Appearing among in the products of oral literature throughout literature’s historical development, Ninni is an important acquisi-tion, gaining value by the educative aspect of woman’s motherhood qualification and standing out with the property of its lines’ and tone’s productivity. Folk Literature and Divan Literature, draw attention with their literary arts and lyric recitations. One of the oldest examples seen in Divan Literature is a chapter in Sheikh Galip’s work named “Hüsn ü Aşk”. Another example of ninni in Divan Literature belongs to Şeref Hanım. These two seperate ninnis that are included in Şeref Hanım’s Divan and written in the form of murabba (quadrate) consist of 20 and 12 bents (cantos). The ninni that was written by Gülperi Hanım and is subject to our work holds a difference from the other mentioned ninnis. In this example of ninni, the poet recites the ninni not to another person but to oneself. It is beneficial to look at Gülperi Hanım’s life story in order to determine the reason of this strange situation. In the first resource that includes Gülperi Hanım’s name, it is stated that Gülperi was an odalisque with a Circassian origin and again it is stated that she lived in the palace of Egypt’s governor Ibrahim Pasha’s wife Hoşyar Hanım. After being detached from her family, Gülperi Hanım who was sold at the slave bazaar which was a fact of the period, once again expresses her being taken as an oda-lisque with her lines of poetry. Being one of the female representatives of Classical Literature in the country, Gülperi Hanım’s poems and life style are also remarkable. In this work, as a poet that tells her own lullaby, Gülperi Hanım will be introduced brief-ly and her ninni that is also seen in Sheikh Galip’s works in Classical Literature will be emphasized.
Gülperi Hanım, Classical Turkish Literature, lullaby