Dede Korkut Hikâyeleri, Divanü Ligat-it-Türk, Yûnus Emre D?vanı gibi, Türkçenin klasik eserlerinde şiir konusunda başlıca iki yüklem kendini gösterir: Bunlardan biri “söylemek” (soylamak), diğeri ise “dizmek” (tizmek) ve “düzmek” (tüzmek) yüklemleridir. Bu yüklemler, Türkçede, şiir konusunda başlıca iki yönelim oluşturmuştur. “Söyleme” yüklemi halk edebiyatı üzerinden, gündelik hayatta işlevi olan, ilhama ve yaşantıya dayalı bir söyleyişi, “dizmek” ve “düzmek” yüklemi ise

The Problem Of Poems’ Verb In Turkish In classical works of Turkish Language and Literature such as; Dada Gorgut Epics, Divanu Lugat-it-Turk, Divan of Yunus Emre, two types of basic verbs are displayed. One of them is “to utter” (soylamak), the other is “to align” and “to lay together” (tizmek). These verbs cause two main tendencies in Turkish Poetry. The verb “to utter” reveals an inspiration and experience base saying through literature that has a function in daily life where the verb “to align” and “to lay together” brought about an art priority saying which aims at reproducing knowledge, culture and tradition, base beauty in language through literature. The verb “to utter” as a poetic and aesthetical tendency of Turkish Language constitutes the basics for the perception of modern poetry and art in Turkish Literature. This verb can be considered as an archetype of the verbs “to write”, “to establish”, “to build”, “to design” and “to image” that are commonly used. In this approach, considering literature and art as fictional text, and understanding of art production as a cognitive design comes to fore. This approach also constitutes the basics of modern art theories. As a mode of building, there is a conscious of being art in poetry. As the “person who produces the work of art”, the poet is both architect and subject of the poem. He considers himself as the owner and producer of his work but not the means of inspiration; he is driven by conscious but not coincidence. Poetry is a design and according to this it; newer leads to groundless utterances and reveals as a work of construction from beginning to the end. The poet by his understanding of poetry answers, in a sense, the reason why he writes that way. He tries to go toward the future time by the art he puts forth as the subject of his poetry. He writes not only for his time but also for the future generations. Thus he wishes to step beyond his time. In poetry as a mode of utterance, there is an environment, context and function of utterance. There is a priority in poet to focus on his own time, place, environment and problems. Poetry as a mode of utterance transferred to the people present in that very location the condition that is experienced at that time. Here, there is no consciousness of aiming the utterance for the future generations. The utterance can only reach the future generations by memorising. This leads to changes and omissions within the text in time. In poem as a mode of utterance, the poet does not; focus on an understanding of poetry and tell the reason why he uttered that way. Yet, his own features do not came to fore in his poem. What he is able to say is that the poem has appeared to him that way or he was made to utter it that way. Although the tradition of uttering prevails in folk poetry, it is better to say that poetry of our day is shaped, in a big extend, within the framework of poetics of building poetry.