Osmanlı Devleti 18. yüzyılın özellikle ikinci yarısında arka arkaya ortaya çıkan bozuklukları gidermek için birçok ıslahata girişmiştir. Bu dönemde birçok şair ve sanatkâr yetişmiş olup bunlardan birisi de hayli mücadeleli bir yaşam süren, bir vali, mutasarrıf ve bey olan Tayyar Mahmud Paşa-yı Samsunîdir. Tayyar Mahmud Paşa'nın hayatı Çapanoğulları ve diğer ayanlarla mücadele içinde geçmiş ve zorlu hayatında şiirin önemli bir yeri bulunmuştur. Divan oluşturacak kadar şiir yazmış olan paşanın zorlu ve mücadeleli yaşamı düşüncelerinde derin izler bırakmış ve şiirlerine de aksetmiştir. Rind bir kişiliğe sahip olan paşa, müsemmen nazım şekliyle yazdığı Sâkînâme'sinde sâkî, şarap, rind, meyhane, kadeh gibi mükeyyifat kavramları üzerinde durmuş, duygularını bu kavramlar üzerinden yansıtmıştır. Paşanın bu sâkînâmesinde rind bir kişiliğe sahip olduğu, tıpkı Kadı Burhaneddin gibi, mücadele dolu yaşamında şiirle genişlikler bulup ruhî ve bediî zevklerini karşıladığı anlaşılmaktadır. Türk edebiyatında az görülen bir nazım şeklini seçerek yazdığı bu manzume, onun şiir zevkini ve hayata bakışını, yaşadığı zorluk ve sıkıntıları da aksettirmektedir. Sâkînâmesinde sıkça mihnet, dert, matem, aman, şikest gibi kelimelerin geçmesi paşanın ne denli zorlu bir süreçte yaşadığına işaret etmektedir. Yaşadığı yüzyılın şiir zevkinin izlerini de taşıyan bu sâkînâmede kelime ve deyimlerin mahallî olduğu, yaşanılan olayları işaret ettiği görülmektedir

Ottoman Empire especially in the second half of the 18th century embarked on several reforms to remedy the disorders repeatedly appeared. Many poets and artists have grown up in the second half of the eighteenth century in the Ottoman Empire. One of them is the Tayyar Mahmoud Pasha who have quite a life of challenges. Mahmoud Tayyar Pasha his life past in the struggle with Capanoglu and other local forces and were in his life of poetry an important place. The Court of the pasha, who wrote poetry to create a challenging and life challenges and left deep traces in his thoughts and poems in the gross yields. The rind has a personality pasha, in his Sakiname which was written in the form of müsemmen sake, wine, rind, guilty of concepts such as taverns, reflected the feelings of these concepts. The pasha in this Sakiname has a rint personality just like Kadi Burhanuddin, the spiritual struggle to find widths and calligraphies full of poetry, the pleasures of life is understood fixes. This poem that he wrote with an uncommon verse type in Turkish literature reflects his poem pleasure, his perspective on life and the difficulty and sorrows that he faced too. Written some words like mourning, sorrow, worry, trouble in Sâkiname indicates how difficult the period that the pasha lived is. In that Sâkiname which carries the traces of poem pleasure on its lived century, it is seen that the words and idioms are local and indicates the lived events. Sâkînâme (poetry depicting alcohol consumption and alcohol culture) of Tayyar Mahmud Pasha is similar to other sâkînâmes in Turkish culture in terms of form, content and the way it handles the subject in question. In this poem, sâkî (person who serves alcoholic beverages) is a reflection of lover and all the love and lust is directed towards the sâkî. But in the last paragraph, the lover is revealed and all words written for the sâkî are turned back to the lover. In this work, the poet makes a reference to one of the main subjects of Classical Literature when describing the meyhane (inn) and sâkî. Written with a flowing style, this sâkînâme is an original work among other sâkînâmes in Turkish literature with its müsemmen versification form and with its different and rarely used rhyme pattern within müsemmen versification form as “aaaaaabb, ccccccdd, eeeeeeff,.........”. In this study, we aimed to introduce a poem that accurately reflects the life and duty of a famous pasha and used a comparative method, because it is possible to see deep traces of the challenging and difficult life. Tayyar Mahmud Pasha lived in a period in which the Ottoman Empire, struggling with decline, corruption and disturbance, was trying to weather the storm. In this period, local authorities attempted many unfair practices on the public and this ultimately led to Reforms. In this period, many works were written containing locality and obscenity. Sâkînâme is one of the commonly used versification types in Divan poetry and the word sâkî means the person who hydrates, gives water or waterbearer. Therefore, sâkînâme, means article, letter belonging to sâkî. In islamic sufism, sâkî represents meanings such as “Feyyâz-ı mutlak (absolute generosity), mürşid-i kâmil (perfect guide)”. The first paragraph of Tayyar Mahmud Pasha’s sâkînâme goes: “Ey sâkî, ben sarhoş için yıkılmak bir gösteriş oldu, eğri ayak ve titrek el ile morardım (O sâkî, collapsing has become a vanity for a drunkard like me, I’m embarrassed with curved feet and trembling hands). Meyhaneyi rintler karış karış bölüştü; sen de hiç durma, hemen gidip onlara karış (Carefree people shared every inch of the tavern; do not stop, go and join them). Rintler arasında sana bağlanmamış hiç kimse yok; öyle ki gönlü gitmiş beni bile güzelliğine meftun etmişsin (There is not a single one among those carefrees who has not fall for you, even I, who lost his heart, am captivated by your beauty). Başının hakkı için bana sağlam bir cevap ver: o seher vakti uyanan mahmur göze bağlanılır, değil mi? (Give me a true answer for the sake of God: Who would’nt fall for those bleary eyes opening to dawn?)”. With this paragraph, the poet talks about his feelings about love, lover, wine and tavern life through the sâkî in a carefree manner. In the third paragraph, it is notable that the pasha expresses the difficult situation he is in. We see, in this paragraph, someone who is tired of struggling with problems and almost begging. Asking for help from the sâkî, the pasha writes: “Ey sâkî yetiş ki, aşktan gönlü gitmiş baygın, isteksiz, işi zor, eli ayağı tutmaz, aşkından şarap dalgası gibi sallanan birisiyim (O sâkî, help me, I’m a person who has lost his heart because of love, unconscious, reluctant, in difficulty, decrepit, swinging like a wave because of love). Seherde kalkan mahmur gözün yarım iltifatına ulaşmışım; selam şöyle dursun, sertçe düşmanlığına razıyım (A half-hearted compliment from your bleary eyes is enough; let alone a greeting, I would be pleased with your hostility). Onun ayağının altında el gibi serilip ezilsem, süt kardeşi gibi de olsam kan helal olur (If I laid down and was crushed under his feet, my blood would be lawful even if we were like brothers).” However, here, the real love of pasha, who his heart belongs to is his lover. But pasha’s love for his lover makes him abuse wine and pasha tries to ease the pain of his love for his lover with wine. And since the sâkî serves wine, he combines the wine served by him with the pleasure and joy of love. In the eight and last paragraph, the pasha reveals the gazelle-eyed lover for whom he longs as follows: “Ey sâkî, başta derdin ağrısı, gönülde zamanın gamı; yeter artık, gamdan elaman, getir şarabı (O sâkî, the pain of my trouble in my head, the worry of time in my heart, enough is enough, bring the wine). Bunca akan kan yaralayıcı gözdendir; sen de bari şarap kadehini akıt da benzesin (All this blood flowing is because of hurtful eyes, you might as well pour the wine just to resemble it). Aman aman, tövbeler olsun hata işledim; bu, şarap ve meyhaneye olan muhtaçlık ve minnet nedir? (Mercy, mercy, I committed a mistake; what is this destituteness and gratitude to the tavern?) İnleyen Tayyar’ı o siyah gözün bir yarım bakışı sarhoş etmeye yeter (A half-hearted look of those black eyes would suffice to intoxicate groaning Tayyar).” In conclusion, this sâkînâme of Tayyar Mahmud Pasha is a different and remarkable poem in terms of form and content. The fact that the pasha wrote this poem with a different versification form is probably due to his difficult, hard life full of fighting. Pasha’s life full of rises and falls placed deep and far-reaching images to his mind and he ultimately produced this sâkînâme. This poem, production of a turbulent and stormy life, is an important text worthy of psychoanalytic evaluation