Abstract Song-style poems that started with Nâ’ilî-i Kadîm in the seventeenth century divan poetry, became a style favored by divan poets in time, and especially with Nedîm, it turned into a very popular verse type, and met with Şeyh Gâlib a century later in the eighteenth century. The song verse type, which is written in four-line stanzas and fed from two different poles such as lyrics and music, is usually presented to the listener/reader by composing the first stanza and another stanza that is considered the most beautiful by the composer in various makams. The song verse type, which has a century-long history and accumulation in the eighteenth century, did not differ in form with Şeyh Gâlib, but gained a mystical dimension and depth in terms of content. On the other hand, it is possible to summarize what the song-verse genre added to Sheikh Galib as follows: To occasionally move away from the excessively colorful and tiring richness that emerged with five centuries of literary accumulation in the eighteenth century divan poetry and reach a more lively, simple, and sincere style accompanied by composition and melody. Having tried almost every form of divan poetry, Sheikh Galib added a different color to his art by writing song-poems, and with this artistic move that emerged from the combination of poetry and melody, he managed to write permanent works in this valley with his eleven poems that he wrote directly as song-poems, as well as some of his composed ghazals and musammats.
Sheikh Galib, Song-Poem, Divan Poetry, Composition, Music