A<\/p>\n
ABSOLUT\u0130ZM
\nMutlak\u00e7\u0131l\u0131k. Herhangi bir eserde ya da ilkede bir ebedinin varl\u0131\u011f\u0131na ve de\u011fi\u015fmezli\u011fine inanmak, eseri ya da ilkeyi bu de\u011fi\u015fmeze g\u00f6re incelemek.
\nA\u00c7IKLAMA
\nEdebi bir eseri geni\u015f okuyucu kitleleri i\u00e7in anla\u015f\u0131labilir hale getirmek i\u00e7in yap\u0131lan yaz\u0131l\u0131 \u00e7al\u0131\u015fmalar. Sanat\u00e7\u0131lar eserlerinde anlam\u0131 herkes taraf\u0131ndan bilinmeyen s\u00f6zc\u00fckler, deyimler, durumlar ve d\u00fc\u015f\u00fcncelerle, sanatlar kullan\u0131r. Bunlar\u0131n her biri bir olay, bir durum ya da d\u00fc\u015f\u00fcnceyi ifade eder. Okuyucu bunlar\u0131 \u00e7\u00f6zmeden eserin b\u00fct\u00fcn\u00fcn\u00fc anlayamaz. A\u00e7\u0131klaman\u0131n amac\u0131 bu anlamay\u0131 sa\u011flamakt\u0131r.<\/p>\n
A\u00c7IKLIK
\nBir metinde belirtilmek istenen duygu ve d\u00fc\u015f\u00fcncelerin kolay, anla\u015f\u0131l\u0131r, herhangi bir ek yoruma a\u00e7\u0131klamaya gerek kalmadan kavran\u0131labilir olmas\u0131d\u0131r.<\/p>\n
ADAPTE
\nHerhangi bir dilde yaz\u0131lm\u0131\u015f bir eseri, ba\u015fka bir dile yer ve ki\u015fi adlar\u0131n\u0131 de\u011fi\u015ftirerek, olaylar\u0131 \u00f6rf ve adet, duyu\u015f ve d\u00fc\u015f\u00fcn\u00fc\u015f bak\u0131m\u0131ndan aktar\u0131ld\u0131\u011f\u0131 dili konu\u015fanlar\u0131n hayat\u0131na uygulamak y\u00f6ntemli serbest \u00e7eviri tarz\u0131d\u0131r. T\u00fcrk edebiyat\u0131nda daha \u00e7ok tiyatro eserlerinde kullan\u0131l\u0131r. \u00d6rne\u011fin Tanzimat edebiyat\u0131 yazarlar\u0131ndan Ahmet Vefik Pa\u015fa\u2019n\u0131n Moliere\u2019den yapt\u0131\u011f\u0131 adapteler gibi.<\/p>\n
ADAPTASYON
\nFarkl\u0131 t\u00fcrde bir eserin (roman, \u00f6yk\u00fc, an\u0131 gibi), sahne veya sinemaya uyarlanmas\u0131 ya da farkl\u0131 t\u00fcrde bir eserden (roman, destan, \u00f6yk\u00fc gibi) farkl\u0131 bir edebi eser (\u00f6rne\u011fin oyun) meydana getirilmesidir.<\/p>\n
AED
\nEski Yunanl\u0131larda \u015fiirlerini lirle s\u00f6yleyen saz \u015fairlerine verilen ad.<\/p>\n
AFROZ\u0130M
\n\u00c7e\u015fitli konularda mutlak bilinmesi gereken ana \u00f6zellikleri k\u0131sa, a\u00e7\u0131k ve anla\u015f\u0131l\u0131r bir bi\u00e7imde anlatma sanat\u0131. Yazarlar\u0131n derin anlam y\u00fckl\u00fc vecizelerine de afrozim denir.<\/p>\n
A\u011eIZ<\/p>\n
Bir anadilin herhangi bir \u015fivesi i\u00e7inde var olan s\u00f6yleyi\u015f fark\u0131d\u0131r. A\u011f\u0131zlarda dilbilgisi ve s\u00f6zc\u00fckler farkl\u0131 de\u011fildir ancak baz\u0131 sesler de\u011fi\u015fik s\u00f6ylenir. Rumeli a\u011fz\u0131, Karadeniz a\u011fz\u0131 gibi.<\/p>\n
AHREB ve AHREM
\nRubai vezinlerinin ana \u00f6l\u00e7\u00fcs\u00fcd\u00fcr. Mef\u2019ul\u00fc ile ba\u015flayanlara ahreb, mef\u2019ul\u00fcn ile ba\u015flayanlara ahrem denir.<\/p>\n
AHSEN\u00dc\u2019L KASAS
\nK\u0131ssalar\u0131n, hikayelerin en g\u00fczeli. Bu deyim, Kur\u2019an-\u0131 Kerim\u2019de Yusuf Suresi\u2019nde ge\u00e7en Yusuf k\u0131ssas\u0131n\u0131 anlat\u0131r.<\/p>\n
AKD \u00dc HALL
\nD\u00fc\u011f\u00fcmleme ve \u00e7\u00f6z\u00fclme. Divan edebiyat\u0131nda nesir bir eseri nazma \u00e7evirmeye akd, naz\u0131m bir eseri nesire \u00e7evirmeye hall denir.
\nAKICILIK<\/p>\n
S\u00f6zc\u00fck ve c\u00fcmlelerin dile tak\u0131lmadan kolayca okunabilmesi i\u00e7in anlat\u0131lmak istenen d\u00fc\u015f\u00fcncenin rahatl\u0131kla anla\u015f\u0131l\u0131r \u015fekilde ifade edilmesi. Ak\u0131c\u0131l\u0131k, d\u00fc\u015f\u00fcncelerin bir d\u00fczenleme kapsam\u0131nda s\u0131ralanmas\u0131, bu d\u00fc\u015f\u00fcncenin herkes taraf\u0131ndan bilinen ve kolay s\u00f6ylenebilen s\u00f6zc\u00fcklerle anlat\u0131lmas\u0131, c\u00fcmlelerin k\u0131sa ve yap\u0131 bak\u0131m\u0131ndan do\u011fru olmas\u0131 ile sa\u011flan\u0131r. Ak\u0131c\u0131l\u0131k, i\u00e7erikten \u00e7ok bir \u00fcslup \u00f6zelli\u011fidir.<\/p>\n
AKROST\u0130\u015e
\nBir \u015fiirde dizelerin ilk harflerinin yukar\u0131dan a\u015fa\u011f\u0131ya do\u011fru s\u0131raland\u0131\u011f\u0131nda anlaml\u0131 bir s\u00f6zc\u00fck meydana getirmesi. Divan edebiyat\u0131nda akrosti\u015f\u2019e muva\u015f\u015fah ya da istihrac denir. Eski Yunan ve Latin edebiyat\u0131nda ise akrosti\u015f \u201c\u00fc\u00e7 dize\u201d anlam\u0131na gelir.
\n\u00d6rne\u011fin:
\nVarolan bir sen, bir ben, bir de bu bahar
\nElden ne gelir ki? G\u00fczelsin, gen\u00e7li\u011fin var
\nD\u00fcnyada a\u015fk\u0131m\u0131z \u00f6l\u00fcm gibi mukaddes
\n\u0130nan ki bir daha geri gelmez bu g\u00fcnler
\n\u00c2lemde bu and\u0131r bize dost esen r\u00fczgar
\nCahit S\u0131tk\u0131 Taranc\u0131
\n\u015eiirin dizelerinin ilk s\u00f6zc\u00fckleri alt alta okundu\u011funda \u201cVED\u0130A\u201d ismi \u00e7\u0131k\u0131yor.
\nAKS, AK\u0130S
\nBir c\u00fcmlede, bir dizede iki s\u00f6zc\u00fc\u011f\u00fcn ya da s\u00f6zc\u00fck topluluklar\u0131n\u0131n yerleri de\u011fi\u015ftirilerek yap\u0131lan s\u00f6z sanat\u0131. C\u00fcmle ya da dizede bir s\u00f6zc\u00fck di\u011ferinin \u00f6n\u00fcne ya da arkas\u0131na getirilerek c\u00fcmle ya da dize tekrarlan\u0131r. Tard \u00fc aks veya aks \u00fc tebdil de denir. Aks-i tam (tam akis) aks-i nak\u0131s (eksik akis) olmak \u00fczere iki t\u00fcr\u00fc var.
\nAks-i tam, c\u00fcmle ya da dizenin anlaml\u0131 iki par\u00e7as\u0131 kal\u0131p halinde yer de\u011fi\u015ftirir, ekleme ve \u00e7\u0131karma yap\u0131lmaz. \u00d6rne\u011fin:
\nM\u00fcmk\u00fcn de\u011fil Hud\u00e2y\u0131 bilmek de bilmemek de
\nM\u00e2tem g\u00f6r\u00fcn\u00fcr \u015f\u00e2di \u015f\u00e2di g\u00f6r\u00fcn\u00fcr m\u00e2tem
\nAks-i nak\u0131s, C\u00fcmle ya da dizelerde anlaml\u0131 s\u00f6zc\u00fck topluluklar\u0131n\u0131n yerlerinin baz\u0131 ekleme ve \u00e7\u0131karmalar yaparak de\u011fi\u015ftirilmesi y\u00f6ntemidir. \u00d6rne\u011fin:
\nHayran oluyor kudretine, sun\u2019una insan
\nHayran oluyor kudretine, sun\u2019una hayran
\n\u0130smail Safa
\nGelse der-g\u00e2h\u0131na ikr\u00e2m g\u00f6r\u00fcrler k\u00fcrem\u00e2
\nK\u00fcrema dergehine gelse g\u00f6r\u00fcrler ikr\u00e2m
\nZiya Pa\u015fa<\/p>\n
AKSAN
\nVurgu demektir. S\u00f6yleyi\u015f fark\u0131n\u0131 belirtmek i\u00e7in baz\u0131 seslerin \u00fczerine konur.<\/p>\n
AKS-\u0130 M\u00dcFRED
\nBir s\u00f6zc\u00fckteki harflerin sondan ba\u015fa do\u011fru al\u0131nmas\u0131 halinde yine anlaml\u0131 bir s\u00f6zc\u00fc\u011f\u00fcn meydana gelmesidir. \u00d6rne\u011fin ayak-kaya gibi.<\/p>\n
AKS\u0130YON
\nBir edebi eserde olgular\u0131n ak\u0131\u015f\u0131d\u0131r. \u00d6rne\u011fin bir romandaki aksiyon, tan\u0131mlama, d\u00fc\u015f\u00fcnce ve moral b\u00f6l\u00fcmlerinin \u00e7\u0131kar\u0131lmas\u0131ndan sonra kalan olaylard\u0131r.<\/p>\n
ALAKA
\n\u0130lgi. Bir s\u00f6zc\u00fc\u011f\u00fc ger\u00e7ek anlam\u0131n\u0131n d\u0131\u015f\u0131nda bir anlamda (mecazi) kullanmak i\u00e7in d\u00fc\u015f\u00fcn\u00fclen ilgiye alaka denir. Edebi sanatlar\u0131n \u00e7o\u011funda bu durum s\u00f6z konusudur. Bu ili\u015fki ne kadar uygun olursa edebi sanat o derece yerinde ve g\u00fczel say\u0131l\u0131r.<\/p>\n
ALEGOR\u0130
\nBir d\u00fc\u015f\u00fcncenin canl\u0131 bir varl\u0131k olarak anlat\u0131lmas\u0131. Soyut bir d\u00fc\u015f\u00fcnceyi heykel ya da resim ile g\u00f6stermek gibi. \u00d6rne\u011fin adalet d\u00fc\u015f\u00fcncesinin g\u00f6z\u00fc ba\u011fl\u0131 ve elinde terazi bulunan bir kad\u0131nla anlat\u0131lmas\u0131 gibi.AL\u0130TERASYON
\n\u015eiir ya da d\u00fczyaz\u0131da bir uyum yaratmak amac\u0131yla ayn\u0131 sesleri ta\u015f\u0131yan s\u00f6zc\u00fckleri s\u0131k s\u0131k ve art arda tekrarlamak. \u00d6rne\u011fin:
\nSeherlerde seyre koyuldum semay\u0131, deryay\u0131
\nTevfik Fikret
\nKar\u015f\u0131 yatan karl\u0131 kara da\u011flar kay\u0131pt\u0131r.
\nDede Korkut<\/p>\n
ANA DUYGU
\nBir d\u00fc\u015f\u00fcnceden \u00e7ok bir duyguyu dile getirmek, okuyucu ya da dinleyiciye hissettirmek, onlar\u0131n benli\u011finde ya\u015fatmak ama\u00e7l\u0131 yaz\u0131 ya da konu\u015fmalar\u0131n \u00f6ne \u00e7\u0131karmak istedi\u011fi as\u0131l duyguyu anlat\u0131r. Ana duygu bir metnin \u00f6z\u00fcn\u00fc olu\u015fturur. Metinde bu duyguyu destekler haldeki b\u00fct\u00fcn yard\u0131mc\u0131 duygu ve d\u00fc\u015f\u00fcnceler hep ana duyguya ba\u011flanarak onun daha anla\u015f\u0131r ve duyulur olmas\u0131n\u0131 sa\u011flar. Ana duygu konu anlam\u0131na gelmez. Konu anlat\u0131lan \u015fey, ana duygu ise bu anlat\u0131lanlardan \u00e7\u0131kan sonu\u00e7tur.<\/p>\n
ANA F\u0130K\u0130R
\nBelirli bir konuda yaz\u0131lm\u0131\u015f eserlerin temelini olu\u015fturan ve okuyucuya verilmek istenen as\u0131l d\u00fc\u015f\u00fcnce.<\/p>\n
ANAGRAM
\nBir s\u00f6zc\u00fckteki harfleri kullanarak ba\u015fka bir s\u00f6zc\u00fck kurmak. \u00d6rne\u011fin sahip anlam\u0131ndaki \u201cmalik\u201d s\u00f6zc\u00fc\u011f\u00fc ile tamamlamak anlam\u0131ndaki \u201cikmal\u201d s\u00f6zc\u00fc\u011f\u00fc kurulabilir. Anagram \u00e7o\u011funlukla \u00f6zel isimlerde yap\u0131l\u0131r. Ger\u00e7ek isim yerine o isimdeki harflerle yap\u0131lan bir ba\u015fka isim kullan\u0131l\u0131r.<\/p>\n
ANAKRON\u0130ZM
\nMeydana geli\u015f tarihi kesin olarak bilinen bir olay\u0131 ya\u015fad\u0131\u011f\u0131 zaman belli olan bir ki\u015fiyi, de\u011fi\u015fik bir tarihte ger\u00e7ekle\u015fmi\u015f ya da ya\u015fam\u0131\u015f gibi g\u00f6sterme. \u00d6rne\u011fin Nasrettin Hoca\u2019n\u0131n Timur ile ilgili f\u0131kralar\u0131 gibi. Anakronizm bilgi eksikli\u011finden kaynaklanabilir ya da bir ama\u00e7 i\u00e7in bilin\u00e7li olarak yap\u0131labilir.<\/p>\n
ANAL\u0130Z
\nBir b\u00fct\u00fcn\u00fc par\u00e7alar\u0131na ay\u0131rarak detayl\u0131 inceleme. Bir edebi eserin analizi, olaylar\u0131n, ki\u015filerin ve \u00fcsluplar\u0131n ayr\u0131 ayr\u0131 incelenmesi y\u00f6ntemiyle yap\u0131l\u0131r. Analizden \u00e7\u0131kar\u0131lan sonu\u00e7 bir tart\u0131\u015fma konusu olursa bu duruma ele\u015ftiri (tenkit) denir.<\/p>\n
ANEKDOT
\nBir edebi eserde anlat\u0131lan bir olay\u0131n ba\u015fl\u0131 ba\u015f\u0131na ayr\u0131 bir b\u00fct\u00fcnl\u00fck g\u00f6steren par\u00e7as\u0131d\u0131r. K\u0131sa hikaye, f\u0131kra, menk\u0131be anlamlar\u0131n\u0131 da ta\u015f\u0131r.<\/p>\n
ANJANBMAN
\n\u015eiirde c\u00fcmlelerin bir dize ya da beyitte bitmeyip di\u011fer dize, beyit veya bendlere kaymas\u0131d\u0131r. T\u00fcrk \u015fiirine Frans\u0131z \u015fiirinden ge\u00e7ti. Servet-i F\u00fcnun d\u00f6neminde yayg\u0131nla\u015ft\u0131. D\u00fczyaz\u0131y\u0131 \u015fiire yakla\u015ft\u0131ran \u00f6nemli bir \u00fcsluptur. \u00d6rne\u011fin:
\nGe\u00e7en ak\u015fam eve geldim. Dediler:
\nSeyfi Baba
\nHastalanm\u0131\u015f, yat\u0131yormu\u015f.
\n– Nesi varm\u0131\u015f acaba?
\n– Bilmeyiz, o\u011flu haber verdi
\nge\u00e7erken bu sabah.
\n– Ke\u015fke ben evde olayd\u0131m\u2026 Esef
\nettim. Vah vah!
\nBir fener yok mu, verin\u2026 Nerde
\nsopam?
\nK\u0131z \u00e7abuk ol\u2026
\nGecikirsem kal\u0131r\u0131m beklemeyin. Zira
\nyol
\nHem uzun, hem de batakt\u0131r\u2026
\nMehmed \u00c2kif<\/p>\n
ANLAM
\nHer s\u00f6zc\u00fc\u011f\u00fcn anlatt\u0131\u011f\u0131 d\u00fc\u015f\u00fcnce. S\u00f6zc\u00fckler birden fazla anlama gelebilir. Bu durumda anlamlardan biri \u00f6z anlam di\u011ferleri mecaz anlamd\u0131r. S\u00f6zc\u00fckler zamanla yeni anlamlar alarak zenginle\u015febilir. Zamanla anlamlar\u0131n\u0131n kaybetmelerine anlam daralmas\u0131 denir. Dar anlam\u0131 bulunan s\u00f6zc\u00fcklerin anlamlar\u0131n\u0131n geni\u015flemesine de anlam geni\u015flemesi denir.<\/p>\n
ANLATIM
\nDuygu ve d\u00fc\u015f\u00fcncelerin s\u00f6zl\u00fc ya da yaz\u0131l\u0131 ifadesi. Edebiyatta daha \u00e7ok yaz\u0131l\u0131 anlat\u0131m i\u00e7in kullan\u0131l\u0131r. Anlat\u0131m\u0131n arac\u0131 s\u00f6zc\u00fcklerdir. S\u00f6zc\u00fcklerin dilbilgisi kullar\u0131na uygun olarak s\u0131ralanmas\u0131yla anlat\u0131m ortaya \u00e7\u0131kar. Edebiyatta anlat\u0131m genel olarak iki t\u00fcrde yap\u0131l\u0131r. Biri nesir (d\u00fczyaz\u0131) di\u011feri naz\u0131m (\u015fiir).<\/p>\n
ANTOLOJ\u0130
\nGer\u00e7ek sanat eseri de\u011ferindeki \u00f6rneklerin bir araya getirildi\u011fi derleme yap\u0131tlar. Yunanca anthos (\u00e7i\u00e7ek) ve legein (toplama) s\u00f6zc\u00fcklerinden t\u00fcremi\u015ftir. Bat\u0131\u2019da ilk \u00f6rneklerini Yunanl\u0131lar verdi. Gadaral\u0131 Meleagros ile Makedonyal\u0131 Filippos\u2019un Stephanos (\u00c7elenk) isimle derlemeleri ilk antolojidir. T\u00fcrk\u00e7e\u2019deki ilk antoloji ise \u00d6mer bin Mezid\u2019in 1436\u2019da yapt\u0131\u011f\u0131 Mecmuat\u00fc\u2019n Nez\u00e2ir\u2019dir. 83 \u015fairin 397 \u015fiirini kapsayan bu antolojiyi Prof. Dr. Mustafa Canpolat 1978\u2019de Latin harfleriyle yay\u0131mlad\u0131.<\/p>\n
ANTON\u0130M
\nTers anlaml\u0131 s\u00f6zc\u00fckler. S\u0131cak-so\u011fuk, iyi-k\u00f6t\u00fc, ac\u0131-tatl\u0131, k\u0131sa-uzun, g\u00fczel-\u00e7irkin gibi.<\/p>\n
APOSTROF
\nKesme i\u015fareti. \u00d6zel isimleri eklerinden ay\u0131rmak i\u00e7in (Ali\u2019nin kalemi), s\u00f6zc\u00fckteki d\u00fc\u015fen bir harfi belirtmek i\u00e7in (n\u2019olur=ne olur), s\u00f6zc\u00fc\u011f\u00fcn ekiyle kar\u0131\u015fmamas\u0131 i\u00e7in (kola\u2019n\u0131 i\u00e7tin mi) kullan\u0131l\u0131r.<\/p>\n
ARA\u00c7SIZ \u00dcSLUP
\nBir fikri, bir duyguyu s\u00f6yleyenlerden do\u011frudan do\u011fruya aktarmak. Monolog ve diyaloglar ara\u00e7s\u0131z \u00fcslup \u00f6rnekleridir.<\/p>\n
ARKA\u0130ZM
\nBir dilin eskimi\u015f s\u00f6zc\u00fcklerini ya da c\u00fcmle kurulu\u015flar\u0131n\u0131 kullanarak edebi eser yaratma. Bu eserlere arkaik denir.<\/p>\n
ASALET
\nEdebi eserlerde terbiye d\u0131\u015f\u0131, \u00e7irkin, baya\u011f\u0131, m\u00fcstehcen ve galiz say\u0131lan s\u00f6zc\u00fcklerden ka\u00e7\u0131nmak. Edeb-i kelam ya da m\u00fcmtaziyet de denir. Tersi eserlere hasaset ad\u0131 verilir.<\/p>\n
ASKI
\nHalk edebiyat\u0131nda saz \u015fairleri aralar\u0131ndaki \u015fiir yar\u0131\u015fmalar\u0131nda kazananlara verilmek \u00fczere duvara t\u00fcfek, k\u0131l\u0131\u00e7, heybe, saz gibi \u015feyler asard\u0131. Bunlara ask\u0131, ask\u0131y\u0131 kazanmaya da ask\u0131 indirmek denir.<\/p>\n
\u00c2Y\u00ceNE
\nS\u00f6zc\u00fck anlam\u0131 aynad\u0131r. Herhangi bir \u015feyi veya hali yans\u0131tan, g\u00f6z\u00f6n\u00fcnde canland\u0131ran anlam\u0131nda kullan\u0131l\u0131r. Tasavvuf edebiyat\u0131nda d\u00fcnya, Allah\u2019\u0131n tecelli etti\u011fi bir aynad\u0131r.<\/p>\n
B<\/p>\n
BAB
\nBir edebi eserin d\u00fczenlenmesinde, konular\u0131n ele al\u0131n\u0131p i\u015flenmesine g\u00f6re ayr\u0131ld\u0131\u011f\u0131 b\u00f6l\u00fcmlerden en geni\u015f olan\u0131.<\/p>\n
B\u00c2DE
\n\u00dcz\u00fcm \u015farab\u0131. Ama tasavvuf edebiyat\u0131nda a\u015fk anlam\u0131ndad\u0131r.<\/p>\n
BAHR-I TAV\u00ceL
\nVezinli, kafiyeli uzun nesir c\u00fcmlelerden kurulan Divan edebiyat\u0131 naz\u0131m t\u00fcr\u00fc. Fe\u2019ilat\u00fcn, mefa\u2019il\u00fcn, m\u00fcstef\u2019il\u00fcn gibi c\u00fczler arka arkaya tekrarlan\u0131r. T\u00fcrk edebiyat\u0131nda \u00e7ok az kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n
BALAD
\n\u00dc\u00e7 uzun bir k\u0131sa bendden olu\u015fan Bat\u0131 edebiyat\u0131 naz\u0131m t\u00fcr\u00fc. Uzun bendlerin dize say\u0131s\u0131 6-10 aras\u0131nda de\u011fi\u015fir. K\u0131sa bend ise 4-5 dizedir. Bu bend tanr\u0131ya, krala, prense ithaf bendidir. Her bendin sonundaki m\u0131sra bir t\u00fcr nakaratt\u0131r. Masal ve hikaye niteli\u011findeki bendleri ele al\u0131p i\u015fleyen, k\u0131sa ve hikayesi olan \u015fiirlerdir.<\/p>\n
BAS\u0130TNAME
\nDivan edebiyat\u0131nda yal\u0131n T\u00fcrk\u00e7e ile yaz\u0131lm\u0131\u015f gazeller. Bunlara T\u00fcrk\u00ee-i basit gazel de denir. Basitnamelerde Arap\u00e7a ve Fars\u00e7a s\u00f6zc\u00fcklerle tamlamalar \u00e7ok azd\u0131r. \u00d6rne\u011fin:
\nD\u00fc\u015fdi bu g\u00f6nl\u00fcm sana hey sevd\u00fc\u011f\u00fcm
\nN\u2019ola yak\u0131\u015fsan bana hey sevd\u00fc\u011f\u00fcm
\n\u00c7\u00fcn seve geldi seve gider seni
\nBu g\u00f6n\u00fcl \u00f6nden sona hey sevd\u00fc\u011f\u00fcm
\nAyruluk derdi bana bir bun durur
\nKim d\u00f6yer imdi buna hey sevd\u00fc\u011f\u00fcm
\nTurmad\u0131m u\u00e7mak diler g\u00f6nl\u00fcm ku\u015f\u0131
\nY\u00fcce k\u00f6\u015fk\u00fcnden yana hey sevd\u00fc\u011f\u00fcm
\nY\u00fcz\u00fcni g\u00f6zler g\u00fczel bu uy\u00fczden ay
\nGiceler kalur tana hey sevd\u00fc\u011f\u00fcm
\nA\u011fz\u0131n\u0131 \u00f6pmek ana ol kim sen\u00fcn
\nS\u00f6\u011fme yok yire ana hey sevd\u00fc\u011f\u00fcm
\nC\u00e2n\u0131 dahi bir kez ana hey sevd\u00fc\u011f\u00fcm
\nEdirneli Nazmi<\/p>\n
BED\u00ce
\nS\u00f6z\u00fc, kula\u011fa ho\u015f gelecek ve ruha heyecan verecek \u015fekilde g\u00fczelle\u015ftirme yollar\u0131n\u0131 g\u00f6steren bilim. \u0130lm-i bed\u00ee de denir. Bu isim alt\u0131nda toplanan sanatlar iki gruba ayr\u0131l\u0131r:
\nS\u00f6zle ilgili sanatlar (Sanayi-i lafziye): Cinas, i\u015ftikak, seci, kalp, tedvir, aks, teddil, tasri, tarsi gibi.
\nAnlamla ilgili sanatlar (Sanayi-i m\u00e2neviye): \u0130lhan, tevriye, tenas\u00fcp, m\u00fcbala\u011fa, leff \u00fc ne\u015fr, tensik, m\u00fcgalata-i m\u00e2neviye, tecah\u00fcl-i \u00e2rif, h\u00fcsn-i ta\u2019lil, tezat, istifham, r\u00fccu, tekrir, telmin, insal-i mesel, istidrak, tevcih, iktibas gibi.<\/p>\n
BEL\u00c2GAT
\nD\u00fczg\u00fcn ve yerinde s\u00f6z s\u00f6yleme sanat\u0131. S\u00f6z\u00fcn d\u00fczg\u00fcn, a\u00e7\u0131k, anla\u015f\u0131l\u0131r, g\u00fczel olmas\u0131n\u0131, s\u00f6yleme nedeniyle, s\u00f6ylenene g\u00f6re d\u00fczenlenmesini \u00f6\u011freten bir bilimdir.<\/p>\n
BER\u00c2AT-I \u0130ST\u0130HSAL
\nS\u00f6z\u00fcn ba\u015f\u0131nda eserde anlat\u0131lanlar\u0131 belirten s\u00f6zc\u00fck ya da s\u00f6yleyi\u015fler. Ber\u00e2at \u00fcst\u00fcn gelmek, istihsal yeni ay\u0131n g\u00f6r\u00fcnmesi, ya\u011fmurun ya\u011fmas\u0131, \u00e7ocu\u011fun do\u011farken \u00e7\u0131\u011fl\u0131k atmas\u0131 anlamlar\u0131na gelir. Bu edebi sanata h\u00fcsn-i ibtida ad\u0131 da verilir. Amaca iki yolla ula\u015f\u0131l\u0131r. Bir ili\u015fki kurularak ya da ili\u015fki kurulmadan. \u0130li\u015fki kurulmas\u0131na tahall\u00fcs, kurulmamas\u0131na iktidab denir. Sinan Pa\u015fa\u2019n\u0131n Tazarru\u2019namesi, Fuzuli\u2019nin H\u00fcsn\u2019\u00fc A\u015fk\u2019\u0131, Cevdet Pa\u015fa\u2019n\u0131n Belagat-\u0131 Osmanniye adl\u0131 eserlerinde bu sanat\u0131n g\u00fczel \u00f6rnekleri vard\u0131r.<\/p>\n
BERCESTE
\n\u00d6z, g\u00fczel, latif, ince anlaml\u0131, kolayca hat\u0131rlanan, yap\u0131s\u0131 sa\u011flam dize ya da beyit. Dize i\u00e7in daha \u00e7ok m\u0131sra-\u0131 berceste, beyit i\u00e7in de beyt-i berceste tan\u0131mlamalar\u0131 kullan\u0131l\u0131r. Genel anlamda bir \u015fiirdeki en g\u00fczel dize ya da beyit de denebilir. Baz\u0131 berceste \u00f6rnekleri:
\nUyduk dil-i div\u00e2neye dil uydu hev\u00e2ya
\nRuhi
\nSu uyur d\u00fc\u015fmen uyur hasta-i hicr\u00e2n uyumaz
\n\u015eeyh G\u00e2lib
\n\u00c7e\u015fmini g\u00f6rd\u00fcm unutdum derdi de derm\u00e2n\u0131 da
\n\u015eeyh G\u00e2lib
\nOlmaya devlet cihanda bir nefes s\u0131hhat gibi
\nMuhibb\u00ee (Kanuni)
\n\u015e\u00eerler pen\u00e7e-i kahr\u0131mda olurker lerz\u00e2n
\nBeni bir g\u00f6zleri \u00e2h\u00fbya zebun etdi felek
\nII. Selim<\/p>\n
BERDAR
\nAs\u0131lm\u0131\u015f, dara\u011fac\u0131na \u00e7ekilmi\u015f. Divan ve tasavvuf edebiyat\u0131nda sevgilinin sa\u00e7lar\u0131na vurulan \u201c\u00e2\u015f\u0131k\u201d\u0131 tan\u0131mlamak i\u00e7in kullan\u0131l\u0131r. \u00d6rne\u011fin:
\nAya\u011f\u0131 yire mi basar z\u00fclfine ber-d\u00e2r olanun
\nZevk \u00fc \u015fevk ile vir\u00fcr c\u00e2n \u00fc seri d\u00f6ne d\u00f6ne
\nNecati
\nD\u00e2r olam gerd\u00e2r olam ber-d\u00e2r olam mans\u00fbr olam
\nYunus Emre<\/p>\n
BEZM
\nSohbet, muhabbet, i\u00e7ki meclisi. Daha \u00e7ok divan edebiyat\u0131nda kullan\u0131l\u0131r. Tamlamalar halindedir. \u00d6rne\u011fin bezm-i n\u00fb\u015f\u00e2n\u00fb\u015f durmadan i\u00e7ilen meclis demektir. Bezm-i v\u00fcslat kavu\u015fma meclisidir. Bezm-i muhabbet a\u015fk meclisidir. Bezm-i mey i\u00e7ki meclisidir. Tasavvuf edebiyat\u0131nda bezm-i elest \u015fekli kullan\u0131l\u0131r. Ba\u015flang\u0131c\u0131 olmayan zaman demektir.<\/p>\n
B\u0130LAD\u0130YE
\nBeldeleri konu edinen edebi eserler. Sanat\u00e7\u0131lar g\u00f6rd\u00fckleri, gezdikleri, sevdikleri ya da g\u00f6rmek istedikleri beldeleri naz\u0131m ya da nesir \u015feklinde anlat\u0131r. Divan edebiyat\u0131nda Ferdi, Dervi\u015f \u00d6mer Efendi gibi \u015fairlerin biladiyeleri vard\u0131r.<\/p>\n
BOZLAK
\nHalk edebiyat\u0131m\u0131zda bir ezgi t\u00fcr\u00fc. Konusunu a\u015firet kavgalar\u0131ndan, kan davalar\u0131ndan, a\u015fk maceralar\u0131ndan al\u0131r. \u00c7oklukla G\u00fcney ve Orta Anadolu b\u00f6lgelerinde s\u00f6ylenir. Af\u015far bozla\u011f\u0131, Urum bozla\u011f\u0131 gibi t\u00fcrleri vard\u0131r<\/p>\n
C \/ \u00c7<\/p>\n
CEM\u2019\u0130YYET
\nBirbirine uygun veya birbirine kar\u015f\u0131t anlaml\u0131 s\u00f6zc\u00fckleri bir arada bulundurma. B\u00f6yle s\u00f6zlere cem\u2019iyyetli ad\u0131 verilir.CEVAZ-\u00ce EDEB\u00ce
\nS\u00f6zc\u00fc\u011f\u00fc vezne uydurmak amac\u0131yla baz\u0131 de\u011fi\u015fikliklerle kullan\u0131lmas\u0131, hecelerin, seslerin ucun ya da k\u0131sa okunmas\u0131 \u015feklinde yap\u0131lan yanl\u0131\u015flar\u0131 ho\u015f kar\u015f\u0131lama. \u015eiirde b\u00f6yle kullan\u0131\u015flar \u201ckusur\u201d kabul edilir.<\/p>\n
CEZ\u00c2LET
\nS\u00f6yleyi\u015fleri kula\u011fa sert gelen s\u00f6zc\u00fckleri tan\u0131mlar. Uyumu konuya g\u00f6re ayarlayan \u00f6nemli bir anlat\u0131m \u015fekli. \u00d6rne\u011fin, sanat\u00e7\u0131 \u015fiddet, b\u00fcy\u00fckl\u00fck, vakar, \u00f6l\u00fcm, korku, sava\u015f gibi konular\u0131 anlat\u0131rken ya da i\u015flerken, s\u00f6zc\u00fckleri de anlatt\u0131\u011f\u0131 konuya uygun d\u00fc\u015fecek kal\u0131n sesliler aras\u0131ndan se\u00e7er. Sava\u015f\u0131 anlat\u0131rken \u00e7ek\u00e2\u00e7\u00e2k, g\u00fclbank gibi s\u00f6zc\u00fcklerin kullan\u0131lmas\u0131 gibi. Bu t\u00fcr kal\u0131n seslilere elf\u00e2z-\u0131 cezele, ta\u015f\u0131d\u0131klar\u0131 niteli\u011fe de cez\u00e2let denir. \u00d6rne\u011fin:
\nSaflar d\u00fcz\u00fcp h\u00fccum h\u00fccum edilecek hayl-i d\u00fc\u015fmene
\nDeh\u015fet \u00e2sim\u00e2n u zem\u00een p\u00fcr-fig\u00e2n olur
\nEvc-i hav\u00e2da \u00e7ek\u00e2\u00e7\u00e2k \u0131 tigden
\n\u00c2vaz-\u0131 ra\u2019d u s\u00e2ika reh-g\u00fcmk\u00fcn\u00e2n olur
\nNef\u2019i<\/p>\n
C\u00d6NK
\nHalk edebiyat\u0131 \u00fcr\u00fcnlerinin yaz\u0131ld\u0131\u011f\u0131 defterler. Bir t\u00fcr antoloji say\u0131l\u0131rlar ve yazarlar\u0131n\u0131n kim oldu\u011fu \u00e7o\u011fu zaman bilinmez.<\/p>\n
\u00c7APRAZ KAF\u0130YE
\nD\u00f6rder m\u0131sral\u0131 bendlerle kurulan naz\u0131m \u015fekli. Her d\u00f6rtl\u00fc\u011f\u00fcn tek say\u0131l\u0131 dizeleri ile \u00e7ift say\u0131l\u0131 dizeleri kendi aralar\u0131nda kafiyelidir. D\u00f6rtl\u00fck say\u0131s\u0131 s\u0131n\u0131rl\u0131 de\u011fildir. Her t\u00fcr konuya uygun oldu\u011fu i\u00e7in \u00e7ok kullan\u0131l\u0131r. \u00c7aprazlama da denir. \u00d6rne\u011fin:
\nH\u00e2f\u0131z\u2019\u0131n kabri olan bah\u00e7ede bir g\u00fcl varm\u0131\u015f
\nYeniden her g\u00fcn a\u00e7arm\u0131\u015f kanayan rengiyle
\nGece, b\u00fclb\u00fcl a\u011faran vakte kadar a\u011flarm\u0131\u015f
\nEski \u015e\u00eer\u00e2z-\u0131 hay\u00e2l ettiren \u00e2hengiyle
\nYahya Kemal Beyatl\u0131 (Rindlerin \u00d6l\u00fcm\u00fc) <\/p>\n
D<\/p>\n
DAND\u0130ZM
\nYapmac\u0131k \u00fcslup. Bu \u00fcslup sanat\u00e7\u0131lar\u0131n taklit edilmemek amac\u0131yla kulland\u0131klar\u0131 \u00fcsluptur.<\/p>\n
DARAYAK
\n\u00c2\u015f\u0131k edebiyat\u0131nda kafiye olma olas\u0131l\u0131\u011f\u0131 d\u00fc\u015f\u00fck s\u00f6zc\u00fckler. \u00c2\u015f\u0131k\u0131n kar\u015f\u0131la\u015fma ya da at\u0131\u015fma s\u0131ras\u0131nda en az\u0131ndan d\u00f6rt ayak kafiye bulmas\u0131 gerekir. Di\u011fer \u00e2\u015f\u0131k da ayn\u0131 ayakta d\u00f6rt s\u00f6zc\u00fck s\u00f6ylemek zorundad\u0131r. Darayak bu durumda i\u015fe yarar. Darkap\u0131 olarak da adland\u0131r\u0131l\u0131r.<\/p>\n
DARB-I MESEL
\nMeydana gelen bir durumu, olay\u0131 bir \u00f6rnekle anlatmakta kullan\u0131lan kal\u0131pla\u015fm\u0131\u015f, anlaml\u0131 s\u00f6zler. Dur\u00fbb-\u0131 ems\u00e2l diye de bilinir.<\/p>\n
DEKANLIK
\nEdebiyat\u0131 soysuzla\u015ft\u0131rd\u0131klar\u0131 \u00f6ne s\u00fcr\u00fclen sanat\u00e7\u0131 ya da ak\u0131mlara verilen isim. \u00d6rne\u011fin Ahmet Mithat Efendi, Edebiyat-\u0131 Cedide \u015fairlerini g\u00fcl\u00fcn\u00e7 g\u00f6stermek i\u00e7in onlara dekanlar demi\u015ftir.<\/p>\n
DEL\u00c2LET
\nS\u00f6z ile anlam aras\u0131ndaki ba\u011flant\u0131. Bir s\u00f6zc\u00fc\u011f\u00fcn okundu\u011fu ya da s\u00f6ylendi\u011fi zaman beyinde canland\u0131rd\u0131\u011f\u0131 anlam. \u0130ki ba\u015fl\u0131kta incelenir:
\nS\u00f6zle alakal\u0131 olmayan del\u00e2let (gayr-i lafzi del\u00e2let): Bu da ikiye ayr\u0131l\u0131r:<\/p>\n
Del\u00e2let-i vaz\u2019iyye: S\u00f6zc\u00fckle anlam\u0131 aras\u0131nda s\u00f6zle ilgili olmayan \u00e7a\u011fr\u0131\u015f\u0131ma dayal\u0131 bir ba\u011flant\u0131 vard\u0131r. \u015eemsiyenin ya\u011fmuru an\u0131msatmas\u0131 gibi.<\/p>\n
Del\u00e2let-i akliye: Par\u00e7an\u0131n b\u00fct\u00fcn\u00fc, eserin yay\u0131nc\u0131s\u0131n\u0131, kainat\u0131n Allah\u2019\u0131 an\u0131msatmas\u0131 gibi.
\nS\u00f6zle alakal\u0131 del\u00e2let (Lafz-\u0131 del\u00e2let): Bu da \u00fc\u00e7e ayr\u0131l\u0131r:<\/p>\n
Del\u00e2let-i mutab\u0131kiye (Uygunluk): S\u00f6z\u00fcn, ifade etti\u011fi \u015feyin b\u00fct\u00fcn\u00fcn\u00fc ifade etmesi. \u00d6rne\u011fin ev denince b\u00fct\u00fcn odalar\u0131n\u0131n akla gelmesi gibi.<\/p>\n
Del\u00e2let-i tazammuniye: S\u00f6z\u00fcn ifade etti\u011fi \u015feyin bir b\u00f6l\u00fcm\u00fcn\u00fc ifade etmesi. Musluktan \u00e7e\u015fme, evden oda gibi.<\/p>\n
Del\u00e2let-i iltizamiye: S\u00f6z\u00fcn kendi anlam\u0131 i\u00e7in gerekli olan bir ba\u015fka anlamda kullan\u0131lmas\u0131. Eli a\u00e7\u0131k, g\u00f6nl\u00fc geni\u015f, a\u011fz\u0131 s\u0131k\u0131 gibi.<\/p>\n
DEVR ya da DEV\u0130R
\nTasavvufa g\u00f6re, yarat\u0131l\u0131\u015f (madde) ve sona eri\u015f (mead) aras\u0131ndaki safhalar\u0131 anlatan sistem. Tasavvuf\u00e7ular bu sistemi bir daireye benzetti\u011fi i\u00e7in bu ismi ald\u0131.<\/p>\n
DEVR\u0130YE
\nTasavvuf edebiyat\u0131nda devr konusunu i\u015fleyen \u015fiirler.<\/p>\n
DEY\u0130M
\n\u00c7oklukla ger\u00e7ek anlamlar\u0131n\u0131n d\u0131\u015f\u0131nda bir anlam ta\u015f\u0131yan kal\u0131pla\u015fm\u0131\u015f s\u00f6zler. En az iki s\u00f6zc\u00fckle kurulur. K\u0131sa ve \u00f6zl\u00fc anlat\u0131m arac\u0131d\u0131r. Te\u015fbih, istiare, mecaz ve kinaye unsurlar\u0131yla bir olay\u0131 tan\u0131mlar ya da ifade eder. \u201cA\u011f\u0131r ba\u015fl\u0131\u201d, \u201cDostlar al\u0131\u015fveri\u015fte g\u00f6rs\u00fcn\u201d gibi.<\/p>\n
DEY\u0130\u015e
\nT\u00fcrk halk edebiyat\u0131nda hece vezniyle s\u00f6ylenen \u015fiirler. T\u00fcrk\u00fc, destan, ko\u00e7aklama, g\u00fczelleme, ta\u015flama, nefes, ko\u015fma, tekerleme t\u00fcrlerinin hepsine deyi\u015f ad\u0131 verilir. \u201cDeme\u201d s\u00f6zc\u00fc\u011f\u00fc de kullan\u0131l\u0131r.<\/p>\n
DEY\u0130\u015eME
\nHalk edebiyat\u0131nda \u00e2\u015f\u0131klar\u0131n kar\u015f\u0131l\u0131kl\u0131 \u015fiir s\u00f6ylemesi. At\u0131\u015fma da denir. En az iki \u00e2\u015f\u0131k kendi kendilerine ya da bilirki\u015filer ve dinleyiciler kar\u015f\u0131s\u0131nda belli kurallar \u00e7er\u00e7evesinde \u015fiir yar\u0131\u015f\u0131 yaparlar. Birbirlerini denerler, ustal\u0131klar\u0131yla \u00f6ne \u00e7\u0131kmaya \u00e7al\u0131\u015f\u0131rlar. Deyi\u015fme \u015fu s\u0131rayla yap\u0131l\u0131r:
\nMerhabala\u015fma, giri\u015f b\u00f6l\u00fcm\u00fcd\u00fcr. \u00c2\u015f\u0131klar, birbirlerini ve dinleyicileri \u201cHo\u015fgeldiniz\u201d, \u201cSefa geldiniz\u201d, \u201cMerhaba\u201d gibi s\u00f6zc\u00fcklerle rediflerine ba\u011flanan kafiyelerle d\u00f6rtl\u00fckler kurarak selamlar.
\n\u0130kinci b\u00f6l\u00fcmde \u00e2\u015f\u0131klar kendi ustalar\u0131n\u0131n \u015fiirlerinden \u00f6rnekler s\u00f6yler.
\nTekerleme b\u00f6l\u00fcm\u00fc denilen \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm as\u0131l deyi\u015fme b\u00f6l\u00fcm\u00fcd\u00fcr. Ev sahibi ya da ya\u015fl\u0131 bir ki\u015fi d\u00fcz ya da geni\u015f ayakla deyi\u015fmeyi a\u00e7ar. \u00c2\u015f\u0131klar konu ve bend s\u0131n\u0131rlamas\u0131 olmaks\u0131z\u0131n verilen oyun \u00fczerinden deyi\u015fmeye ba\u015flar. \u00c2\u015f\u0131klar as\u0131l ustal\u0131klar\u0131n\u0131 ve sanat\u00e7\u0131l\u0131klar\u0131n\u0131 burada g\u00f6stermeye \u00e7al\u0131\u015f\u0131r. \u0130lk ayak bitince di\u011fer \u00e2\u015f\u0131k yeni bir ayak a\u00e7ar. Deyi\u015fme s\u00fcrd\u00fck\u00e7e ayaklar darayak halini al\u0131r. Deyi\u015fme kar\u015f\u0131l\u0131kl\u0131 soru-yan\u0131t \u015fekline d\u00f6ner. \u00c2\u015f\u0131klar b\u00f6ylece birbirlerinin bilgi ve sanatlar\u0131n\u0131 \u00f6l\u00e7er. Bir \u015fekilde kar\u015f\u0131s\u0131ndakini s\u00f6z s\u00f6ylemez haline getiren \u00e2\u015f\u0131k deyi\u015fmeyi kazan\u0131r.
\nS\u00f6z s\u00f6yleyememe durumuna \u201clebde\u011fmez\u201d denir. Deyi\u015fmenin sonunda da \u00e2\u015f\u0131klar birbirlerini rahatlatmak, g\u00f6n\u00fcl almak i\u00e7in kar\u015f\u0131l\u0131kl\u0131 ko\u015fmalar s\u00f6yler. Birbirlerini \u00f6verek ho\u015fg\u00f6r\u00fc \u00f6rne\u011fiyle deyi\u015fmeyi bitirirler. \u00d6rne\u011fin \u00e2\u015f\u0131k \u015eenlik ile \u00e2\u015f\u0131k Feryad\u00ee\u2019nin deyi\u015fmesi:
\n\u015eenlik:
\n\u015e\u00f6hretin vezir pay\u0131nda
\nR\u00fctbesiyle \u015fana lay\u0131k
\nOturu\u015fun o duru\u015fun
\nHem sultana hana lay\u0131k
\nFeryad\u00ee:
\nSefa geldin g\u00f6z\u00fcm \u00fczre
\nOlsam mihmana lay\u0131k
\n\u015eeyh\u00fclislam, sadrazam
\nDo\u011fru Al\u2019Osman\u2019a lay\u0131k
\n\u015eenlik:
\nSeninle oldum taa\u015f\u015fuk
\nG\u00f6zlerime geldi \u0131\u015f\u0131k
\nDuymad\u0131m sen kime a\u015f\u0131k
\nDillerin Kur\u2019an\u2019a lay\u0131k
\nFeryad\u00ee:
\nBu d\u00fc\u015fk\u00fcn g\u00f6nl\u00fcm a\u00e7ars\u0131n
\nSelim S\u0131rat\u2019\u0131 ge\u00e7ersin
\nKevser \u0131rmaktan i\u00e7ersin
\nOlasan cihana lay\u0131k
\n\u015eenlik:
\nKul \u015fenli\u011fi eder h\u00fcrmet
\nRikab\u0131n k\u0131ld\u0131m ziyaret
\nSana nasip olsun cennet
\nHuriye g\u0131lmana lay\u0131k
\nFeryad\u00ee:
\nSefil Feryad\u00ee g\u00f6resen
\nMeram maks\u00fbda eresen
\nSancak alt\u0131nda durusan
\nHab\u00eeb-i Rahman\u2019a lay\u0131k<\/p>\n
D\u0130B\u00c2CE
\n\u00c7oklukla mensur, bazen de mazmun eserlerin ba\u015f\u0131nda yer alan ve eserin yaz\u0131l\u0131\u015f nedeni ile i\u00e7eri\u011fini a\u00e7\u0131klayan ba\u015flang\u0131\u00e7 k\u0131sm\u0131. \u00d6ns\u00f6z, mukaddime, medhal, s\u00f6zba\u015f\u0131, ba\u015flarken, birka\u00e7 s\u00f6z gibi s\u00f6zc\u00fckler de dib\u00e2ce kar\u015f\u0131l\u0131\u011f\u0131d\u0131r.<\/p>\n
D\u0130PNOT
\nYazar\u0131n yararland\u0131\u011f\u0131 kaynaklar\u0131 ve al\u0131nt\u0131lar\u0131 metnin ge\u00e7ti\u011fi yerlerde belirtmesi.<\/p>\n
D\u0130YALOG
\n\u0130ki ki\u015finin kar\u015f\u0131l\u0131kl\u0131 konu\u015fmas\u0131n\u0131 tan\u0131mlayan Yunanca s\u00f6zc\u00fck. Roman, hikaye, tiyatro gibi t\u00fcrlerde kahramanlar\u0131n kar\u015f\u0131l\u0131kl\u0131 konu\u015fmalar\u0131n\u0131n oldu\u011fu gibi yaz\u0131lmas\u0131n\u0131 ifade eder. En \u00e7ok dram t\u00fcr\u00fcnde g\u00f6r\u00fcl\u00fcr ve \u00fcsluba canl\u0131l\u0131k katar. Devrik c\u00fcmleler kullanmaya elveri\u015flidir. \u00d6rne\u011fin Eflatun\u2019un diyaloglar\u0131 \u00fcnl\u00fcd\u00fcr.<\/p>\n
D\u00d6RTLEME
\nHalk edebiyat\u0131m\u0131zda d\u00f6rt dizelik k\u0131talardan meydana gelen naz\u0131m \u015fekillerinin genel ad\u0131.<\/p>\n
D\u00d6\u015eEME
\nT\u00fcrk halk hikayelerinin ba\u015f\u0131nda ge\u00e7en se\u00e7ili s\u00f6zler. Ayakl\u0131 saya da denir. Arap\u00e7a mukkaddime ve medhal, Fars\u00e7a dib\u00e2ce\u2019nin kar\u015f\u0131l\u0131\u011f\u0131d\u0131r. D\u00f6\u015feme ba\u015flama adl\u0131 giri\u015fle ba\u015flar. Sonra duruma g\u00f6re yalan veya tanr\u0131, yarat\u0131l\u0131\u015f \u00fczerine bir destan, bir yurt veya sava\u015f destan\u0131 s\u00f6ylenir. Ard\u0131ndan as\u0131l esere ya da anlat\u0131ma ge\u00e7ilir.<\/p>\n
DRAMAT\u0130K
\nSahnede canland\u0131r\u0131lmak \u00fczere yaz\u0131lm\u0131\u015f eserlerin ortak ad\u0131.<\/p>\n
DURAK
\nHece vezniyle yaz\u0131lm\u0131\u015f \u015fiirlerde dizelerin belli b\u00f6l\u00fcmlere ayr\u0131ld\u0131\u011f\u0131 yerler. Durakta s\u00f6zc\u00fckler b\u00f6l\u00fcnmez, kula\u011fa uyumlu gelen s\u00f6z \u00f6bekleri olu\u015fturulur.<\/p>\n
D\u00dcBEYT
\n\u0130ki beyit anlam\u0131ndad\u0131r. Divan edebiyat\u0131ndaki rubai t\u00fcr\u00fcn\u00fc belirtmek i\u00e7in kullan\u0131l\u0131r.<\/p>\n
E<\/p>\n
EDA
\nS\u00f6z ve yaz\u0131daki ifade \u015fekli, uslup tarz\u0131, anlat\u0131\u015f yolu. Belagat\u00e7\u0131lar bunun hakikat, mecaz, kinaye olmak \u00fczere \u00fc\u00e7 t\u00fcrl\u00fc oldu\u011funu s\u00f6ylerler.<\/p>\n
EDEB-\u0130 KEL\u00c2M
\nAc\u0131, ho\u015f olmayan, ay\u0131p, \u00e7irkin, kaba veya u\u011fursuz say\u0131lan \u015feyleri kendi adlar\u0131n\u0131 s\u00f6ylemeden ba\u015fka s\u00f6zle ifade etmek. Buna as\u00e2let ve m\u00fcmtaziyet adlar\u0131 da verilir. Edeb-i Kel\u00e2m, bir d\u00fc\u015f\u00fcnceyi, bir olay\u0131 incelik, as\u00e2let ve nezaketle ifade etmek i\u00e7in anlam, kendine ait olmayan kelimeyle kar\u015f\u0131lan\u0131r. Genellikle \u015fu \u00fc\u00e7 durumda bu yola ba\u015fvurulur:
\n1. S\u00f6z\u00fc kabal\u0131ktan kurtarmak i\u00e7in.
\n\u00d6len birisi hakk\u0131nda \u201c\u00f6l\u00fcm\u201d yerine \u201cRahmet-i Ralman\u2019a kavu\u015ftu\u201d, \u201csizlere \u00f6m\u00fcr\u201d, i\u015fi elinden al\u0131nd\u0131\u011f\u0131n\u0131 bildirmek \u00fczere \u201cAffedildiniz\u201d denmesi gibi.
\n2. Ta\u2019zim veya ifadeyi s\u00fcslemek i\u00e7in. \u015eeyh Galib\u2019in a\u015fa\u011f\u0131daki iki beyitten ilki ta\u2019zim, ikincisi tezyine (s\u00fcslemeye) \u00f6rnektir:
\nBir \u015feb ki Sar\u00e2-y\u0131 \u00dcmmeh\u00e2n\u00ee
\nOlmu\u015fdu o m\u00e2h\u0131n \u00e2sum\u00e2n\u00ee
\nGiydikleri \u00e2ft\u00e2b-\u0131 temm\u00fbz
\n\u0130\u00e7tikleri \u015f\u00fble-i cihan-s\u00fbz
\n3. \u0130fadeyi fesahat y\u00f6n\u00fcnden bozacak ses, kelime ve terkiplerin tekrar\u0131ndan ka\u00e7\u0131nmak i\u00e7in.<\/p>\n
ED\u0130SYON KR\u0130T\u0130K
\nEle\u015ftirel bas\u0131m. Farkl\u0131 n\u00fcshalar\u0131 bulunan yazma veya matbu eserlerin aralar\u0131ndaki ayr\u0131l\u0131klar tespit edilerek asl\u0131na en uygun \u015fekilde yay\u0131nlan\u0131r. Farklar dip notlar halinde g\u00f6sterildi\u011fi gibi a\u00e7\u0131klay\u0131c\u0131 bilgiler de verilebilir.<\/p>\n
EFSANE
\nTabiat\u00fcst\u00fc \u00f6zellikler g\u00f6steren ki\u015filerin hayatlar\u0131n\u0131n ve olaylar\u0131n anlat\u0131ld\u0131\u011f\u0131 hikayeler. Efsane halk\u0131n hayalg\u00fcc\u00fcyle yaratt\u0131\u011f\u0131 \u201cideal insan tipi\u201dni verir ve nesilden nesile anlat\u0131l\u0131r. Efsane ile masallar aras\u0131nda uygunluk vard\u0131r. \u0130ki t\u00fcrde de ola\u011fan\u00fcst\u00fc olaylar i\u015flenir. Yaln\u0131z efsane daha inand\u0131r\u0131c\u0131d\u0131r. Bu y\u00f6n\u00fcyle hikaye ve destana yakla\u015f\u0131r.
\nEfsaneler \u015f\u00f6yle ayr\u0131l\u0131r:
\n1. Yarad\u0131l\u0131\u015f efsanesi (D\u00fcnyan\u0131n yarad\u0131l\u0131\u015f\u0131, tabiat varl\u0131klar\u0131n\u0131n meydana geli\u015fi, k\u0131yamet g\u00fcnleri.)
\n2. Tarihi efsaneler.
\n3. Ola\u011fan\u00fcst\u00fc ki\u015filer, varl\u0131klar ve g\u00fc\u00e7leri konu alan efsaneler.
\n4. Dini efsaneler.
\nT\u00fcrk efsanelerinde kahramanl\u0131k, fedakarl\u0131k, cesaret, ahlaki davran\u0131\u015flar, sosyal d\u00fczene ba\u011fl\u0131l\u0131k, Ahlah\u2019\u0131n kudretine iman, do\u011fruluk, c\u00f6mertlik, samimiyet gibi konular yer al\u0131r. Gen\u00e7 Osman, Bo\u015f Be\u015fik, \u00c7ak\u0131c\u0131 EFe, \u00c7oban \u00c7e\u015fmesi, Gelin Kaya, Cennet Da\u011f\u0131, Kan Kuyusu, Yusuf\u00e7uk Ku\u015fu gibi efsaneler halk aras\u0131nda s\u00f6ylenegelmektedir.<\/p>\n
EGLOG
\n\u00c7oban \u015fiiri. Birka\u00e7 \u00e7oban\u0131n a\u015fk, k\u0131r hayat\u0131n\u0131n g\u00fczellikleri \u00fczerine kar\u015f\u0131l\u0131kl\u0131 konu\u015fmalar\u0131 b\u00e7iminde yaz\u0131l\u0131r. Latin edebiyat\u0131nda geli\u015fen bu \u015fiir t\u00fcr\u00fc genellikle Bat\u0131 edebiyat\u0131nda g\u00f6r\u00fcl\u00fcr. Bir olaya dayand\u0131\u011f\u0131 ve kar\u015f\u0131l\u0131kl\u0131 ki\u015fileri konu ald\u0131\u011f\u0131 i\u00e7in k\u00fc\u00e7\u00fck bir piyesi and\u0131r\u0131r. Eglog, T\u00fcrk edebiyat\u0131nda kullan\u0131lmayan bir t\u00fcrd\u00fcr.<\/p>\n
EKLEKT\u0130ZM
\nFelsefede uyu\u015fabilir tezleri toplay\u0131p uyu\u015famayanlar\u0131n\u0131 bir yana b\u0131rakma e\u011filimini, edebiyatta ise birbirine ayk\u0131r\u0131 \u00e7e\u015fitleri ba\u011fda\u015ft\u0131ran geni\u015f s\u0131n\u0131rl\u0131 zevki ifade eder.<\/p>\n
ELF\u0130YE
\nBinlik kar\u015f\u0131l\u0131\u011f\u0131d\u0131r. Bin m\u0131sradan meydana gelen manzum eserler i\u00e7in kullan\u0131l\u0131r. Elfiyeler edebiyatla ilgili oldu\u011fu gibi, hadis, f\u0131k\u0131h, feraiz, nahiv ilimleriyle de ilgili olabilir.<\/p>\n
ELGAZ
\nBilmece anlam\u0131na gelen l\u00fcgaz kelimesinin \u00e7o\u011fulu.<\/p>\n
EL\u0130FN\u00c2ME
\nGenellikle m\u0131sra ba\u015flar\u0131ndaki kelimelerin ilkharflerinin alt alta elif\u2019den ye\u2019ye kadar alfabetik tarzda devam etmesi ile meydana gelen \u015fiir. Divan ve halk edebiyat\u0131m\u0131z\u0131n ortak mahsulleri aras\u0131nda yer al\u0131rlar. Dini-tasavvufi ve din d\u0131\u015f\u0131 konularda \u00f6rneklerine rastlan\u0131r.<\/p>\n
EMOSYANAL\u0130ZM
\nSanat ve edebiyat eserlerinde duyguya \u00f6nem veren estetik anlay\u0131\u015f.<\/p>\n
EMPRESYON\u0130ZM
\nNesneyi do\u011frudan do\u011fruya tasvir ve analiz etme yerine, onun uyand\u0131rd\u0131\u011f\u0131 duygular\u0131 anlatma yolu. XIX y\u00fczy\u0131l\u0131n sonlar\u0131nda Fransa\u2019da do\u011fdu. \u00d6nce resimde, sonra di\u011fer sanatlarda tesiri g\u00f6r\u00fcld\u00fc.
\nEmpresyonistler d\u0131\u015f d\u00fcnyan\u0131n kendi i\u00e7lerinde b\u0131rakt\u0131\u011f\u0131 izlenimi dile getirirler. Bu \u00e2lem, sanat\u00e7\u0131ya sadece heyecan ve duygusal dalgalanmalar veren bir uyar\u0131c\u0131d\u0131r. \u00d6nemli olan sanat\u00e7\u0131n\u0131n kendi alg\u0131lamalar\u0131 ve bunlar\u0131 anlatma y\u00f6ntemidir. Edebiyat\u0131n bir amaca hizmet edemeyece\u011fini savunur. Empresyonist edebiyat\u00e7\u0131lar \u015fiir, k\u0131sa hikaye, tek perdelik manzum piyes gibi k\u0131sa \u00e7al\u0131\u015fmalar\u0131 tercih etmi\u015flerdir.<\/p>\n
ENT\u0130M\u0130ZM
\n\u0130\u00e7tencilik. \u0130nsan ruhunun mahrem ve gizli s\u0131rlar\u0131n\u0131 i\u00e7tenlikle anlatma e\u011filimi. Bu sanat anlay\u0131\u015f\u0131na sahip edebiyat\u00e7\u0131lara entimist denir.<\/p>\n
ENTONASYON
\nC\u00fcmlede heceler, kelimeler ve daha b\u00fcy\u00fck anlaml\u0131 gruplar \u00fczerindeki seslerin al\u00e7al\u0131p y\u00fckselmesi. Konu\u015fmac\u0131n\u0131n anlatmak istedi\u011fi anlama yard\u0131mc\u0131 olur. Dinleyicileri duyguland\u0131ran, heyecanland\u0131ran, co\u015fturan \u00f6zellikler ta\u015f\u0131r. C\u00fcmlenin yap\u0131s\u0131na g\u00f6re de\u011fi\u015fiklikler g\u00f6sterir. Bazen c\u00fcmlelerin anlam\u0131n\u0131 da belirler.<\/p>\n
EP\u0130FONEM
\nBir s\u00f6zl\u00fc ya da yaz\u0131l\u0131 eserde anlat\u0131lanlar\u0131n hikmetli bir s\u00f6zle son bulmas\u0131.<\/p>\n
EP\u0130GRAF
\nBir yap\u0131n\u0131n \u00f6zelliklerini belirten ve genellikle bir plaka \u00fczerine binan\u0131n \u00f6n y\u00fcz\u00fcne ili\u015ftirilen yaz\u0131ya (kitabe) bir kitab\u0131n, bir kitab\u0131 meydana getiren b\u00f6l\u00fcmlerin ba\u015f\u0131na konan, o kitapta veya b\u00f6l\u00fcmdeki yaz\u0131lanlar\u0131 \u00f6zetler mahiyette s\u00f6zler, \u015fiir par\u00e7alar\u0131, atas\u00f6zleri, vecizeler.<\/p>\n
EP\u0130GRAM
\nEski Yunan\u2019da mezar ta\u015flar\u0131na yaz\u0131lan k\u0131sa ve epik naz\u0131m \u015fekli. Romal\u0131lar\u2019da \u00e7ok k\u0131sa hiciv manzumesi.<\/p>\n
EP\u0130ZOT
\nHikaye, roman veya \u015fiirde ana konuya ba\u011fl\u0131 ikinci derecede olay; m\u00fczikte temalar\u0131 birbirinden ay\u0131ran serbest yaz\u0131lm\u0131\u015f b\u00f6l\u00fcmler; tiyatroda bir aksiyona (harekete) kat\u0131lm\u0131\u015f ikinci derecede bir aksiyon; Yunan trajedisinin unsurlar\u0131n\u0131 meydana getiren diyaloglu b\u00f6l\u00fcmlerin her biri. Bu b\u00f6l\u00fcmler modern tiyatroda perde ad\u0131yla bilinir.<\/p>\n
EPOPE
\nKahramanl\u0131k konusunu i\u015fleyen uzun \u015fiirler. Kelimenin asl\u0131 \u201ckonu\u015fma, nutuk, sohbet\u201d anlam\u0131na gelen Yunanca epospoien\u2019e dayan\u0131r.<\/p>\n
ESREM
\nAruzdaki fe\u2019\u00fcl\u00fcn c\u00fcz\u00fcnden fe ve n\u2019yi kald\u0131r\u0131p \u00fblu yerine getiren fa\u2019l\u00fc c\u00fcz\u00fc.<\/p>\n
E\u015eHAS
\n\u015eah\u0131s kelimesinin \u00e7oklu\u011fu. Eskiden tiyatro eserlerinde ve romanlar\u0131ndaki kahramanlara veya kadroya bu ad verilirdi.<\/p>\n
E\u015eTER
\nAruzdaki mefa\u2019il\u00fcn c\u00fcz\u00fcnden m ve y harflerinin kald\u0131r\u0131l\u0131p yerine getirilen f\u00e2\u2019il\u00fcn c\u00fcz\u00fc.<\/p>\n
F<\/p>\n
FABL
\nHayvanlar, bitkiler ve cans\u0131z nesneler aras\u0131nda ge\u00e7ti\u011fi hayal edilen \u00f6\u011fretici masallar. Te\u015fhis ve intak sanat\u0131 \u00fczerine kurulur. Olaydaki ki\u015filere insan karakteri ve davran\u0131\u015f\u0131 verilir. As\u0131l masallardan k\u0131sad\u0131r.
\nFALNAME
\nFal ile ilgili kitap. Fal\u0131n her bir \u00e7e\u015fidine g\u00f6re d\u00fczenlenen eserler. Y\u0131ld\u0131zname, tefe\u2019\u00fclname, hur\u015f\u00eedname, ihtilacname, k\u0131yafetname, kehanetname adlar\u0131yla da bilinirler.
\nFalnameler \u00e7okluk manzum yaz\u0131l\u0131rlar. Nesir halinde yaz\u0131lanlar\u0131na genellikle y\u0131ld\u0131zname denir. Falnameler Kur\u2019\u00e2n fal\u0131, kur\u2019\u00e2 fal\u0131 gibi dallara da ayr\u0131l\u0131rlar.
\nKur\u2019a ta\u015flar\u0131 veya bir ka\u011f\u0131t \u00fczerine \u00e7izilmi\u015f noktalar ve noktalar\u0131n meydana getirdi\u011fi \u015fekilleri konu edinen kur\u2019a fallar\u0131 daha \u00e7ok Hz. Ali\u2019ye nispet edilir. Edebiyat\u0131m\u0131zda Cem Sultan\u2019\u0131n Divan\u2019\u0131nda yer alan Faly-\u0131 Reyhan-\u0131 Sultan Cem adl\u0131 kur\u2019a fal\u0131 me\u015fhurdur.<\/p>\n
FASIL
\nAy\u0131rma, b\u00f6lme. Bir kitab\u0131n b\u00f6l\u00fcmlerinin her biri.
\nMevsim m\u00e2n\u00e2s\u0131na da gelir. Fasl-\u0131 zayf (yaz mevsimi), fasl-\u0131 \u015fit\u00e2 (k\u0131\u015f mevsimi), fasl-\u0131 hazan (sonbahar mevsimi).
\nTiyatro oyunlar\u0131nda perde anlam\u0131nda kullan\u0131l\u0131r.
\nT\u00fcrk sanat musikisinde bir defada \u00e7al\u0131nan ayn\u0131 makamdan par\u00e7alar\u0131n tamam\u0131na denir.<\/p>\n
FAS\u0130H
\nDilin b\u00fct\u00fcn kaidelerine uyularak do\u011fru, g\u00fczel ve a\u00e7\u0131k \u015fekilde konu\u015fup yaz\u0131lmas\u0131, ifadenin anlam ve \u00e2henk bak\u0131m\u0131ndan kusursuz olmas\u0131.<\/p>\n
FES\u00c2D-I TEL\u0130F
\nS\u00f6z veya yaz\u0131da anlam\u0131n anla\u015f\u0131lmayacak kadar kar\u0131\u015f\u0131k olmas\u0131.<\/p>\n
FESAHAT
\nS\u00f6z\u00fcn ses ve anlam kusurlar\u0131ndan kurtar\u0131lmas\u0131 yollar\u0131. \u0130fadenin kusurlardan uzak bulunmas\u0131 hali fas\u00eeh\u2019tir. S\u00f6z\u00fcn s\u00f6yleni\u015fi ve i\u015fitili\u015fi tatl\u0131 olmal\u0131, anla\u015f\u0131lmas\u0131nda g\u00fc\u00e7l\u00fck \u00e7ekilmemelidir. Divan edebiyat\u0131nda fesahat, kelimede fesahat, kel\u00e2mda fesahat diye ikiye ayr\u0131l\u0131r:
\n1. Kelimede fesahat: Ayn\u0131 veya yak\u0131n mahre\u00e7ten \u00e7\u0131kan harflerin bir kelimede toplanmamas\u0131na (ten\u00e2f\u00fcr-I hur\u00fbf), (er kalk\u0131l\u0131nca); kelimeleri meydana getiren harflerin kayna\u015fmas\u0131nda telaffuz zorlu\u011fu olmamas\u0131na (m\u00fcten\u00e2fir) (\u00f6r. tart\u0131rtt\u0131); anlam\u0131 herkes taraf\u0131ndan bilinmeyen kelimelere yer vermemeye (gar\u00e2bet), kelimeyi vezne uydurmak i\u00e7in \u015feklini de\u011fi\u015ftirmemeye, \u00e7ok anlaml\u0131 bir kelimeyi me\u015fhur olmayan anl\u00e2m\u0131nda kullanmamaya gramer hatas\u0131 yapmamaya (k\u0131yasa muhalefet) dikkat edilir.
\n2. Kel\u00e2mda fesahat: Telaffuzu g\u00fc\u00e7le\u015ftiren kelimelerin yan yana getirilmemesi (tenafur-I kelim\u00e2t). (\u00d6rne\u011fin: \u015eu k\u00f6\u015fe yaz k\u00f6\u015fesi \u015fu k\u00f6\u015fe k\u0131\u015f k\u00f6\u015fesi), zincirleme tamlama (tet\u00e2bu-I iz\u00e2f\u00e2t) yapmamaya (\u00d6rne\u011fin: Ali\u2019nin ceketinin cebinin i\u00e7i); C\u00fcmle kurulu\u015funun sa\u011flam olmas\u0131na, \u00f6nce s\u00f6ylenecek s\u00f6z\u00fc sona, sonra s\u00f6ylenecek s\u00f6z\u00fc \u00f6ne almamaya, s\u00f6z\u00fcn d\u00fc\u011f\u00fcmlenmemesine dikkat edilir.<\/p>\n
F\u0130KS\u0130YON
\nBir sanat eserinde uydurularak bulunmu\u015f \u015fey. G\u00fcn\u00fcm\u00fczde, roman, k\u0131sa hikaye gibi nesir halindeki edebi eserler kastedilir. Romanla e\u015f anlaml\u0131 kullan\u0131ld\u0131\u011f\u0131 da g\u00f6r\u00fcl\u00fcr. A\u00e7\u0131k bir \u015fekilde bir olaya ba\u011fl\u0131 bulunmas\u0131ndan dolay\u0131 edebi \u015fekiller i\u00e7indeki bir\u00e7ok \u015fah\u0131s hakk\u0131nda kullan\u0131lmas\u0131na imkan verir.<\/p>\n
F\u0130KT\u0130F
\n\u0130tibari, ger\u00e7ek olmayan, var say\u0131lan demektir. Roman, hikaye, masal, halk hikayesi, destan gibi edebi eserler i\u00e7in kullan\u0131l\u0131r. Yazar, d\u0131\u015f d\u00fcnyaya zihninde bir \u015fekil verir ve bunu eserine aktar\u0131r. Bu t\u00fcr eserler, tasvir esas\u0131na dayand\u0131\u011f\u0131 i\u00e7in olaylar ve kahramanlar fiktiftir.<\/p>\n
FRAGMAT\u0130ZM
\nPar\u00e7ac\u0131k diye adland\u0131r\u0131labilece\u011fimiz bir edebiyat ak\u0131m\u0131d\u0131r. \u0130lk defa XX. Y\u00fczy\u0131l\u0131n ba\u015flar\u0131ndan \u0130talyan yazar\u0131 A. Soffici\u2019nin ba\u015flatt\u0131\u011f\u0131 bu ak\u0131mda, ger\u00e7ekten al\u0131nm\u0131\u015f k\u0131sa k\u0131sa par\u00e7alar, k\u00fc\u00e7\u00fck tablolar ve hayattan g\u00f6r\u00fcnt\u00fcler (enstanteneler) en belirgin \u00f6zelli\u011fi olu\u015fturur.<\/p>\n
FUAYE
\nTiyatro salonlar\u0131nda, perde aras\u0131nda oyuncular\u0131n ve seyircilerin dinlenmesi i\u00e7in ayr\u0131lan yer. <\/p>\n
G<\/p>\n
GALAT
\nYanl\u0131\u015f anlam\u0131na gelir. Bir kelimenin ilk veya kitapta yaz\u0131lm\u0131\u015f \u015feklinden ba\u015fka s\u00f6ylenmesi. \u00c7okluk \u015fekli gal\u00e2tat\u2019t\u0131r. Yanl\u0131\u015f oldu\u011fu bilindi\u011fi halde kullan\u0131lmas\u0131nda sak\u0131nca g\u00f6r\u00fclmeyen kelime veya kelime grubuna galat-\u0131 me\u015fhur ad\u0131 verilir. \u00d6rnek:
\nAsl\u0131nda \u00e7okluk olan evlat, e\u015fk\u0131ya, evrak kelimelerinin evlatlar, e\u015fk\u0131yalar, evraklar \u015feklinde tekrar \u00e7okluk yap\u0131larak kullan\u0131lmas\u0131 gibi.
\n\u201cGalat-\u0131 me\u015fhur, l\u00fcg\u00e2t-\u0131 fas\u00eehten evl\u00e2d\u0131r\u201d s\u00f6z\u00fcyle yanl\u0131\u015f kullan\u0131lan yerle\u015fmi\u015f kelimelerin tercih edilebilece\u011fi belirtilir.
\nGenellikle latife, alay iste\u011fi ile bir kelimeyi \u015fekil, \u00fcsl\u00fbp ve anlam bak\u0131m\u0131ndan dildeki kullan\u0131\u015f\u0131na ayk\u0131r\u0131 kullanmaya galat-\u0131 tahakkumi veya k\u0131yasa muhalefet denir.
\nGARABET
\nDilden d\u00fc\u015fm\u00fc\u015f veya \u00e7ok az kullan\u0131l\u0131p hen\u00fcz ay\u0131lmam\u0131\u015f kelimelerin kullan\u0131lmas\u0131yla meydana gelen fesahat bozuklu\u011fu. B\u00f6yle kelimeler i\u00e7in garib, veh\u015f\u00ee isimlerinin kullan\u0131ld\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr.
\nBu durum eski edebiyatta \u00e7ok ortaya \u00e7\u0131kard\u0131. \u015eair ve yazarlar ya ustal\u0131k g\u00f6stermek i\u00e7in ya da seci, kafiye zorlamalar\u0131ndan dolay\u0131 Arap\u00e7a ve Fars\u00e7a\u2019dan i\u015fitilmedik kelimeler alarak kullanm\u0131\u015flard\u0131r.
\nS\u00f6ylendikleri zaman uygun olan, ancak bug\u00fcn terkedilmi\u015f s\u00f6zler garib-i h\u00fcsn, hi\u00e7bir devirde benimsenmemi\u015f s\u00f6zler de garib-i kubh diye adland\u0131r\u0131l\u0131r.
\nBir mecburiyet kar\u015f\u0131s\u0131nda kullan\u0131lan garip kelimelere muvaf\u0131k, zorunluluk olmadan kullan\u0131lanlara ise muhalif denir.<\/p>\n
GE\u00c7\u0130\u015e
\n\u0130ki parafraf aras\u0131nda bir d\u00fc\u015f\u00fcnceden di\u011ferine ge\u00e7ilirken bu fikirlerin ba\u011flanmas\u0131. Paragraflar aras\u0131ndaki ge\u00e7i\u015fin azl\u0131\u011f\u0131 veya \u00e7oklu\u011fu yaz\u0131n\u0131n a\u00e7\u0131k, do\u011fal olu\u015funa g\u00f6re de\u011fi\u015fir. Ba\u011flanma a\u00e7\u0131ksa ge\u00e7i\u015fe gerek kalmaz. Ge\u00e7i\u015flerin k\u0131sa olmas\u0131na dikkat edilir. Ge\u00e7i\u015f i\u00e7in, fakat, bundan dolay\u0131, kald\u0131 ki gibi edatlar yeterli g\u00f6r\u00fclebilir.<\/p>\n
GEZMECE
\nA\u015f\u0131klar\u0131n yolculukta u\u011frad\u0131klar\u0131 yerleri anlatan methiyeli veya ta\u015flamal\u0131 deyi\u015fler. Gezmeceler onbirli destan veya sekizli kesik (semai) bi\u00e7iminde s\u00f6ylenir. Gezilen yerler s\u0131rayla anlat\u0131l\u0131rsa, deyi\u015f, s\u0131ra gezmece veya s\u0131ral\u0131 gezmece ad\u0131n\u0131 al\u0131r. Kerem\u2019in (Asl\u0131\u2019n\u0131n \u00e2\u015f\u0131\u011f\u0131) Pasin, Erzurum k\u00f6yleri i\u00e7in s\u00f6yledi\u011fi deyi\u015fler bilinen en eski gezmecelerdir.<\/p>\n
G\u0130R\u0130ZG\u00c2H
\nKasidelerin nesip b\u00f6l\u00fcm\u00fcnden sonra medhiye b\u00f6l\u00fcm\u00fcne ge\u00e7erken s\u00f6ylenen beyit veya beyitler. Asl\u0131 girizg\u00e2hd\u0131r ve ka\u00e7\u0131\u015f yeri anlam\u0131na gelir. Kasideler \u00e7okluk bir tasvirle ba\u015flar. Ard\u0131ndan girizgahla as\u0131l amaca ge\u00e7ilir. \u015eair esprili bir s\u00f6zle \u00f6vg\u00fcye ba\u015flad\u0131\u011f\u0131n\u0131 belirtir.<\/p>\n
GNOM\u0130K
\nAnlaml\u0131 s\u00f6zleri naz\u0131mla anlatan manzum t\u00fcr\u00fc.<\/p>\n
GRAMER
\nBir dili meydana getiren ses, s\u00f6zc\u00fck yap\u0131l\u0131\u015f\u0131, s\u00f6zc\u00fck haznesi, anlam de\u011fi\u015fmeleri, c\u00fcmle kurulu\u015fu gibi unsurlar\u0131 inceleyip kurallara ba\u011flayan dil bilgisi. Yunanca gramma k\u00f6k\u00fcnden geliyor.<\/p>\n
G\u00dcLDESTE
\nSe\u00e7me manzum ya da nesir yaz\u0131lar\u0131n\u0131n topland\u0131\u011f\u0131 dergi. Antoloji de denebilir.<\/p>\n
G\u00dcNL\u00dcK
\nBir ki\u015finin d\u00fc\u015f\u00fcncelerini, duygu ve g\u00f6zlemlerini g\u00fcn\u00fc g\u00fcn\u00fcne yazd\u0131\u011f\u0131 ve o g\u00fcn\u00fcn tarihini koydu\u011fu yaz\u0131lar. Ruzname olarak da bilinir. G\u00fcnl\u00fck bir t\u00fcr an\u0131d\u0131r. Ancak g\u00fcnl\u00fck g\u00fcn\u00fc g\u00fcn\u00fcne yaz\u0131l\u0131r, an\u0131 ise olaylar\u0131n ya\u015fanmas\u0131ndan sonra kaleme al\u0131n\u0131r.<\/p>\n
H<\/p>\n
H\u00c2BNAME
\nBir olay, bir ki\u015fiyle ilgili d\u00fc\u015f\u00fcnceleri sanki r\u00fcyada g\u00f6rm\u00fc\u015f gibi anlatarak yaz\u0131lm\u0131\u015f eserler. H\u00e2bnameler nesir ya da naz\u0131m olabilir. Ziya Pa\u015fa ile Nam\u0131k Kemal\u2019in \u201cR\u00fcya\u201d adl\u0131 eserleri bu t\u00fcre \u00f6rnektir.
\nH\u00c2C\u0130B
\n\u0130ki ya da daha fazla kafiyeli olan manzumelerdeki baz\u0131 s\u00f6zc\u00fck ya da s\u00f6zc\u00fckler. S\u00f6zc\u00fck anlam\u0131 perdeci, perde a\u011fas\u0131d\u0131r. Bu \u015fekildeki kafiyelere mahcub ad\u0131 verilir. \u00d6rne\u011fin
\n\u00c2lem esir-I dest-I me\u015fiyyet de\u011fil midir
\n\u00c2dem zebun-I pen\u00e7-I kudret de\u011fil midir
\nAvn\u00ee<\/p>\n
H\u00c2FIZ-I K\u00dcT\u00dcB
\nKitaplar\u0131 koruyan ki\u015fi. Eskiden k\u00fct\u00fcphaneciler bu isimle adland\u0131r\u0131l\u0131rd\u0131.<\/p>\n
HANE
\nDivan ve halk edebiyat\u0131nda d\u00f6rtl\u00fcklerden kurulu naz\u0131m t\u00fcrlerinin her bir d\u00f6rtl\u00fc\u011f\u00fc.<\/p>\n
HASASET
\nS\u00f6zc\u00fck anlam\u0131 cimrilik. Ahlaka ayk\u0131r\u0131 say\u0131lan s\u00f6zc\u00fckleri edebi eserlerde kullanmaya denir. Ters anlaml\u0131s\u0131 \u201casalet\u201dtir.<\/p>\n
HA\u015e\u0130YE
\nBir metnin alt\u0131na ya da kenar\u0131na konuyla ilgili a\u00e7\u0131klay\u0131c\u0131 bilgiler yazmak. Eskiden yeni kitaplar yazmak yerine mevcuk kitaplar bu notlarla zenginle\u015ftirilirdi. Ha\u015fiye yazmaya tah\u015fiye, tah\u015fiye yazan ki\u015fiye muha\u015f\u015fi, ha\u015fiyeli eserlere de muha\u015f\u015fa ismi verilir.<\/p>\n
HA\u015eV ya da HA\u015e\u0130V
\nYaz\u0131da gereksiz s\u00f6z bulunmas\u0131. E\u015f anlaml\u0131 s\u00f6zc\u00fc\u011f\u00fc s\u0131k s\u0131k kullanmak, anlam i\u00e7in gerekli olmayan kelimeler bulundurmak, ayn\u0131 fikri de\u011fi\u015fik kelimelerle tekrar etmek, ayn\u0131 anlama gelen kelimeleri art arda s\u00f6ylemek, yaz\u0131ya yabanc\u0131 fikir ve hayal kar\u0131\u015ft\u0131rmak ha\u015fivdir. Eskiler seci, s\u00f6z sanatlar\u0131 ve vezin i\u00e7in yaz\u0131 veya \u015fiire fazla s\u00f6z katarlard\u0131. Edebiyat\u0131m\u0131zda ha\u015fiv \u00f6rnekleri \u00e7ok fazlad\u0131r. \u00dc (ve) edat\u0131yla ba\u011flanan e\u015f anlaml\u0131 s\u00f6zler s\u0131k s\u0131k kullan\u0131lm\u0131\u015ft\u0131r. \u00d6rnek:
\nAhd \u00fc peyman, bey \u00fc f\u00fcruhi, ceng \u00fc harb, etraf \u00fc cevanib, feth \u00fc k\u00fc\u015fad, ferid \u00fc yekta, ilm \u00fc irfan, medh \u00fc sitayi\u015f, sehl \u00fc asan, vak \u00fc zaman\u2026
\n\u015eeyh Galib\u2019in \u015fu beyti ha\u015fvin a\u00e7\u0131k bir \u00f6rne\u011fidir:
\nVar m\u0131 hele s\u00f6ylenmedik s\u00f6z
\nKalm\u0131\u015f m\u0131 me\u011fer denilmedik s\u00f6z
\nHa\u015fv m\u00fcfsid ve gayr-i m\u00fcfsid olmak \u00fczere ikiye ayr\u0131l\u0131r.
\n1. Ha\u015fv-i m\u00fcfsid: Anlat\u0131m\u0131 bozan s\u00f6z kalabal\u0131\u011f\u0131 i\u00e7in kullan\u0131l\u0131r. Yazar\u0131n neyi nas\u0131l anlataca\u011f\u0131 hakk\u0131nda kesin fikri olmazsa fikir anla\u015f\u0131lmaz hale gelir, maksat ifade edilmez.
\n2. 2. Ha\u015fv-i gayr-i m\u00fcfsid: Fikri anla\u015f\u0131lmaz h\u00e2le sokmayan s\u00f6z kalabal\u0131\u011f\u0131 i\u00e7in kullan\u0131l\u0131r. Kab\u00eeh, malih ve mutavass\u0131ta olmak \u00fczere \u00fc\u00e7e ayr\u0131l\u0131r.
\na. Ha\u015fv-i kab\u00eeh: \u0130fadeye \u00e7irkinlik veren fazlal\u0131klar. S\u00f6ylenmi\u015f bir fikrin e\u015f anlaml\u0131 kelimelerle tekrarlanmas\u0131nda kab\u00eeh ha\u015fiv g\u00f6r\u00fcl\u00fcr.
\nb. Ha\u015fv-i melih: S\u00f6ze g\u00fczellik ve kuvvet kazand\u0131rmak i\u00e7in s\u00f6ylenir. Gereksiz gibi g\u00f6r\u00fcnen bu s\u00f6zler ikinci derecede anlam ifade ederler.
\nc. Ha\u015fv-i mutavass\u0131ta: \u0130fadeye g\u00fczellik vermedi\u011fi gibi \u00e7irkinlik de vermeyen fazla s\u00f6ze denir. Pek fark edilmeyen e\u015f anlaml\u0131 kelimelerin tekrar\u0131yla meydana gelir.
\nBir beytin iki m\u0131sras\u0131n\u0131n ba\u015f ve son par\u00e7alar\u0131 aras\u0131nda bulunan par\u00e7alara da ha\u015fiv denir.<\/p>\n
HATIRAT
\nBir kimsenin kendi hayat\u0131n\u0131, ya\u015fad\u0131\u011f\u0131 devrede g\u00f6rd\u00fc\u011f\u00fc veya duydu\u011fu olaylar\u0131 anlatt\u0131\u011f\u0131 yaz\u0131lard\u0131r. Hat\u0131rat\u0131, otobiyografiden ay\u0131ran \u00f6zellik \u015fudur: Otobiyografilerde yazar do\u011frudan kendi hayat\u0131n\u0131 anlat\u0131r, duygu ve d\u00fc\u015f\u00fcnceleri geni\u015f yer tutar. Hat\u0131ratta ise, kendi hayat\u0131yla birlikte d\u00f6nemini ve \u00e7evresini anlat\u0131r. Bazen yazar\u0131n kendisini geriye \u00e7ekerek sadece \u00e7evresini verdi\u011fi de g\u00f6r\u00fcl\u00fcr.<\/p>\n
HAYFA
\n\u201cYaz\u0131k, eyvah!\u201d anlamlar\u0131na gelen bu kelime Arap harfleri ile bir kelime, noktal\u0131, bir kelime noktas\u0131z d\u00fczenlenen yaz\u0131lar\u0131n ad\u0131d\u0131r. Tarih m\u0131sralar\u0131nda keder ifadesi i\u00e7in kullan\u0131l\u0131r.<\/p>\n
H\u00c2Y\u00ceDE
\nA\u011f\u0131zdan a\u011f\u0131za dola\u015fm\u0131\u015f, herkes taraf\u0131ndan kullan\u0131lm\u0131\u015f, \u00e7ok duyulmu\u015f s\u00f6z. Edebiyatta bu t\u00fcr s\u00f6zlerin kullan\u0131lmas\u0131 kusurlu say\u0131l\u0131r. \u00d6rnek:
\nH\u00e2y\u00eede ed\u00e2ya sanma kim el
\nBir kerre daha demi\u015fler evvel
\n\u015eeyh Galib<\/p>\n
HAZF
\n\u201cGiderme, kald\u0131rma\u201d anlam\u0131na gelir. Bir ifadedeki kelimelerin bir veya bir ka\u00e7\u0131n\u0131 ya da baz\u0131 c\u00fcmleleri kald\u0131rma suretiyle yap\u0131lan s\u00f6z k\u0131saltmas\u0131na denir. Kasdedilen anlam\u0131 tek bir kelime ile s\u00f6ylemeye de hazf \u00fc takdir denir. Arap harfi T\u00fcr\u00e7e metinlerde noktas\u0131z harflerle meydana getirilen s\u00f6z i\u00e7in de bu tabir kullan\u0131l\u0131r. B\u00ee-nukat, tecrid gibi s\u00f6zc\u00fckler de ayn\u0131 anlama gelir.<\/p>\n
H\u0130CV\u0130YE
\nKi\u015filerin veya toplumun k\u00f6t\u00fc y\u00f6nlerini, kusurlar\u0131n\u0131, g\u00fcl\u00fcn\u00e7 durumlar\u0131n\u0131 alayl\u0131 bir dille ortaya koyan manzum yaz\u0131lar. Medhiye\u2019nin tersi kabul edilir. Yergi de denen hicviye halk edebiyat\u0131nda ta\u015flama ad\u0131n\u0131 al\u0131r. Hicviyelerde m\u00fcbala\u011fal\u0131 \u00fcsl\u00fbp kullan\u0131l\u0131r. Hicvedilen ki\u015fi \u015fahsiyetinin ger\u00e7ek y\u00f6nleriyle ilgisi olmayan yergi ve s\u00f6vg\u00fclerle a\u015fa\u011f\u0131lan\u0131r.<\/p>\n
H\u0130KMET
\nDo\u011fadaki nesnelerin mahiyetini, as\u0131llar\u0131n\u0131 anlatan bilgi, ahlaki ve \u00f6\u011f\u00fct verici s\u00f6zd\u00fcr. Edebiyatta, dini-ahlaki konular\u0131 i\u015fleyen, nasihat eden, atas\u00f6zleri ve \u00f6\u011f\u00fctlerle s\u00fcsl\u00fc nazma denir. Bu t\u00fcr \u015fiirler hikemi \u015fiirler diye bilinir.<\/p>\n
H\u0130LYE
\nHz. Muhammed\u2019in i\u00e7 ve d\u0131\u015f vas\u0131flar\u0131n\u0131 anlatan yaz\u0131lar. Kelime, \u201cS\u00fcs, ziynet, cevher, g\u00fczel y\u00fcz, g\u00fczellikler\u201d anlam\u0131nda. Hilyelerde Hz. Muhammed\u2019in g\u00f6z ve sa\u00e7 rengi, \u015fekli, boyunun uzunlu\u011fu, konu\u015fmas\u0131, sesinin tonu, belli ba\u015fl\u0131 tavr\u0131, bedeni ve di\u011fer maddi \u00f6zellikleri tan\u0131mlan\u0131r. Mevlid ve mir\u00e2ciyeler gibi \u0130slamiyet\u2019in geli\u015fme d\u00f6neminde ortaya \u00e7\u0131kt\u0131. Osmanl\u0131 d\u00f6neminde yayg\u0131nla\u015farak orijinal eserler yaz\u0131ld\u0131. Hilye ismi de bu d\u00f6nemde verildi.<\/p>\n
H\u0130TABET
\nS\u00f6z s\u00f6yleme sanat\u0131. Bir toplulu\u011fa bir fikri, bir davay\u0131 a\u015f\u0131lamak, bilgi vermek i\u00e7in yap\u0131lan konu\u015fma.<\/p>\n
H\u00dcSN-\u0130 TA\u2019L\u0130L
\nAnlamla ilgili edebi sanat. Divan edebiyat\u0131nda bir olay\u0131n meydana geli\u015fini hayali ve g\u00fczel bir nedene ba\u011flama yoluyla yap\u0131l\u0131r. Bu nedenin ger\u00e7ekle ilgili olmamas\u0131 ve kesin bir etkeninin bulunmas\u0131 gerekir. H\u00fcsn-i tevcih diye de anland\u0131r\u0131l\u0131r. E\u011fer neden, g\u00fcya, sanki, acep, acaba, me\u011fer gibi s\u00f6zc\u00fcklerle olas\u0131l\u0131klara dayand\u0131r\u0131l\u0131rsa \u015fibh-i h\u00fcsn-i ta\u2019lil (yani yar\u0131m h\u00fcsn-i ta\u2019lil) yap\u0131lm\u0131\u015f olur. \u00d6rnek:
\nAceb bi ba\u011f ken\u00e2r\u0131nda dursa l\u00e2le hacil
\nKi l\u00e2lez\u00e2r-\u0131 cem\u00e2linde h\u00fbr u z\u00e2r\u0131nd\u0131r
\nAhmet Pa\u015fa
\n(Lale ba\u011f kenar\u0131nda utunga\u00e7 dursa \u015fa\u015f\u0131l\u0131r m\u0131? \u00c7\u00fcnk\u00fc o lale bah\u00e7esine benzeyen y\u00fcz\u00fcn\u00fcn g\u00fczelli\u011fi yan\u0131nda senin bir d\u00fc\u015fk\u00fcn\u00fcnd\u00fcr. Yani \u015fair, sevgiliye, \u201csenin yanaklar\u0131n o kadar k\u0131rm\u0131z\u0131 ki, lale bile onun yan\u0131nda utan\u0131r k\u0131zar\u0131r\u201d diyor. Lalenin k\u0131rm\u0131z\u0131l\u0131\u011f\u0131 g\u00fczel bir nedene ba\u011flan\u0131yor.) <\/p>\n
I \/ \u0130<\/p>\n
Iraklama: S\u00f6zl\u00fc ya da yaz\u0131l\u0131 anlat\u0131mda konu d\u0131\u015f\u0131na \u00e7\u0131kalarak, konuyla ilgisi bulunmayan s\u00f6zler s\u00f6yleme.<\/p>\n
Irmak Roman: Bir ki\u015finin, bir ailenin ya da bir toplulu\u011fun belirli bir zaman dilimi i\u00e7inde ya\u015fam ve ya\u015fay\u0131\u015f d\u00f6nemlerini birbirini b\u00fct\u00fcnleyecek bi\u00e7imde anlatan roman dizisi.<\/p>\n
\u0130BDA
\nYa\u015fan\u0131lan d\u00f6nemin sanat anlay\u0131\u015f\u0131 i\u00e7inde ola\u011fan\u00fcst\u00fc bir eser yaratma. \u00d6rne\u011fin Fuz\u00fbl\u00ee\u2019nin Leyla v\u00fc Mecnun\u2019u, \u015eeyh Galib\u2019in H\u00fcsn-\u00fc A\u015fk\u2019\u0131 birer ibda kabul edilir. \u0130bda eser verebilenlere m\u00fcbdi, ibdak\u00e2r, eserleri de bedia olarak adland\u0131r\u0131l\u0131r.
\n\u0130BHAM
\nBir edebi eserde isteyerek ve bilin\u00e7li olarak yap\u0131lan kapal\u0131l\u0131kt\u0131r. Sanat\u00e7\u0131, s\u00f6z\u00fcn anlam\u0131n\u0131 hemen anla\u015f\u0131lmayacak \u015fekilde kapal\u0131 tutarak, okuyucusunu d\u00fc\u015f\u00fcnd\u00fcrmeyi ama\u00e7lar. Sanat\u00e7\u0131n\u0131n istemeden, bilin\u00e7siz olarak yapt\u0131\u011f\u0131 kapal\u0131l\u0131\u011fa ise \u201cte\u2019kid\u201d ad\u0131 verilir. \u00d6rnek:
\nNas\u0131l istersen \u00f6yle dinle, bak\u0131n:
\nDallar\u0131n zirvesindeyiz ancak
\nYar\u0131 yoldan ziyade yerden uzak
\nYar\u0131 yoldan ziyade m\u00e2ha yak\u0131n
\nAhmed Ha\u015fim<\/p>\n
\u0130CAZ
\nBir d\u00fc\u015f\u00fcnceyi \u00e7ok az s\u00f6zc\u00fckle \u00f6zl\u00fc bir \u015fekilde anlatmad\u0131r. K\u0131saltman\u0131n anlam\u0131 g\u00fc\u00e7le\u015ftirmemesine dikkat edilir. Buna icaz-\u0131 muhil denir. Az s\u00f6z y\u00fckl\u00fc anlamla ifadeye makbul icaz denir. Atas\u00f6zleri, vecizeler, hikmetli s\u00f6zler bu gruba girer. Makbul icaz iki t\u00fcrd\u00fcr: Hafz yoluyla icaz: Anlama zarar vermeyecek \u015fekilde baz\u0131 s\u00f6zc\u00fckler at\u0131l\u0131r. Bu c\u00fcmle \u00e7\u0131kar\u0131larak da yap\u0131labilir. S\u00f6zc\u00fck \u00e7\u0131karmaya icaz bi\u2019l-harf denir. \u00d6rnek:
\nBir p\u00e2reye bini \u00e2ferinin
\nP\u00e2p\u00fb\u015fu at\u0131ldu Gevher\u00ee\u2019nin
\nZiya Pa\u015fa
\n\u015eair burada \u201cpapucu dama at\u0131ld\u0131\u2019y\u0131 \u201cpapucu at\u0131ld\u0131\u201d diye k\u0131saltm\u0131\u015f.
\n\u0130caz, c\u00fcmle \u00e7\u0131kar\u0131larak yap\u0131l\u0131rsa icaz bi\u2019l c\u00fcmel ad\u0131n\u0131 al\u0131r. \u00d6rnek:
\n\u201cAhmet ders \u00e7al\u0131\u015fsayd\u0131\u2026\u201d Burada \u201cba\u015far\u0131l\u0131 olacakt\u0131\u201d c\u00fcmlesi \u00e7\u0131kar\u0131lm\u0131\u015f.
\nTazammum yoluyla icaz: \u0130fadeden s\u00f6zc\u00fck ve c\u00fcmle at\u0131lmadan yap\u0131lan icazd\u0131r. \u0130ki t\u00fcr\u00fc vard\u0131r.
\n\u0130caz bi\u2019t-takd\u00eer: Ama\u00e7 az s\u00f6zc\u00fckle anlat\u0131l\u0131rken ihatal\u0131 anlam da \u00e7\u0131kar. \u00d6rne\u011fin \u201cAte\u015f d\u00fc\u015ft\u00fc\u011f\u00fc yeri yakar\u201d.
\n\u0130vaz bi\u2019l-kasr: Hi\u00e7bir s\u00f6zc\u00fck at\u0131lmadan anlamca zengindir. \u00d6rne\u011fin \u201cAkacak kan damarda durmaz\u201d gibi.<\/p>\n
\u0130DGAM
\nBirbirine yak\u0131n iki harfi tek yazarak vurgulu okumak. \u00d6rne\u011fin \u00e7akal yaz\u0131p \u00e7akkal okuma gibi.<\/p>\n
\u0130D\u0130L
\nEski Yunan \u015fiirinde mitolojik, epik ve pastoral \u015fiirlerin genel ad\u0131. G\u00fcn\u00fcm\u00fczde sevgi ve mutluluk i\u015fleyen \u015fiir t\u00fcr\u00fc.<\/p>\n
\u0130DMAC
\nS\u00f6zc\u00fck anlam\u0131 s\u0131k\u0131\u015ft\u0131rmak. Edebiyatta s\u00f6zde ve yaz\u0131da \u00f6vg\u00fc i\u00e7inde \u00f6vg\u00fc ya da a\u015fag\u011f\u0131lama i\u00e7inde a\u015fa\u011f\u0131lama yapmay\u0131 tan\u0131mlar. \u00d6vg\u00fc i\u00e7inde \u00f6vg\u00fc yapmaya istitb\u00e2 ad\u0131 da verilir. \u00d6rnek:
\nSadr\u0131nda seni eyleye Hak d\u00e2im \u00fc b\u00e2ki
\nHep \u00e2lemin etdikleri \u015fimdi bu du\u00e2d\u0131r
\nNedim
\n\u015eair sadrazama dua ediyor ama bu duan\u0131n herkes taraf\u0131ndan yap\u0131ld\u0131\u011f\u0131n\u0131 belirterek \u00f6vg\u00fc i\u00e7inde \u00f6vg\u00fc yap\u0131yor.<\/p>\n
\u0130FRAT
\nBir s\u0131fat\u0131 a\u015f\u0131r\u0131 \u00f6l\u00e7\u00fcde \u015fiddetlendirmektir. M\u00fcbala\u011fa (abartma) sanat\u0131n\u0131n bir t\u00fcr\u00fcd\u00fcr.<\/p>\n
\u0130GARE
\nBir \u015fairin \u015firinin bir ba\u015fka \u015fair taraf\u0131ndan benimsenmesi anlam\u0131ndaki sirkat\u2019\u0131n t\u00fcr\u00fc. Benimsenin \u015fiirde baz\u0131 de\u011fi\u015fiklikler yap\u0131l\u0131r veya sadece baz\u0131 s\u00f6zc\u00fckler al\u0131n\u0131rsa sirkat, igare (nesh olarak da adland\u0131r\u0131l\u0131r) olur. \u015eiirin s\u00f6zc\u00fckleri de\u011fil anlam\u0131 benimsenmi\u015fse ilm\u00e2d ya da selh ad\u0131 verilir. \u00d6rnek:
\nR\u0131za Tevfik\u2019in 1925\u2019te yazd\u0131\u011f\u0131 C\u00fcniye ba\u015fl\u0131kl\u0131 \u015fiirin ilk d\u00f6rtl\u00fc\u011f\u00fc:
\nO gece ne kadar g\u00fczeldi k\u00e2inat
\nHavv\u00e2da bir saf\u00e2 cerey\u00e2n\u0131 vard\u0131
\nDa\u011flardan ta\u015flardan ta\u015f\u0131yordu hayat
\nGuyib\u00e2r-I a\u015fk\u0131n fezey\u00e2n\u0131 vard\u0131
\nNihal Ats\u0131z\u2019\u0131n 1933\u2019te yazd\u0131\u011f\u0131 D\u00fcn Gece ba\u015fl\u0131kl\u0131 \u015fiirin ilk d\u00f6rtl\u00fc\u011f\u00fc:
\nD\u00fcn gece ne kadar g\u00fczeldi \u00e2lem
\nG\u00f6klerin \u015fanl\u0131 bir meht\u00e2b\u0131 vard\u0131
\nSevd\u00e2n\u0131n topraktan ta\u015ft\u0131\u011f\u0131 bu dem
\nG\u00fcn\u00e2h-I a\u015fk\u0131n da sevab\u0131 vard\u0131<\/p>\n
\u0130HAM
\nAnlamla ilgili edebi sanat. \u0130ki ya da daha fazla anlam\u0131 olan s\u00f6zc\u00fc\u011f\u00fcn en uzak anlam\u0131yla kullan\u0131lmas\u0131. E\u011fer s\u00f6zc\u00fcg\u00fcn iki anlam\u0131n\u0131n da konuyla ilisi olursa \u201cilham\u201d, s\u00f6zc\u00fc\u011f\u00fcn \u00f6zellikle ger\u00e7ekten \u00e7ok mecaz anlam\u0131 kastedilirse \u201ckinaye\u201d yap\u0131lm\u0131\u015f olur. \u00d6rnek:
\nSahn-\u0131 \u00e7emende durma saal\u0131nsun sab\u00e2 ile
\nAz\u00e2dedir nih\u00e2l bug\u00fcn berg \u00fc b\u00e2rdan
\nBak\u00ee
\n(\u201cFidan bug\u00fcn yaprak ve bardan kurtulup serbet kald\u0131, art\u0131k bah\u00e7enin ortas\u0131nda r\u00fczgarla sal\u0131ns\u0131n.\u201d B\u00e2r s\u00f6zc\u00fc\u011f\u00fc hem meyve hem y\u00fck anlam\u0131ndad\u0131r. B\u00e2r\u2019dan kurtulmakla a\u011fa\u00e7lar hem meyveden hem de y\u00fckten kurtulurlar. \u015eair burada b\u00e2r\u2019\u0131n bu iki anlam\u0131n\u0131 kastederek iham yap\u0131yor.<\/p>\n
\u0130HT\u0130RA
\nDaha \u00f6nce hi\u00e7bir \u015fairin kullanmad\u0131\u011f\u0131 s\u00f6zc\u00fck, deyim ve \u00fcsluplar\u0131 tan\u0131mlar.<\/p>\n
\u0130HT\u0130SAR
\nBir d\u00fc\u015f\u00fcncenin az s\u00f6zle anlat\u0131lmas\u0131d\u0131r. Geni\u015f a\u00e7\u0131klamalara, tan\u0131mlamalara girilmeden konu yal\u0131n ve do\u011fal bir \u015fekilde anlat\u0131l\u0131r. Bu bak\u0131mdan icaz\u2019a benzer.<\/p>\n
\u0130KMAL
\nBir c\u00fcmledeki anlam\u0131, ard\u0131ndan gelen c\u00fcmleyle tamamlamak. Her iki c\u00fcmlenin \u00f6znesi de \u00e7o\u011funlukla ortakt\u0131r ve ilk c\u00fcmlede yer al\u0131r. \u00d6rnek:
\nMerd olan kizbe tenezz\u00fcl etmez
\nZillet-i kizbe tahamm\u00fcl etmez
\nNab\u00ee<\/p>\n
\u0130KSAR
\nKusur say\u0131lan sanatlardand\u0131r. Bir d\u00fc\u015f\u00fcnceyi gereksiz \u015fekilde uzat\u0131lan ve tekrarlanan s\u00f6zc\u00fcklerle anlatmakt\u0131r. \u00d6rne\u011fin \u201cAli gitti mi?\u201d sorusuna kar\u015f\u0131l\u0131k \u201cevet\u201d ya da \u201chay\u0131r\u201d yerine \u201cAli gitti, gelmedi\u201d yan\u0131t\u0131 vermek gibi.<\/p>\n
\u0130KT\u0130BAS
\nAnlam\u0131 g\u00fc\u00e7lendirmek i\u00e7in s\u00f6ze ayet ve hadisler kat\u0131lmas\u0131yla yap\u0131lan sanat. Ayet ve hadisler aynen kullan\u0131labilir ya da \u00e7evirisinin bir b\u00f6l\u00fcm\u00fc tercih edilebilir. \u00d6rnek:
\nZalimlere bir g\u00fcn dedirtir kudret-i Mevl\u00e2
\n\u201cTallahi lekad \u00e2sereke\u2019llah\u00fc aleyna\u201d
\nZiya Pa\u015fa
\n(Yusuf Suresi ayet 91: Tanr\u0131 hakk\u0131 i\u00e7in Allah seni bize \u00fcst\u00fcn k\u0131ld\u0131.)<\/p>\n
\u0130LMAM
\nBir \u015fairin, ba\u015fka bir \u015fairin \u015fiirini biraz de\u011fi\u015ftirerek sahiplenmesi. \u00d6rnek:
\n\u015e\u00e2d\u00ee-i vuslat ni\u00e7in tahamm\u00eel-i n\u00e2z eyler bana
\nRind-i \u015f\u00e2d\u00ee-d\u00fc\u015fmenim ben gam niy\u00e2z eyler bana
\nN\u00e2il-\u00ee Kad\u00eem
\nTi\u011f-\u0131 istisn\u00e2 \u00e7ekip gamzen ne n\u00e2r eyler bana
\nAfet-i a\u015fk\u0131n kaz\u00e2 arz-\u0131 niy\u00e2z eyler bana
\nNam\u0131k Kemal<\/p>\n
\u0130LT\u0130FAT
\nS\u00f6z\u00fc konuyla ilgili bir ba\u015fka y\u00f6ne \u00e7evirme \u015feklindeki edebi sanat. Bir yeri, olay\u0131, duyguyu, d\u00fc\u015f\u00fcnceyi anlat\u0131rken birden s\u00f6z yine konuyla ilgili ba\u015fka bir yere, olaya, d\u00fc\u015f\u00fcnceye, duyguya \u00e7evrilir.<\/p>\n
\u0130LT\u0130ZAM
\n\u015eiirde kafiyeyi sa\u011flayan ya da d\u00fczyaz\u0131da \u201cseci\u201d olarak kullan\u0131lan s\u00f6zc\u00fckten \u00f6nce gelen ve kafiye ile ayn\u0131 say\u0131da harf i\u00e7eren benzer s\u00f6zc\u00fckler kullanarak yap\u0131lan sanatt\u0131r.\u00d6rnek: Merasim-i tevk\u00eer-i tevfirinde ihmal-\u00fc taks\u00eer olunmayup h\u0131l-i f\u00e2hire ve in\u2019\u00e2m\u00e2t-\u0131 z\u00e2hire ve ziy\u00e2f\u00e2t-\u0131 v\u00e2fire ile Z\u00fclkadiro\u011flu t\u00e2ifesi mu\u011ftenem oldular.<\/p>\n
\u0130NS\u0130CAM
\nS\u00f6z\u00fcn d\u00fczg\u00fcn, tutarl\u0131 ve birbirine ba\u011flanak s\u00f6ylenmesi. S\u00f6zc\u00fckler titizlikle se\u00e7ilir, art arda gelen c\u00fcmlelerde anlaml\u0131 bir dizili\u015f aran\u0131r.<\/p>\n
\u0130N\u015eA
\nDivan edebiyat\u0131nda edebi sanatlarla y\u00fckl\u00fc, s\u00fcsl\u00fc d\u00fczyaz\u0131lara verilen isim. \u0130n\u015fa yazanlara \u201cm\u00fcn\u015fi\u201d denir. G\u00fcn\u00fcm\u00fczdeki anlam\u0131 kompozisyon.<\/p>\n
\u0130NT\u0130HAL
\nBa\u015fkas\u0131na ait eserlerden par\u00e7alar al\u0131p kendisininmi\u015f gibi g\u00f6sterme. A\u015f\u0131rma veya ahz u sirkat tabirleri de ayn\u0131 anlama gelir. \u0130ntihal \u015fiirde olursa \u015firkat-\u0131 \u015fi\u2019r bu i\u015fi yapan da d\u00fczd-i s\u00fchan (s\u00f6z h\u0131rs\u0131z\u0131) diye an\u0131l\u0131r. S\u00fcnb\u00fclz\u00e2de Vehbi, Sirkat-\u0131 \u015fi\u2019r (\u015fiir \u00e7alma) olay\u0131 i\u00e7in \u015fu beyti s\u00f6ylemi\u015ftir:
\nSirkat-\u0131 \u015fi\u2019r edene kat\u2019i zeban l\u00e2z\u0131md\u0131r
\nB\u00f6yledir \u015fer-i bel\u00e2gatle fet\u00e2v\u00e2-y\u0131 s\u00fchan.<\/p>\n
\u0130RSAL-I MESEL
\nAnlamla ilgili sanatlardand\u0131r. S\u00f6ylenen fikri kuvvetlendirmek i\u00e7in araya atas\u00f6z\u00fc veya atas\u00f6z\u00fc de\u011ferinde \u00f6rnekler katmaya denir. \u0130leri s\u00fcr\u00fclen d\u00fc\u015f\u00fcnce, kendisiyle ortak nokta bulunmayan ba\u015fka bir d\u00fc\u015f\u00fcnceyle birlikte kullan\u0131l\u0131r. \u0130rad-\u0131 mesel de denir. \u00d6rnekler genellikle herkes taraf\u0131ndan bilinen, s\u00f6ylenen, kabul edilen atas\u00f6zleri, vecizeler ve hikmetli s\u00f6zlerden se\u00e7ilir.
\n\u00d6rnek: Tok olanlar bilemez \u00e7ekti\u011fini a\u00e7 kalan\u0131n
\nS\u0131rt\u0131 pek kimseye ahv\u00e2l-i \u015fita yaz g\u00f6r\u00fcl\u00fcr
\nSam\u00ee<\/p>\n
\u0130ST\u0130DRAD
\nUygun bir yerde konu d\u0131\u015f\u0131nda bir \u015fey anlatmak. Konuya a\u00e7\u0131kl\u0131k getirmek, okuyucunun veya dinleyicinin istifadesini sa\u011flamak i\u00e7in bu yola ba\u015fvurulur. Bu t\u00fcr ara giri\u015fler \u201c\u0130stidrad\u201d ba\u015fl\u0131\u011f\u0131 ile yaz\u0131l\u0131r, biti\u015f yeri ayr\u0131ca belirtilirdi. Sonra bu y\u00f6ntem b\u0131rak\u0131ld\u0131, ba\u015fl\u0131k koymadan a\u00e7\u0131klama yap\u0131p \u201cSadede gelelim\u201d s\u00f6z\u00fcyle as\u0131l konuya d\u00f6n\u00fclmeye ba\u015fland\u0131. Zaman\u0131m\u0131zda istidradlar k\u0131sa olmak kayd\u0131yla parantez veya iki \u00e7izgi aras\u0131nda yap\u0131l\u0131r. <\/p>\n
\u0130ST\u0130DR\u00c2K
\nAnlamla ilgili sanatlardand\u0131r. \u00d6ver gibi g\u00f6r\u00fcnerek yerme ve yerer gibi g\u00f6r\u00fcnerek \u00f6vmek.
\n1. \u00d6vme yoluyla yerme: Eskiler te\u2019k\u00fcd\u00fc\u2019z-zemm bi-m\u00e2 y\u00fc\u015febbih\u00fc\u2019l medh derlerdir. Ki\u015fi \u00f6vmeye benzer s\u00f6zlerle, kuvvetle yerilir.
\nAli Pa\u015fa\u2019n\u0131n Girit\u2019teki ba\u015far\u0131s\u0131zl\u0131\u011f\u0131n\u0131 dile getiren Ziya Pa\u015fa\u2019n\u0131n Zafern\u00e2me\u2019sinden al\u0131nan \u015fu beyitler bu sanat\u0131n en g\u00fczel \u00f6rneklerinden.
\nB\u00e2rek-Allah zeh\u00ee kevkebe-i \u00e2lel\u2019al
\nLevha\u015f-Allah, aceb nusret-i feyz \u00fc ikb\u00e2l!
\nHak bu kim g\u00f6rmedi a\u011faz edeli devre elek
\nB\u00f6yle bir tefh \u00fc zafer b\u00f6yle \u015f\u00fck\u00fbh \u00fc icl\u00e2l\u2026
\nLerze sald\u0131 fele\u011fe n\u00e2re-i \u201cHayy\u00e2k Allah\u201d
\nR\u00e2\u015fe verdi k\u00fcre\u2019yi gulgule-i \u201cYa M\u00fcte\u00e2l\u201d
\nKimseler olmad\u0131 bu feth-i m\u00fcb\u00eene mazhar
\nNe Skender ne H\u00fcl\u00e2g\u00e2 ne Sezar \u00fc Anibal.
\n\u00c2ferin himmetine \u00e2saf-\u0131 \u00e2li-kadrin,
\nOldu \u015f\u00e2yeste-I tevfik-i Cen\u00e2b-I M\u00fcte\u00e2l
\nGirid\u2019I ald\u0131 geri himmet-i seyf \u00fc kalemi
\nHakk\u0131na gelmi\u015f iken d\u00e2iye-i istikl\u00e2l
\nDevleti eyledi bir \u00f6yle bel\u00e2dan \u00e2z\u00e2d
\nYoksa pek m\u00fc\u015fkil olurdu \u015fu zam\u00e2nda ahv\u00e2l\u2026
\n\u0130htiyar eyledi bu k\u0131\u015fda \u015fu m\u00fc\u015fkil seferi,
\nYoksa kim etmi\u015f idi kendisini istisk\u00e2l!
\n2. Yerme yoluyla \u00f6vme: Eskiler te\u2019k\u00eed\u00fc\u2019l-medh bi-m\u00e2 y\u00fc\u015febb\u0131h\u00fc\u2019z-zemm derlerdi. Ki\u015fi yermeye benzer s\u00f6zlerle kuvvetle \u00f6v\u00fcl\u00fcr. \u00d6rnek:
\nDehrde anlamayup bilmedi\u011fi varsa me\u011fer
\nTama\u2019u bu\u011fz u nifak u hased u gadr u sitem
\nNab\u00ee<\/p>\n
\u0130ST\u0130FHAM
\nAnlamla ilgili sanatlardand\u0131r. Cevap alma gayesi g\u00fctmeksizin art arda sorulan sorularla yap\u0131l\u0131r. Sevgi, nefret, teess\u00fcr, \u00fcz\u00fcnt\u00fc, \u00f6fke, kin, k\u0131skan\u00e7l\u0131k, \u00fcmitsizlik, acz, \u015fa\u015fk\u0131nl\u0131k, hayret ve hayranl\u0131k gibi heyecan verici duygular bu yolla ifade edilir. \u015eair duyguya ba\u011fl\u0131 olarak kendi kendisine, herkese veya her \u015feye soru y\u00f6neltebilir. D\u00fc\u015f\u00fcnce ve kavram \u00fczerine dikkati \u00e7ekmek i\u00e7in bu sanata ba\u015fvurulur. A\u015f\u0131r\u0131 heyecan ve gerilim istifham\u2019\u0131 alel\u00e2de soru c\u00fcmlelerinden ayr\u0131l\u0131r. \u00d6rnek:
\n\u015eakaklar\u0131ma kar m\u0131 ya\u011fd\u0131 ne var?
\nBenim mi Allah\u2019\u0131m bu \u00e7izgili y\u00fcz?
\nYa g\u00f6zler alt\u0131ndaki mor halkalar?
\nNeden b\u00f6yle d\u00fc\u015fman g\u00f6r\u00fcn\u00fcrs\u00fcn\u00fcz,
\nY\u0131llar y\u0131l\u0131 dost bildi\u011fim aynalar?
\nCahit S\u0131tk\u0131 Taranc\u0131<\/p>\n
\u0130ST\u0130HDAM
\nAnlamla ilgili sanatlardand\u0131r. \u0130ki anlam\u0131 olan bir kelimeyi, bu iki anlama gelecek \u015fekilde kullanmak. Birinde ger\u00e7ek, di\u011ferinde mecazl\u0131 anlam kasdedilir. \u00d6rnek:
\nBahar erdi a\u00e7\u0131ld\u0131 sevdi\u011fim hem fasl-\u0131 dey hem g\u00fcl
\nBir sahn-i g\u00fclistandan biri fasl-\u0131 g\u00fclistanda.
\nMuallim Naci
\nBu beyitte a\u00e7\u0131ld\u0131 fiili birinci m\u0131srada fasl-\u0131 dey (k\u0131\u015f mevsimi)nin uzakla\u015fmas\u0131, sona ermesi; ikinci m\u0131srada ise, \u00e7i\u00e7e\u011fin a\u00e7\u0131lmas\u0131 anlam\u0131na geliyor.<\/p>\n
\u0130ST\u0130HLAF
\nT\u00fcrk\u00e7edeki sesli harfleri baz\u0131 durumlarda uzatmak. \u00d6rnek:
\nVerseydi \u00e2h-\u0131 mecn\u00fbn feryadumun sed\u00e2s\u0131n
\nKu\u015f m\u0131 kar\u00e2r iderdi b\u00e2\u015f\u0131mdaki yuv\u00e2da
\nFuz\u00fbl\u00ee
\n\u201cba\u015f\u0131ndaki\u201d ve \u201cyuvadaki\u201d kelimelerinde \u201ca\u201dlar uzun okunur.<\/p>\n
\u0130\u015eT\u0130KRAR
\nS\u00f6zle ilgili sanatlardand\u0131r. Ayn\u0131 k\u00f6kten t\u00fcreyen veya ayn\u0131 k\u00f6ke ba\u011fl\u0131 harflerin benzerli\u011finden dolay\u0131 ayn\u0131 k\u00f6kten t\u00fcremi\u015f gibi g\u00f6r\u00fcnen seslerin birarada kullan\u0131lmas\u0131na denir. \u00d6rnek:
\nK\u0131lmag\u0131l muhkem g\u00f6n\u00fcl d\u00fcnyaya akd-i irtib\u00e2t
\nSen bir av\u00e2re m\u00fcsafirsen bu v\u00eer\u00e2n rib\u00e2t
\nFuz\u00fbl\u00ee
\nRib\u00e2t ve irtib\u00e2t ayn\u0131 k\u00f6kten gelir.<\/p>\n
\u00ceT\u0130L\u00c2F
\nUygunluk. Kelimenin anlamla uygunlu\u011fu, kelimelerin vezinle uygunlu\u011fu, kelimelerin di\u011fer kelimelerle uygunlu\u011fu, anlam\u0131n\u0131n vezinle uygunlu\u011fu ve anlam\u0131n anlamla uygunlu\u011fu.<\/p>\n
\u0130TNAB
\nS\u00f6z\u00fc, gerekti\u011finden fazla kelime veya c\u00fcmle ile uzatma. \u0130caz\u2019\u0131n kar\u015f\u0131t\u0131. \u0130kiye ayr\u0131l\u0131r:
\n1. \u0130tnab-\u0131 makbul: Makbul say\u0131lan s\u00f6z katmad\u0131r. Bu \u00e7e\u015fitte anlam peki\u015ftirilir, anlat\u0131lacak \u015fey abart\u0131l\u0131r, kastedilen husus fazla tasvir edilir ve \u00fc\u00e7\u00fc birden sa\u011flan\u0131r. \u00d6rnek:
\n\u201cYal\u0131lar\u0131n en tabii ve en l\u00fczumlu gezinti vas\u0131tas\u0131 sandallar! Sade yal\u0131lar\u0131n m\u0131? Bo\u011fazi\u00e7i\u2019nde herkesin her an, en \u00e7ok, onlar i\u015fine yar\u0131yor. Mehtapla gezginci, s\u00e2zende k\u00f6\u015fk\u00fc onlar, saz dinleyicilerin mevkibi onlar, yerine g\u00f6re madrabazlar\u0131n bal\u0131k deposu onlar, sebze d\u00fckkan\u0131, dondurmac\u0131 d\u00fckkan\u0131, onlar; y\u00f6r\u00fck manav sergisi onlar, tatl\u0131 su damacanalar\u0131n\u0131n ambar\u0131 onlar, hasta sedyesi onlar\u2026\u201d
\nRu\u015fen E\u015fref \u00dcnayd\u0131n
\n2. \u0130tn\u00e2b-\u0131 m\u00fcmel: Makbul say\u0131lmayan s\u00f6z katmad\u0131r. \u0130tnab-\u0131 m\u00fchil de denir. Ha\u015fv-\u0131 kabih\u2019ler ve tekrarlar makbul say\u0131lmayan s\u00f6z katmanlar\u0131d\u0131r. \u00d6rnek:
\nDu\u00e2 ile s\u00f6z\u00fc hatmedelim, z\u00eer\u00e2 hakikatte
\nS\u00f6z\u00fcn gevher olursa ye\u011fdir itn\u00e2b\u0131ndan \u00eec\u00e2ze
\nNef\u2019\u00ee<\/p>\n","protected":false},"excerpt":{"rendered":"
A ABSOLUT\u0130ZM Mutlak\u00e7\u0131l\u0131k. Herhangi bir eserde ya da ilkede bir ebedinin varl\u0131\u011f\u0131na ve de\u011fi\u015fmezli\u011fine inanmak, eseri ya da ilkeyi bu de\u011fi\u015fmeze g\u00f6re incelemek. A\u00c7IKLAMA Edebi bir eseri geni\u015f okuyucu kitleleri i\u00e7in anla\u015f\u0131labilir hale getirmek i\u00e7in yap\u0131lan yaz\u0131l\u0131 \u00e7al\u0131\u015fmalar. Sanat\u00e7\u0131lar eserlerinde anlam\u0131 herkes taraf\u0131ndan bilinmeyen s\u00f6zc\u00fckler, deyimler, durumlar ve d\u00fc\u015f\u00fcncelerle, sanatlar kullan\u0131r. Bunlar\u0131n her biri bir …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1403,1405],"tags":[9623,9620,9625,9621,9624,9622],"class_list":["post-4356","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-cahit-sitki-taranci","tag-edebiyat-terimleri-sozlugu","tag-mehmed-akif","tag-mutlakcilik","tag-nasrettin-hoca","tag-rubai"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4356","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/comments?post=4356"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4356\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=4356"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=4356"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=4356"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}