S \/ \u015e<\/p>\n
SADR
\nBir beyitte birinci m\u0131sran\u0131n ilk par\u00e7as\u0131 ile nesirde c\u00fcmlenin ilk par\u00e7as\u0131. <\/p>\n
SAGU
\n\u0130slamiyet \u00f6ncesi T\u00fcrk edebiyat\u0131nda \u00f6len kimselerin arkas\u0131ndan s\u00f6ylenen \u015fiirler. Sevilen, say\u0131lan \u00f6zellikle g\u00f6sterdi\u011fi kahramanl\u0131klarla tan\u0131nm\u0131\u015f kimselerin \u00f6l\u00fcm\u00fc \u00fczerine ozanlar taraf\u0131ndan, yu\u011f ad\u0131 verilen cenaze t\u00f6renlerinde okunur, \u00f6len ki\u015finin yi\u011fitli\u011fi, iyili\u011fi, c\u00f6mertli\u011fi, faziletleri dile getirilirdi. <\/p>\n
SAK\u0130NAME
\nSakiye (i\u00e7ki sunana) seslenmek yoluyla i\u00e7kiyi (\u00e7okluk \u015farab\u0131) ve i\u00e7ki meclislerini, adetlerini, i\u00e7kiyle alakal\u0131 b\u00fct\u00fcn d\u00fc\u015f\u00fcnce, duygu ve kavram\u0131 bazan tasavvufi, bazan da d\u00fcnyevi i\u015fleyen \u015fiirler. Mesnevi \u015feklinde yaz\u0131l\u0131r. Terkib-i bend, terc-i bend veya kaside \u015feklinde de g\u00f6r\u00fcl\u00fcr. <\/p>\n
SAL\u0130YE
\nDivan edebiyat\u0131m\u0131zda yeni y\u0131l\u0131 kutlamak i\u00e7in yaz\u0131lan \u015fiirler. Bu \u015fiirlerde daima girilen y\u0131l\u0131n tarihini tespit eden bir beyit de bulunur. <\/p>\n
SARMA KAF\u0130YE
\nD\u00f6rt m\u0131sral\u0131k bendlerle kurulan naz\u0131m \u015fekli. Her d\u00f6rtl\u00fckte birinci ile d\u00f6rd\u00fcnc\u00fc, ikinci ile \u00fc\u00e7\u00fcnc\u00fc m\u0131sralar kendi aralar\u0131nda kafiyelidir. Kafiye \u015femas\u0131 \u015f\u00f6yledir: Abba, cddc, effe. \u00d6rnek: <\/p>\n
R\u00fbhumu bu \u00e7arm\u0131ha kendi ellerimle gerdim:
\nBir nebi \u0131zd\u0131rab\u0131 kayn\u0131yor her yerimde.
\n\u00d6l\u00fcm, siyah bir t\u00fcts\u00fc yak\u0131yor g\u00f6zlerimde
\nAld\u0131\u011f\u0131m her nefesi son nefes gibi verdim!
\nYusuf Ziya Orta\u00e7 <\/p>\n
SATRAN\u00c7
\nSaz \u015fairleri taraf\u0131ndan aruzun m\u00fcfte’il\u00fcn m\u00fcfte’il\u00fcn m\u00fcfte’il\u00fcn kal\u0131b\u0131yla ve musammat gazel \u015feklinde yaz\u0131lan \u015fiirler. Musammat beyitlerden olu\u015ftu\u011fu i\u00e7in, her m\u0131sra kafiyeli iki e\u015fit par\u00e7aya b\u00f6l\u00fcn\u00fcr. Bu par\u00e7alar alt alta yaz\u0131ld\u0131klar\u0131nda d\u00f6rtl\u00fcklerden meydana gelen yeni bir \u015fekil ortaya \u00e7\u0131kar. Bu \u015feklin kafiye \u015femas\u0131 \u015f\u00f6yledir: abab cccb dddb… \u00d6rnek: <\/p>\n
Sevdi g\u00f6n\u00fcl bir p\u00fcsteri \/ Sanat\u0131 terzi g\u00fczeli
\nH\u00fcsn\u00fcn\u00fc bir muhtasar\u0131 \/ \u015eerh ederek s\u00f6ylemeli <\/p>\n
Matlan\u0131n f\u00e2ik\u0131n\u0131 \/ Sohbetinin l\u00e2y\u0131k\u0131n\u0131
\nBen gibi bir \u00e2\u015f\u0131k\u0131n\u0131 \/ Eylemi\u015f a\u015fk\u0131yle deli <\/p>\n
D\u00fc\u015ft\u00fc g\u00f6n\u00fcl \u00e7\u00e2resine \/ Ka\u015flar\u0131n\u0131n karesine
\n\u00c7ehre-i men\u00e2resine \/ Yand\u0131 der\u00fbnum g\u00f6reli <\/p>\n
Vard\u0131 ellerim eline \/ Tutuldu dilim diline
\nK\u00e2k\u00fcl\u00fcn\u00fcn bir teline \/ Ba\u011flad\u0131 bu c\u00e2n \u00fc dili
\nEmrah\u00ee <\/p>\n
SAYA
\nA\u015f\u0131k edebiyat\u0131nda nesir. Mensur kar\u015f\u0131l\u0131\u011f\u0131 olarak da sayal\u0131 kullan\u0131l\u0131r. Secili (m\u00fcsecca) nesre ise ayakl\u0131 saya ad\u0131 verilir. <\/p>\n
SEBK-\u0130 H\u0130ND\u00ce
\nDivan edebiyat\u0131nda kullan\u0131lan bir \u00fcslup. Terim, “Hint tarz\u0131, Hint \u00fcsl\u00fbbu” anlam\u0131na gelir. T\u00fcrk edebiyat\u0131na XVII. \u0130ran \u015fairlerinin etkisiyle girdi. Bu nedenle sebk-i \u0130sfah\u00e2ni diye de bilinir. \u0130ran edebiyat\u0131na ise Hindistan’dan ge\u00e7mi\u015ftir. <\/p>\n
SEC\u0130
\nC\u00fcmlelerin veya bir c\u00fcmle i\u00e7inde birden \u00e7ok kelimenin sonlar\u0131ndaki ses benzerli\u011fi. Nesirde kullan\u0131lan bir \u00e7e\u015fit kafiyedir. Secili nesre m\u00fcsecca ad\u0131 verilir. Edebiyat\u0131m\u0131za Arap edebiyat\u0131ndan ge\u00e7mi\u015ftir. <\/p>\n
SEHL-\u0130 M\u00dcMTEN\u0130
\nS\u00f6ylenmesi kolay g\u00f6r\u00fclen ama benzeri yap\u0131lmak istendi\u011finde g\u00fc\u00e7l\u00fc\u011f\u00fc ortaya \u00e7\u0131kan s\u00f6z. Bu t\u00fcr s\u00f6zler sade ve derin anlaml\u0131d\u0131rlar. En g\u00fczel \u00f6rneklerini Yunus Emre, S\u00fcleyman \u00c7elebi, Mehmed Akif Ersoy vermi\u015flerdir. \u00d6rnek: <\/p>\n
Ete kemi\u011fe b\u00fcr\u00fcnd\u00fcm
\nYunus diye g\u00f6r\u00fcnd\u00fcm
\nYunus Emre <\/p>\n
SEL\u00c2MET
\nC\u00fcmlelerin do\u011fru ve sa\u011flam olmas\u0131. \u0130fadenin d\u00fc\u015f\u00fck, eksik olmamas\u0131 gerekir. <\/p>\n
SEL\u00c2SET
\nBir yaz\u0131da c\u00fcmle ve kelimelerin ak\u0131c\u0131, \u00e2henkli, kolay ve anla\u015f\u0131l\u0131r olmas\u0131. Sel\u00e2set, s\u00f6z\u00fcklerin birbirine uygun se\u00e7ilmesiyle sa\u011flan\u0131r. <\/p>\n
SELH
\nBa\u015fkas\u0131na ait bir \u015fiirin anlam\u0131n\u0131 al\u0131p kelimelerini de\u011fi\u015ftirerek yeniden yazmak. Selh intikal’in bir \u00e7e\u015fidi say\u0131l\u0131r.<\/p>\n
SEL\u0130S
\nHalk \u015fiiri naz\u0131m \u015fekli. Aruzun fe’il\u00e2t\u00fcn fe’il\u00e2t\u00fcn fe’il\u00e2t\u00fcn fe’il\u00fcn kal\u0131b\u0131yla gazel \u015feklinde yaz\u0131l\u0131r. Murabba, muhammes, m\u00fcseddes \u015feklinde yaz\u0131lm\u0131\u015f selislere de rastlan\u0131r. Kafiye d\u00fczeni divan, semai ve kalenderi naz\u0131m \u015fekilleri ile ayn\u0131d\u0131r. \u00d6rnek: <\/p>\n
Benden \u00f6zge sana yok \u00e2\u015f\u0131k-\u0131 \u00e2v\u00e2re g\u00fczel
\nS\u00fbzi\u015f-\u0131 firkat ile yakma beni n\u00e2re g\u00fczel <\/p>\n
D\u00fcn gece d\u00eede-i hunk\u00e2r ile ettikte nig\u00e2h
\nCi\u011ferim ba\u015f\u0131na a\u00e7t\u0131n yine bir y\u00e2re g\u00fczel
\nN\u00fbr\u00ee <\/p>\n
SERBEST NAZIM
\nBend, vezin ve kafiye kurallar\u0131na ba\u011fl\u0131 olmayan naz\u0131m \u015fekli. Bendlerin, m\u0131sralar\u0131n ve hecelerin say\u0131lar\u0131 belli d\u00fczene ba\u011fl\u0131 de\u011fildir. \u015eair isterse kafiyeli yazar. Bendleri s\u0131n\u0131rlayabilir veya s\u0131n\u0131rlamaz. \u00d6nce Frans\u0131z sembolistleri aras\u0131nda yay\u0131ld\u0131. T\u00fcrk edebiyat\u0131na Servet-i F\u00fcn\u00fbn d\u00f6neminde Bat\u0131 edebiyat\u0131ndan girdi. Serbest nazm\u0131n uygulan\u0131\u015f\u0131 \u00fc\u00e7 a\u015fama ge\u00e7irdi:
\n1. Vezinli-kafiyeli serbest naz\u0131m: Servet-i F\u00fcn\u00fbn ve Fecr-i \u00c2ti d\u00f6neminde g\u00f6r\u00fcl\u00fcr. M\u0131sralar bir kelimeye kadar k\u0131sald\u0131, kafiye belli bir kurala g\u00f6re s\u0131raland. Aruz veznine yer verildi, bir \u015fiirde birka\u00e7 aruz kal\u0131b\u0131 veya bu kal\u0131plar\u0131n \u00e7e\u015fitli c\u00fczleri kullan\u0131ld\u0131.
\n2. Vezinsiz-kafiyeli serbest naz\u0131m: 1925-1930 y\u0131llar\u0131nda g\u00f6r\u00fclm\u00fc\u015f, 1930’dan sonra yayg\u0131nl\u0131k kazanm\u0131\u015ft\u0131r. Vezin b\u0131rak\u0131lm\u0131\u015f, bir heceye kadar k\u00fc\u00e7\u00fclen dizeler kurulmu\u015ftur. Bu dizeler hi\u00e7bir d\u0131\u015f d\u00fczene ba\u011fl\u0131 de\u011fildir. \u015eair belirtmek istedi\u011fi fikri ta\u015f\u0131yan kelimeyi \u00f6ne \u00e7\u0131kar\u0131r. B\u00fcy\u00fck harfler sadece c\u00fcmle ba\u015flar\u0131nda kullan\u0131labilir. Kafiyeli m\u0131sralar\u0131n aras\u0131 a\u00e7\u0131larak kafiye \u00f6rg\u00fcs\u00fc gev\u015fetilir.
\n3. Vezinsiz-kafiyesiz serbest naz\u0131m: 1940 y\u0131l\u0131ndan sonra yayg\u0131nla\u015fan bu anlay\u0131\u015fta vezin ve kafiye tamamen b\u0131rak\u0131ld\u0131 \u015fiirde i\u00e7 uyum \u00f6nem kazand\u0131. \u00d6rnek: <\/p>\n
Yolcu Yolunda Gerek <\/p>\n
Hastalar,
\nKar isterler
\nKafda\u011f\u0131n\u0131n ard\u0131ndan
\nVe buluttan d\u00f6\u015fek,
\nOnlar,
\nYaramaz \u00e7ocuklard\u0131r,
\nSallar durur,
\nD\u00fcnyan\u0131n balkonundan,
\nD\u00fc\u015ft\u00fc d\u00fc\u015fecek!
\nG\u00f6lgen ka\u00e7\u0131yorsa senden,
\nD\u00fc\u015fm\u00fc\u015fse g\u00f6kte y\u0131ld\u0131z\u0131n,
\nKavga ba\u015flar canla ten aras\u0131nda
\nNe bilelim;
\nHangi p\u0131nar\u0131n suyu,
\nYa da \u00e7i\u00e7e\u011fin \u00f6z\u00fcnde derman,
\nB\u00fcy\u00fck yerden geldi ferman
\nYolcu yolunda gerek
\nAli Akba\u015f <\/p>\n
SONE
\n\u0130lk iki bendi d\u00f6rtl\u00fck, son iki bendi \u00fc\u00e7l\u00fck on d\u00f6rt m\u0131sradan olu\u015fan naz\u0131m \u015fekli. \u00d6nce \u0130talyan edebiyat\u0131nda kullan\u0131lm\u0131\u015f, sonra Frans\u0131z edebiyat\u0131na, oradan da di\u011fer Avrupa edebiyatlar\u0131na ge\u00e7mi\u015ftir. Edebiyat\u0131m\u0131zda ilk Cenab \u015eahabeddin’in sone \u015feklinde \u015fiir yazd\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Servet-i F\u00fcn\u00fbn \u015fairlerinin hemen hepsi bu naz\u0131m \u015feklini benimser. Sone kafiye sistemi \u00fc\u00e7e ayr\u0131l\u0131r.
\n1. \u0130talyan tipi: Kafiye \u015femas\u0131 abba, abba, ccd, ede
\n2. Frans\u0131z tipi: Kafiye \u015femas\u0131 abba, abba, ccd, eed
\n(\u0130talyan ve Frans\u0131z tipi sone aras\u0131ndaki tek fark son \u00fc\u00e7l\u00fc\u011f\u00fcn d\u00fczenindedir.)
\n3. \u0130ngiliz tipi: M\u0131sra say\u0131s\u0131 de\u011fi\u015fmemekle beraber ilk on iki m\u0131sra tek bir bend, son iki m\u0131sra da ayr\u0131 bir bend halinde yaz\u0131l\u0131rlar. Kafiye \u015femas\u0131: a b a b c d c d e f e f g g. \u00d6rnek: <\/p>\n
Y\u00fcks\u00fck <\/p>\n
Y\u00fcks\u00fc\u011f\u00fcn ince \u015feklini yazmak
\nBana pek g\u00fc\u00e7 gelir kad\u0131nlardan
\nSorunuz belki bir g\u00fczel parmak
\nonu tersim i\u00e7in bulur imkan <\/p>\n
Bunu bir \u00e7ekmenin i\u00e7inde g\u00f6ren
\nMu’teber bir refik-i hane san\u0131r;
\nKadrini pek bilirler elde iken,
\nD\u00fc\u015ft\u00fc\u011f\u00fc anda mutlaka al\u0131n\u0131r. <\/p>\n
O da lay\u0131k nez\u00e2ketin eline:
\nTenine saplan\u0131r iken i\u011fne,
\nYine pek\u00e7ok sever i\u015f i\u015flemeyi; <\/p>\n
Bin let\u00e2fetle \u00e7\u0131rp\u0131n\u0131r her \u00e2n…
\nSanki bir nahl-i nev-hay\u00e2ta konan
\nK\u00fc\u00e7\u00fcc\u00fck bir ku\u015fun k\u00fc\u00e7\u00fck y\u00fcre\u011fi!
\nAli Ekrem (Bolay\u0131r) <\/p>\n
S\u00d6ZL\u00dcK
\nBir dilin veya dillerin kelime haznesini (s\u00f6zvarl\u0131\u011f\u0131n\u0131), s\u00f6yleyi\u015f ve yaz\u0131l\u0131\u015f \u015fekilleriyle veren, kelimenin k\u00f6k\u00fcn\u00fc esas alarak, bunlar\u0131n ba\u015fka unsurlarla kurduklar\u0131 s\u00f6zleri ve anlamlar\u0131n\u0131, de\u011fi\u015fik kullan\u0131\u015flar\u0131n\u0131 g\u00f6steren eser. S\u00f6zl\u00fckler tek dilli veya \u00e7ok dilli olabilir. Madde ba\u015flar\u0131n\u0131 a-be-ce s\u0131ras\u0131 takip eder. Genel veya \u00f6zel alanlarla ilgili s\u00f6zl\u00fckler haz\u0131rlanabilir. Arap harfli eski s\u00f6zl\u00fcklerde madde ba\u015f\u0131 Arap\u00e7a kelimenin \u00fc\u00e7 harfli k\u00f6k\u00fcn\u00fcn son harfi esas al\u0131narak s\u0131ralan\u0131rd\u0131. XIV.-XV.y\u00fczy\u0131llar aras\u0131nda ya\u015fam\u0131\u015f olan el-Kam\u00fbs\u00fc-\u0131-Muh\u00eet (Okyanus S\u00f6zl\u00fc\u011f\u00fc) adl\u0131 eseri T\u00fcrk\u00e7eye \u00e7eviren M\u00fctercim As\u0131m bu sistemi kulland\u0131. \u0130lk s\u00f6zl\u00fck olarak \u0130skenderiye M\u00fczesi k\u00fct\u00fcphanecisi Bizansl\u0131 Aristophanes’in haz\u0131rlad\u0131\u011f\u0131 eser kabul edilir. \u0130slam d\u00fcnyas\u0131nda en \u00f6nemli s\u00f6zl\u00fck X. y\u00fczy\u0131lda ya\u015fayan F\u00e2r\u00e2bl\u0131 \u0130smail Cevheri’nin Sih\u00e2h adl\u0131 Arap\u00e7a eseri. Vankulu L\u00fcgat\u0131 diye bilinen M\u00fcteferrika’n\u0131n bast\u0131\u011f\u0131 ilk kitap da bir Sih\u00e2h \u00e7evirisidir. T\u00fcrk k\u00fclt\u00fcr\u00fcnde ilk s\u00f6zl\u00fck ise Ka\u015fgarl\u0131 Mahmud’un T\u00fcrk\u00e7e’den Arap\u00e7a’ya Divan\u00fc L\u00fcgati’t-T\u00fcrk’\u00fcd\u00fcr.<\/p>\n
Saki: Su veren, su da\u011f\u0131tan ki\u015fi. Divan edebiyat\u0131nda i\u00e7ki meclisinde \u015farap sunan kimse anlam\u0131nda kullan\u0131lm\u0131\u015ft\u0131r. <\/p>\n
Salname: Y\u0131ll\u0131k. \u0130\u00e7inde g\u00fcn ve ay bilgisi de bulunan, kimi konularda belirli bilgiler i\u00e7eren kitap. <\/p>\n
Sanat: Bir duygunun, bir tasar\u0131m\u0131n, bir d\u00fc\u015f\u00fcnce ya da g\u00fczelli\u011fin bi\u00e7imlendirilip anlat\u0131m\u0131nda kullan\u0131lan y\u00f6ntemlerin t\u00fcm\u00fc, bu y\u00f6ntemlerle eri\u015filen yarat\u0131c\u0131l\u0131k. <\/p>\n
Say\u0131p D\u00f6kme: Bir d\u00fc\u015f\u00fcnceyi a\u00e7\u0131k se\u00e7ik bi\u00e7imde anlatabilmek i\u00e7in niteliklerini, neden – sonu\u00e7 ili\u015fkilerini ayr\u0131nt\u0131lar\u0131yla art arda s\u0131ralama i\u015fi. <\/p>\n
Se\u00e7ki: Edebiyat yap\u0131tlar\u0131nda se\u00e7ilen par\u00e7alar\u0131 i\u00e7eren yap\u0131t. <\/p>\n
Sefaretname: Osmanl\u0131 \u0130mparatorlu\u011fu d\u00f6neminde kimi el\u00e7ilerin gittikleri yabanc\u0131 \u00fclkeleri tan\u0131tmak amac\u0131yla o \u00fclkelere g\u00f6rd\u00fcklerini anlatt\u0131klar\u0131 yap\u0131tlara verilen ad. <\/p>\n
Semai: Hece \u00f6l\u00e7\u00fcs\u00fcyle ya da aruzun \u00f6zel bir kal\u0131b\u0131yla yaz\u0131lan \u015fiir.
\nSerbest Naz\u0131m: \u00d6l\u00e7\u00fc, uyak gibi ba\u011flardan s\u0131yr\u0131lm\u0131\u015f \u015fiir. <\/p>\n
Servetif\u00fcnun Edebiyat\u0131: 1895 y\u0131l\u0131nda Recazizade Mahmut Ekrem’in \u00f6nc\u00fcl\u00fc\u011f\u00fcnde Servetif\u00fcnun dergisinde toplanan ve t\u00fcm\u00fcyle bat\u0131ya y\u00f6nelen edebiyat\u00e7\u0131lar\u0131n olu\u015fturdu\u011fu edebiyat ve bu edebiyat\u0131 olu\u015fturan sanat\u00e7\u0131lar toplulu\u011fu. <\/p>\n
Ser\u00fcven Roman\u0131: Genellikle \u015fa\u015f\u0131rt\u0131c\u0131, beklenmedik olay ve durumlar\u0131 ilgi \u00e7ekici yolculuklar\u0131, ba\u015ftan ge\u00e7en merakl\u0131 ser\u00fcvenleri konu alan temel amac\u0131 s\u00fcr\u00fckleyicilik olan roman t\u00fcr\u00fc. <\/p>\n
Simge: Genel anlamda, toplumsal anla\u015fmaya dayanan, anlam\u0131 \u00f6nceden kararla\u015ft\u0131r\u0131lm\u0131\u015f, belirli i\u015faret. <\/p>\n
Simgecilik: \u015eiirde ger\u00e7ek\u00e7ili\u011fin uygulay\u0131c\u0131lar\u0131 olan Parnas\u00e7\u0131lar\u0131n tutumuna tepki olarak do\u011fan ve 1885 – 1900 y\u0131llar\u0131 aras\u0131nda geli\u015ferek edebiyat okulu niteli\u011fi kazanan ak\u0131m. <\/p>\n
Somutlama: E\u011fretileme, benzetme, \u00f6rnekseme gibi s\u00f6z sanatlar\u0131 arac\u0131l\u0131\u011f\u0131yla soyut kavramlar\u0131, somut anlaml\u0131 s\u00f6zc\u00fcklerle adland\u0131rma ve anlatma y\u00f6ntemi. <\/p>\n
S\u00f6ylev: Bir toplulu\u011fa g\u00fczel d\u00fc\u015f\u00fcnceler a\u015f\u0131lamak, o toplulu\u011fu duyguland\u0131r\u0131p \u00e7o\u015fturmak amac\u0131yla s\u00f6ylenen g\u00fczel ve etkili s\u00f6z. <\/p>\n
S\u00f6ylem: Konu\u015fan ya da yazan ki\u015finin kulland\u0131\u011f\u0131, bir ba\u015flang\u0131c\u0131 ve sonu bulunan, kendi i\u00e7erisinde bir tutarl\u0131l\u0131k ilkesine g\u00f6re \u00f6rg\u00fctlenmi\u015f dil. <\/p>\n
S\u00f6zc\u00fck: Dilde en k\u00fc\u00e7\u00fck anlaml\u0131 birime verilen ad. <\/p>\n
S\u00f6zc\u00fck Sanatlar\u0131: Anlamla ilgisi olmayan, s\u00f6zc\u00fcklerin yaz\u0131l\u0131\u015f ve s\u00f6yleni\u015f \u00f6zelliklerine yaslan\u0131larak olu\u015fturulan sanatlara denir. <\/p>\n
S\u00f6z Kalabal\u0131\u011f\u0131: S\u00f6zl\u00fc ya da yaz\u0131l\u0131 anlat\u0131mda konuyla ilgisi olsun olmas\u0131n gereksiz bir y\u0131\u011f\u0131n s\u00f6zle anlat\u0131m\u0131 doldurma, \u015fi\u015firme. <\/p>\n
Surname: S\u00fcnnet d\u00fc\u011f\u00fcnleri, evlenmeler gibi b\u00fcy\u00fck t\u00f6renleri konu alan ve Divan edebiyat\u0131nda olu\u015fturulan uzun ya da k\u0131sa oylumlu \u015fiirlere verilen ad.<\/p>\n
\u015eairanelik: \u00d6zellikle \u015fiirde belirli s\u00f6zc\u00fcklerin kullan\u0131la kullan\u0131la kal\u0131pla\u015fmas\u0131, s\u00f6zc\u00fcklerin duygusal ve \u00e7a\u011fr\u0131\u015f\u0131msal anlat\u0131mlar\u0131 y\u00f6n\u00fcnden tazeliklerini yitirmesi durumu. <\/p>\n
\u015eAHESER
\nNesilden nesile ge\u00e7en, benzeri yaz\u0131lamayan y\u00fcksek de\u011ferdeki edebi eser. \u015eaheserlerin ba\u015fl\u0131ca \u00f6zellikleri \u015f\u00f6yle s\u0131ralan\u0131r: Zengin bir k\u00fclt\u00fcr birikimi sonucu yaz\u0131l\u0131r, her devrin okuyucusu taraf\u0131ndan aran\u0131r, okunur ve takdir edilir, zamanla yay\u0131l\u0131r, ulusal ve uluslararas\u0131 unsurlar i\u00e7erir, pek\u00e7ok yabanc\u0131 dile \u00e7evrilir, t\u00fcr\u00fcnde yaz\u0131lan yeni eserlere \u00f6rnek olur. <\/p>\n
\u015e\u0130VEYE MUGAYERET
\n\u015eivesizlik. Dili kurallar\u0131 d\u0131\u015f\u0131nda kullanmak. T\u00fcrk dilini iyi bilmemekten, dilimizin \u00f6zelliklerini g\u00f6z\u00f6n\u00fcne almaks\u0131z\u0131n yabanc\u0131 dillerdeki baz\u0131 kullan\u0131\u015f \u015fekillerini terc\u00fcme edip uygulamaktan do\u011far. “Me\u015frubat i\u00e7mek” yerine “me\u015frubat almak”, “banyo yapmak” yerine “banyo olmak” gibi. <\/p>\n
\u015eark\u0131: Divan edebiyat\u0131nda murabbadan do\u011fmu\u015f bir \u015fiir bi\u00e7imi. Bestelenmek amac\u0131yla olu\u015fturulan ve d\u00f6rt dizelik bentlerle kurulan bu \u015fiir bi\u00e7iminin, Halk edebiyat\u0131ndaki t\u00fcrk\u00fc t\u00fcr\u00fcn\u00fcn etkisiyle olu\u015ftu\u011fu san\u0131l\u0131yor. <\/p>\n
\u015eathiyat: Tekke edebiyat\u0131na \u00f6zg\u00fc bir \u015fiir bi\u00e7imi. Tanr\u0131’yla senli benli, onunla s\u00f6yle\u015fircesine yaz\u0131lan deyi\u015flere verilen ad. <\/p>\n
\u015eatran\u00e7: 19. y\u00fczy\u0131l saz \u015fairlenin seyrek kulland\u0131klar\u0131 bir \u015fiir bi\u00e7imi. <\/p>\n
\u015eiir: Dilin do\u011fu\u015fuyla olu\u015fmaya ba\u015flayan; b\u00fct\u00fcn edebiyat t\u00fcrlerine kaynakl\u0131k eden en eski edebiyat t\u00fcr\u00fc. En belirgin \u00f6zelli\u011fi ritme dayanmas\u0131, s\u00f6ylemsel niteliklerinin bulunmas\u0131 olarak tan\u0131mlanabilir. <\/p>\n
\u015ei\u015firme: S\u00f6zl\u00fc ve yaz\u0131l\u0131 anlat\u0131mda ele al\u0131nan, \u00fczerinde durulan bir sorun, durum ya da herhangi bir konuyu gereksiz ayr\u0131nt\u0131larla ele alma, onu a\u015f\u0131r\u0131 \u00f6l\u00e7\u00fcde geni\u015fletme. <\/p>\n
\u015eive: Bir dilin de\u011fi\u015fik k\u00fclt\u00fcr d\u00fczeylerine g\u00f6re farkl\u0131 bi\u00e7imlerde konu\u015fulma \u00f6zelli\u011fi.<\/p>\n
T<\/p>\n
TA’K\u0130D
\n\u0130fadeye a\u00e7\u0131kl\u0131k getirememe, anlatamama halidir. \u0130kiye ayr\u0131l\u0131r.
\n1. Lafzi ta’kid: Bir c\u00fcmlede kelimelerin yerli yerine kullan\u0131lmamas\u0131ndan do\u011far. \u00d6rnek: <\/p>\n
Ben fak\u00eer\u00ee etme terk memn\u00fbn-i ebn\u00e2-y\u0131 zaman
\nHas\u0131l etmezsen de\u011fil gam matlab\u0131m y\u00e2 Rab bana
\nR\u00e2g\u0131p Pa\u015fa <\/p>\n
2. Manevi ta’kid: Bir c\u00fcmlede kelimeler yerli yerince kullan\u0131lmakla beraber bir anlam \u00e7\u0131kmamas\u0131na denir.
\n\u00d6rnek: \u00c2lemin c\u00e2n\u0131 de\u011filsin c\u00e2n-\u0131 \u00e2lemsin sen
\nNef’\u00ee <\/p>\n
TA’R\u0130FAT
\nMevki sahipleri ve baz\u0131 g\u00f6revlileri tasvir eden \u015fiirler. Divan edebiyat\u0131 naz\u0131m t\u00fcr\u00fcd\u00fcr. Birka\u00e7 beyitlik bendler halinde yaz\u0131l\u0131rlar. S\u00e2fi Kas\u0131m Pa\u015fa’n\u0131n, Kalkandelenli Fikri’nin, Gelibolulu Mustafa Ali’nin, Yeni\u015fehirli Avni’nin ta’rifat\u0131 vard\u0131r. \u00d6rnek: <\/p>\n
Ned\u00fcr bild\u00fcm mi defter-d\u00e2r efendi
\nE\u011fer\u00e7i bir iki \u00fc\u00e7 var efendi
\nKimin\u00fcn i\u015fini altun iderler
\nKimin ma’z\u00fcl kimin ma\u011fb\u00fbn iderler
\nOlardur s\u00e2’i-i genc \u00fc haz\u00eenle
\nOlardur s\u00e2hib-i m\u00e2l u define
\nKalkandelenli Fikri <\/p>\n
TA’\u015e\u0130R
\nBir gazelin her beytinin veya bir beytinin \u00fczerine sekiz m\u0131sra eklenerek yap\u0131lan mu’a\u015f\u015ferdir. Divan edebiyat\u0131 naz\u0131m \u015feklidir. Edebiyat\u0131m\u0131zda \u00f6rne\u011fi fazla g\u00f6r\u00fclmez. Yahya Bey’in Muhibb\u00ee’nin (Kanunu Sultan S\u00fcleyman) gazeline yapt\u0131\u011f\u0131 ta’\u015firi \u00f6rnek olarak verilebilir. <\/p>\n
Haste olmak g\u00fb\u015fm\u00e2l-i Hazret-i \u0130zzet gibi
\nHer ki\u015fin\u00fcn yal\u0131m\u0131n al\u00e7ak ider gurbet gibi
\nDe\u011fme bir kimse g\u00f6re gelmez refahiyyet gibi
\nN\u00e2leler g\u00fby\u00e2 der\u00e2y-\u0131 r\u0131hlet-i r\u00e2hat gibi
\nD\u00e2r-\u0131 d\u00fcnya c\u00e2y-\u0131 f\u00fcrkat menzil-imihnet gibi
\nDevleti bir \u00e2let-i heng\u00e2me-i zahmet gibi
\nSa\u011fl\u0131gun b\u00fcny\u00e2d\u0131 yok \u00e2yinede s\u00fbret gibi
\nMatla’\u0131 \u015f\u00e2h-\u0131 cih\u00e2nun ma\u015fr\u0131k-\u0131 hikmet gibi
\nHalk i\u00e7inde mu’teber bir nesne yok devlet gibi
\nOlmaya devlet cih\u00e2nda bir nefes s\u0131hhat gibi
\nYahya Bey <\/p>\n
TA\u015eT\u0130R
\nBir gazelde her beytin iki m\u0131sras\u0131n\u0131n aras\u0131na iki veya \u00fc\u00e7 m\u0131sra ekleyerek manzume meydana getirmek. Divan edebiyat\u0131 naz\u0131m \u015feklidir. Kelime, Arap\u00e7a “bir \u015feyin yar\u0131s\u0131, iki c\u00fcz\u00fcnden bir c\u00fcz\u00fc” anlam\u0131ndaki \u015fatr k\u00f6k\u00fcnden gelir. Ta\u015ftirde, ayn\u0131 vezin ve kafiyede, araya iki m\u0131sra girerse terb-i mutarraf, \u00fc\u00e7 m\u0131sra girerse tahmis-i mutarraf olur. Edebiyat\u0131m\u0131zda XVIII. y\u00fczy\u0131ldan sonra \u00f6rnekleri g\u00f6r\u00fclen ta\u015ftir \u00e7ok az kullan\u0131lan bir \u015fekildir. En \u00e7ok Halveti \u015feyhlerinden Aydi Baba yazm\u0131\u015ft\u0131r.<\/p>\n
TAZM\u0130N
\nBir \u015fairin, bir m\u0131sra veya bir beytin bir ba\u015fka \u015fairce kullan\u0131lmas\u0131. Divan edebiyat\u0131 naz\u0131m t\u00fcr\u00fcd\u00fcr. Tazmin edilen m\u0131sra veya beytin sahibinin zikri \u015fartt\u0131r. Tazmin eden \u015fair, \u015fiiri herhangi bir naz\u0131m \u015fekline tamamlar ve ald\u0131\u011f\u0131 sahibini belirtir. \u00d6rnek: Recaizade Ekrem’in \u015fiirini tanzim: <\/p>\n
San\u0131r\u0131m ismini ku\u015flar heceler
\nSeni s\u00f6yler bana da\u011flar dereler
\nSu \u00e7a\u011f\u0131ldar kuzular k\u0131rda meler
\nSeni s\u00f6yler bana da\u011flar dereler <\/p>\n
Hep seni a\u015fk\u0131n eserken serde
\nH\u00fcsn \u00fc \u00e2n\u0131n g\u00f6r\u00fcn\u00fcr her yerde
\nGezdi\u011fim duygulu v\u00e2dilerde
\nSeni s\u00f6yler bana da\u011flar dereler
\nYahya Kemal Beyatl\u0131 <\/p>\n
TEC\u00c2H\u00dcL-\u0130 AR\u0130F
\nAnlamla ilgili sanatlardand\u0131r. Bilinen bir ger\u00e7e\u011fi, bilmez g\u00f6r\u00fcnerek s\u00f6ylemek y\u00f6ntemiyle yap\u0131l\u0131r. Bilinen \u015fey, bilinmiyormu\u015f gibi anlat\u0131l\u0131rken genellikle bir espriye dayand\u0131r\u0131l\u0131r. Bu yap\u0131l\u0131rken m\u00fcbala\u011fa ve istifham sanat\u0131ndan da yararlan\u0131l\u0131r. \u00d6rnek: <\/p>\n
\u00c2b-g\u00fbndur g\u00fcnbed-i devv\u00e2r rengi bilmezem
\nYa muh\u00eet olmu\u015f g\u00f6z\u00fcmden g\u00fcnbed-i devv\u00e2re su
\nFuzul\u00ee <\/p>\n
(Bilmiyorum, d\u00f6nen kubbe mi su rengindedir, yoksa g\u00f6zya\u015flar\u0131m m\u0131 g\u00f6ky\u00fcz\u00fcn\u00fc kaplam\u0131\u015ft\u0131r.) Fuzuli, kubbenin, yani g\u00f6ky\u00fcz\u00fcn\u00fcn mavi renkte oldu\u011funu bilmiyor gibi g\u00f6r\u00fcn\u00fcyor. Asl\u0131nda g\u00f6zya\u015flar\u0131n\u0131n g\u00f6ky\u00fcz\u00fcn\u00fc kaplayacak kadar \u00e7ok a\u011flad\u0131\u011f\u0131n\u0131 belirtmek i\u00e7in bu yola ba\u015fvurmu\u015ftur. <\/p>\n
TEFR\u0130K
\nAnlamla ilgili sanatlardand\u0131r. Ayn\u0131 \u00e7e\u015fide giren iki \u015fey aras\u0131na, birbirine ayk\u0131r\u0131 taraflar (teb\u00e2y\u00fcn) sokularak bir farkl\u0131l\u0131k meydana getirilmesidir. \u00d6rnek: <\/p>\n
Budur fark\u0131 g\u00f6n\u00fcl mah\u015fer r\u00fbz-\u0131 hicr\u00e2ndan
\nKim ol c\u00e2n\u0131m verir cisme bu cismi ay\u0131r\u0131r c\u00e2ndan
\nOrtak \u00e7e\u015fit g\u00fcn, ayk\u0131r\u0131 taraflar ise cisme can verme, cisimden can\u0131 ay\u0131rmad\u0131r. <\/p>\n
TEHZ\u0130L
\nAlay ve \u015faka yollu yaz\u0131lm\u0131\u015f nazire. Hezl diye de bilinir. \u00c7okluk tan\u0131nm\u0131\u015f \u015fairlerin \u015fiirlerine vezin ve kafiye taklit edilerek yaz\u0131l\u0131r. Tehzil, ciddi \u015fiirleri baya\u011f\u0131l\u0131ktan uzak ciddi bir duruma soktu\u011fu i\u00e7in edebiyat\u0131n g\u00fczel ve e\u011flenceli \u00f6rnekleri aras\u0131nda kabul edilir. XVII. y\u00fczy\u0131ldan sonra yayg\u0131nl\u0131k kazanan bu t\u00fcr \u015fiirin \u00f6rneklerini daha \u00e7ok S\u00fcr\u00fbri, Hav\u00e2yi, S\u00fcnb\u00fclzade Vehbi, H\u00fcseyin K\u00e2mi (Dehri mahlas\u0131yla), Faz\u0131l Ahmet Ayka\u00e7, Halil Nihat Boztepe vermi\u015flerdir. <\/p>\n
TEKRAR
\nBir ifadede ayn\u0131 s\u00f6zc\u00fck ya da s\u00f6yleyi\u015fi, estetik kayg\u0131 g\u00fctmeden birka\u00e7 kez tekrar etmek. A\u015f\u0131r\u0131 tekrar s\u00f6zkonusu ise buna kesret-i tekrar denir. <\/p>\n
TELM\u0130H
\nDivan edebiyat\u0131 sanatlar\u0131ndan. S\u00f6z s\u0131ras\u0131nda bilinen bir olaya, bir ki\u015fiye, k\u0131ssaya ya da atas\u00f6z\u00fcne i\u015faret etmektir. Ama bu ki\u015fi ya da \u015fey uzun uzad\u0131ya de\u011fil bir iki s\u00f6zc\u00fckle anlat\u0131l\u0131r. \u00d6rnek: <\/p>\n
Ey n\u00e2me sen ol m\u00e2h-lik\u00e2dan m\u0131 gelirsin
\nEy H\u00fcdhad-i \u00fcmmid Saba’dan m\u0131 gelirsin
\nNab\u00ee
\n(\u015eair beytinde S\u00fcleyman-Belk\u0131s k\u0131ssas\u0131n\u0131 hat\u0131rlat\u0131yor.) <\/p>\n
TEN\u00c2F\u00dcR
\nBir ifadede birbirleriyle uyu\u015fmayan harf, hece, s\u00f6zc\u00fck ya da tamlamalar\u0131n kula\u011fa ho\u015f gelmeyen etki yapmas\u0131d\u0131r. \u0130kiye ayr\u0131l\u0131r:
\nHarflerle ten\u00e2f\u00fcr: \u00c7\u0131k\u0131\u015f noktalar\u0131 ayn\u0131 ya da birbirine yak\u0131n harflerin ayn\u0131 s\u00f6zc\u00fckte toplanmas\u0131. \u00d6rne\u011fin: Yapt\u0131rtt\u0131k
\nS\u00f6zc\u00fcklerle ten\u00e2f\u00fcr: S\u00f6yleni\u015fleri zor olan, dinlenmesinden zevk al\u0131nmayan a\u011f\u0131r vurgulu s\u00f6zc\u00fcklerin art arda s\u0131ralanmas\u0131: \u00d6rnek:
\n\u015eu k\u00f6\u015fe yaz k\u00f6\u015fesi, \u015fu k\u00f6\u015fe k\u0131\u015f k\u00f6\u015fesi <\/p>\n
TENAS\u00dcB
\nDivan edebiyat\u0131nda anlamlar\u0131 aras\u0131nda ba\u011flant\u0131 bulunan s\u00f6zc\u00fcklerin ayn\u0131 ifadede kullan\u0131lmas\u0131yla yap\u0131lan edebi sanat. \u00d6rnek: <\/p>\n
As\u00eeb r\u00fbzig\u00e2r\u0131 g\u00fclist\u00e2n-\u0131 dehre
\nSen serv-i g\u00fcl-iz\u00e2r\u0131 hev\u00e2dar olan bil\u00fcr
\nBak\u00ee <\/p>\n
Tenas\u00fcb, ilham ve tezat sanatlar\u0131yla da birlikte kullan\u0131l\u0131r. Bu y\u00f6n\u00fcyle de ikiye ayr\u0131l\u0131r: \u0130lham-\u0131 tenas\u00fcb: \u0130lham ve tenas\u00fcb sanatlar\u0131n\u0131n birlikte kullan\u0131lmas\u0131yla yap\u0131l\u0131r. \u0130ki anlam\u0131 olan bir s\u00f6zc\u00fc\u011f\u00fcn, dize ya da beyit i\u00e7inde belirtilmemi\u015f anlam\u0131yla di\u011fer baz\u0131 s\u00f6zc\u00fcklerin aras\u0131nda anlam bak\u0131m\u0131ndan ba\u011flant\u0131 kurularak yap\u0131l\u0131r. \u00d6rnek: <\/p>\n
Ne g\u00fczel v\u00e2k\u0131ad\u0131r bu ki asup can g\u00f6z\u00fcn\u00fc
\nH\u00e2b-\u0131 gaflette ge\u00e7en \u00f6mr\u00fcm\u00fc r\u00fc’y\u00e2 g\u00f6rd\u00fcm
\nZat\u00ee
\n(Can g\u00f6z\u00fcn\u00fc a\u00e7\u0131p gaflet uykusunda ge\u00e7en \u00f6mr\u00fcm\u00fcn bir r\u00fcya oldu\u011funu g\u00f6r\u00fcp anlamam ne g\u00fczel bir olayd\u0131r. R\u00fcya, d\u00fc\u015f kelimelerinin kastedilmeyen ikinci anlam\u0131n\u0131n h\u00e2b ve r\u00fcya s\u00f6zc\u00fckleriyle ili\u015fkisi vard\u0131r.) <\/p>\n
\u0130lham-\u0131 tezad: \u0130lham ve tezat sanatlar\u0131 birlikte kullan\u0131l\u0131r. \u0130ki anlam\u0131 olan bir s\u00f6zc\u00fc\u011f\u00fcn dize ya da beyit i\u00e7inde belirtilmemi\u015f anlam\u0131yla anlaml\u0131 bir s\u00f6zc\u00fck aras\u0131nda ili\u015fki kurmak \u015feklinde yap\u0131l\u0131r. Belirtilmeyen anlam cinas yoluyla sa\u011flan\u0131r. \u00d6rnek: <\/p>\n
Serverlik ister isen \u00fcft\u00e2delik \u015fi\u00e2r et
\nKim d\u00fc\u015fmeden aya\u011fa \u00e7\u0131kmad\u0131 ba\u015fa b\u00e2de
\nFuzul\u00ee
\n(Burada ayak \u00f6nce kadeh sonra ger\u00e7ek ayak anlamlar\u0131yla kastediliyor. Fuzul\u00ee beyitte s\u00f6zc\u00fc\u011f\u00fcn vurgulamad\u0131\u011f\u0131 ayak anlam\u0131 ile ba\u015f s\u00f6zc\u00fc\u011f\u00fc aras\u0131nda tezat yap\u0131yor.) <\/p>\n
TERD\u0130D
\nBir anlat\u0131mda s\u00f6z\u00fc dinleyici ya da okuyucunun ilgisini yo\u011funla\u015ft\u0131rd\u0131ktan sonra konuyu hi\u00e7 beklenmedik bir sonuca g\u00f6t\u00fcrme yoluyla yap\u0131lan edebi sanat. S\u00f6z\u00fcn ciddi bir sonuca varmas\u0131 haline terdid-i s\u00e2d\u0131k, varmamas\u0131na terdid-i mut\u00e2yip denir. \u00d6rnek: <\/p>\n
Dizilirler ayakta
\nAna baba ve karde\u015f
\nHayal \u0131rak… Irakta
\nEder fiillerle g\u00fcre\u015f <\/p>\n
Ba\u015f\u0131ndan kayar yast\u0131k
\nNura d\u00f6ner karanl\u0131k
\nS\u0131rlar \u00e7\u00f6z\u00fcl\u00fcr art\u0131k
\nK\u0131rka \u00e7\u0131k\u0131nca ate\u015f
\nNecip Faz\u0131l K\u0131sak\u00fcrek<\/p>\n
TERZA R\u0130MA
\n\u00dc\u00e7er m\u0131sral\u0131k bentlerle kurulur. Bend say\u0131s\u0131 belirsizdir. Tek bir m\u0131sra ile sona erer. Kafiye \u015femas\u0131 \u015f\u00f6yledir: Aba bcb cdc ded e.
\n\u0130lk olarak \u0130talyan edebiyat\u0131nda g\u00f6r\u00fcld\u00fc. Dante \u0130lahi Komedya’s\u0131n\u0131 bu naz\u0131m \u015fekliyle yazd\u0131. Edebiyat\u0131m\u0131zda terza rima’y\u0131 Tevfik Fikret, \u015eehr\u00e2y\u00een adl\u0131 tek \u015fiirinde denemi\u015ftir. 1908’den sonra pek kullan\u0131lmam\u0131\u015ft\u0131r. Bu bi\u00e7imde yaz\u0131lm\u0131\u015f k\u0131sa \u015fiirlerin son m\u0131sras\u0131n\u0131n kuvvetli olmas\u0131na dikkat edilir. <\/p>\n
TESB\u0130
\nBir gazelin beyitleri \u00f6n\u00fcn\u00fc be\u015f m\u0131sra eklenerek yap\u0131lan m\u00fcsebba’d\u0131r. M\u00fcsebba musammatlardan bir naz\u0131m \u015feklidir. Kafiye \u015femas\u0131 \u015f\u00f6yledir: Aaaaa (aa) bbbbb (ba) ccccc (ca). Tesbi, T\u00fcrk edebiyat\u0131nda \u00e7ok az g\u00f6r\u00fcl\u00fcr. \u0130zzet Molla’n\u0131n Fuzuli’nin bir beytini, Leyla Han\u0131m’\u0131n da \u0130zzet Molla’n\u0131n bir beytini tazmin yoluyla olu\u015fturdu\u011fu tesbi’ler de vard\u0131r. <\/p>\n
TETABU-I \u0130Z\u00c2F\u00c2T
\n\u0130kiden fazla ismin meydana getirdi\u011fi zincirleme tamlama. Edebiyat\u0131m\u0131zda T\u00fcrk\u00e7e, Fars\u00e7a, Arap\u00e7a kaidelere g\u00f6re kurulmu\u015f \u00fc\u00e7 \u00e7e\u015fit tet\u00e2bu’\u0131 iz\u00e2f\u00e2ta rastlan\u0131r. T\u00fcrk\u00e7e kurala g\u00f6re iki, Fars\u00e7a kurala g\u00f6re \u00fc\u00e7 kelimeden meydana gelen tamlamalar anlat\u0131m\u0131 bozmaz. T\u00fcrk\u00e7e tet\u00e2bu’-\u0131 iz\u00e2f\u00e2t’a \u00f6rnek: <\/p>\n
“Ahmet’in s\u00f6ylediklerinin do\u011fruluk derecesinin ara\u015ft\u0131r\u0131lmas\u0131…”
\nFars\u00e7a tet\u00e2bu’-\u0131 iz\u00e2f\u00e2t’a \u00f6rnek: <\/p>\n
Ey vuc\u00fbd-\u0131 k\u00e2mil\u00fcn \u00e2yin ecl\u00e2r-\u0131 feyz-I Hak
\n\u00c2sit\u00e2n\u0131m k\u0131ble-\u0131 h\u00e2c\u00e2t-\u0131 erb\u00e2b-\u0131 yak\u00een
\nFuzul\u00ee <\/p>\n
TEV\u00c2R\u00dcD
\n\u0130ki \u015fairin birbirinden habersiz ayn\u0131 m\u0131sray\u0131 veya beyti tesad\u00fcfen yazmas\u0131. <\/p>\n
TEVK\u0130YE
\nAnlamla ilgili sanatlardand\u0131r. \u0130ki veya ikiden fazla anlam\u0131 olan bir kelimenin yak\u0131n anlam\u0131n\u0131 s\u00f6yleyip uzak anlam\u0131n\u0131 kasdetmek. Bir\u00e7ok edebiyat\u00e7\u0131 bu sanat\u0131 iham sanat\u0131yla ayn\u0131 kabul etmi\u015ftir. Fakat ihamda, ikiden fazla anlam\u0131 olan kelimenin bir m\u0131sra veya beyitte b\u00fct\u00fcn anlamlar\u0131 kasdedilirken, tevriyede uzak anlam\u0131na i\u015faret edilir. \u00d6rnek: <\/p>\n
K\u00fbyunda n\u00e2le kim dil-i m\u00fc\u015ft\u00e2kdan kopar
\nBir namedir Hicaz’da u\u015f\u015fakdan kopar
\nN\u00e2ili-Kadim <\/p>\n
TR\u0130YOLE
\nOn m\u0131sral\u0131 bir naz\u0131m \u015feklidir. \u00d6nce iki m\u0131sral\u0131 k\u0131s\u0131m, sonra d\u00f6rder m\u0131sral\u0131 iki k\u0131s\u0131m gelir. Birinci k\u0131sm\u0131n ilk m\u0131sras\u0131 birinci d\u00f6rtl\u00fc\u011f\u00fcn sonunda, yine birinci k\u0131sm\u0131n ikinci m\u0131sras\u0131 ikinci d\u00f6rtl\u00fc\u011f\u00fcn sonunda tekrarlan\u0131r. D\u00f6rt m\u0131sral\u0131 k\u0131s\u0131mlarda, eklenen m\u0131sralar\u0131n ilk \u00fc\u00e7 m\u0131sra ile anlam b\u00fct\u00fcnl\u00fc\u011f\u00fc sa\u011flamas\u0131 gerekir. Kafiye \u015femas\u0131 \u015f\u00f6yledir: Ab aaaa bbbb. \u00d6rnek: <\/p>\n
Y\u00fcz\u00fcnde hasta-i sevd\u00e2 gibi mel\u00e2let var,
\nNedir bu h\u00e2l-i peri\u015fan\u0131n ey hil\u00e2l-seher? <\/p>\n
Sab\u00e2h-\u0131 feyz-i bah\u00e2ride m\u00fcbtesem ezh\u00e2r
\n\u00c7emen \u00e7emen m\u00fctemevvic nes\u00eem-i anber-b\u00e2r: <\/p>\n
Ni\u00e7in? Ben anlamad\u0131m kimden etsem istifs\u00e2r?
\nY\u00fcz\u00fcnde hasta-i sevd\u00e2 gibi mel\u00e2lat var! <\/p>\n
Dem-i seherde yan\u0131nda \u015fu parlayan ahter
\nHazan i\u00e7inde solan bir \u00e7i\u00e7ek gibi dil-ber <\/p>\n
S\u00fcr\u00fbr fec ile \u015f\u00e2d\u00e2n iken b\u00fct\u00fcn yerler,
\nNedir bu h\u00e2l-i peri\u015fan\u0131n ey hil\u00e2l-i seher?
\nTahsin Nuhid<\/p>\n
Tan\u0131k G\u00f6sterme: S\u00f6zl\u00fc ya da yaz\u0131l\u0131 anlat\u0131mda \u00f6ne s\u00fcr\u00fclen bir sav\u0131 a\u00e7\u0131mlay\u0131p geli\u015ftirmek i\u00e7in \u00fczerinde durulan konuda tan\u0131nm\u0131\u015f, uzman bir ki\u015finin ad\u0131n\u0131 anma ve d\u00fc\u015f\u00fcnceyi g\u00fc\u00e7lendirmek i\u00e7in an\u0131lan ki\u015finin bir d\u00fc\u015f\u00fcncesini aktarma. <\/p>\n
Tan\u0131mlama: S\u00f6zl\u00fc ya da yaz\u0131l\u0131 anlat\u0131da d\u00fc\u015f\u00fcnceyi geli\u015ftirme yollar\u0131ndan biri. Nitelik ve \u00f6zellikleriyle bir kavram\u0131 belirleme, i\u015flevini g\u00f6sterme ya da onu benzerlerinden ay\u0131r\u0131c\u0131 y\u00f6nlerini d\u00f6k\u00fcmlendirme olarak da a\u00e7\u0131klanabilir. <\/p>\n
Tanzimat Edebiyat\u0131: 1860’da Terc\u00fcman-\u0131 Ahval gazetesinin \u00e7\u0131kmas\u0131yla ba\u015flayan, Divan edebiyat\u0131 geleneklerini bir yana b\u0131rakarak Bat\u0131 k\u00fclt\u00fcr\u00fcne y\u00f6nelmeyi, Bat\u0131 d\u00fc\u015f\u00fcn\u00fcn\u00fc ve yaz\u0131nsal t\u00fcrleri benimsemeyi ama\u00e7layan edebiyat y\u00f6nelimi. <\/p>\n
Tarih: Divan edebiyat\u0131nda \u015fairlerin do\u011fum, \u00f6l\u00fcm, b\u00fcy\u00fck bir yap\u0131 ya da \u00f6nemli olaylar\u0131 belirtmek amac\u0131yla s\u00fcrd\u00fcrd\u00fckleri gelenek. <\/p>\n
Tarihsel Roman: Romanlar\u0131n ki\u015filer ve konular\u0131na g\u00f6re yap\u0131lan ayr\u0131mlama a\u00e7\u0131s\u0131nda adland\u0131r\u0131lan bir roman t\u00fcr\u00fc. <\/p>\n
Tariz: Bir kimsenin kimi niteliklerden yoksun oldu\u011funu belirtmek i\u00e7in bir s\u00f6z\u00fc dolayl\u0131 bir bi\u00e7imde ya da tersini kastederek dokundurma sanat\u0131. <\/p>\n
Tart\u0131\u015fmac\u0131 Anlat\u0131m Bi\u00e7imi: S\u00f6zl\u00fc ve yaz\u0131l\u0131 anlat\u0131mda kullan\u0131lan anlat\u0131m bi\u00e7imlerinden biridir. Anlat\u0131c\u0131n\u0131n \u00f6ne s\u00fcr\u00fclen veya var olan ama kendisinin belirli nedenlerle benimsemedi\u011fi d\u00fc\u015f\u00fcnce, duygu, kan\u0131 ve davran\u0131\u015flar\u0131 de\u011fi\u015ftirmeyi ama\u00e7layan bir s\u00f6ylem bi\u00e7imi oldu\u011fu da s\u00f6ylenebilir. <\/p>\n
Tasavvuf: \u0130slam dininde varl\u0131k birli\u011fini temel alan, Panteizmi ana d\u00fc\u015f\u00fcnce olarak benimseyen, kalbi d\u00fcnya i\u015flerinden ar\u0131nd\u0131rarak Allah sevgisine adayan d\u00fc\u015f\u00fcn\u00fc\u015f bi\u00e7imi. <\/p>\n
Ta\u015flama: Halk edebiyat\u0131nda bir ki\u015fiyi, bir yeri, bir \u015feyi ya da bir olay\u0131 ac\u0131, alayc\u0131 bir dille veren \u015fiir bi\u00e7imi. <\/p>\n
Ta\u015ftir: Divan \u015fiirinde ba\u015fkas\u0131na ait bir gazelin her beytinin dizeleri aras\u0131na iki ya da daha \u00e7ok dize eklenmesiyle olu\u015fturulan naz\u0131m bi\u00e7imi. <\/p>\n
Tecah\u00fcl-i Arif: S\u00f6yleyi\u015fte bir anlam inceli\u011fi yaratmak i\u00e7in bildi\u011fi bir \u015feyi bilmez g\u00f6r\u00fcnme, bilmezlikten gelme sanat\u0131. <\/p>\n
Tecelli: Bildirme, g\u00f6r\u00fcnme. Tasavvuf d\u00fc\u015f\u00fcncesine ve bu d\u00fc\u015f\u00fcn\u00fc\u015f\u00fc benimsemi\u015f kimselere g\u00f6re g\u00f6rd\u00fc\u011f\u00fcm\u00fcz her \u015fey Tanr\u0131’n\u0131n bir tecellisidir. <\/p>\n
Tekerleme: Kimi s\u00f6zc\u00fcklerin, seslerin yinelemesi, \u00f6l\u00e7\u00fc, uyak gibi \u00f6\u011felere ba\u011fl\u0131 kal\u0131nmas\u0131 yoluyla olu\u015fturulan anlaml\u0131 ya da anlams\u0131z, belirli bir konusu olmayan s\u00f6z dizelerine verilen ad. <\/p>\n
Tekke: Dayanmak, dayan\u0131lacak yer anlam\u0131 ta\u015f\u0131yan bu s\u00f6zc\u00fck, asl\u0131nda bir tarikata ba\u011fl\u0131 olan dervi\u015flerin ya da kimselerin topland\u0131klar\u0131, tarikat\u0131n gereklerini yerine getirdikleri yap\u0131y\u0131 adland\u0131r\u0131r. <\/p>\n
Tekke Edebiyat\u0131: Konu, dil y\u00f6n\u00fcnden \u0130slam uygarl\u0131\u011f\u0131n\u0131n etkilerini ta\u015f\u0131yan, tekkelerde geli\u015fen, tasavvuf duygu ve d\u00fc\u015f\u00fcncelerini a\u015f\u0131lamak, yaymak amac\u0131yla ortaya konmu\u015f \u00fcr\u00fcnlerin t\u00fcm\u00fc. <\/p>\n
Tema: Bir yap\u0131t ya da yarat\u0131n\u0131n anlamca s\u00fcrd\u00fcrd\u00fc\u011f\u00fc temel y\u00f6nelimlere verilen ad. <\/p>\n
Tenas\u00fcp: Birbiriyle s\u00f6zc\u00fck ya da kavramlar\u0131 dize ya da beyitlerde bir arada kullanma sanat\u0131. <\/p>\n
Terim: Bir bilim ve sanat dal\u0131yla ilgili kavramlar\u0131 kar\u015f\u0131layan s\u00f6zc\u00fcklere verilen ad. Terimler tek anlaml\u0131 s\u00f6zc\u00fcklerdir; yan anlamlar\u0131 yoktur. <\/p>\n
Terkibi-i Bend \/ Terci-i Bend: Gazel uzunlu\u011funda, onun gibi uyakl\u0131 tek \u00f6l\u00e7\u00fcl\u00fc bentlerden olu\u015fan Divan \u015fiir bi\u00e7imlerine verilen ad. <\/p>\n
Terza Rima: \u0130talyan naz\u0131m bi\u00e7imlerinden biri. \u00dc\u00e7er dizelik bentlerden olu\u015fur. Bentlerin say\u0131s\u0131 ozan\u0131n diledi\u011fi \u00f6l\u00e7\u00fcde olabilir. <\/p>\n
Tevriye: Anlat\u0131m inceli\u011fi sa\u011flamak amac\u0131yla birden \u00e7ok anlam\u0131 bulunan bir s\u00f6zc\u00fc\u011f\u00fcn yak\u0131n anlam\u0131n\u0131 de\u011fil de uzak anlam\u0131n\u0131 kullanma sanat\u0131. <\/p>\n
Tezkire: Divan edebiyat\u0131nda \u015fairlerin ya\u015fam\u00f6yk\u00fcs\u00fcn\u00fc konu alan yap\u0131tlar\u0131n genel ad\u0131. <\/p>\n
Tezkire kelime anlam\u0131yla “zikredilen, zikri ge\u00e7en” demektir.Ki\u015filerin biyografisini \u00e7e\u015fitli y\u00f6nleriyle subjektif veya objektif ele alan eserlerdir.Bu eserler mensur yaz\u0131lmakla birlikte i\u00e7inde manzum k\u0131s\u0131mlar\u0131n yer ald\u0131\u011f\u0131 tezkireler de vard\u0131r.
\nT\u00fcrk Edebiyat\u0131’nda tezkire yazma gelene\u011finin temeli Ali \u015eir Nevai ‘nin Mecalis\u00fc’n-Nefayis adl\u0131 eserine dayan\u0131r.Edebiyat\u0131m\u0131zdaki ilk tezkire budur.T\u00fcrk Edebiyat\u0131’nda s\u0131ras\u0131yla XVI.y\u00fczy\u0131lda Sehi Bey, Latifi, \u00c2\u015f\u0131k \u00c7elebi, Hasan \u00c7elebi, Ahdi ve Beyani; XVII.y\u00fczy\u0131lda Sad\u0131ki, Riyazi, Faizi, R\u0131za, Y\u00fcmni, As\u0131m ve G\u00fcfti; XVIII.y\u00fczy\u0131lda M\u00fbcib, Safayi, Salim, Beli\u011f, Safvet, Ramiz; XIX.y\u00fczy\u0131lda da Fatin gibi belli ba\u015fl\u0131 tezkire yazarlar\u0131 mevcuttur. Bunlar\u0131n d\u0131\u015f\u0131nda da yaz\u0131lm\u0131\u015f \u00e7ok say\u0131da tezkire mevcuttur.<\/p>\n
Tezli Oyun: Oyunun ak\u0131\u015f\u0131n\u0131, aksiyonunu, d\u00fc\u015f\u00fcncelere yasland\u0131rarak geli\u015ftiren oyun t\u00fcr\u00fc. <\/p>\n
Tezli Roman: Genellikle toplumsal ya da siyasal bir sorunu konu alan ve bunu bir teze ba\u011flayarak i\u015fleyen roman t\u00fcr\u00fc. <\/p>\n
Tip: \u00d6yk\u00fc, roman, masal gibi anlat\u0131sal t\u00fcrlerde ve oyunlarda benzer \u00f6zelliklerle belirlenip s\u0131n\u0131fland\u0131r\u0131labilen ki\u015filerin, bu ortak \u00f6zelliklerini en belirgin ve somut bi\u00e7imde, sivriltilmi\u015f ve abart\u0131lm\u0131\u015f olarak yans\u0131tan ve bunlar\u0131 kendinde toplayan ki\u015fi. <\/p>\n
Tirad: Oyun ki\u015filerinin uzun soluklu, kesintisizce konu\u015fmalar\u0131na verilen ad. <\/p>\n
Tiyatro: Oyunlar\u0131n oynand\u0131\u011f\u0131 yer anlam\u0131na gelen Tiyatro, kimi zaman oyunlar kimi zaman da dramatik t\u00fcr\u00fcn ad\u0131 olarak kullan\u0131labilir. <\/p>\n
Toplum \u0130\u00e7in Sanat: Sanat\u0131n temel i\u015flevi, toplumsal sorunlar\u0131 yans\u0131tma, bunlara \u00e7\u00f6z\u00fcm yolu arama anlay\u0131\u015f\u0131ndan yola \u00e7\u0131kan; “sanat sanat i\u00e7indir” yakla\u015f\u0131m\u0131na kar\u015f\u0131t bir tutuk i\u00e7eren savd\u0131r. <\/p>\n
Toplumcu Ger\u00e7ek\u00e7ilik: \u0130nsan\u0131 toplumsal ili\u015fkileri i\u00e7inde ele alan, toplumsal ger\u00e7ekleri devrimci bir do\u011frultuda ve Marxist bir yakla\u015f\u0131mla yans\u0131tmay\u0131 ama\u00e7layan edebiyat ak\u0131m\u0131. <\/p>\n
Trajedi (Tregetya): Antik ve klasik tan\u0131ma g\u00f6re, y\u00fcceltilmi\u015f \u015f\u00f6zlerle yaz\u0131lan, bir kahraman\u0131n iyi bir durumdan k\u00f6t\u00fc bir duruma d\u00fc\u015fmesiyle, duygusal ar\u0131nmay\u0131 sa\u011flayacak ac\u0131ma ve korku duygular\u0131na y\u00f6nelen oyun t\u00fcr\u00fc. Klasik anlay\u0131\u015fta manzum olarak yaz\u0131lan tragetya, daha sonra d\u00fczyaz\u0131yla da yaz\u0131lm\u0131\u015ft\u0131r.
\nTragedya Yunanca tragoidia s\u00f6zc\u00fc\u011f\u00fcnden gelir. Tragos ke\u00e7i, oidia ise ezgi anlam\u0131ndad\u0131r. B\u00f6ylece tragedya “ke\u00e7i ezgisi” anlam\u0131ndad\u0131r. Tragedyan\u0131n s\u00f6zl\u00fck anlam\u0131; Ciddi ve h\u00fcz\u00fcn verici karakterlerden kurulu ve sonu k\u00f6t\u00fc biten bir dramatik yap\u0131tt\u0131r. Bu tan\u0131m tragedya i\u00e7in ne kadar yetersiz bile olsa, tragedya bu kavram \u00fczerinden yola \u00e7\u0131k\u0131larak anlat\u0131labilir.
\nTragedya, bir kahraman\u0131n kendi \u00e7evresinde geli\u015fen olaylarla sava\u015f\u0131p kendinden daha b\u00fcy\u00fck ve anlaml\u0131 olduklar\u0131n\u0131 anlay\u0131p bu olaylar kar\u015f\u0131s\u0131nda yenik d\u00fc\u015fmesini anlat\u0131r. Tragedya oyular\u0131nda geli\u015fen olaylar kahraman\u0131n yenilmesi ve \u00f6lmesiyle \u00f6nem kazan\u0131r. Tragedya oyunlar\u0131nda ve Shakespeare’in tragedyalar\u0131nda oyunlar genellikle kahraman\u0131n \u00f6l\u00fcm\u00fcyle sonu\u00e7lan\u0131r. Fakat \u00f6l\u00fcm her zaman ac\u0131 verici olmayabilir. Kendi ya\u015fam\u0131m\u0131zda da bizim d\u0131\u015f\u0131m\u0131zda yani bizden soyutlanm\u0131\u015f \u00f6l\u00fcm olaylar\u0131 trajik olmaktan \u00e7\u0131kar.
\n“\u00d6rne\u011fin bir bebe\u011fin \u00f6l\u00fcm\u00fc, bir katilin as\u0131lmas\u0131, bir psikopat\u0131n intihar\u0131, \u00e7evreden ve sorunlardan soyutland\u0131\u011f\u0131 anda hi\u00e7 ac\u0131 verici olmayabilir. Bu \u00f6yk\u00fclerde olaylar\u0131 birebir ya\u015fayan ki\u015filer i\u00e7in ac\u0131 olaylard\u0131r”. Mesela o bebe\u011fi kaybeden anne i\u00e7in olay tam bir trajedidir.
\nTragedyada, yani dramatik anlamda olay \u00f6rg\u00fcs\u00fc s\u00fcr\u00fckleyicidir. \u00c7ok fazla kesilmez..Olaylar, heyecan\u0131 ve gerilimi y\u00fcksek oyunlard\u0131r. Bu y\u00fczden seyirci kendini olaylara kapt\u0131r\u0131r, kendini oyuncular\u0131n yerine koyar ve olay \u00f6rg\u00fcs\u00fc i\u00e7inde ya\u015fananlar\u0131 kendi de sahnedekiler gibi ya\u015far.
\nDramatik oyunu sahneye koyacak olan oyuncu da karakteri tam anlam\u0131yla ya\u015far.Oyunun ak\u0131\u015f\u0131na kendini b\u0131rak\u0131r ve olay \u00f6rg\u00fcs\u00fc i\u00e7inde kaybolur gider.<\/p>\n
Tuluat: Karag\u00f6z ve Ortaoyunu’nda oldu\u011fu gibi, \u00f6nceden yaz\u0131lm\u0131\u015f bir metne dayanmadan ama \u00f6rg\u00fcs\u00fc \u00f6nceden bilinen, oyuncular\u0131n bu \u00f6rg\u00fcye g\u00f6re o andaki bulu\u015flar\u0131yla konu\u015farak geli\u015ftirdikleri halk tiyatrosu t\u00fcr\u00fc. <\/p>\n
Tumturak: S\u00f6zl\u00fc ve yaz\u0131l\u0131 anlat\u0131mda yersiz ve gereksizce b\u00fcy\u00fck laflar, tantanal\u0131 s\u00f6zler etmekten do\u011fan anlat\u0131m eksikli\u011fi. <\/p>\n
Tutars\u0131zl\u0131k: D\u00fc\u015f\u00fcnce, duygu ve imgeleri yans\u0131tan s\u00f6zc\u00fcklerin, c\u00fcmlelerin birbirini kavramay\u0131\u015flar\u0131 ya da dilsel ve mant\u0131ksal y\u00f6nden ba\u011flanamamay\u0131\u015f\u0131ndan kaynaklanan anlat\u0131m kusuru. <\/p>\n
Tuyug: Aruz \u00f6l\u00e7\u00fcs\u00fcn\u00fcn belirli bir kal\u0131b\u0131yla yaz\u0131lan, d\u00f6rt dizelik naz\u0131m bi\u00e7imi. <\/p>\n
T\u00fcr: Edebiyatta ortaya konan eserlerin konu ve hedef kitlesi a\u00e7\u0131s\u0131ndan s\u0131n\u0131fland\u0131r\u0131lmas\u0131d\u0131r. <\/p>\n
T\u00fcretme: S\u00f6zc\u00fcklerin k\u00f6k ve g\u00f6vdelerine yap\u0131m eki getirerek onlardan yeni s\u00f6zc\u00fckler olu\u015fturma y\u00f6ntemi. <\/p>\n
T\u00fcrk Edebiyat\u0131: \u0130lk \u00e7a\u011flardan itibaren T\u00fcrk diliyle yarat\u0131lm\u0131\u015f s\u00f6zl\u00fc ve yaz\u0131l\u0131 t\u00fcm \u00fcr\u00fcnlerin genel ad\u0131. <\/p>\n
T\u00fcrk\u00fc: Halk \u015fiirinde kendine \u00f6zg\u00fc bir ezgiyle s\u00f6ylenen, kavu\u015ftakl\u0131 bir naz\u0131m bi\u00e7im<\/p>\n","protected":false},"excerpt":{"rendered":"
S \/ \u015e SADR Bir beyitte birinci m\u0131sran\u0131n ilk par\u00e7as\u0131 ile nesirde c\u00fcmlenin ilk par\u00e7as\u0131. SAGU \u0130slamiyet \u00f6ncesi T\u00fcrk edebiyat\u0131nda \u00f6len kimselerin arkas\u0131ndan s\u00f6ylenen \u015fiirler. Sevilen, say\u0131lan \u00f6zellikle g\u00f6sterdi\u011fi kahramanl\u0131klarla tan\u0131nm\u0131\u015f kimselerin \u00f6l\u00fcm\u00fc \u00fczerine ozanlar taraf\u0131ndan, yu\u011f ad\u0131 verilen cenaze t\u00f6renlerinde okunur, \u00f6len ki\u015finin yi\u011fitli\u011fi, iyili\u011fi, c\u00f6mertli\u011fi, faziletleri dile getirilirdi. SAK\u0130NAME Sakiye (i\u00e7ki sunana) seslenmek …<\/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":[9507,9620,9629,11193,9635,11194,2057,9580],"class_list":["post-5518","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-divan-edebiyati","tag-edebiyat-terimleri-sozlugu","tag-fuzuli","tag-nesir","tag-salname","tag-sozcuk-sanatlari","tag-tasavvuf","tag-yunus-emre"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/5518","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=5518"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/5518\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=5518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=5518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=5518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}