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Dönemlerin özelliklerini tespit etmek, ancak o dönemden kalan eserlerin varlığıyla mümkün olmaktadır. Türk dili tarihi içerisinde de Orhun Kitabeleri, Kutadgu Bilig, Divanü Lugati't-Türk, Dede Korkut Hikâyeleri, Divan-ı Hikmet gibi kök eserler bulunmaktadır. Bu kök eserlerden bir tanesi de söylemiş olduğu şiirlerle Türkçenin gücünü gösteren Yunus Emre ve Divanı’dır. Sözün en doyurucu imkânlarını kullanarak, şiirini güzel söylemek kaygısı güden Yunus Emre, sözün kifayetsiz kaldığı durumlarda da şiirlerini başka araçlarla destekleme yoluna gitmiştir.
Etkili bir iletişimde sözlü ifadeyle birlikte sözsüz iletişim olarak adlandırılan beden dili de kullanılmalıdır. Beden dili hiç konuşulmadan kullanılan bir anlaşma şekli değildir. Sözlü iletişimi destekleyen bir tamamlayıcı ögedir. Yunus Emre’nin şiirlerinde yer alan kişiler/nesneler/kavramlar çoğu kez beden dilinin tamamlayıcı özelliğinden yararlanılarak ifade edilmektedir.
“El bağlamıştır çoğusu hep Allah’tandır umusu”, “Gördüm Pir’imin yüzünü ol kaygıyı sildi bugün”, “Âşık oldum ol ay yüze nisar oldum bal ağıza/ Nazar kıldım kara göze, siyah olup kaşa geldim”, “Kudret ününü işittim, kaynayarak coşa geldim”, “Ey aşk eri aç gözünü yer yüzüne eyle nazar”, “Onun körklü nazarı gönlümüz aynasıdır” vb. mısralarda örneklerini gördüğümüz sözlü anlatımın beden diliyle desteklenerek ortaya konulması şiirlerin genelinde çok sayıda karşımıza çıkmaktadır.
Yunus Divanı’nda beden dili açısından belirgin ifadeler olan “baş, yüz, el, kol hareketleri, göz ve bakış, giyim, kuşam, dış görünüş, davranış ve adap vb. unsurlar destekleyici öge olarak yer almaktadır.
It is possible to identify the characteristics of the periods, but with the existence of the works left from that period. In the Turkish language history there are also root works such as Orhun Books, Kutadgu Bilig, Divanü Lugati't-Türk, Dede Korkut Stories, Divan-i Hikmet. One of these root works is the Yunus Emre and Divanı, which shows the power of the Turkish with the poems he has spoken. Through the most satisfying possibilities of the word, Yunus Emre, who was worried about saying his poem beautifully, went on the way to support his poems with other means in cases where the word was not useful.
In effective communication, the language of the body, which is called oral communication, should also be used along with the verbal expression. Body language is not a form of agreement used without any speech. It is a complementary object that supports verbal communication. The persons in the poems of Yunus Emre are often expressed using the complementary characteristic of the body language.
“I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love, I have been in love. The words that we see in the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words of the words.
In the judgment of Yunus, expressions are clear in terms of body language, "head, face, hands, arms movements, eyes and sights, clothes, clothes, appearance, behavior and adaptation, etc. It is a supporting element.
Identifying the characteristics of the periods is only possible with the existence of artifacts from that period. In the history of Turkish language, there are root works such as Orkhon Inscriptions, Kutadgu Bilig, Divanü Lugati't Türk, Dede Korkut Stories, Divan-ı Hikmet. One of these root works is Yunus Emre and his Divan, which shows the power of Turkish with the poems he has said. Yunus Emre, who is concerned about saying his poetry well by using the most satisfying possibilities of the word, has chosen to support his poems with other means even when words are insufficient.
In an effective communication, body language, called nonverbal communication, should be used together with verbal expression. Body language is not a form of agreement that is used without speaking. It is a supplementary element that supports verbal communication. People/objects/concepts in Yunus Emre's poems are often expressed by making use of the complementary feature of body language.
“Hands are tied, most of them are always from Allah”, “I saw the face of my Pir, he erased the anxiety today”, “I fell in love with the moonface, I fell in love with the mouth/ I admired the black eye, I became black and came to the eyebrow.”, “I heard the fame of his power, I came to boiling over”, “O man of love, open your eyes to the earth and let it strength”, “His/Her flamboyant look is the mirror of our heart.” etc. the verbal expression, whose examples we see in the verses, is supported by body language and we encounter many in the poems.
In Yunus's Divan, there are clear expressions in terms of body language, "head, face, hand, arm movements, eye and look, clothing, outfit, appearance, behavior and manners, etc. elements are included as supporting elements.
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