Doğada, sanatta, insanda, insanın günlük kullanımlarındaki ürünlerde var olan simetri, sanat yapıtlarında güzel olanı ortaya koyan bir unsurdur. Antik çağdan beri pek çok sanat eserinde orantı ve simetri unsurları kullanılmış, sanat eserinin güzelliği bunlarla ifade edilmiştir. Pek çok çeşidi olan simetrinin klasik Türk edebiyatında kullanım alanını çizmeyi hedefleyen bu çalışmada, klasik Türk edebiyatının manzum ve mensur eserlerinde simetrik unsurlar tespit edilmiştir. Klasik Türk şiirinde bir beyti oluşturan iki mısranın söz dizimi, cümleleri, cümlelerin öğeleri, kelimeler ve bu kelimelerin heceleri birinci ve ikinci mısrada birbirine denk biçimde oluşturulmuştur. Bazı örneklerde bu kelimelere getirilen eklerin de uyumlu olduğu görülür. Klasik Türk şiirinde simetriyi oluşturan en önemli etkenlerden bir tanesi şairlerin sözü son derece ölçülü kullanmalarıdır. Buna şiirdeki vezin de destek vermiş, vezin sayesinde kelimelerin sayısı, hecesi ve bazı örneklerde türleri de birbirine denk olarak kullanılmıştır. Şiirde vezinle birlikte simetriyi sağlayan unsurlardan biri de söz sanatları olarak karşımıza çıkmaktadır. Özellikle tekrir, aks, leff ü neşr gibi sanatlar simetriyi oluşturmuşlardır. Şiirin biçim özellikleri, beyitler halinde yazılması, vezin... dış yapıdaki uyumu, söz sanatları ise şiirin iç yapısındaki dengeyi meydana getirmiştir. Klasik Türk nesrinde ise simetriyi meydana getiren unsurlar, söz dizimi ve seciler olarak karşımıza çıkmaktadır. Özellikle estetik nesirde birbirine denk iki cümlenin secilerle bir araya getirilmesi onları şiir mısralarına benzetmiştir. Simetrik olarak kullanılan nesir cümlelerinde cümlelerin söz dizimi, cümle öğeleri, cümle öğelerini oluşturan söz grupları, kelimeler eşittir. Hatta bazı kullanımlarda kelimelerin yapısı, alıntılandığı dil, hece sayısı ve onlara getirilen ekler de simetriktir. Bütün bu özellikler nesir cümlelerini sanatsal ifade yollarına dönüştürmüş, onlara şiirselliği vermiştir. Simetri, hem kelime anlamında hem de kullanıldığı yerlerde güzel ile olan ilişkisi bakımından ele alınır. Klasik Türk nesrinde, özellikle estetik nesirde simetrik kullanımların nesirdeki estetik öğeleri ortaya çıkardığı düşünülmektedir

The word symmetry used as symmétrie to mean proportion, the relation of pieces in the 16th century French language is derived from the words symmetria in Latin language, and symmetros in ancient Greek language. This word meant “to have common measure, proportionate, proper” in ancient Greek. The word is formed by the words syn- which underwent a phonetic change, meaning “together”, and the word metron meaning “measure”. Symmetry denotes perfect harmony, and balance. One of the meanings of this word is about beauty. Accordingly, symmetry means beauty associated with perfect harmony/proportion, or the beauty of figures by perfect harmony. According to this meaning of the word, symmetry is intertwined with aesthetics, and beauty. There are symmetry, and its uses in positive scientific fields such as nature, art, literature, mathematics, physics, chemistry, biology, shortly in everything that concerns man. Symmetry is not a concept special to modern people only in the history of mankind. In the history of humanity, it is possible to see signs of symmetry in the periods about which we have less information. Some of the objects made of stone, horn, and wood dating back to 140 000 years b.c. are symmetric, fine, and shaped well. Symmetry in literature is used in poetry mostly. The unity of sound, speech, harmony led to the use of some structures, and with the forms of poetry supporting these structures, symmetric uses appeared. In Classical Turkish Literature, the use of speech very carefully in the verse forms such as encomium, masnavi, gazel (ode) brought with it symmetry. The elements forming symmetry in poetry focuses on style and literary arts. Particularly, some literary arts such as tekrir, cinas, iştikak, aks, leff ü neşr used in poetry constitute sound, and meaning symmetry together with sound symmetry. The quatrade (murabba) that Yavuz Sultan Selim wrote to Shah Ismail is one of the best examples of sound symmetry. In this poem in which the same verses appear in syntagmatic and paradigmatic axis, the first verse is divided into four parts. The other verses are formed in line with this division in the first verse. For instance, in the syntagmatic axis, the place where the words of the first verse is located indicates the word number of the other verses. So, the verses can be read from left to right and from top to bottom in the same way. 1 2 3 4 1 Sanma şâhum / herkesi sen, / sâdıkâne / yâr olur 2 Herkesi sen / dost mu sandun, / belki ol / ağyâr olur 3 Sâdıkâne / belki ol / âlemde / dil-dâr olur 4 Yâr olur, / ağyâr olur, / dil-dâr olur / ser-dâr olur. One of the elements that helps to achieve symmetry in our classical literature is figure of speech. Particularly, literary arts such as tekrir, cinas, aks, iade, leff ü neşr, kalp, iştikak reveal the elements that form symmetry. There is symmetry in the ode (gazel) written in akis art and quoted from Nazim: 1 2 3 Dîdem ruhunu gözler gözler ruhunu dîdem Kıblem olalı kaşın kaşın olalı kıblem Cennet gibidir rûyin rûyin gibidir cennet Âdem doyamaz sana sana doyamaz âdem Gamzen cigerim deldi deldi cigerim gamzen Bilmem nic’olur hâlim hâlim nic’olur bilmem Vuslat bileli hicrin hicrin bileli vuslat Mâtem görünür şâdi şâdi görünür mâtem Zahmım göricek cânâ cânâ göricek zahmım Merhem koyasın bir gün bir gün koyasın merhem Sende nazarı dâim dâim nazarı sende Âlem yüzüne meftun meftun yüzüne âlem Olsun ko Nazîm ey gül ey gül ko Nazîm olsun Her dem gülüne bülbül bülbül gülüne her dem (Nazîm) (mefûlü mefâ’îlün mefûlü mefâ’îlün) The echo art constitutes the majority of symmetric articulation in ode. This art is formed by writing verses through syntax which is total opposite of the completed sentences. With the effect of the echo art, the words forming the sentence elements are lined up symmetrically. Thus, the verse is composed of sentences divided into two equal parts and lined in the opposite direction. The sequence of parts of speech as subject+qualified noun (belirtili nesne)+predicate (yüklem) in the first verse is like predicate+qualified noun+subject for the rest of the sentence. In the verses where the echo symmetry is seen, it is also seen that rhythm (vezin) supports the symmetry. In the poem in which prosody (aruz) is written in the form mefûlü mefâ’îlün mefûlü mefâ’îlün, the part as sentence in all verses ends in mefûlü mefâ’îlün. As the rest of the poem is symmetrical, the number of syllables in the secondary parts and the beginning of the verse is equal. With the effect of rhythm the sentences are composed of 7 syllables which are their reflections in the whole ode. 1 2 3 3 2 1 Dîdem ruhunu gözler gözler ruhunu dîdem subject object verb verb object subject One the most important indicators of symmetrical use in ottoman poetry is that poems are written in a way to form a pattern, figure. Some of these examples reminding visual poetry are stacked to show a geometrical figure, and some to show animal and plant figures. It is possible to see symmetrical use in ottoman prose apart from ottoman poetry. Most of the symmetrical uses in ottoman prose are formed through a combination of syntax, and internal rhyme (seci). When internal rhyme and noun phrases are gathered together, speech symmetry is formed in the sentences having the same or similar syntax. ...kelâm-ı ķadįm-i vācibü’t-taķdįm ve furķān-ı ‘ažįm-i lāzımü’t-taǾžįmde nice āyāt-ı Ǿažįme ve beyyināt-ı kerįme mevzūn vākiǾ olmışdur (Canım, 2000: 77). In the sentence quoted from Latifi Tezkiresi, fasılas (intervals) are gathered with internal rhyme (seci), and attached to a predicate. The variety of speech groups where fasılas are, the type of speech groups and the number of the words used in speech groups are the same. Symmetrical uses in a table are as follows: Both of the words which form the genitive and which are ryhmed internally at the end of the intervals in the first speech group which is formed through Persian noun phrases are constructed through Arabic noun phrase. Sec’-i mütevâzî is used in the words Takdîm and taǾzîm as rhythm and sound are common. Kelâm-ı kadîm and furkân-ı ‘azîm speech groups which form the determined of the Persian noun phrase are in the form of Persian compound adjective, and the ending words are Arabic sec’-i mütevâzî. The noun phrases in which there are words are the same, and so are the numbers of words in noun phrases. In addition, speech concurrence in intervals consolidates speech symmetry, and brings with it speech symmetry. One of the important elements supporting speech symmetry is that the numbers of syllables in words are the same. An important point here is that the numbers of syllables are the same in the symmetric uses that we have studied in the part poetry. Yet, the equal use of syllables in number is seen in poetry as a result of rhythm. The equality of the numbers of syllables is an important element of symmetry in terms of the use of a poetic quality in prose. The metrical use of Arabic words supports the speech and sound symmetry in the first speech group. The symmetrical use of words and syllables is a frequently encountered feature in the prefaces of collection of biographies and poems. As the poets and writers demonstrate how skillful they are in the use of language in the prefaces of collection of biographies and poems, the language used in this part is more refined. In this article, the reason for the study of works in Classical Turkish literature symmetrically is the relationship between symmetry and what is beautiful. As from antique age, the formation of what is liked and admired in works of art through proportion and symmetry led the work of art to be beautiful. Whether they are nature works or art works, the principle that makes these works beautiful is not their contents but their forms. The dichotomous form that is the mirror of two halves produces symmetry. The regulatory elements such as division of elements, balance, repetition merge in symmetry. “Symmetry is the basic law of nature. Liking symmetry, regarding symmetric forms as beautiful are the reasons for these to be rooted in human race (from O. Sterzinger: Tunalı, 2012: 216). Therefore, these symmetrical uses led to the creation of poetic qualities in examples of prose in Classical Turkish literature. The best example of this genre is Tazarru’nâme. In this study aiming to mark out the use of symmetry in Classical Turkish literature, it is established that there are symmetrical uses in poetry and prose. The elements revealing symmetry in poetry are figures of speech used in the internal structure, and elements composing the external structure of poems. The syntax in the external structure of poems and rhythm contributing to the syntax constitutes symmetry in poetry. Rhythm is a factor arranging the number of words and syllables in poems. The figures of speech in poetry led to the creation of balance in internal harmony. The use of figures of speech is the factor that forms the sound and meaning symmetry together with speech symmetry. As for aesthetic prose, the most important factor that achieves speech balances is the use of syntax parallelism with seci (internal rhyme). Internal rhyme plays the main role in achieving speech and sound balance in the sentences having the same syntax. In dual sentences the sentence elements, speech groups, and words are used in a way so that they are in harmony with one another. That the speech groups and words in the first sentence appear in the second sentence in the same order, that the numbers of syllables in the words are the same or similar, affixes attached to these and the repetition of the same words reinforced the symmetry in the prose sentence. Such uses added poetic qualities to the prose sentence.