Klasik Türk Edebiyatı,

The Classical Turkish Literature, which includes the longest and the most extensive section of our history among literary periods, has managed to maintain its existence even after the ninth century during which it was thought to come to an end due to valuable literary masterpieces by the court poets. Court poets, who have the biggest share in this success, have presented such poems that have lost nothing from their value despite the passing centuries. The Ghazel with “üstüne” Redif , composed by Rasih Ahmed Bey from Balikesir, is one of these valuable literary masterpieces. Many nazire (parallel) have been written until today on the ghazel with “üstüne” redif which was first penned by Safi according to Pervane Bey and by Sultan Cem according to Nazmi from Edirne. Among these nazire, Rasih’s nazire, which was the most striking one and began to circulate even in the period it was written, has overshadowed dozens of parallels written by masters of ghazels such as Necati bey, Lami’i Çelebi and Baki. It was retrieved by Nedim and has been a highly-praised subject in the works of Yahya Kemal and Attila Ilhan. Increase in the quick access to information through internet, it’s becoming an effective medium of communication among the masses through information sharing as well as transporting the Classical Turkish Poetry to the internet environment laid the groundwork for this study. While searching for the reflection of Rasih’s ghazel with “üstüne” redif on the internet environment, firstly websites on the internet platform were scanned with the help of search engines by entering keywords related to ghazel like “üstüne”, “çeşm (eye)”, and “Rasih” and websites that include information/sharing in their contents related to ghazel with “üstüne” redif were identified. The analyzed sites were classified within themselves according to their approach to the ghazel and were dealt with under the following headings: 17. Writing Tahmis (adding three lines to each couplet of the poem and thus increasing the number of lines to five) and Nazire: the first reflection of ghazel with “üstüne” redif on the internet environment is that tahmis was written to this poem even today and this tahmis was shared in personal web-pages. The second is the nazire written by internet users about this ghazel. In these parallels that were seen to be written in different ways, some users made parallels to the entire ghazel and yet others made parallels to a couplet or a verse of it. 18. Mention of it in Newspapers, Magazines and News portals: Rasih’s ghazel with “üstüne” redif was either specifically mentioned or referred to as a part of a news item in some newspapers, magazines and news portals that stream online. 19. Sharing in Social Media: The presence of thousands of users, who shared a wide variety of things related to ghazel with “üstüne” redif such as sharing the ghazel completely or a part of it, adding comments to shares, defining oneself through Rasih’s verses, writing parallels to the ghazel, testing followers on the verses of the ghazel, and providing audiovisual links related to the ghazel even on Twitter which is used less than Facebook on whose use we became world leader among dozens of social media platforms, made it necessary to conduct a separate study on “Rasih’s Ghazel with “Üstüne” Redif and Social Media.” 20. Sharing and Commenting on it in Personal Sites: Internet users made sharing related to ghazel and expressed their feelings and opinions about verses in their personal websites. 21. Making it a Subject of Discussion / Sharing in Forums: It was seen that the ghazel was shared completely or in verses, request on correcting errors related to ghazel shared was made, citations from the articles related to the ghazel were being made, help was sought by asking questions, a reference from the ghazel in response to other party was provided at times, ghazel was found to be amazing and gratitude to those who shared it was expressed,