{"id":614,"date":"2009-03-15T17:25:34","date_gmt":"2009-03-15T15:25:34","guid":{"rendered":"http:\/\/www.sorubak.com\/blog\/?p=614"},"modified":"2009-03-15T17:25:34","modified_gmt":"2009-03-15T15:25:34","slug":"turk-dili-ve-edebiyatinda-edebi-sanatlar","status":"publish","type":"post","link":"https:\/\/www.sorubak.com\/blog\/turk-dili-ve-edebiyatinda-edebi-sanatlar.html","title":{"rendered":"T\u00fcrk Dili ve Edebiyat\u0131nda Edebi Sanatlar"},"content":{"rendered":"

Te\u015fbih <\/strong>\u2022 S\u00f6z\u00fc daha etkili k\u0131lmak amac\u0131yla ortak nitelikleri bulunan nesne ya da kavramlar aras\u0131nda benzerlik kurma sanat\u0131d\u0131r. \u00d6rne\u011fin, “Tilki gibi kurnaz adam” bir te\u015fpihtir. \u0130nsan kurnazl\u0131\u011f\u0131yla bilinen tilkiye benzetilmektedir. Bir te\u015fbih’te d\u00f6rt \u00f6\u011fe bulunur:
\nM\u00fc\u015febbeh\u00fcn-bin (benzetilen): Kendisine benzetilen, birbirine benzetilen nesne ya da kavramlardan nitelik\u00e7e daha g\u00fc\u00e7l\u00fc, daha \u00fcst\u00fcn olan. \u00d6rne\u011fimizde “tilki”.
\nM\u00fc\u015febbeh (benzeyen): Birbirine benzetilen nesne ya da kavramlardan nitelik\u00e7e daha g\u00fc\u00e7s\u00fcz, zay\u0131f olan. \u00d6rne\u011fimizde “adam”.
\nVech-i \u015febeh (benzetme y\u00f6n\u00fc): Birbirlerine benzetilen nesne ve kavramlar aras\u0131ndaki ortak nitelik. \u00d6rne\u011fimizde “kurnazl\u0131k”.
\nEdat-\u0131 te\u015fbih (benzetme ilgeci): Nesne ve kavramlar aras\u0131nda benzetme ilgisi kuran ilge\u00e7 ya da ilge\u00e7 i\u015flevi g\u00f6ren s\u00f6zc\u00fck. \u00d6rne\u011fimizde “gibi”.
\n\u00d6rne\u011fin “Yol y\u0131lan gibi k\u0131vr\u0131l\u0131yor” dendi\u011finde, “yol” benzeyen, “y\u0131lan” kendisine benzetilen, “k\u0131vr\u0131l\u0131yor” benzetme y\u00f6n\u00fc, “gibi” ise benzetme edat\u0131d\u0131r.
\nTe\u015fbih, bu \u00f6\u011felerden bir ya da bir ka\u00e7\u0131n\u0131n kullan\u0131l\u0131p kullan\u0131lmamas\u0131na g\u00f6re d\u00f6rde ayr\u0131l\u0131r:
\nD\u00f6rt \u00f6\u011fenin de bulundu\u011fu te\u015fbih te\u015fbih-i mufassald\u0131r (ayr\u0131nt\u0131l\u0131 benzetme). \u00d6rne\u011fin, “Ahmet aslan gibi g\u00fc\u00e7l\u00fcd\u00fcr”.
\nBenzetme y\u00f6n\u00fc bulunmayan te\u015fbih te\u015fbih-i m\u00fccmeldir (k\u0131salt\u0131lm\u0131\u015f benzetme). \u00d6rne\u011fin, “Ahmet aslan gibidir”. Burada “g\u00fc\u00e7l\u00fcl\u00fck” vurgulanmam\u0131\u015ft\u0131r.
\nBenzetme ilgeci bulunmayan te\u015fbih te\u015fbih-i m\u00fcekkeddir. (peki\u015ftirilmi\u015f benzetme). \u00d6rne\u011fin, “Ahmet kuvvetle asland\u0131r”. Bu te\u015fbihde “gibi” ilgeci kullan\u0131lmam\u0131\u015f.
\nBenzetme y\u00f6n\u00fc ve benzetme ilgeci bulunmayan te\u015fbih te\u015fbih-i beli\u011fdir (yal\u0131n benzetme). \u00d6rne\u011fin, “Aslan Ahmet.” <\/p>\n

Mecaz <\/strong>\u2022 S\u00f6zc\u00fckleri ger\u00e7ek anlamlar\u0131 d\u0131\u015f\u0131nda kullanma sanat\u0131d\u0131r. Anlat\u0131m\u0131 daha etkili k\u0131lmak ve s\u00f6ze canl\u0131l\u0131k kazand\u0131rmak amac\u0131yla yap\u0131l\u0131r. Mecaz, s\u00f6ze g\u00fczellik, g\u00fc\u00e7l\u00fcl\u00fck, canl\u0131l\u0131k, zerafet, derinlik ve geni\u015flik vermek i\u00e7in kullan\u0131l\u0131r. \u00d6rne\u011fin: <\/p>\n

Kandilli y\u00fczerken uykularda
\nMehtab\u0131 s\u00fcr\u00fckledik sularda
\nYahya Kemal Beyatl\u0131 <\/p>\n

Bu dizelerde Kandilli’nin sularda y\u00fczmesi, mehtab\u0131n sularda s\u00fcr\u00fcklenilmesi, s\u00f6z ve s\u00f6zc\u00fcklerin as\u0131l anlam\u0131n\u0131n d\u0131\u015f\u0131nda, g\u00fc\u00e7ledirme, g\u00fczelle\u015ftirme, anlanlamd\u0131rma, zarifle\u015ftirme ve g\u00fc\u00e7lendirme amac\u0131yla kullan\u0131lmas\u0131na \u00f6rnektir.
\nMecaz, S\u00f6zc\u00fck ve fikir mecazlar\u0131 olmak \u00fczere ikiye ayr\u0131l\u0131r. S\u00f6zc\u00fck mecaz\u0131nda bir s\u00f6zc\u00fck ger\u00e7ek anlam\u0131 d\u0131\u015f\u0131nda, fikir mecaz\u0131nda ise herhangi bir fikir kendi anlam\u0131n\u0131n d\u0131\u015f\u0131nda bir ama\u00e7la kullan\u0131l\u0131r. <\/p>\n

Mecaz-\u0131 m\u00fcrsel <\/strong>
\n\u2022 Bir s\u00f6zc\u00fc\u011f\u00fc benzetme amac\u0131 g\u00fctmeden ba\u015fka bir s\u00f6zc\u00fck yerine kullanma sanat\u0131d\u0131r. D\u00fcz de\u011fi\u015fmece ya da metonomi diye de adland\u0131r\u0131l\u0131r. G\u00fcnl\u00fck ya\u015famda da yayg\u0131nl\u0131kla kullan\u0131lan mecaz-\u0131 m\u00fcrsel, iki nesne ve kavram aras\u0131nda \u00e7ok \u00e7e\u015fitli ilgiler kurulmas\u0131yla ger\u00e7ekle\u015fir. Neden yerine sonucun (bereket ya\u011fd\u0131 gibi), i\u00e7indeki yerine kab\u0131n (sobay\u0131 yakt\u0131k gibi), \u00f6zel yerine genelin (at yerine hayvan gibi), soyut kavram yerine somut ad\u0131n (g\u00f6z\u00fcme girdi gibi), yap\u0131t yerine yazar ad\u0131n\u0131n (Siham-\u0131 Kaza okuyorum demek yerine Nef\u2019i okuyorum demek gibi) kullan\u0131ld\u0131\u011f\u0131 \u00e7e\u015fitli t\u00fcrleri vard\u0131r. <\/p>\n

Telmih <\/strong>
\n\u2022 Bilinen bir olay, ki\u015fi, n\u00fckte, f\u0131kra, atas\u00f6z\u00fcn\u00fc dolayl\u0131 bi\u00e7imde anlatma sanat\u0131d\u0131r. Telmihin ba\u015far\u0131l\u0131 olmas\u0131 i\u00e7in okuyucunun dolayl\u0131 anlat\u0131ma konu olan d\u00fc\u015f\u00fcnceyi kolayca anlayabilmesi gerekir. Divan edebiyat\u0131nda \u00f6zellikle dinsel \u00f6yk\u00fcler, din b\u00fcy\u00fckleri ile kahramanlar\u0131, Kur\u2019an ayetleri ve mesnevi kahramanlar\u0131 telmih konusu olmu\u015ftur. \u00d6rne\u011fin: <\/p>\n

Ey n\u00e2me sen ol m\u00e2h-lik\u00e2dan m\u0131 gelirsin
\nEy Hudhad-i \u00fcmmid Saba’dan m\u0131 gelirsin
\nN\u00eeb\u00ee <\/p>\n

\u015eair, ikinci dizedeki “Saba” ile S\u00fcleyman-Belk\u0131s” k\u0131ssas\u0131n\u0131 an\u0131msat\u0131yor. <\/p>\n

Tecah\u00fcl-i arif <\/strong>\u2022 Bir anlam inceli\u011fi yaratmak ya da bir n\u00fckte yapmak amac\u0131yla bilinen bir \u015feyi bilmezlikten gelme sanat\u0131d\u0131r. Tecah\u00fcl-i arifin \u00f6z\u00fcn\u00fc olu\u015fturan bu n\u00fckte, d\u00f6rt ama\u00e7 i\u00e7in yap\u0131lm\u0131\u015f olabilir. Ne\u015felendirme (ten\u015fid), uyar\u0131da bulunma (tevbih), hayret ve \u015fa\u015fk\u0131nl\u0131k bildirmek (tehayy\u00fcr), kendinden ge\u00e7i\u015fi belirtmek (tedell\u00fch).
\nBilinen \u015fey bilinmiyormu\u015f gibi anlat\u0131l\u0131rken genellikle bir inceli\u011fe dayand\u0131r\u0131l\u0131r. bu yap\u0131l\u0131rken m\u00fcbala\u011fa ve istifham sanatlar\u0131ndan da yararlan\u0131l\u0131r. \u00d6rne\u011fin: <\/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
\nFuz\u00fbl\u00ee
\n“Bilmiyorum d\u00f6nen kubbe mi su rengindedir
\nYoksa g\u00f6zya\u015flar\u0131m m\u0131 g\u00f6ky\u00fcz\u00fcn\u00fc kaplam\u0131\u015ft\u0131r” <\/p>\n

Fuz\u00fbl\u00ee, kubbenin, yani g\u00f6ky\u00fcz\u00fcn\u00fcn mavi renkte oldu\u011funu bilmiyormu\u015f gibi davran\u0131yor. G\u00f6zya\u015flar\u0131n\u0131n g\u00f6ky\u00fcz\u00fcn\u00fc kaplayacak kadar \u00e7ok oldu\u011funu (m\u00fcbala\u011fa) belirtebilmek i\u00e7in tecah\u00fcl-i arif sanat\u0131na ba\u015fvuruyor. <\/p>\n

\u0130stiare <\/strong>\u2022 Bir s\u00f6zc\u00fc\u011f\u00fc kendi anlam\u0131 d\u0131\u015f\u0131nda kullanarak, bir \u015feyi benzedi\u011fi ba\u015fka \u015feylerin ad\u0131yla anma sanat\u0131. Benzetmenin iki temel \u00f6\u011fesi vard\u0131r, benzeyen ve benzetilen. \u0130stiare bunlardan birinin s\u00f6ylenmemesiyle yap\u0131l\u0131r.
\n\u0130stiare \u00fc\u00e7 y\u00f6nden ele al\u0131n\u0131r: 1. Benzetme amac\u0131 bulunur, 2. S\u00f6zc\u00fck ger\u00e7ek anlam\u0131 d\u0131\u015f\u0131ndaki mecaz anlam\u0131ndad\u0131r, 3. S\u00f6zc\u00fc\u011f\u00fcn as\u0131l anlam\u0131nda kullan\u0131lmamas\u0131n\u0131 gerektiren bir durum (karine-i mania) vard\u0131r. \u00d6rnek: <\/p>\n

“So\u011fuk ay \u00f6pt\u00fc beyaz enseni”
\nYahya Kemal Beyatl\u0131 <\/p>\n

“Ay \u00f6pmek” deyi\u015fiyle ay canl\u0131 bir varl\u0131\u011fa benzetilmi\u015ftir. “\u00d6pmek” s\u00f6zc\u00fc\u011f\u00fc as\u0131l anlam\u0131n\u0131n d\u0131\u015f\u0131nda mecaz anlam\u0131yla kullan\u0131lm\u0131\u015ft\u0131r. \u00d6pmek s\u00f6zc\u00fc\u011f\u00fcn\u00fcn as\u0131l anlam\u0131n\u0131n kullan\u0131lmas\u0131na olanak yoktur \u00e7\u00fcnk\u00fc ay\u0131n duda\u011f\u0131 olmaz. \u015eair burada, istiare sanat\u0131yla anlat\u0131m\u0131 daha etkili, daha estetik ve heyecanl\u0131 hale getiriyor.
\n\u0130stiare genel olarak \u00fc\u00e7 \u00e7e\u015fide ayr\u0131l\u0131r. Yaln\u0131zca benzeyenin s\u00f6ylendi\u011fi istiareye “a\u00e7\u0131k istiare” (istiare-i musarraha) denir. \u00d6rnek: <\/p>\n

“Bir hil\u00e2l u\u011fruna yar\u00e2b ne g\u00fcne\u015fler bat\u0131yor”
\nMehmet Akif Ersoy <\/p>\n

Ersoy, benzetilen g\u00fcne\u015fi s\u00f6ylerken, benzeyen askerden s\u00f6zetmiyor.
\nYaln\u0131zca benzetilenin s\u00f6ylendi\u011fi istiareye de “kapal\u0131 istiare” (istiare-i mekniye) denir. \u00d6rnek: <\/p>\n

Her taraf k\u0131r\u0131k d\u00f6k\u00fck
\nDallar\u0131n boynu b\u00fck\u00fck
\n“Kederliyiz” der gibi
\nOrhan Seyfi Orhon <\/p>\n

Dallar boynu b\u00fck\u00fck insana benzetiliyor ama kendisine benzetilen insandan s\u00f6zedilmiyor. Boynu b\u00fck\u00fck s\u00f6zc\u00fc\u011f\u00fc ile insan\u0131n bir \u00f6zelli\u011fi vurgulan\u0131yor.
\nBenzetmenin temel \u00f6\u011felerinden yaln\u0131zca birisiyle \u00e7ok say\u0131da benzerli\u011fi s\u0131ralayarak yap\u0131lan istiareye ise “yayg\u0131n istiare” (istiare-i temsiliye) ad\u0131 verilir. \u00d6rnek: <\/p>\n

Bin gemle ba\u011flanan at \u015faha kalk\u0131yor
\nGittik\u00e7e y\u00fckselen ba\u015f\u0131 Allah’a kalk\u0131yor
\nSon maceray\u0131 dinlememi\u015f varsa anlat\u0131n
\nR\u00e2m etmek isteyenler o mar\u00fbr, \u00e2sil at\u0131n
\nBeyhudedir her uzvuna bir halka bulsa da
\nBo\u015ftur k\u00f6p\u00fckl\u00fc a\u011fz\u0131na gemler vurulsa da…
\nCo\u015ftuk\u00e7a b\u00f6yle sel gibi ba\u011fr\u0131ndaki hisleri
\nBir g\u00fcn ba\u015f\u0131nda kalmayacakt\u0131r seyisleri!
\nFaruk Nafiz \u00c7aml\u0131bel <\/p>\n

\u00c7aml\u0131bel, milleti ma\u011frur bir ata benzeterek \u00e7ok say\u0131da benzerli\u011fi s\u0131ral\u0131yor.<\/p>\n

H\u00fcsn-i talil <\/strong>\u2022 Nedeni bilinen bir olay\u0131, d\u00fc\u015fsel ya da ger\u00e7ekd\u0131\u015f\u0131 bir olaya ba\u011flama yoluyla yap\u0131lan edebi sanatt\u0131r. H\u00fcsn-i tevcih olarak da bilinir. \u015eiirin iki dizesi aras\u0131nda ba\u011flant\u0131 kurarak anlam ve anlat\u0131ma incelik vermek amac\u0131n\u0131 ta\u015f\u0131r. Bu sanatta \u00f6ne s\u00fcr\u00fclen neden ile ger\u00e7ek neden aras\u0131nda mutlaka anolojik bir ba\u011f bulunur. Nedeni bilinen olay g\u00fcya, sanki, acep, acaba, me\u011fer gibi s\u00f6zc\u00fcklerle bir ihtimale dayand\u0131r\u0131l\u0131rsa bu t\u00fcr h\u00fcsn-i talil’e \u015fibh-i h\u00fcsn-i talil ad\u0131 verilir. \u00d6rnek: <\/p>\n

M\u00fczeyyen old\u0131 bezendi ba\u011f-\u0131 \u00e7emen
\nMe\u011fer ki ba\u011fa haber geldi y\u00e2rdan bu gece
\nAhmed\u00ee
\n“Bah\u00e7e, s\u00fcslenmi\u015f fesle\u011fenlerle bezendi
\nMe\u011fer sevgili bu gece gelece\u011fini bildirmi\u015f.” <\/p>\n

Bah\u00e7enin bezenmesi, s\u00fcslenmesi ger\u00e7e\u011fi sevgilinin gelebilme ihtimali gibi g\u00fczel bir d\u00fc\u015fe ba\u011flan\u0131yor. <\/p>\n

Leff \u00fc ne\u015fr <\/strong>
\n\u2022 Bir beyitte birbirleriyle ilgili s\u00f6zc\u00fcklerin s\u0131ralanmas\u0131yla yap\u0131lan ve divan \u015fiirinde \u00e7ok s\u0131k kullan\u0131lan edebi sanatt\u0131r. \u015eiirin ikinci dizesinde birinci dizede s\u00f6ylenmi\u015f en az iki \u015feyle ilgili benzerlik ve kar\u015f\u0131l\u0131klar verilerek uygulan\u0131r.
\nS\u00f6zc\u00fcklerin birinci ve ikinci dizede belli bir s\u0131ra g\u00f6zetilerek s\u00f6ylenmesine leff \u00fc ne\u015fr-i m\u00fcretteb (d\u00fczenli leff \u00fc ne\u015fr) denir. \u00d6rnek: <\/p>\n

Gonce k\u0131lmaz \u015f\u00e2d g\u00fcl a\u00e7maz tutulmu\u015f g\u00f6nl\u00fcm\u00fc
\n\u00c2rz\u00fbmend ruh-i leb-i hand\u00e2n\u0131nem
\nFuz\u00fbl\u00ee
\n“Kederli g\u00f6nl\u00fcm\u00fc gonca memnun etmez, g\u00fcl sevindirmez
\n\u00c7\u00fcnk\u00fc ben ben bunlar\u0131 de\u011fil al yana\u011f\u0131n\u0131 ve g\u00fclen duda\u011f\u0131n\u0131 istiyorum” <\/p>\n

Gonca, yanak kar\u015f\u0131l\u0131\u011f\u0131 ruh ve g\u00fcl dudak kar\u015f\u0131l\u0131\u011f\u0131 leb s\u00f6zc\u00fckleriyle ilgilidir. Fuz\u00fbl\u00ee, burada d\u00fczenli leff \u00fc ne\u015fr yap\u0131yor.
\nBirinci beytin ikinci dizesinde, birinci dizede s\u00f6ylenenlerle ilgili s\u00f6zc\u00fcklerin ters bir s\u0131ra izlenmesiyle ya da kar\u0131\u015f\u0131k olarak bulunmas\u0131yla yap\u0131lan leff \u00fc ne\u015fr’e ise leff \u00fc ne\u015fr-i gayr’i m\u00fcretteb ya da leff \u00fc ne\u015fr’i m\u00fc\u015fevve\u015f (d\u00fczensiz leff \u00fc ne\u015fr) denilir. \u00d6rnek: <\/p>\n

Y\u00fcr\u00fcrem h\u00e2sret-i z\u00fclf \u00fc meh-r\u00fblar ile
\nG\u00fcnd\u00fczin gussalar ile gice kaygular ile
\nMe\u00e2l\u00ee
\n“Sevgilinin sa\u00e7\u0131n\u0131n ve ay y\u00fczl\u00fc yana\u011f\u0131n\u0131n hasretiyle
\nG\u00fcnd\u00fcz kederli gece kayg\u0131l\u0131 gezerim” <\/p>\n

Sa\u00e7 anlam\u0131na gelen z\u00fclf geceyle, yanak anlam\u0131na gelen ruh g\u00fcnd\u00fczle ilgilidir. Birinci ve ikinci s\u00f6zc\u00fc\u011fe kar\u015f\u0131l\u0131k ikinci ve birinci s\u00f6zc\u00fckler s\u0131ralanarak d\u00fczensiz leff \u00fc ne\u015fr yap\u0131l\u0131yor. <\/p>\n

Kinaye <\/strong>\u2022 Bir s\u00f6z\u00fc ayn\u0131 zamanda hem ger\u00e7ek hem de mecazi anlam\u0131yla kullanma sanat\u0131d\u0131r. S\u00f6z\u00fcn a\u00e7\u0131k s\u00f6ylenmesinin ho\u015f olmad\u0131\u011f\u0131 durumlarda alay, \u015faka, sitem amac\u0131yla kullan\u0131l\u0131r. Bu kullan\u0131\u015fta s\u00f6z\u00fcn ge\u00e7ek anlam\u0131ndan bir sonu\u00e7 \u00e7\u0131ksa da ge\u00e7erli olan mecazi anlam\u0131d\u0131r. \u00d6rne\u011fin \u015eeyh\u00fclislam Yahy\u00e2\u2019n\u0131n, “Dilber gelince bezme y\u00fcz\u00fc g\u00fcld\u00fc a\u015f\u0131k\u0131n” dizesinde bir ki\u015finin ger\u00e7ek y\u00fcz\u00fcn\u00fcn g\u00fclmesini anlamaya bir engel yok. Ama as\u0131l anlat\u0131lmak istenen a\u015f\u0131\u011f\u0131n \u00e7ok sevinmi\u015f olmas\u0131d\u0131r (mecazi anlam).
\nT\u00fcrk\u00e7e deyimlerin \u00e7o\u011fu mecazi anlamlar\u0131yla kullan\u0131ld\u0131\u011f\u0131 i\u00e7in kinayedir. Kinayede s\u00f6z\u00fcn ba\u015fka bir anlama gelmesi olas\u0131l\u0131\u011f\u0131 yoksa bu t\u00fcre “kinaye-i karibe” (yak\u0131n kinaye) denir. E\u011fer s\u00f6z\u00fcn anlam\u0131 gizleniyorsa kinaye “kinaye-i baide” uzak kinaye) olarak adland\u0131r\u0131l\u0131r. Nitelenen tek \u00f6zelli\u011fi belirten kinayeye “kinaye-i m\u00fcfrede” (tek kinaye), birka\u00e7 \u00f6zelli\u011fi birden belirten kinayeye de “kinaye-i m\u00fcrekkebe” (birle\u015fik kinaye) ad\u0131 verilir. \u00d6rnek: <\/p>\n

Bulamad\u0131m d\u00fcnyada g\u00f6n\u00fcle mekan
\nNerde bir g\u00fcl bitse etraf\u0131 diken
\nS\u00fcmman\u00ee <\/p>\n

G\u00fcl ve diken hem ger\u00e7ek hem mecazi anlamlar\u0131yla kullan\u0131l\u0131yor. Ancak as\u0131l kastedilen mecazi anlamlar\u0131. \u015eair hem birle\u015fik kinaye hem uzak kinaye yap\u0131yor. <\/p>\n

Tariz <\/strong>\u2022 Birini k\u00fc\u00e7\u00fck d\u00fc\u015f\u00fcrmek ya da biriyle alay etmek amac\u0131yla s\u00f6ylenecek s\u00f6z\u00fc tam tersi bir s\u00f6zle n\u00fckte yaparak anlatma sanat\u0131d\u0131r. Tariz de ger\u00e7ek ya da mecaz anlam yerine do\u011frudan z\u0131t bir anlam kullan\u0131lmas\u0131 s\u00f6z konusudur. <\/p>\n

Te\u015fhis-\u00fc intak
\n\u2022 Cans\u0131z varl\u0131klar\u0131, ya da hayvanlar\u0131 ki\u015filer gibi davrand\u0131rma, canland\u0131rma, konu\u015fturma, onlara duygu ve hareket gibi nitelikler kazand\u0131rma sanat\u0131d\u0131r. \u0130nsan d\u0131\u015f\u0131ndaki cal\u0131 varl\u0131k ya da hayvanlara insan \u00f6zelli\u011fi verilmesine te\u015fhis, onlar\u0131n konu\u015fturulmas\u0131na ise intak denir. Te\u015fhis ve intak daha \u00e7ok fabllara kullan\u0131l\u0131r. Te\u015fhise \u00f6rnek:<\/p>\n

Mahmur uyan\u0131r g\u00f6lgede binlerce ziy\u00e2lar
\n\u00c7\u00f6ller d\u00fc\u015f\u00fcn\u00fcr, g\u00fcn d\u00fc\u015f\u00fcn\u00fcr, g\u00f6lgeler a\u011flar
\nEmin B\u00fclend Serdaro\u011flu <\/p>\n

\u015eair, \u0131\u015f\u0131\u011f\u0131 uyand\u0131r\u0131yor, \u00e7\u00f6ller ve g\u00fcn\u00fc d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor, g\u00f6lgeleri a\u011flat\u0131yor. Bunlar\u0131n hepsi insan \u00f6zellikleri. \u00dcst \u00fcste te\u015fhis sanat\u0131 yap\u0131yor.<\/p>\n

S\u00f6z\u00fc daha etkili k\u0131lmak amac\u0131yla ortak nitelikleri bulunan nesne ya da kavramlar aras\u0131nda benzerlik kurma sanat\u0131d\u0131r. Bir te\u015fbih’te d\u00f6rt \u00f6\u011fe bulunur:
\nM\u00fc\u015febbeh\u00fcn-bin (benzetilen): Kendisine benzetilen, birbirine benzetilen nesne ya da kavramlardan nitelik\u00e7e daha g\u00fc\u00e7l\u00fc, daha \u00fcst\u00fcn olan.
\nM\u00fc\u015febbeh (benzeyen): Birbirine benzetilen nesne ya da kavramlardan nitelik\u00e7e daha g\u00fc\u00e7s\u00fcz, zay\u0131f olan.
\nVech-i \u015febeh (benzetme y\u00f6n\u00fc): Birbirlerine benzetilen nesne ve kavramlar aras\u0131ndaki ortak nitelik.
\nEdat-\u0131 te\u015fbih (benzetme ilgeci): Nesne ve kavramlar aras\u0131nda benzetme ilgisi kuran ilge\u00e7 ya da ilge\u00e7 i\u015flevi g\u00f6ren s\u00f6zc\u00fck.
\nTe\u015fbih, bu \u00f6\u011felerden bir ya da bir ka\u00e7\u0131n\u0131n kullan\u0131l\u0131p kullan\u0131lmamas\u0131na g\u00f6re d\u00f6rde ayr\u0131l\u0131r. D\u00f6rt \u00f6\u011fenin de bulundu\u011fu te\u015fbihe te\u015fbih-i mufassal (ayr\u0131nt\u0131l\u0131 benzetme), benzetme y\u00f6n\u00fc bulunmayan te\u015fbihe te\u015fbih-i m\u00fccmel (k\u0131salt\u0131lm\u0131\u015f benzetme), benzetme ilgeci bulunmayan te\u015fbihe te\u015fbih-i m\u00fcekked (peki\u015ftirilmi\u015f benzetme) ve benzetme y\u00f6n\u00fc ve benzetme ilgeci bulunmayan te\u015fbihe de te\u015fbih-i beli\u011f (yal\u0131n benzetme) denir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Te\u015fbih \u2022 S\u00f6z\u00fc daha etkili k\u0131lmak amac\u0131yla ortak nitelikleri bulunan nesne ya da kavramlar aras\u0131nda benzerlik kurma sanat\u0131d\u0131r. \u00d6rne\u011fin, “Tilki gibi kurnaz adam” bir te\u015fpihtir. \u0130nsan kurnazl\u0131\u011f\u0131yla bilinen tilkiye benzetilmektedir. Bir te\u015fbih’te d\u00f6rt \u00f6\u011fe bulunur: M\u00fc\u015febbeh\u00fcn-bin (benzetilen): Kendisine benzetilen, birbirine benzetilen nesne ya da kavramlardan nitelik\u00e7e daha g\u00fc\u00e7l\u00fc, daha \u00fcst\u00fcn olan. \u00d6rne\u011fimizde “tilki”. M\u00fc\u015febbeh (benzeyen): … Devam\u0131n\u0131 oku…<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[7,12],"tags":[],"_links":{"self":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/614"}],"collection":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/comments?post=614"}],"version-history":[{"count":0,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/614\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/media?parent=614"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/categories?post=614"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/tags?post=614"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}