Klasik Türk edebiyatında genellikle Arapça, Farsça ve Türkçe yazılarak kendi devrinde birçok kültür çevresi tarafından takdir edilmiş eserlerin birçok kez şerh edildiklerine tanık olmaktayız. Tasavvufi ve klasik eserlerin izahı şeklinde tematik olarak iki uçlu bir seyir izleyen şerh geleneği, edebi eserlerin türleri bakımından ise divan şerhleri, dinididaktik eserlere yapılmış şerhler ve lügat şerhleri şeklinde bir gelişim süreci takip etmiştir. Klasik edebiyatımızın nesirden ziyade nazım ağırlıklı bir edebi ürün yelpazesi oluşturması şerh edebiyatına da sirayet etmiş ve bu yüzden farklı yüzyıllarda kaleme alınmış divan şerhleri önemli bir yekûn teşkil etmiştir. Hiç şüphesiz Farsça yazılmış divanlar arasında en çok şerh edilen yapıt Hâfız Divan'ıdır. Bununla birlikte Saibi Tebrizî, Urfî-i Şirazî, Şevket-i Buhârî ve Şâhî divanları da yine şerh edilen Farsça divanlardandır. Farsça divanlar arasında yer alan Şâhî Divan'ı XVI. yüzyılın önemli şârihlerinden Mustafa Şem'î diğer ismiyle Şem'î Şem'ullah tarafından şerh edilmiştir. Şâhî'nin ülkemiz yazma eser kütüphanelerinde şu ana kadar tespit edilmiş 13 adet divan nüshasının varlığı, şairin Osmanlı kültür coğrafyasında ilgi gördüğünü ortaya koymaktadır. Nitekim Şem'î de eserinin sebeb-i teşrih kısmında şerh sebebini şairin şiirlerinin şahane ve aşıkâne olmasına dayandırmaktadır. Bu çalışmada XVI. yüzyıl şarihlerinden Şem'î'nin önemli şerhlerinden sayılan Şâhî Divan'ı şerhinde alıntıladığı ayet, hadis, Arapça-Farsça kelâm-ı kibârlar ve Türkçe, Arapça ve Farsça manzum parçalar tespit edilerek bu alıntıların geçtikleri ilgili metinlerden örnekler verilmiştir

We have many times works which were written in Arabic, Persian and Turkish in classical Turkish literature, appreciated by several cultural circles in their period, being annotated several times. Following thematicly a double-edged progress in the form of explaining the classical and sufistic works. Annotation tradition has followed diwan annotations in terms of forms of literature works, annotations which are done to religious-didactic works and dictionary annotations. Forming literature work variations which based on verse rather than prose in classical literature has also been seen in annotation literature and so diwan allocations written different have constituted an important total. Doubtlessly the work centuries annoted most among diwan written in Persian is Hafız Diwan’s. Saib-i Tabrizi, Urfi-i Shirazi, Shevket-i Bukhari and Shahi Persian diwans are also the annoted. Shahi diwan, among the Persian diwans, was annoted by Mustafa Shemi or in his other name Shemi Shemullah one of the most prominent poems of XVI. century. That he has had 13 diwan so far in our contry’s libraries has given evident that he got attraction in Ottoman Empire region. But shemi also based the reason of being annotated on poets being fantastic and lovely in the dissection port let the work. In this study, Arabic, Persian and Turkish sources by which Shemi in his Shahi diwan, one of the commentator of XVI century, have determined and some text examples about have seen the subject have been given. is a commentator with more work. He annotated Bostan, Gulistan, Masnavi, Mantıku’t-tayr, and translated works such as Kaside-i Nuniyye, Sürutu’s-salat. There is also a commentator the name of the copyright work Tuhfetü'l-aşıkin. Looking at his works Şem'î'n the commentary they've seen most of the Persian works. These works have been called classic period and both have their own appeal to art and pleasure people take on a mission Emir Shahi, called as Akmelik, was born in Sebzvar, northeast of Tahran. Although resources are unsure about his birthday date, they are sure about his death date, 1453. Having lived a period when Timur’s rulers controlled Iran, Shahi stayed in Bayasungur protection, who was also poet and miniaturist and to visited Herat many times together. İt is possible to meet some projections of the events which he witnessed when he was in Herat. After he had a problem with Baysungur, he went to Zadegan by accepting his invitation and become penman in his famous Gulefşan Pavillion. Emir Shahi’s perfection isn’t limited do not just in poetry but also in miniaturist and music. Most of his miniaturist one nestalik and also was a good lutist. Shahi died in Esterabad and his corpse was brought to Sebzvar and buried in family cemetery. There are some poems written in verse forms in his only work diwan. The copyist of the sample which was applied annotation Huseyin Mağribi says that diwan has 184 ghazels and 24 rubai. But when the poems are examined according their forms, there are 184 gahzels, 5 kıt’a, 15 rubai and 5 muamma. There totally 13 copies belonging to Emir Shahi in written works libraries in Turkey. And also there are totally 5 copies of Shahi’s diwan which was done annotated by Mustafa Shemi, one is in abroad the others are in Turkey. Any literary commentary while commentators are thought to have gone on a more solid ground for religious and cultural perceptions are shaped by the way, do not quote many sources. These verses, hadith, kelam-ı kibar, and poetic pieces can be listed. Shahi also named work in Şerh-i Divan-ı Shahi went to such a citation road. In annotatin generally benefit from the of Surah’ al-Isra, verse 44 and 70 verse, Surah’al-Tin 4 verse, and Suraha’l-Rahman 29 verse. Place a total of 3 hadith is given in annotation. However, some of the hadith rather than just all been a part of. Turkish proverbs and idioms are usually in the form of the so polite kelam-ı kibar is also another kind cited. In annotation are given 4 kelam-ı kibar, 2 Arbic and 2 Persian. Kelam-ı kibar assets in the text of polite at the same time is the biggest proof that has in both languages. Finally Shahi, which took place in different parts of specific poetic language and literature. And 2 parts of this verse in Turkish, 3 Arabic and 150 Persian. The most important reason for not pose a significant checksum Persian verse parts, including madrassas and a good knowledge of the commentators in Persian literature is primarily due to