On yedinci yüzyılda yaşamış ve Sarı Nâ'ib veya Sarı Nâ'ibzâde adıyla bilinen İsmail Na'îm Efendi (mahlası Na'îm), Sebk-i Hindî üslubuyla yazan bir şairdir. İstanbullu olan Na'îm Efendi, Üsküdar mahkemesinde uzun süre kâtiplik, ayrıca müderrislik görevlerinde bulunmuştur. Üsküdar'da, Ramazan 1106 (15 Nisan-14 Mayıs 1695) tarihinde vefat etmiş, yine Üsküdar'da gömülmüştür. Mürettep divanı ve Gülzâr-ı Na'îm isminde bir manzumesi olduğu bilinmektedir. Bugüne kadar kayıp olan divanının eksik bir nüshası, tarafımızca İstanbul Araştırmaları Enstitüsü'nde tespit edilmiştir. Divan kaside, tarih ve gazellerin yanı sıra on sekiz beyitlik bir hammamiye de içermektedir. Bir Sebk-i Hindî şairi olarak ortaya çıkan Na'îm, düzgün ve yerinde söz söylemeye önem veren; söylemek istediğini farklı kelime ve farklı tarzla anlatabilmek için teşbih, mecaz, istiare ve kinaye sanatlarını bir araç olarak tercih eden bir şairdir. Bir mahlas beytinde "Nev-zemîn" ve "tâze" gibi ifadeleri kullanarak yeni bir tarzda yazdığını vurgular. Yer aldığı tezkirelerin yazarlarınca şiirleri beğenildiği anlaşılan Na'îm, şiir hakkındaki görüşlerine Gülzâr-ı Na'îm adlı eserinde bulunan sâkînâmede yer verir. Bu görüşlere göre Na'îm, okuyucu kitlesinin belagat ile beyan ilimlerinin kurallarını bilen ve şiirden anlayanlar olduğunu da bildirir. Na'îm divanında Sebk-i Hindî üslubunun özellikleri olan yapılar, soyut ve somut kavramlarla oluşturulan terkipler, yani "değişik bağdaştırma"lar; farklı duyu organlarının birbirinin yerini alması, herhangi bir duyu organının fonksiyonunun başka bir duyu organına verilmesi veya farklı duyu organlarına ait kavramların aynı ifadede yer alması olarak açıklanan "çoklu duyulama" örnekleri; uzun tamlamalar bulunmaktadır. Konu bakımından da tasavvuf ve ıztırabı işleyen şiirlerle de karşılaşılmıştır

Although the seventeenth century is a period of political, social and economic instability, this situation did not have negative effects on the development of poetry. Conversely, new literary styles like “Sebk-i Hindî” (Indian style) appeared in this period. The biographical books (tezkires) that give information about this period include a large amount of poets who belong to the seventeenth century. This article is about the poet Sarı Nâ’ibzâde (a poet of Sebk-i Hindî style who uses the pseudonym Na’îm) who lived in the seventeeth century, his views about poetry and the features of his poems in his divan. From biographical books we get the information that he has a divan. He has another work written in verse called Gülzâr-ı Na’îm. We know that Na’îm has a divan, but we don’t have any information if there is an extant manuscript of it. An incomplete copy of his divan was found while we were conducting a study for cataloguing the manuscripts in the İstanbul Research Institute. First of all, there will be information about his life according to the tezkires and other biographical works. Afterwards the detailed information about his divan (such as the number and content of kasidas, gazals, etc.), the peculiarities of his poems which were written in Sebk-i Hindî style and finally an evaluation of his poetry with examples from his poems will be given Although the seventeenth century is a period of political, social and economic instability, this situation did not have negative effects on the development of poetry. Conversely, new literary styles like “Sebk-i Hindî” (Indian style) appeared in this period. The biographical books (tezkires) that give information about this period include a large amount of poets who belong to the seventeenth century. For example, the names of 476 poets who lived between the years 1640-1720 are recorded in the tezkire of Safayî. Most of them are from Istanbul and known as men of letter. This article is about the poet Sarı Nâ’ibzâde (who uses the pseudonym Na’îm) who lived in the seventeeth century, his views about poetry and the features of his poems in his divan. First of all, there will be information about his life according to the tezkires and other biographical works. Afterwards the detailed information about his divan (such as the number and content of kasidas, gazals, etc.), the peculiarities of his poems which were written in Sebk-i Hindî style and finally an evaluation of his poetry with examples from his poems will be given. İsmail Na’îm Efendi, who is known as Sarı Nâ’ib or Sarı Nâ’ibzâde, is from İstanbul and his father’s name is Mustafa Efendi. He worked as a clerk (mahkeme kâtibi) for a long time in Üsküdar court; he also worked as an educator (müderris). İskender Paşa Madrasah is recorded as his place of duty in biographical works. He died in Üsküdar in Ramadan 1106 (April 15-May 14th, 1695) and was buried in Üsküdar. He probably lived during the reigns of three sultans, Mehmed the fourth (rules 1648-87), Süleyman the second (rules 1687-91) and Ahmed the second (rules 1691-95). We can add the reigns of İbrahim the first (rules 1640-48) and Murad the fourth (rules 1623-40) if we estimate that he lived longer. From biographical books we get the information that he has a divan. He has another work written in verse called Gülzâr-ı Na’îm. In one of his articles, Kaplan Üstüner introduces Gülzâr-ı Na’îm and presents a part of this work, named as “sakiname”. He also states that he is studying Gülzâr-ı Na’îm with the intention of publishing. We know that Na’îm has a divan, but we don’t have any information if there is an extant manuscript of it. An incomplete copy of his divan was found while we were conducting a study for cataloguing the manuscripts in the İstanbul Research Institute. This copy has 20 fols. There are “na’t”s (poems praising Prophet Muhammed), two poems about the seizure of Niş and Vidin by Şehid Ali Pasha during the reign of Sultan Ahmed (1101/1689-90), a “hammamiye” (poem about the Turkish bath) of eighteen verses, and 61 gazels in this divan. The gazels end with the rhyming letter of “kaf”. There is a parallel poem (nazire) written for Sabrî (his name is Mehmed Şerif, died in 1055/1645), a poet probably lived in the same years with Na’îm. The date of copying of this manuscript can be at the lunar month Racab 1170 (March 22 –April 21 1757) according to the records on the pages 6a and 7a. A note on 1b says that this divan belongs to Naimâ (died in 1716), an Ottoman bureaucrat and historian, who wrote the chronicle known as the Târîh-i Nâimâ. This note may be the reason behind the delay in finding the real writer of the divan. Na’îm, whose poems seem to be have been appreciated by the tezkire writers, states his views about poetry in the “sakiname” part of Gülzâr-ı Na’îm. He states that he presents his “sakiname” to the ones who belongs to a group of science of rhetoric. His readers must be the ones who know the rules of rhetoric and who appreciate poetry. According to his words about “word” in “sakiname”, “word” resembles an endless “sea”. Only the ones who know swimming make use of this sea. It’s not easy to reach to the shores of the sea of “word”. One cannot claim to dive into that sea with merely getting one jug of water. It lasts till the Day of Judgement to write about one drop of that sea. Because God’s blessing has cast its reflection at the core of the word. That is why it cannot be allocated to one person; “word” is a gift given to all people. One can utilize it according to his ability. Only the work written in accordance with the rules of rhetoric can be impressive and attractive. Wandering throughout the realm of the word and writing poems is only possible with pure ability. As a poet of Sebk-i Hindî style, which was a quest for a new and different literary path to walk through, Na’îm values writing orderly and properly but with a new breath; and he uses various similes, metaphors and tropes for creating a different style. He emphasizes in one of his verses that he writes in a new kind of style by using the words like “nevzemîn” (means a new style) and “tâze” (means new, fresh). He compares his pen to rosewood and praises himself for making a rose to blossom in the garden of sense by using his pen. In Sebk-i Hindî style, to write in a new aesthetic point of view, poets use, for instance, paradoxical images (using opposite concepts in one expression or prepositional phrases), concrete and abstract concepts in one prepositional phrase. They also use long prepositional phrases to say something in a shortened and concentrated way. It is important to use refined and deep meanings and images. The subjects of the poems of Sebk-i Hindî style are lyrical, philosophical and mystical. Although poets take notice of the structure of the nature and the society, they tend to express their impressions with elaborate and complex imagery. “Suffering” is one of the main topics in these kinds of poems. In the divan of Na’îm, he uses Sebk-i Hindî features like different metaphors from the classical way of style, paradoxical images, concrete and abstract concepts in one prepositional phrase (like çârsû-yı vasl/the bazaar of reunion, pençe-i nâz/the claw of coyness, câm-ı ümîd/the glass of hope). The subjects of his poems are both lyrical and mystical. The poems featuring the theme “suffering” can be found in some of his poems. There are poems written in the classical style, too. We believe that it will be easier to value Na’îm and his poetry among the poets writing in Sebk-i Hindî style if the complete copy of his divan are to be found.