Söz Dizimi-Anlam İlişkisi Üzerine Sanal Çizgi Yaklaşımıyla Bir İnceleme: Fuzûlî’nin Görüp Redifli Gazeli
Özlem Demirel DönmezSeçilmiş sözcüklerle kurulan bir metinde anlamı belirleyen şey cümleler, öğe dizilişleri ve bu dizimin içerisinde yer alan kelime gruplarıdır. Biz bu çalışmayla bütünün içerisinde yer alan parçaların belli bir anlam ekseni esas alınarak bir araya geldiği düşüncesine dayanarak dizim ve anlam arasındaki bağlantı ağlarını tespit etmeyi hedefledik. İnceleme konusu olarak gazelin tercih edilme sebebi ise divan şiirinin, belki veznin etkisiyle, bir kural ve düzen içermesi, şiirin yapısal yönünün net ve saydam olmasıdır. İncelemede, yapısal olarak şiirde geçen kelime grupları ve cümlenin öğeleri merkeze alınarak bu yapıların dizim içerisindeki yeri esas alınmıştır. Şiire hâkim olan öğeler yüklem ve zarf-fiildir. Yüklem birleşik-fiil grubundan, zarf tümleci ise zarf-fiil grubundan oluşmaktadır. Zarf-fiil grubunun içerisinde, sevgilinin bir vasfına işaret eden sıfat tamlaması grubu yer almaktadır. Şiirin anlamı, bir sebep sonuç ekseninde gelişmektedir. Şiirde genellikle sonuç, cümlenin başında yüklemle, sebep cümlenin sonunda zarf tümleciyle ifade edilmektedir. Kelime grupları, kelime gruplarının öğe, anlam, şahıs karşılıkları, cümlenin öğeleri, anlam ilgileri ve sanal şekiller beş ayrı tabloda gösterilerek çalışmanın daha anlaşılır olması sağlanmıştır. Çalışmada kullanılan sanal çizgi yaklaşımı, cümlenin öğelerinin sanal bir çizgiyle birleştirilmesi sonucu ortaya çıkan şekillerin anlamla herhangi bir ilgisinin kurulup kurulamayacağı hipotezinin ürünü olup yaklaşımın geliştirilebileceği düşünülmektedir.
A Study on the Syntax-Meaning Relationship Using a Virtual Line Approach: Fuzûlî's Ghazel with “Görüp” Redif
Özlem Demirel DönmezWhat determines the meaning in a text composed of selected words are the sentences, element sequences and the word groups within this sequence. In this study, we aimed to identify the connection networks between syntax and meaning, based on the idea that the parts within the whole come together based on a certain axis of meaning. The reason for choosing the ghazal as the subject of study is that divan poetry contains rules and order, perhaps due to the influence of metre, and the structural aspect of the poem is clear and obvious. In the analysis, the word groups and sentence elements in the poem were structurally centred and the place of these structures in the syntax was taken as the basis. The elements that dominate the poem are the predicate and gerund. The predicate consists of the compound-verb group, and the adverb clause consists of the adverb-verb group. Within the adverb-verb group, there is an adjective phrase group that refers to the quality of the beloved. The meaning of the poem develops on a cause and effect axis. In poetry, the result is generally expressed with a predicate at the beginning of the sentence, and the cause is expressed with an adverb clause at the end of the sentence. Word groups, element, meaning, individual, equivalents of word groups, sentence element, semantic relations and virtual shapes are shown in five separate tables to make the study more understandable. The virtual line approach used in the study is the product of the hypothesis whether the shapes resulting from combining the element of the sentence with a virtual line can be established in any way with the meaning, and it is thought that the approach can be improved.
Even though Divan poetry is a period poem at the time it was written, with certain rules, metre and its own world of symbols, it is a product of literature that can be considered a classic in that it is still readable. Classical poetry can be seen as a suitable field for linguistic research in terms of its fiction, syntax and semantic world. The syntax-meaning relationship is based on the principle that words and their places in a sentence are not random and coincidental when constructing a text or in a discourse, but are the result of a conscious choice. As revealed by linguistic approaches, it is now a known fact that structure and meaning are an inseparable whole, like two sides of a paper, and that this relationship is not accidental. The purpose of text analysis studies is to identify the invisible sides of this network of relationships and to develop new analysis approaches.
In this study, we tried to develop a new and consistent approach while trying to analyse Fuzûlî's ghazal with the rhyme "Görüp" in terms of the syntax-meaning relationship. This approach includes virtual lines and geometric shapes that emerge from their combination. In our previous studies, we called this approach “syntactic virtual line” (Demirel Dönmez, 2020, 2021). In this study, we also focused on word groups and keywords that impact meaning. In the ghazal, the word groups, the semantic relevance of the word groups, the order of the elements of the sentence, the combination of this order with a virtual line, and the shapes created by the virtual lines were determined. These findings are shown in five separate tables.
Not all of the word groups in the ghazal, but the most frequently used ones, were discussed; these are adverb-verb, compound verb, adjective phrase and indefinite noun phrase groups. The most frequently used word group in poetry is the adverb group. The subject of the action reported by the gerund is the poet/lover. The gerund also forms the rhyme of the poem and the action it reports is "to see". The adjective phrase group within the adverb-verb group contains a quality belonging to the lover. The lover sees the beauty of his beloved and expresses the states that arise in him as a result, usually with a compound verb group. In poetry, compound verb groups that convey a result in meaning and are the predicate of the sentence are usually placed at the beginning of the sentence. In other words, the poet first talks about the result and then the reason. The main theme of the poem is based on a cause-and-effect relationship. It is the lover’s gaze that connects to the lover with the features that the lover sees/notices and brings the miserable lover to the top. The closest relationship between the lover and the beloved does not go beyond looking; the lover already looks at the beloved at every opportunity and sees him, but it is not easy for the lover to look at the lover. When the beloved looks at the lover, the miserable heart of the lover/poet is saved from loneliness and recovers and comes to his senses. The lover/poet hides these feelings from everyone, but his language betrays him, and even if the lover does not understand, others become aware of this love, which is a result that the lover/poet does not want, and the lover feels like he is trapped. This trap figure emerges in the poem as a pentagon by the combination of predicate and gerund imaginary lines. In the poem, the cycle experienced by the lover is explained. When we look at the virtual lines, the elements that run parallel and are limited in number in the first two couplets begin to diversify with triangles and then right-angle shapes with the 3rd couplet. In the middle of the poem, the number and complexity of figure increases. The poem ends with a pentagon in the 7th couplet. The poet first sees the beauty of the lover and becomes enchanted; his feelings deepen as he goes, and with the gaze of the lover, these feelings reach their peak and he feels satisfied. While he is at peace, he falls into a trap with the new beauty he notices in his lover, and his efforts to hide all this are in vain.
Fuzûlî creates a colourful theatre scene with his rhymed ghazals. The two heroes of this scene are the lover and the one in love, and the extras are others/strangers who appear at the end of the play and watch what is happening.
