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Klasik Türk edebiyatında şairlerin edebî bir eserde kendilerini övdüğü kısma “fahriye” adı verilir. Fahriyelere genellikle kasidelerin fahriye bölümlerinde rastlanır. Bunun yanında şairler çeşitli vesilelerle şiirlerinin bir ya da birkaç beytini de fahriyeye ayırabilirler. Klasik Türk şiirinde fahriye amacıyla yazılan beyitler çoğu kez gazellerin mahlas beyitleridir. XVII. yüzyıl klasik Türk şiirinin önemli temsilcileri arasında yer alan Abdülbâkî Vecdî (ö. 1661) de gazellerinin mahlas beyitlerinde sık sık tefahüre yer vermiştir. Bu makalede Vecdî’nin divançesinde fahriyeye nasıl yer verdiği ele alınmış ve fahriye anlayışı değerlendirilmiştir. Çalışmamızda bir giriş bölümü, iki ana bölüm ve bir sonuç bölümü bulunmaktadır. Giriş bölümünde, klasik Türk edebiyatında fahriyenin tarihî gelişimi üzerinde kısaca durulmuştur. Birinci ana bölümde, Vecdî’ye ait fahriye niteliğindeki şiir parçaları nazım şekilleri ve birimleri yönünden incelenmiştir. İkinci ana bölümde ise Vecdî’nin fahriye niteliği taşıyan beyitlerinde sık sık karşılaşılan benzetme ve özellikler ortaya konmuştur. İncelenen beyitler günümüz Türkçesine göre nesre çevrilmiş ve kısaca açıklanmıştır. Sonuç bölümünde, Vecdî’nin fahriye anlayışının ana hatları ortaya konmuştur.
The parts of poems in which the classical Turkish poets praise their own characteristics are called fahriye (praise). Fahriyes are usually found in the 'Fahriye' sections of the odes. In addition, poets may allocate one or more couplets of their ghazals to fahriyes. The couplets written for the purpose of fahriye in the classical Turkish poetry are often the pseudonym couplets of ghazals. Abdülbaki Vecdi (d. 1661), who was one of the important representatives of the classical Turkish poetry of the 16th century, also frequently used the reflection (reflection) in the pseudonym couplets of his ghazals. In this article, how Vecdi used the fahriye in the divan was discussed and the understanding of fahriye was evaluated. This article includes an introduction, two main sections and a conclusion section. In the introduction, the history of the honor in classical Turkish poetry is briefly explained. In the first chapter, verse forms used by Vecdi while writing the honor are explained. In the second main section, covert couplets in Vecdi's ghazals are examined. The analogies and properties of these couplets have been determined. These couplets have been translated and explained according to modern Turkish. In the conclusion part, the main lines of Vecdi's conception of glory are stated.
The parts of poems in which the classical Turkish poets praise their own characteristics are called fahriye (praise). Fahriyes are usually found in the 'fahriye’ sections of the odes. In addition, poets may allocate one or more couplets of their ghazals to fahriyes. The couplets written for the purpose of fahriye in the classical Turkish poetry are often the pseudonym couplets of ghazals. Abdülbaki Vecdi (d. 1661), who was one of the important representatives of the classical Turkish poetry of the 16th century, also frequently used tefahür (reflection) in the pseudonym couplets of his ghazals. In this article, how Vecdi used the fahriye in the divan was discussed and the understanding of fahriye was evaluated. This article includes an introduction, two main sections and a conclusion section. In the introduction, the history of the fahriye in classical Turkish poetry is briefly explained. In the first chapter, verse forms used by Vecdi while writing the fahriye are explained. In the second main section, fahriye couplets in Vecdi's ghazals are examined. The analogies and properties of these couplets have been determined. These couplets have been translated and explained according to modern Turkish. In the conclusion part, the main lines of Vecdi's conception of fahriye are stated.
Field : Eğitim Bilimleri; Filoloji
Journal Type : Uluslararası
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