Divan şiiri Türklerin İslamiyet’i kabulü ile Türk kültürü içinde yer etmeye başlamış ve 13. yüzyıldan itibaren Anadolu’da

As a “Dasein” person artist is intercommunicating with current conditions and cultural accumulation. Today’s poet accepting the art the way it is, is making use of art of Ottoman culture artworks as an escape or healing way from toughness of modern life. By this way, for almost two long century, Classic Turkish literature still maintain living and is a resource for Turkish literature. This situation applicable for Ali Günvar putting pen to paper his works between 1985 and 2013. The loudest and most clear proof of influences are epigraphs and quotation. The quotations in Günvar’s poems, like a lighthouse, is giving clue about code of texts. Some of these quotation whole or partial. Collected from a lot of cultural environment the quotations prove their artistic richness and canalize readers’ perception to where wish of poets. The massive percentage of quotations is epigrams. In his poems, Fuzuli’s Su Kasidesi (eulogy of water), Nedim’s and Nabi’s lyrics and Galib’s Hüsn ü Ask (Beauty and Love) is quoted. Besides, some books, for example Mevlid, Gül ü Bülbül (Rose and Nightingale), Leyla ü Mecnun, is memorialized with reference saying their names. In aestetic level, classic Turkish poetry, prejudice Modern Turkish Literature with phonic usage, harmony and rhythm. In his poems, first impressive aspect is usage of aruz (prosody in Ottoman style). Some poems named for Gazel, Munacat and Naat. Aruz, used in two poems and some poetic parts, is an instrument of communication between tradition and modern life. Both of these two poem written with the aruz meter that “mefûlü mefâîlü mefâîlü feûlün”. Separately, to bring into consonance, some Ottoman poetic styles take a place in his works. Ottoman lyrics style and its couplet and rhyme system are used intensely. Likewise, mustezad libre is used even with some differences. Because of major importance of sound, Ali Günvar’s books, especially Ricatlar Kitabı, have a strong impact of music. Some song names and even musical notes can be encountered. Besides some of quotations is selected by special poems that be composed for Mevlevi ceremonials. In spite of weakness for originality, symbolic language is took advantage of Günvar’s poetics. Symbols serve the purpose of composing multilayered expressions and implicate some distant and shadowy meaning for readers. According to Ali Günvar, historical and cultural consciousness created by if and only traditional texts and art pieces. Traditional symbolism provide the awareness instrumentally. For that matter, the symbols should be comment as a traditional image rather than outdated and banal usage. Traditional imagination not only express historical conscience, but also in some situations, symbolic language transform and express modern meaning ironically. By the help of a vivid contrast, symbol of traditional metaphysic and harmony switch to modern depression and melancholy. For instance çemenzar (lawn), selvi (cypress) and sahra (sahara), with a reversal meaning, stand for tension between psychic unity and modern life. Traditional life style is addressed an issue that still living at the present, not a nostalgic and historical situation. The kind of usage argue that adaptation of tradition or possibility of its existence. Günvar claim that traditional life style is pushed some small circles and under the risk of disappearance step by step. In contrast to this pessimistic scene, traditional susceptibil ity still is capable of returning to life with refreshing power of words. Tradition is a shelter in harshness of modern life for Ali Günvar. In the poems, it emphasized that tradition unify i