been fully evaluated. We hope the poem that we have published would be an introduction to revealing his poetry ability. Before giving a review of the mentioned poem written in Ottoman Turkish, we will talk briefly about Hoca Saadeddin Efendi’s life. Hoca Saadeddin Efendi was born in Istanbul in (1536 or 1537). He is the son of Hasan Can who was buried in Bursa. His grandfather Hafız Mehmed from Isfahan was brought to Istanbul from Tabriz by Yavuz Sultan Selim after Çaldıran victory and served Yavuz. His father, Hasan Can, was the one who showed great merit in chatting and conversation with the king until the last breath of Yavuz Sultan Selim. Hoca Saadeddin's childhood passed around the Ottoman palace. He received the first information about our history, our cultural life and our civilization from his father Hasan Can. However, the main instructors of Hoca Saadeddin were the important scholars of that period Karamani Mehmed Efendi and Ebussuud Efendi. Following his education, he was appointed as a teacher in schools such as Murad Pasha in Istanbul in 1556, Yıldırım Bayezid in Bursa in 1564, Hâric in 1565, Bursa Sultani in 1570, and Sahn-ı Seman in 1572. His appointment as a teacher for Şehzade Murad in 1573 led him to find his reputation as Hoca and Hoca Effendi. It was an important turning point in Hoca Saadeddin's life. With the emergence of Murad Sultan III in 1574, Saadeddin Efendi was known as Hoca-yi Sultani resisü'l-ülemâ. After the death of Murad III in 1595 and during the reign of Mehmed III, he preserved the title of hâce-i sultani. During the reign of Mehmed III, Hoca Saadedin Efendi increased his influence in the government. His opinions were considered in appointing Vezir and the Ulama (considered as a class in Ottoman period). In 1596 he was the reason for a great victory by obstructing the Mehmed III from leaving the battlefield because of dispersed troops during the the Eğri expedition. Hoca Saadeddin was appointed Sheikh ul-islam, a superior authority in the issues of Islam in (1597-1598). Hoca Saadeddin Efendi, who died in Istanbul in (1599), was buried beside Eyüp in the mosque he had built in the presence of Yahya Efendi. After giving brief information about Hoca Saadeddin's life, It is time to give a brief assessment of the poetry we will publish. Let's first examine the poetry in its format. The poem was written in the form of the fâilâtün fâilâtün fâilün. Murabba was used as a verse form. The poem seems to be repetitive since the last part of first stanza was repeating it in the other stanzas. We can give the poem rhyme diagram as aaaa bbbA cccA .... The poem is arranged based on the rhyme at the end of each stanza according to 29 letters. In stanzas, the letters that make up the rhymes are listed as elif, be, te ... . Since the poem is a repetitive Murabba, except the first stanza, the first three lines of the other stanzas were appropriately rhymed in the order of letters. Again, when we look at the poetry we observe the dominant expression of pleading, especially Rabbenâ eslihlenâ a'mâlenâ (our Lord, correct our servants!). Poetry begins with the expression of the transience of the world, the fact that the youth comes and finishes rapidly, and that the absolute end will be reserved for every being. The poet prays God to lead his creatures and to show the right path. Hoca Saadeddin Efendi, by pouring words from his tongue as poetry, demands from Allah that he will be kept from the Day of Resurrection when he is sincerely daring to be saved by the help of God. In the nature of Elif-nâme it is striking to see the use of exclamation prepositions, word expressing a call (Yâ), and prepositions of â used for praying. In the words of the Elders, the Rabbenâ al-a'mâlenâ was reiterated to the content of the poem. Conclusion As a result, we can say that Hoca Saadeddin Efendi's elif-nâme is written apart from the normal form of the fâilâtün fâilâtün fâilâtün fâilün, which is used in the elif-nâmes and it is fâilâtün fâilâtün fâilün . The poetry received in the form of repetitive Murabba verse and is in the religious-mystical content and composed in the framework of making a plea for forgiveness from Allah. The lines of poetry are arranged according to the alphabetical order of the elif-nâmes. This article suggests that Hoca Saadeddin Efendi has enriched the texts by his poetry in the framework of alif-nâme with the remarkable features and helps evaluate and understand his poetry.