Abstract:

The creators of the contemporary theory of metaphor, George Lakoff and Mark Johnson, discussed the concept of metaphor as a cognitive element and classified this concept into three parts as structural, orientational, and ontological metaphor. Orientational metaphors are related to spatial directions such as up-down, in-out, front-back, and center-periphery. Concepts in that kind of metaphors are organized in terms of these directions. In this study, Bâkî's qasida with “sünbül (hyacinth)” redif (repeated word), which he wrote for his mentor Karamanlı Mehmet Efendi, is examined in terms of orientational metaphors. Orientational metaphors are detected in two couplets in the nesip (introduction) part of the qasida, ten in the praise section, and two in the tegazzül (gazel in qasida) section. In these couplets, up-down, inside-out, and center-periphery directions are used. In the nesip (introduction) part of the qasida, the hyacinth is positioned above and is superior to other flowers in terms of beauty. In the praise section, which reflects the student-teacher hierarchy through the hyacinth symbol, Karamanlı Mehmet Efendi is exalted by positioning him in the upper, inner, and center. In the praise section, in which orientational metaphors are most frequently used, the spiritual beauties of the Karamanlı Mehmet Efendi were praised. In the 'tegazzül' section where the praise continues, Karamanlı Mehmet Efendi's hair and cheeks are exalted in terms of beauty by positioning them above through the orientation metaphors. Orientational metaphors are not used in the self-praise and blessing sections of the qasida.

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