K<\/p>\n
KALB
\nS\u00f6zle ilgili sanatlardand\u0131r. Arap harflerine g\u00f6re bir kelimenin harflerinin yerleri de\u011fi\u015ftirilerek yap\u0131l\u0131r. Cinas sanat\u0131n\u0131n bir \u00e7e\u015fididir. Cinas-\u0131 kalb, tecnis-i kalb ve makl\u00fbb adlar\u0131yla da bilinir. \u0130kiye ayr\u0131l\u0131r:
\n1. Kalb-i k\u00fcl: Tersinden okundu\u011fu zaman da anlaml\u0131 olan kelime \u00e7\u0131kan sanatt\u0131r. Buna kalb-i muntazam veya aks-i m\u00fcfred de denir. \u00d6rnek:
\nM\u00fbr gibi emrine k\u0131lm\u0131\u015f it\u00e2at halk-\u0131 R\u00fbm
\nR\u00e2m olupdur nitekim M\u00fbs\u00e2\u2019ya ey \u015feh \u015fihr-i m\u00e2r
\nSurur\u00ee Kadim
\nM\u00fbr: Kar\u0131nca, R\u00fbm: Anadolu, R\u00e2m: \u0130taat etme, M\u00e2r: Y\u0131lan anlam\u0131na gelir.
\n2. Kalb-i ba\u2019z: Bir kelimenin harfleri de\u011fi\u015ftirilerek kelime yazma sanat\u0131d\u0131r. Buna makl\u00fbb muavvec de denir. \u00d6rnek:
\nTahl\u00eesine yok mu du\u00e2c\u0131
\nC\u00e2niler i\u00e7inde kald\u0131 N\u00e2c\u00ee
\nMuallim Naci
\nC\u00e2ni: Katil, N\u00e2ci: \u015eairin ad\u0131.<\/p>\n
KARAVELL\u0130
\nAs\u0131l hikaye aras\u0131na kat\u0131lan k\u00fc\u00e7\u00fck, m\u00fcstakil hikayeler. Hikayelerin i\u00e7inde manzum par\u00e7a bulunmaz. \u0130bret verici veya g\u00fcld\u00fcr\u00fcc\u00fc niteliktedirler. Genellikle uzun hikayelerin anlat\u0131ld\u0131\u011f\u0131 toplant\u0131larda zaman zaman dikkatleri ba\u015fka noktaya \u00e7evirmek ve sahneyi de\u011fi\u015ftirmek i\u00e7in s\u00f6ylenirler.<\/p>\n
KAT\u2019
\nAnlamla ilgili sanatlardand\u0131r. Susman\u0131n s\u00f6ylemekten etkili olaca\u011f\u0131 yerde s\u00f6z\u00fc kesmeye denir. Heyecan\u0131n doru\u011fa ula\u015ft\u0131\u011f\u0131 noktada bu yola ba\u015fvurulur. Genellikle nesirde kullan\u0131lan bir sanatt\u0131r. \u00d6rnek:
\nBu da\u011f\u0131n \u00e7ilesi dolmaz,
\nBu da\u011f\u0131n \u00e7ilesi solmaz,
\nBu da\u011f bir\u2026
\nSus \u015fair,
\nHepsini demek olmaz!
\nHalide Nusret Zorlutuna<\/p>\n
KATAR
\nHalk edebiyat\u0131nda alt alta s\u0131ralanan d\u00f6rtl\u00fcklerin hepsine birden katar denir.<\/p>\n
KAYABA\u015eI
\nHalk edebiyat\u0131m\u0131zda bir ko\u015fma t\u00fcr\u00fc. \u00d6zel ezgiyle okunur. T\u00fcrk\u00fclerin ezgilerine g\u00f6re b\u00f6l\u00fcmlenmesinde usuls\u00fcz okunan t\u00fcrk\u00fcler b\u00f6l\u00fcm\u00fcne girer. Konular\u0131 k\u0131r ve k\u00f6y hayat\u0131yla ilgilidir. \u00c7obant\u00fcrk\u00fcs\u00fc olarak da bilinir.<\/p>\n
KELAM-I K\u0130BAR
\nUlu s\u00f6z demektir. Velilerin, b\u00fcy\u00fck ki\u015filerin, ahlak\u00e7\u0131lar\u0131n \u00f6zl\u00fc s\u00f6zlerini tan\u0131mlamak i\u00e7in kullan\u0131l\u0131r.<\/p>\n
KEREM HAVALARI
\nSaz, ba\u011flama, bozuk d\u00fczenler e\u015fli\u011finde \u00f6zel bir ezgiyle s\u00f6ylenen t\u00fcrk\u00fclerdir. Ad\u0131n\u0131 \u00f6yk\u00fc kahraman\u0131 Kerem\u2019den ald\u0131\u011f\u0131 san\u0131l\u0131yor. Ak\u0131c\u0131l\u0131\u011f\u0131ndan dolay\u0131 \u00e7ok tutulan bir \u00fcsluptur. Anadolu\u2019nun hemen b\u00fct\u00fcn b\u00f6lgelerinde s\u00f6ylenir. Kerem, yan\u0131k Kerem, kesik Kerem, kandilli Kerem gibi b\u00f6l\u00fcmlere ayr\u0131l\u0131r.<\/p>\n
KES\u0130K
\nHalk edebiyat\u0131m\u0131zda hece say\u0131s\u0131 7 ve 8 olan \u015fiirlerin genel ad\u0131.<\/p>\n
L<\/p>\n
L\u00c2EDR\u0130
\nArap\u00e7a s\u00f6zc\u00fck anlam\u0131 \u201cbilmiyorum\u201d demek. Yazar\u0131 bilinmeyen eserler i\u00e7in kullan\u0131l\u0131r.<\/p>\n
LEBDE\u011eMEZ
\n\u0130\u00e7inde \u201cdudak sessiz harfleri\u201d (yani b, f, m, p, v) diye tan\u0131mlanan harfler bulunmayan s\u00f6zc\u00fcklerle yaz\u0131lm\u0131\u015f \u015fiirlerdir. \u201cDudakde\u011fmez\u201d ad\u0131 da verilir. Divan edebiyat\u0131nda az ba\u015fvurulan bir y\u00f6ntemdir. As\u0131l halk edebiyat\u0131m\u0131zda kullan\u0131l\u0131r. Bu t\u00fcrde \u015fiirler s\u00f6ylemek bir ustal\u0131k i\u015fareti say\u0131l\u0131r. \u00d6rnek:<\/p>\n
Tarik-i a\u015fka gir ehl-i H\u00fcd\u00e2 ol
\nG\u00f6n\u00fcl gel lay\u0131k-i her itil\u00e2 ol
\nDilersen dehrde \u00e2z\u00e2de serlik
\nGurur-i c\u00e2h\u0131 terk eyle ged\u00e2 ol
\nCid\u00e2l-i k\u00eel ukale yok nih\u00e2yet
\nRical\u00fb\u2019llah ile h\u00e2l-\u00e2\u015fina ol
\n\u00c7ekil izzetle uzlet g\u00fb\u015fesine
\nAz\u00eez ol derd-\u00ee \u015f\u00f6hretten c\u00fbda ol
\nDokunmaz leb lebe Remzi okurken
\nDeh\u00e2n-i dil-bere n\u00fckte n\u00fcm\u00e2 ol
\nAhmet Remzi Dede
\n(Sadece son beyitte dudak sessiz harfleri var)<\/p>\n
L\u0130R\u0130K \u015e\u0130\u0130R
\nDin, do\u011fa, a\u015fk, \u00f6zlem, gurbet, vatan, \u00f6l\u00fcm gibi konularda ki\u015fisel duygulan\u0131mlar\u0131n dile getirildi\u011fi, \u00e7o\u015fkulu bir anlat\u0131m\u0131n kullan\u0131ld\u0131\u011f\u0131 \u015fiirlerdir. Eski Yunan edebiyat\u0131nda \u015fairler \u015fiirlerini genellikle lir e\u015fli\u011finde s\u00f6yledi\u011fi i\u00e7in isim buradan kaynaklan\u0131r. T\u00fcrk edebiyat\u0131nda bir d\u00f6nem bir t\u00fcr telli saz olan rebab ile \u015fiir s\u00f6ylendi\u011fi i\u00e7in lirik \u015fiire \u201crebabi\u201d denildi. Divan edebiyat\u0131nda gazel, murabba, \u015fark\u0131, halk edebiyat\u0131m\u0131zda ko\u015fma ve semailer lirik \u015fiire \u00f6rnek verilebilir.<\/p>\n
M
\nMAKLUB
\nHarfleri tersten s\u0131raland\u0131\u011f\u0131nda yine ayn\u0131 s\u00f6zc\u00fck \u00e7\u0131kan s\u00f6zc\u00fckler. \u00d6rne\u011fin mum, bab, aba gibi.
\nMAZMUN
\nBir dizenin bir ifadenin ta\u015f\u0131d\u0131\u011f\u0131 ve onlardan herkesin anlad\u0131\u011f\u0131 ger\u00e7ek ya da mecaz anlama, as\u0131l anlam\u0131 yan\u0131nda ta\u015f\u0131yan bir isme, bir atas\u00f6z\u00fcne, \u00e2yete, h\u00e2dise, olaya, bir \u015feyi onun \u00f6zelliklerini \u00e7a\u011fr\u0131\u015ft\u0131racak s\u00f6zc\u00fck ya da s\u00f6zc\u00fck gruplar\u0131n\u0131n veya dizelerin i\u00e7ine yerle\u015ftirmeye mazmun denir. \u00d6rnek:
\n\u00c7\u0131hma y\u00e2rim giceler a\u011fyar te\u2019n\u0131ndan sak\u0131n
\nSen meh-i evc-i mel\u00e2hatsin bu noks\u00e2nd\u0131r sana
\nFuzul\u00ee
\n(Sevgilim, gece yar\u0131lar\u0131 d\u0131\u015far\u0131 \u00e7\u0131kma, yabanc\u0131lar\u0131n ay\u0131plar\u0131ndan sak\u0131n. Sen g\u00fczellik g\u00f6\u011f\u00fcn\u00fcn en y\u00fcksek yerindeki dolunays\u0131n, gece \u00e7\u0131kmak sana yak\u0131\u015fmaz, kusur say\u0131l\u0131r.)
\nFuzuli\u2019nin bu beytinde sevgili, g\u00fczelli\u011fin doru\u011fundaki aya benzetiliyor. Ay\u0131n en g\u00fczel hali dolunayd\u0131r. Dolunay g\u00fcne\u015fin batmas\u0131ndan \u00f6nce do\u011far. Dolunay\u0131n gece yar\u0131s\u0131 \u00e7\u0131kmas\u0131 ay tutulmas\u0131yla olabilir. Ay tutuldu\u011funda noksand\u0131r, kusurludur, g\u00fczelli\u011fini kaybeder. Fuzul\u00ee, bu beytinde \u201cnoksan\u201d ve \u201cta\u2019n\u201d
\ns\u00f6zc\u00fckleriyle bir ay tutulmas\u0131 mazmunu yap\u0131yor.<\/p>\n
MEKTUP
\nBirbirinden uzakta bulunanlar\u0131n haberle\u015fmesini sa\u011flayan bir yaz\u0131 t\u00fcr\u00fc. En eski haberle\u015fme ara\u00e7lar\u0131ndan biri. S\u00f6zc\u00fck anlam\u0131 Arap\u00e7a \u201cyaz\u0131lm\u0131\u015f \u015fey.\u201d Fars\u00e7as\u0131 name, eski T\u00fcrk dillerindeki kar\u015f\u0131l\u0131\u011f\u0131 bitig, betik ya da bittidir. Tarihte rol oynam\u0131\u015f \u00fcnl\u00fc ki\u015filerin, yazar, bilimadam\u0131 ve sanat\u00e7\u0131lar\u0131n mektuplar\u0131yla birlikte bir edebi eserler t\u00fcr\u00fc olarak kimi zaman ele al\u0131nm\u0131\u015ft\u0131r. Sadece mektuplardan olu\u015fan kitaplar da vard\u0131r.<\/p>\n
MELHAME
\nDivan edebiyat\u0131nda gelecek olaylar\u0131 anlatan naz\u0131m ya da nesir eserlerin ortak ad\u0131.<\/p>\n
MENKUT
\nDivan edebiyat\u0131nda s\u00f6zc\u00fcklerinin t\u00fcm\u00fc noktal\u0131 harflerden olu\u015fan \u015fiirler.<\/p>\n
MENSURE (Mensur \u015fiir)
\nDuygu, d\u00fc\u015f\u00fcnce, ya\u015fam ya da hayalleri \u015fiir inceli\u011finde anlatan d\u00fczyaz\u0131 t\u00fcr\u00fc. \u0130\u00e7 uyuma \u00f6nem verildi\u011fi i\u00e7in dilbilgisi kurallar\u0131na uygunluk aranmaz. 19. Y\u00fczy\u0131lda Frans\u0131z edebiyat\u0131nda ilk \u00f6rnekleri g\u00f6r\u00fcld\u00fc. \u015einasi\u2019nin Frans\u0131z edebiyat\u0131ndan yapt\u0131\u011f\u0131 \u015fiir terc\u00fcmeleri edebiyat\u0131m\u0131zdaki ilk \u00f6rne\u011fidir.<\/p>\n
MESEL
\nAtas\u00f6zleri, \u00f6\u011fretici, ahlaki \u00f6zellikleri bulunan k\u00fc\u00e7\u00fck hikayelerdir.<\/p>\n
ME\u015eT\u00dcR
\nDivan edebiyat\u0131nda d\u00f6rt c\u00fczl\u00fc (yani 4 mef\u00e2\u2019il\u00fcn 4 m\u00fcstef\u2019il\u00fcn) ile yaz\u0131lm\u0131\u015f vezinleri iki\u015fer c\u00fcze indirerek yaz\u0131lm\u0131\u015f \u015fiirlerdir.<\/p>\n
MONOGRAF\u0130
\nBir ki\u015fi ya da bir konu ile ilgili \u00f6zel bir g\u00f6r\u00fc\u015fle yaz\u0131lm\u0131\u015f incelemeler. Ele al\u0131nan konu ya da ki\u015fiyi her y\u00f6n\u00fcyle a\u00e7\u0131klamaya \u00e7al\u0131\u015f\u0131r.<\/p>\n
MONOLOG
\nTek ki\u015finin konu\u015fmas\u0131, tiyatro oyunlar\u0131nda kahramanlardan birinin sahnede kendi kendine yapt\u0131\u011f\u0131 uzun konu\u015fmalar\u0131n tamam\u0131. Tek ki\u015finin oynamas\u0131 i\u00e7in yaz\u0131lm\u0131\u015f komedilere de monolog ad\u0131 verilir.<\/p>\n
MUAMMA
\nBa\u015fta Esm\u00e2\u2019y\u0131 H\u00fcsn\u00e2 (Allah\u2019\u0131n doksan dokuz g\u00fczel ismi) olmak \u00fczere konusu insan ismi olan manzum bilmeceler. Kelime \u201cgizli, \u00f6rt\u00fcl\u00fc, anla\u015f\u0131lmas\u0131 g\u00fc\u00e7 veya i\u015faret remiz yoluyla s\u00f6ylenmi\u015f s\u00f6z\u201d anlamlar\u0131na gelir. Muammalar l\u00fcgazlardan farkl\u0131d\u0131r. Muammalar Allah\u2019\u0131n isimlerinden biri veya insan ismi i\u00e7in d\u00fczenlenirken l\u00fcgazlar her \u015fey hakk\u0131nda d\u00fczenlenirler. Yaln\u0131z muammalar\u0131n bazen l\u00fcgaz, hatta \u00e2\u015f\u0131k edebiyat\u0131nda bir \u00e7e\u015fit bilmece (\u00e2\u015fk\u0131 -muamma) kar\u015f\u0131l\u0131\u011f\u0131 olarak da kullan\u0131ld\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Muamma alan\u0131nda en \u00e7ok eser veren \u015fairimiz Emri (Edirneli Emrullah \u00c7elebi) olmu\u015ftur. Muamman\u0131n d\u00fczenlenmesinde ebced hesab\u0131 kullan\u0131l\u0131r. \u00d6rnek:
\nBende yok sab-\u00fc s\u00fckun sende vefadan zerre
\n\u0130ki yoktan ne \u00e7\u0131kar fikr edelim bir kerre
\nN\u00e2bi<\/p>\n
MUA\u015e\u015eER
\nOnar m\u0131sral\u0131k bendlerle kurulan musammatlar. Divan edebiyat\u0131 naz\u0131m \u015feklidir.<\/p>\n
MUCEM
\nArap alfabesindeki noktal\u0131 harfler. Alfabetik olarak d\u00fczenlenmi\u015f s\u00f6zl\u00fck, h\u00e2l terc\u00fcmesi, ansiklopediler b\u00f6yle adland\u0131r\u0131l\u0131r. Mucem tarih, ebced hesab\u0131 ile sadece noktal\u0131 harflerin hesap edilmesine dayan\u0131larak d\u00fc\u015f\u00fclen tarihlerdir.<\/p>\n
MUHAMMES
\nBe\u015f m\u0131sral\u0131k bendlerden olu\u015fan divan edebiyat\u0131 naz\u0131m \u015fekli. Kelime \u201cbe\u015flik\u201d anlam\u0131ndad\u0131r. En az 4, en \u00e7ok 8 bend aras\u0131nda yaz\u0131lm\u0131\u015ft\u0131r.<\/p>\n
MUKABELE
\nAralar\u0131nda tezat ve kar\u015f\u0131tl\u0131k bulunan kelime, tamlama ve s\u00f6zleri birarada kullanmak. \u00d6rnek:
\nSafa-y\u0131 a\u015fk\u0131n dide gam\u0131nla p\u00fcrnem
\nBir evde ay\u015f u \u015f\u00e2d\u00ee bir evde ye\u2019s \u00fc m\u00e2tem
\n(Safa ile gam, ay\u015f u \u015f\u00e2di ile ye\u2019s u m\u00e2tem aras\u0131nda kar\u015f\u0131tl\u0131k bulunmas\u0131na
\nra\u011fmen birarada kullan\u0131lm\u0131\u015ft\u0131r.)<\/p>\n
MUKATTA
\nArap alfabesinde kendisinden sonra gelen harfle biti\u015fmeyen harfler (elif, dal, zel, r\u0131, ze, vav) kullan\u0131larak s\u00f6ylenen s\u00f6z.<\/p>\n
MUKTEZA-YI H\u00c2L
\nUsl\u00fbpta zamana, yere, duruma ve hit\u00e2p edilen ki\u015filere g\u00f6re dili ayarlama, s\u00f6z\u00fcn s\u00f6ylendi\u011fi yerin, zaman\u0131n ger\u00e7ek ve gereklerine uygun olmas\u0131. Mukteza-y\u0131 makam, itibar-\u0131 m\u00fcnasib s\u00f6zleri de ayn\u0131 anlamda kullan\u0131l\u0131r.<\/p>\n
MURAFAKAT
\n\u00dcsl\u00fbbun, ele al\u0131nan konuya g\u00f6re d\u00fczenlenmesi, dile getirilen d\u00fc\u015f\u00fcnce, duygu ve hayallare uygun d\u00fc\u015fmesine, \u00fcsl\u00fbp ile i\u00e7erik aras\u0131nda bir ili\u015fki kurulmas\u0131. Anlat\u0131lan konuya uygun kelime, kelime grubu ve isimler se\u00e7ilir.<\/p>\n
MURASSA
\nNesirde iki ibarenin, naz\u0131mda ise iki m\u0131sran\u0131n kelimelerinin say\u0131ca denk, kar\u015f\u0131l\u0131klar\u0131yla vezin ve kafiye bak\u0131m\u0131ndan birlik olmas\u0131. \u00d6rnek:
\n\u015e\u00e2h melek\u00fbt ar\u015f-p\u00e2ye
\nM\u00e2h-\u0131 ceber\u00fbt per\u015f-s\u00e2ye
\n\u015eeyh G\u00e2lib<\/p>\n
MUSARRA
\nM\u0131sralar\u0131 birbiri ile kafiyeli olan beyitler. Beyt-i musarra, gazellerin ilk beyitleri (matla\u2019) musarra\u2019d\u0131r. Her m\u0131sras\u0131 ayn\u0131 kafiyede olan \u015fiirlere de musarra denir. (Musarra tuyu\u011f gibi) Bu \u015fekilde d\u00fczenlenen \u015fiirlerin bir ba\u015fka ad\u0131 m\u00fcselseldir.<\/p>\n
MUTABAKAT
\nAnlat\u0131m i\u00e7inde kullan\u0131lan kelime ve deyimlerin i\u00e7eri\u011fe uygun se\u00e7ilmesi. Kar\u015f\u0131t\u0131 m\u00fcbayenet\u2019tir (ayk\u0131r\u0131l\u0131k, z\u0131tl\u0131k).<\/p>\n
MUVAFAKAT
\nKelimenin anlamla, kelimenin vezinle, kelimenin kelimeyle, anlam\u0131n vezinle, anlam\u0131n anlamla uygunlu\u011fu.<\/p>\n
MUVAZENE
\nNesirde seci, naz\u0131mda kafiye yerindeki s\u00f6zc\u00fc\u011f\u00fc yaln\u0131z vezin bak\u0131m\u0131ndan e\u015fit olmas\u0131. \u00d6rnek:
\nM\u00fcnderic n\u00fcsha-i z\u00e2t\u0131nda kem\u00e2lat-i v\u00fcc\u00fbd
\nM\u00fcndemic t\u0131ynet-i p\u00e2kinde havass-i ic\u00e2d
\nN\u00e2d\u00ee
\n(M\u00fcnderic ve m\u00fcndemic kelimeleri aras\u0131nda muvazene vard\u0131r.) <\/p>\n
M\u00dcLEMMA
\nBir \u015fiirin baz\u0131 m\u0131sralar\u0131, b\u00f6l\u00fcmleri veya bir m\u0131sran\u0131n baz\u0131 s\u00f6zc\u00fcklerin de\u011fi\u015fik dillerde yaz\u0131lmas\u0131. Divan edebiyat\u0131nda Arap\u00e7a, Fars\u00e7a, Yunanca\u2019n\u0131n T\u00fcrk\u00e7e ile birlikte kullan\u0131ld\u0131\u011f\u0131 \u015fiirler yaz\u0131lm\u0131\u015ft\u0131r. Tanzimat\u2019tdan sonra bu dillere Frans\u0131zca da eklenmi\u015ftir. \u00d6rnek:
\nEyy\u00fcha\u2019r-ra\u011fib\u00fbne fi\u2019l-evkat!
\nEdrik\u00fbh\u00e2 fe-m\u00e2 mad\u00e2 kad f\u00e2t.
\nFevt-i fursat me-k\u00fcn \u00e7\u00fc vakt-i saf\u00e2st,
\nKi bes\u00ee hestder-cih\u00e2n \u00e2f\u00e2t.
\n\u0130rdi bir dem ki behcetinden an\u0131n
\nSekiz U\u00e7m\u00e2\u011f\u2019a d\u00f6nd\u00fc Alt\u0131 Cih\u00e2t.
\n\u0130\u015f ke-m\u00e2 \u00e2\u015fe \u00e2\u015fikun va\u2019lem!
\nT\u00e2vet in-nefs\u00fc t\u00e2bet il-evkat.<\/p>\n
M\u00dcNAKKAH\u0130YET
\nGereksiz s\u00f6zlerden ar\u0131nd\u0131r\u0131lm\u0131\u015f \u00f6zl\u00fc ifade, konuyu gerekti\u011fi kadar i\u015fleme; anlaml\u0131 s\u00f6zc\u00fckler aras\u0131nda e\u015fitlik bulunmas\u0131.<\/p>\n
M\u00dcN\u015eE\u00c2T
\nMensur yaz\u0131 veya mektuplar\u0131n bir araya getirdi\u011fi dergiler. Divan edebiyat\u0131nda edebi de\u011feri olan yaz\u0131lar bir defterde toplan\u0131r ve merakl\u0131lar\u0131 okurdu. M\u00fcn\u015featlardaki nesirlerde konu birli\u011fi aranmaz. Bu eserlerde \u00e7e\u015fitli tarih belgeleri yan\u0131nda edebi metinler ve \u00f6zel mektuplar\u0131n biraraya getirildi\u011fi g\u00f6r\u00fcl\u00fcr. M\u00fcn\u015fe\u00e2t-\u0131 Feridun Bey, Nergisi ve Veysi\u2019nin m\u00fcn\u015featlar\u0131 \u00fcnl\u00fcd\u00fcr. Son m\u00fcn\u015fe\u00e2t \u00f6rnekleri aras\u0131nda M\u00fcn\u015fe\u00e2t-\u0131 Akif Pa\u015fa \u00f6nemlidir.<\/p>\n
M\u00dcN\u015e\u00ce
\nSanatl\u0131 d\u00fczyaz\u0131 yazan ki\u015filer. M\u00fcn\u015filerin yaz\u0131lar\u0131n\u0131 toplayan dergiler m\u00fcn\u015feat\u2019t\u0131r.<\/p>\n
M\u00dcNTEHAB\u00c2T
\nSe\u00e7ilmi\u015f \u015feyler. \u00c7okluk ayn\u0131 t\u00fcrde kaleme al\u0131nm\u0131\u015f, bir veya daha fazla yazarlara ait yaz\u0131lar aras\u0131ndan yap\u0131lan se\u00e7melerle meydana getirilmi\u015f eser; se\u00e7meler, antoloji.<\/p>\n
M\u00dcSTE\u015eR\u0130K
\nDo\u011fulu milletlerin tarih, din, dil, edebiyat ve k\u00fclt\u00fcrlerini ara\u015ft\u0131r\u0131p inceleyen Bat\u0131l\u0131 bilginler. \u015earkiyat\u00e7\u0131, oryantalist, do\u011fubilimci kelimeleri de ayn\u0131 anlamda kullan\u0131l\u0131r.<\/p>\n
M\u00dc\u015eAARE
\nKar\u015f\u0131l\u0131kl\u0131 \u015fiir s\u00f6yleme. Edebiyat ara\u015ft\u0131rmac\u0131lar\u0131 m\u00fc\u015faareyi \u00fc\u00e7e ay\u0131r\u0131r:
\n1. Bir divan \u015fairinin manzum eserine di\u011fer bir \u015fairin ayn\u0131 vezin ve kafiyede nazire yazmas\u0131.
\n2. \u00c2\u015f\u0131klar aras\u0131nda kar\u015f\u0131l\u0131kl\u0131 \u015fiir s\u00f6yleme. Bir \u00e2\u015f\u0131\u011f\u0131n okudu\u011fu beyit veya k\u0131taya di\u011fer bir \u015fair ayn\u0131 vezin ve kafiyede \u015fiir s\u00f6yleyerek cevap verir.
\n3. Edebiyat merakl\u0131lar\u0131n\u0131n \u015fiir okumalar\u0131, herhangi bir mazmunu ihtiva eden beyitler okunur veya birinin okudu\u011fu beyte kar\u015f\u0131l\u0131k onun son kelimesiyle ba\u015flayan bir beyti ba\u015fkas\u0131 okur.<\/p>\n
M\u00dc\u015eAKELE
\nBirden fazla anlam\u0131 olan s\u00f6zc\u00fcklerin art arda gelecek \u015fekilde, iki anlam\u0131 ile kullan\u0131lmas\u0131, birinin s\u00f6yledi\u011fi bir s\u00f6z\u00fc bir ba\u015fkas\u0131n\u0131n de\u011fi\u015fik anlama gelmek \u00fczere tekrarlamas\u0131. Kar\u015f\u0131l\u0131kl\u0131 konu\u015fan iki ki\u015fiden birinin ger\u00e7ek veya mecazi anlamda s\u00f6yledi\u011fi bir s\u00f6z\u00fc, di\u011feri ba\u015fka bir d\u00fc\u015f\u00fcnceye yan\u0131t olacak \u015fekilde tekrarlar. Birinci anlam\u0131 ger\u00e7ek olursa \u00e7oklukla ikinci kullan\u0131\u015ftaki anlam\u0131 mecazidir. \u00d6rnek:
\n\u201cTezer
\nYine mi kanm\u0131yorsunuz s\u00f6z\u00fcme
\nNe i\u00e7in bakm\u0131yorsunuz y\u00fcz\u00fcme
\nBeni bir kere ok\u015fasan\u0131z ne \u00e7\u0131kar?
\nMelik
\nSen \u00e7\u0131kars\u0131n\u2026 Demek ki fitne \u00e7\u0131kar!\u201d
\nAbd\u00fclhak H\u00e2mid Tarhan<\/p>\n
M\u00dcTAKARR\u0130N
\nKafiyeleri birbirinin pe\u015finden gelen ve iki kafiyeli olan \u015fiir. \u00d6rnek:
\nHangi \u00e2k\u0131l der ki ancak r\u00e2h-i g\u00fcl\u015fenden ge\u00e7in
\nBir de gafiller \u015fu n\u00e2ilg\u00e2h-i \u015f\u00eevenden ge\u00e7in
\nMuallim Naci<\/p>\n
M\u00dcTEKERR\u0130R
\nMurabba, muhammes, m\u00fcseddes gibi naz\u0131m \u015fekillerinde bendlerin sonlar\u0131nda tekrarlanan m\u0131sra veya beyitler.<\/p>\n
M\u00dcTELEVV\u0130N
\nDivan edebiyat\u0131nda bir beytin okunu\u015fu s\u0131ras\u0131nda k\u00fc\u00e7\u00fck bir de\u011fi\u015fiklikle veznin bir ba\u015fka vezne \u00e7evrilmesi.<\/p>\n
M\u00dcZDEV\u0130C
\nMurabba, muhammes, m\u00fcreddes benzeri naz\u0131m \u015fekillerinde bendlerin sonundaki m\u0131sralar\u0131n birinci bend ile kafiyeli olmas\u0131.<\/p>\n
N<\/p>\n
NAKARAT
\n\u015eiirlerde bendlerin sonunda tekrarlanan m\u0131sra veya m\u0131sralar. Bu b\u00f6l\u00fcm, anlam bak\u0131m\u0131ndan her bendi \u015fiirin ana duygusuna ba\u011flar. \u015eiirin, nakarat b\u00f6l\u00fcmlerinde ifade olunan duygu ve d\u00fc\u015f\u00fcnce etraf\u0131nda geli\u015fmesini sa\u011flar. Nakarat, halk \u015fiirinde ba\u011flama veya kavu\u015ftak diye bilinir. S\u00f6zl\u00fc musiki eserlerinde ayn\u0131 s\u00f6z ve ezgi ile tekrar edilen b\u00f6l\u00fcm de nakaratt\u0131r.
\nN\u00c2ME
\nMektup, kitap, ris\u00e2le, ferman gibi anlamlar ta\u015f\u0131yan Fars\u00e7a bir kelime. Eskiden kitap t\u00fcr\u00fc olarak \u00e7ok kullan\u0131lm\u0131\u015ft\u0131r. K\u0131yafetn\u00e2me, k\u00e2bn\u00e2me, Hamzan\u00e2me gibi. Resmi nitelikteki ka\u011f\u0131t ve mektuplar da n\u00e2me diye bilinirdi.<\/p>\n
N\u00c2T
\nHazreti Muhammed\u2019i \u00f6vmek i\u00e7in yaz\u0131lan \u015fiirler.<\/p>\n
NAZIM
\nDizelerden olu\u015fan vezinli ve kafiyeli anlat\u0131m \u015fekli. Kelime, \u201cdizmek, ipli\u011fe inci dizmek\u201d anlamlar\u0131n\u0131 ta\u015f\u0131r. Naz\u0131mda sadece anlam de\u011fil, seslerin musikisi de \u00f6nemlidir. Ak\u0131lda kolay kald\u0131\u011f\u0131 i\u00e7in ezberlenmesi istenen bilgilerin \u00e7o\u011fu bu yolla ifade edilir. En k\u00fc\u00e7\u00fck birim dizedir (m\u0131sra). Ayr\u0131ca beyit, k\u0131ta, bend gibi naz\u0131m birimleri de vard\u0131r. \u015eiirler de naz\u0131m \u015feklinde yaz\u0131l\u0131r, ancak her naz\u0131m, \u015fiir de\u011fildir.<\/p>\n
NAZ\u0130RE
\nBir \u015fairin \u015fiirine ba\u015fka bir \u015fair taraf\u0131ndan ayn\u0131 \u015fekil, vezin, kafiye ve redifle yaz\u0131lan \u015fiir. Divan edebiyat\u0131 naz\u0131m t\u00fcr\u00fcd\u00fcr. Kelime Arap\u00e7a \u201ce\u015f, de\u011fer\u201d anlamlar\u0131ndaki nazir\u2019den gelir. Nazire yazma, tanzir, tanzir etme diye an\u0131l\u0131r. Nazire gelene\u011fi T\u00fcrk edebiyat\u0131na \u0130ran edebiyat\u0131ndan ge\u00e7mi\u015ftir. \u0130ranl\u0131 \u015fairler nazireye cev\u00e2b ad\u0131n\u0131 verirler. Alay ve \u015faka yollu yaz\u0131lm\u0131\u015f nazirelere tezhil veya hezl denir. <\/p>\n
NES\u0130R
\nDuygu, d\u00fc\u015f\u00fcnce ve hayallerin dilgilgisi kurallar\u0131na uygun c\u00fcmleler i\u00e7inde anlat\u0131lmas\u0131 \u015feklindeki edebi eser. Edebiyat\u0131n iki anlat\u0131m yolundan biridir. Di\u011feri naz\u0131md\u0131r. Nesirde akl\u0131n kontrol\u00fc alt\u0131nda duygu, d\u00fc\u015f\u00fcnce ve hayallere yer verilir. Naz\u0131mdan daha ge\u00e7 do\u011fmu\u015ftur. D\u00fc\u015f\u00fcncelerin fadesi i\u00e7in naz\u0131mdan \u00e7ok daha zengin imkanlara sahiptir. Hikaye, roman, tiyatro, masal, hat\u0131rat, makale, sohbet, deneme, gezi yaz\u0131s\u0131, biyografi gibi edebiyat t\u00fcrlerinde hep nesir kullan\u0131l\u0131r. Nesrin en k\u00fc\u00e7\u00fck birimi tek ba\u015f\u0131na bir anlam ifade eden c\u00fcmledir. Nesir, kullan\u0131lan \u00fcsl\u00fbba g\u00f6re sade nesir, orta nesir ve s\u00fcsl\u00fc nesir olmak \u00fczere \u00e7e\u015fitlere ayr\u0131l\u0131r.<\/p>\n
N\u0130DA
\nDivan edebiyat\u0131m\u0131zda bir sanat t\u00fcr\u00fc. \u015eairin korku, sevin\u00e7, \u015fa\u015fk\u0131nl\u0131k, ac\u0131, \u0131zd\u0131rap, \u00f6fke gibi peki\u015ftirilmi\u015f, duygu ve d\u00fc\u015f\u00fcncelerini okuyucuya hissettirebilecek \u015fekilde i\u015flemesi. \u00c7okluk \u201cey!, hey!, vay!\u201d gibi \u00fcnlemlerle seslenilir. Tekr\u00eer ve te\u015fhis sanatlar\u0131yla birlikte kullan\u0131l\u0131r. <\/p>\n
O \/ \u00d6<\/p>\n
OTOB\u0130YOGRAF\u0130
\nBir kimsenin kendi hayat\u0131n\u0131 yazd\u0131\u011f\u0131 eser. Bi\u00e7im ve i\u00e7eri\u011fiyle bir edebi de\u011fer ta\u015f\u0131mal\u0131d\u0131r.<\/p>\n
OTOGRAF
\nYazar\u0131n kendi el yaz\u0131s\u0131. Eskiden hatt-\u0131 dest (el yaz\u0131s\u0131) deyimi kullan\u0131l\u0131rd\u0131.<\/p>\n
OTTOVA R\u0130MA
\nSekiz m\u0131sral\u0131 bir naz\u0131m \u015fekli. \u00d6nce \u0130talyan edebiyat\u0131nda kullan\u0131lm\u0131\u015f, sonra Frans\u0131z edebiyat\u0131nda, buradan da T\u00fcrk edebiyat\u0131na ge\u00e7mi\u015ftir. Bat\u0131 edebiyat\u0131nda kafiye \u015femas\u0131, abababcc\u2019dir. Bu \u015fema bizde de\u011fi\u015fikli\u011fe u\u011frayarak ababcccb \u015feklini alm\u0131\u015ft\u0131r. Aabbccdc \u015fekli de g\u00f6r\u00fcl\u00fcr. Bu naz\u0131m \u015fekli lirik t\u00fcr i\u00e7in elveri\u015flidir. Ottova Rima\u2019y\u0131 edebiyat\u0131m\u0131zda daha \u00e7ok Abd\u00fclhak Hamid kullanm\u0131\u015ft\u0131r. \u00d6rnek:
\n(MAKBER\u2019den)
\nBu makberdir o b\u00e2ba makdem,
\nBilmem ne duyar girince, adem?
\nS\u00fbzi\u015flerimin budur es\u00e2s\u0131
\nHep \u015f\u00fcphelerin bu en fen\u00e2s\u0131
\nBenlik aceb\u00e2 kal\u0131r m\u0131 ol dem?
\nS\u00f6nm\u00fc\u015f erimekte o n\u00fbr-i d\u00eedem.
\nBen g\u00f6zler idim bu h\u00e2li ey y\u00e2r
\nSenden daha \u00e7ok zaman akdem\u2026
\nAbd\u00fclhak H\u00e2mid<\/p>\n
OZAN
\nKopuzla t\u00fcrk\u00fc s\u00f6yleyen en eski T\u00fcrk \u015fairleri. Osmanl\u0131 d\u00f6neminde halk\u0131 \u015fairleri i\u00e7in kullan\u0131l\u0131rd\u0131. \u00c2\u015f\u0131k s\u00f6z\u00fcn\u00fcn kar\u015f\u0131l\u0131\u011f\u0131 oldu\u011fu gibi meddah anlam\u0131n\u0131 da ta\u015f\u0131yordu. Ozanlar\u0131n toplumda \u00f6nemli yerleri vard\u0131. Beylerin huzurunda, dini t\u00f6renlerde, elindeki kopuzunu \u00e7alarak kahramanl\u0131k destanlar\u0131 okurlar, halk aras\u0131nda k\u0131ssa s\u00f6ylerlerdi. Memluk ordusunun m\u0131z\u0131ka tak\u0131m\u0131nda ozan denilen \u00e7alg\u0131c\u0131lar oldu\u011fu tarihi kaynaklarda yazar. Sel\u00e7uklular\u2019da da benzer durum g\u00f6r\u00fcl\u00fcr.<\/p>\n
\u00d6NS\u00d6Z
\nEserin ni\u00e7in ve ne ama\u00e7la yaz\u0131ld\u0131\u011f\u0131n\u0131 belirtmek i\u00e7in kitab\u0131n ba\u015f\u0131na eklenen yaz\u0131. Bu b\u00f6l\u00fcmde yazar ya kitab\u0131n \u00f6zetini verir veya hangi nedenle yazd\u0131\u011f\u0131n\u0131 a\u00e7\u0131klar. Eskiden, \u201csebeb-i telif-i kitab\u201d (Kitab\u0131n yaz\u0131l\u0131\u015f\u0131n\u0131n sebebi) s\u00f6z\u00fc kullan\u0131l\u0131rd\u0131. Tanzimat\u2019tan sonra edebiyat\u00e7\u0131lar, mukaddeme ba\u015fl\u0131\u011f\u0131 alt\u0131nda yazd\u0131klar\u0131 \u00f6ns\u00f6zlerde edebiyat anlay\u0131\u015flar\u0131n\u0131 belirleyici a\u00e7\u0131klamalar yapt\u0131. Nam\u0131k Kemal\u2019in Celaleddin Harzem\u015fah, Recaizade Mahmud Ekrem\u2019in Zemzeme, Abd\u00fclhak Hamid Tarhan\u2019\u0131n Makber mukaddemeleri bunlardand\u0131r.<\/p>\n
P<\/p>\n
PARAGRAF
\nBir fikrin i\u015flendi\u011fi yaz\u0131 b\u00f6l\u00fcm\u00fc. Bir veya birka\u00e7 c\u00fcmleden meydana gelebilir. Sat\u0131rba\u015f\u0131 yap\u0131lm\u0131\u015f her b\u00f6l\u00fcm bir paragraft\u0131r.
\nPASTORAL
\n\u00c7oban ve k\u0131r hayat\u0131n\u0131, k\u00f6ylerdeki ya\u015fay\u0131\u015f \u015feklini anlatan \u015fiir. Grekler\u2019in bukolik dedikleri bu t\u00fcr\u00fc Edebiyat-\u0131 Cedide\u2019ciler e\u015f\u2019ar-\u0131r\u00e2iy\u00e2ne (\u00c7oban \u015fiirleri) diye adland\u0131rm\u0131\u015flard\u0131r. Pastoral \u015fiir, s\u00fcsten, kelime oyunlar\u0131ndan, yapmac\u0131l\u0131ktan uzak sade bir dille yaz\u0131l\u0131r. Eski Yunan edebiyat\u0131nda Theokrites ile Latin edebiyat\u0131nda Vergillius, pastoral \u015fiirin ilk ve en g\u00fczel \u00f6rneklerini verdi.<\/p>\n
PELTEKN\u00c2ME
\nKekeleme \u015fiiri. Lisan-i pepe\u011fi ad\u0131 da verilir. Halk edebiyat\u0131 naz\u0131m \u015feklidir. \u00c2\u015f\u0131k, kelimelerin ilk hecelerini, bazen de kelimelerin \u00e7o\u011funlu\u011funu kekeleyerek s\u00f6yler. Bu tekrarlar \u00f6l\u00e7\u00fcye dahildir. \u00d6rnek:
\nBu bu bug\u00fcn g\u00f6 g\u00f6 g\u00f6rd\u00fcm y\u00fc y\u00fc y\u00fcz\u00fcn dilber\u00e2
\nBa ba bakt\u0131m g\u00f6 g\u00f6 g\u00f6nl\u00fcm oluptur ziya\u00e2
\nDi di dilim pe pe peltek s\u00f6 s\u00f6 s\u00f6yler zeban\u0131m\u0131
\nNe ne ne derse de de desin dimesin tek sana
\nAbdi \u0130mam<\/p>\n
PLOT
\nRoman, hikaye, tiyatro gibi eserlerde, ba\u015ftan sona devam eden hareketlerin yap\u0131s\u0131. Bir bak\u0131ma eserin plan\u0131d\u0131r. Kahramanlar\u0131n ve olaylar\u0131n meydana getirdi\u011fi devaml\u0131l\u0131\u011f\u0131 ifade eder. \u0130kinci, \u00fc\u00e7\u00fcnc\u00fc derecedeki ki\u015fi ve olaylar, g\u00f6r\u00fcn\u00fcp kaybolan bir ba\u015fka zaman, mekan ve olayla ortaya \u00e7\u0131kan ki\u015filer, duygusal davran\u0131\u015flar plotu tamamlar ve zenginle\u015ftirir. Plot, yap\u0131s\u0131na g\u00f6re \u00e7e\u015fitlere ayr\u0131l\u0131r. Baz\u0131 plotlar trajik olaylar\u0131, baz\u0131lar\u0131 komedi, masal ve hiciv gibi konular\u0131 g\u00f6stermek i\u00e7in kurulur. Eser, bu plota g\u00f6re kimlik kazan\u0131r.<\/p>\n
POET\u0130KA
\n\u015eiir \u00fczerine d\u00fc\u015f\u00fcncelerin ve teorilerin b\u00fct\u00fcn\u00fc. Bu kelime eskiden Frans\u0131zca\u2019da yaln\u0131z \u015fiirin de\u011fil, g\u00fczel sanatlar\u0131n teorisini g\u00fczelli\u011fin feslefesini, bir bak\u0131ma esteti\u011fi ifade ederken, bug\u00fcn \u015fiir sanat\u0131 anlam\u0131na gelen bir terim olmu\u015ftur. Bat\u0131 dillerinde poetika konusuna giren bir\u00e7ok eser var. T\u00fcrk\u00e7e\u2019de ise, baz\u0131 \u015fiirlerin ve gruplar\u0131n bildiri niteli\u011findeki, genellikle savunmaya dayal\u0131 birka\u00e7 \u00f6ns\u00f6z\u00fc g\u00f6r\u00fcl\u00fcr. Necip Faz\u0131l K\u0131sak\u00fcrek\u2019in de bir Poetika\u2019s\u0131 var.<\/p>\n
PROZOD\u0130
\nKelimelerin ta\u015f\u0131d\u0131klar\u0131 seslerin de\u011ferlerine ve hecelerin ta\u015f\u0131mas\u0131 gereken seslere g\u00f6re s\u00f6ylenmesi. Tonlamaya, hecelerin vuru\u015funa kelimelerin uzunluk ve k\u0131sal\u0131klar\u0131na dikkat edilerek s\u00f6ylenir.<\/p>\n
R<\/p>\n
RAKTA
\nArap harflerine g\u00f6re bir harfi noktal\u0131, bir harfi noktas\u0131z kelimeleri kullanarak \u015fiir yazma. <\/p>\n
REK\u00c2KET
\nKelime veya c\u00fcmlelerin d\u00fczensiz s\u0131ralanmas\u0131ndan ileri gelen okumay\u0131 zorla\u015ft\u0131r\u0131c\u0131 durum. Divan edebiyat\u0131nda yaz\u0131da kusur say\u0131l\u0131rd\u0131. <\/p>\n
R\u0130KKAT
\nAnlat\u0131mda s\u00f6yleni\u015fleri kulakta ince, hafif, ho\u015f etki b\u0131rakan s\u00f6zc\u00fcklerin kullan\u0131lmas\u0131. Sanat\u00e7\u0131 sevgi, \u015fefkat, muhabbet, g\u00fczellik gibi konular\u0131 anlat\u0131rkenn s\u00f6zc\u00fckleri de uygun d\u00fc\u015fecek \u015fekilde ince sesle kurulanlardan se\u00e7er. Bu s\u00f6zc\u00fckler kelim\u00e2-\u0131 rahika, ta\u015f\u0131d\u0131klar\u0131 \u00f6zellik de rikkatdiye adland\u0131r\u0131l\u0131r. <\/p>\n
R\u0130SALE
\nK\u00fc\u00e7\u00fck kitap, bro\u015f\u00fcr. \u0130lim veya sanata dair yaz\u0131lar. \u00d6nceleri \u00e7okluk dini konular\u0131 ele alan k\u00fc\u00e7\u00fck hacimli kitaplar bu adla an\u0131l\u0131rlard\u0131. <\/p>\n
R\u0130TM
\n\u015eiirde, hecelerdeki vurgu, uzunluk, k\u0131sal\u0131k, kal\u0131nl\u0131k, incelik, y\u00fckseklik gibi ses \u00f6zelliklerinin ve duraklar\u0131n\u0131n d\u00fczenli bir \u015fekilde tekrarlanmas\u0131ndan do\u011fan uyum. <\/p>\n
RONDELET
\nYedi m\u0131sral\u0131 ek bendden meydana gelen Frans\u0131z naz\u0131m \u015fekli. <\/p>\n
R\u00dcC\u00db
\nDivan edebiyat\u0131 sanatlar\u0131ndan. Bir d\u00fc\u015f\u00fcnceyi daha g\u00fc\u00e7l\u00fc hale getirmek i\u00e7in, s\u00f6ylenen s\u00f6zden vazge\u00e7er gibi davran\u0131l\u0131r. Espri, \u00fcz\u00fcnt\u00fc, sevin\u00e7, deh\u015fet, hayret durumlar\u0131nda ifadeyi daha g\u00fc\u00e7l\u00fc ve canl\u0131 k\u0131lmak i\u00e7in kullan\u0131l\u0131r. Vazge\u00e7me d\u00f6ng\u00fc halinde de yap\u0131labilir. \u00d6rnek: <\/p>\n
Eder isyan\u0131ma g\u00f6nl\u00fcmde ned\u00e2megalebe
\nNeyleyeyim y\u00fcz bulamam ye’s ile afvime talebe
\nNe dedim? T\u00f6vbeler olsun, bu dafi’i \u015ferdir
\nBenim \u00f6zr\u00fcm g\u00fcnehimden iki kat beterdir
\nN\u00fbr-i rahmet niye g\u00fcld\u00fcrmeye r\u00fby-i siyehim
\nTanr\u0131’n\u0131n ma\u011ffiretinden de b\u00fcy\u00fck m\u00fc g\u00fcnehim?
\n\u015einasi <\/p>\n
Ramazaniye: Giri\u015f b\u00f6l\u00fcm\u00fcnde ramazan\u0131 konu alan kaside. <\/p>\n
Redif: \u015eiirde dizelerin sonundaki uyakta sonra yenilenen e\u015fsesli ve e\u015fg\u00f6revli ekler ya da s\u00f6zc\u00fckler. <\/p>\n
Ritim: \u015eiirde hecelerin vurgu, uzunluk, y\u00fckseklik gibi ses \u00f6zelliklerinin, duraklar\u0131n d\u00fczenli bi\u00e7imde yinelenmesinden do\u011fan ses uyarl\u0131\u011f\u0131. <\/p>\n
Roman: D\u00fczyaz\u0131ya dayanan, genellikle insan\u0131n ser\u00fcvenlerini, i\u00e7 d\u00fcnyalar\u0131n\u0131, toplumsal bir olay ya da olguyu, insan ili\u015fkilerini ve de\u011fi\u015fik insanl\u0131k durumlar\u0131n\u0131 anlatmay\u0131 ama\u00e7layan anlat\u0131 t\u00fcr\u00fc. <\/p>\n
Romantizm: Fransa’da 18. y\u00fczy\u0131l\u0131n sonlar\u0131nda klasik edebiyat ak\u0131m\u0131na tepki olarak ba\u015flayan; duygu, imge ve fantaziye a\u011f\u0131rl\u0131k veren sanat ak\u0131m\u0131. <\/p>\n
R\u00f6nesans Edebiyat\u0131: H\u00fcmanizmaya ko\u015fut olarak sanat ve edebiyatta ba\u015flayan uyan\u0131\u015f ve yenile\u015fme giri\u015fimleri sonucunda ortaya konan t\u00fcm \u00fcr\u00fcnlere verilen ad. <\/p>\n
Rubai: Aruz \u00f6l\u00e7\u00fcs\u00fcn\u00fcn belirli kal\u0131plar\u0131na g\u00f6re yaz\u0131lan, d\u00f6rt dizeli manzume.<\/p>\n","protected":false},"excerpt":{"rendered":"
K KALB S\u00f6zle ilgili sanatlardand\u0131r. Arap harflerine g\u00f6re bir kelimenin harflerinin yerleri de\u011fi\u015ftirilerek yap\u0131l\u0131r. Cinas sanat\u0131n\u0131n bir \u00e7e\u015fididir. Cinas-\u0131 kalb, tecnis-i kalb ve makl\u00fbb adlar\u0131yla da bilinir. \u0130kiye ayr\u0131l\u0131r: 1. Kalb-i k\u00fcl: Tersinden okundu\u011fu zaman da anlaml\u0131 olan kelime \u00e7\u0131kan sanatt\u0131r. Buna kalb-i muntazam veya aks-i m\u00fcfred de denir. \u00d6rnek: M\u00fbr gibi emrine k\u0131lm\u0131\u015f it\u00e2at …<\/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":[9630,9507,9626,9629,9627,9628,9631],"class_list":["post-4358","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-atasozleri","tag-divan-edebiyati","tag-edebiyat-terimler-sozlugu","tag-fuzuli","tag-kalb-i-kul","tag-rebabi","tag-seyh-galib"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4358","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=4358"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4358\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=4358"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=4358"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=4358"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}