Edebiyat tarihimizde şiirleri en fazla şerhedilen şâirlerin başında Niyâzî-i Mısrî gelmektedir. Mısrî'nin tekke şiiri mahsûlü olan şiirleri üzerine yazılan şerhlerden birisi de on sekizinci asır mutasavvıf şairlerinden olan Mustafa Azbî'ye aittir.Azbî, Niyâzî-i Mısrî'nin Rodos sürgününde yolda yanına görevli olarak verilen saray çavuşudur. Ancak Azbî Mustafa Çavuş, Niyâzî-i Mısrî'nin manevî hasletlerinden etkilenerek görevinden istifa etmiş, ona intisâb ederek dervîşi olmuş ve yirmi yıla yakın bir süre hizmetinde kalmıştır Azbî'nin Dîvân'ı ve Dîvân-ı Tahmîs-i Niyâzî-i Mısrî isimli eserlerinin dışında, bir de makalemize konu olan Şerh-i Gazel-i Mısrî adlı eseri bulunmaktadır.Şerh-i Gazel-i Mısrî'nin tespit edebildiğimiz tek nüshası Süleymaniye Kütüphanesi Hacı Mahmut Efendi Koleksiyonu, 3056 numarada kayıtlıdır. Hem şâiri hem de şârihi mutasavvıf olan şerhler kategorisinde değerlendirilebilecek olan bu eserde Mustafa Azbî, Niyâzî-i Mısrî'nin "içre" redifli yedi beyitlik bir gazelini açıklamıştır. Eser, kırk üç varaktan müteşekkildir. Bu makalede Azbî'nin hayatı ve eserleri hakkında bilgi verilmiş; eserin nüsha tavsîfi, müstensihi, muhtevası, metot ve anlatım teknikleri değerlendirildikten sorna transkripsiyonlu metni verilmiştir. Vahdet-i vücûd nazariyesinden tasavvufun temel mevzûlarını - beyitlerin anlam alanı içerisinde- muhtasar bir şekilde ele alan şârih, sâlikin insan-ı kâmil olma yolunda gerçekleştirdiği mânevî yolculuğu bazı temsiller ve hikâyeler eşliğinde ele almıştır. Eser, remizler kullanılarak alegorik bir üslupta yazılmış, tasavvufî derinliği olan bir şerhtir

Niyâzî-i Mısrî is among the poets who has most-commented poetries. One of the comments which is written for Mısrî’s poetry as a product of tekke (dervish lodge) poetry belongs to Mustafa Azbî, a sufî poet of XVIII th. century. Azbî is the palace sergeant who was in charge of bringing Nîyazî-i Mısrî into exile in Rodos. However, because he was affected by Mısrî’s inner characteristics, sergeant Azbî Mustafa laid down his job, attached himself to Mısrî, became his dervish and served him for about twenty years. Apart from his works Dîvân and Dîvân-ı Tahmîs-i Niyâzî-i Mısrî, Azbî has a work titled Şerh-i Gazel-i Mısrî which is the topic of this article. The only copy of Şerh-i Gazel-i Mısrî that we could confirmed is registered at Suleymaniye Library, Hacı Mahmut Efendi Collection number 3056. In this work which can be categorised as a commentary work of both sufi poet and commentator since contains poetries of a sufi poet and also commentaries of a sufi commentator, Azbî commented a seven couplets ghazal with the redif (repetitive words at the end of every couplets of poetry) “içre”. The commentary composed of 43 folios. In this article, firstly Azbî’s life and work is mentioned in a detailed way; then, transcripted text is fallowed by evaluation of the work’s description, scribal, content, method and expression technique. Azbî, the commentator who explains basic issues of sufism (tasawwuf) briefly from the aspect of unity of existance theory (vahdet-i vucûd) within the frame of the meaning of the couplet, discusses spiritual journey to be a perfect human-being (insan-ı kâmil) by using stories and metaphors. This mystically deep work is a commentary work that written by using emblems in an allegorical style.Exegesis (Şerh in Turkish), described as “explaining and interpreting the obscure points of and epigrams included in a text”, has come to light as a result of efforts to understand the religious texts. That is why, it is appear in the literature that religious-mystical works have a more important and larger place than the others. Exegeses of mystical poems written in Turkish ensured the creation of an important literary tradition in our cultural history. While Yûnus Emre (d. 1320-21) is known as the first poet by his poems being practiced exegesis on, the man whose poems were practiced exegeses most is mystic-poet Niyâzî-i Mısrî (d.1694). This fact shows that Niyâzî-i Mısrî has an important place not only in religious-mystical Turkish poetry but also in our exegesis literature. Mustafa Azbî having a work namely Şerh-i Gazel-i Mısrî is one of the exegetes of Mısrî, a large number of the poems in his work Diwan being practised exegesis. Azbî is the palace sergeant who was in charge of bringing Niyâzî-i Mısrî into exile in Rodos (1085/1674). However, because he was affected by Mısrî’s inner characteristics, sergeant Azbî Mustafa laid down his job, attached himself to Mısrî, became his dervish and served him for about 20 years. Besides his works namely Diwan and Diwan-ı Tahmîs-i Niyâzî-i Mısrî, Azbî, who attached himself to Elvan Çelebi in Bektashi Tekke known as Şahkulu Sultan after the death of Nîyazî-i Mısrî and was elected as “postnişin”(head of a dervish lodge) by Elvan Çelebi, has a work namely Şerh-i Gazel-i Mısrî which is the subject of our paper. In the work of Şerh-i Gazel-i Mısrî, which can be categorized into exegeses of which both the exegetes and poets are mystic, Azbî explained a seven-verse gazel by Mısrî having “içre” repeated voice (redif in Turkish). Only one copy of the work that we could find is registered in Suleymaniye Library Hacı Mahmut Efendi Collection, 3056 number. Its cover is originally paper and back is leather. The work has 15 lines having 43 folios with dimensions of 170x115 mm. The text being quite weak in terms of spelling was written as naskh. The work classically begins with “besmele”, “hamdele” and “salvele”. Then, Azbî placed the seven-verse gazel for exegesis and continued with “sebeb-i telif/teşrih” (the section of the reason statement for creating the work). Exegete who begin with the exegesis of first verse of gazel in 4a, puts light on the very beginning of the creation and presents the truth of existence: The God was there and no one and nothing instead of Him was there. “Air, water, earth and fire”, called as “Anâsır-ı erba‘a” or “mevâdd-i erba‘a” and regarded to be the basic unit of matter, is the leading subject among those mentioned much. Exegete often mentions about some symbolic numbers together with these four elements related with the creation of human/universe. “Love” is one of the significant terms used in exegesis. Azbî sees love at the beginning/core of the existence, mentions on this isuue in the text as “That is why there is no man without love”. While he was explaining the verses, the exegete stressed on the concepts such as “zâhir ve bâtın âlemleri, Celâl ve Cemâl, fenâ ve bekâ, hakîkat-i Muhammediye, marifetullâh, irâde-i ezeliyye, küfür, îmân, seyr, nefs”, placed his missing which he described as “ârzû-yı vahdet-i ezel” into the exegesis concretely and described his acts on the earth as “sa‘yı vuslat” (shadow of meeting). The work that we analyzed consists of prosaic exegesis of a poetic work. However, the exegete sometimes uses poetic quotations in order to enrich the content. While he is doing so, sometimes he gives the name of the author the quotations, and sometimes he just mentions like “That is why it had been said, they had mentioned” and continues with the verse. The poets who Azbî quoted from in the exegesis are Yûnus Emre (d.1320- 21), Nesîmî (d.1417?), Yazıcıoğlu Mehmed (d.1451), Şâh İsmail-i Safevî (d.1524), Edirneli Hüseyin Âlî Çelebi (d.1648), Nakşî Ali Akkirmânî (d.1655) ve Niyâzî-i Mısrî (d.1694). Another issue taking attentions in the exegesis is the affluence of the quotations (iktibas in Turkish) from ayat and hadith. Mustafa Azbî’s work is a mystical exegesis that contains the elements of telmih, temsil and tahkiye and it is written with alegorical style. It is seen that the basis of this exegesis is structured on the relationship among Allah, earth and human within the frame of “the unity of existence”. The exegete mentions about the creation of man, “seyr u suluk” that means the spiritual travel, the struggle with nafs, the inner world of mystical traveler (salik), knowing oneself and lastly knowing creator using metaphorical expression. Therefore, this exegesis that we present its transcription according to contemparary registers should be analyzed by tasawwuf researhers and it should be examined in terms of the symbols that poet used and the world of concepts