11th Century was very impressive in terms of cultural developments along with the momentum-gaining developments in the military and politics in Turkish history. Being contemporary of “Divânü Lügâti’t Türk” (the compendium of the turkic dialects), the masterpiece named “Kutadgu Bilig” has been complemented in this era in Kashgar (1069-1070). Yusuf Has Hacip has penned this written work which has been written initially after the adoption of Islam by the Turks, in 6645 couplets in Karakhanid Turkish, the only known written language by the time. In the work described an ideal state that is how it should be. Kutatgu Bilig is one of the most valuable resources illuminating issues of jurisdiction and legislation of Turkish culture. Therefore, over thousands of studies which are recognized by the world of science has been conducted since 1825. Kutatgu Bilig was always found worth studying in terms of its language as well as being studied in philosophical, political, religious aspects. In every period of the Turkish literature, numerous repetitions were utilized in order to ensuring harmony, consolidating the meanings, strengthening, enriching the concepts and also facilitating to remain in memory. Many studies have been made relating these formations which are purported by the terms “atf-ı tefsir?” in Ottoman, “hendiadyoin, reduplication dual” in English, “Verdoppelung, Zwilligsformen, hendiadyoin” in German, “redoublement, hendiadyoin” in French, on historical texts as well as on idioms and proverbs. In ancient Göktürk texts we frequently come across hendiadyses like “altun kümüş” (gold, silver), “arkış tirkiş” (caravan convoy), “at kü” (name, fame), “kurt ko?uz” (bugs and insects) and “yabız yablak” (wretched and miserable). Also in Uighur Turkish texts we see examples like “akuru akuru” (slowly, quietly), “asan tükel” (safe and sound) “birin birin” (one by one). In today’s Turkish idioms, innumerable hendiadyses keep on using like “aşağı yukarı (roughly), borç harç (by borrowing and difficultly), köşe bucak (nook and cranny), paldır küldür (headlong)”. Respectable amount of hendiadyses are found also in this work which is one of the two masterpieces of Karakhanid Turkish. Unlike the Divânü Lügâti’t Türk, nature imitating hendiadyses are not encountered. The hendiadyses are formed through the stereotypes and treated as a unitary word which cannot be divided and locations of the words cannot be altered. Alongside the hendiadyses highly successfully used in t

Anahtar Kelimeler
Harmony, repetitions, hendiadyses, tripartite, quadripartite