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Türk şiirinde 1950’li yıllarda ortaya çıkan İkinci Yeni şiiri, geleneksel şiire, kalıplaşmış imajlara ve Garipçilerin şiirsellikten uzak söylemine karşı çıkar. İkinci Yeni şairleri anlamı temel mesele haline getiren, gündelik konuşma dilinin dışında soyut bir şiir dili yaratmayı hedeflemişlerdir. Bu şiir hareketi içerisinde anlamı temel sorunsal olarak gören şairlerin başında İlhan Berk gelir. Eser verdiği dönemde anlamsız şiir yazmakla eleştirilen Berk, bu dönemde kaleme aldığı poetik yazılarında şiirde anlam, öyküleme, düzyazılaşma gibi konuları tartışmaya açmış ve bu yazılarda şiirde anlama ve öyküye karşı çıkmıştır. İlhan Berk’in şiirleri üzerine yapılacak yakın okumalar şairin poetikasının şiirine yansımalarını ortaya koyar. Bu çalışma İlhan Berk’in şiir poetikasından hareketle “Siz Ne Güzeldiniz Benimle Bilmezsiniz” adlı şiirini metin merkezli bir yöntemle çözümleyemeyi hedeflemektedir. 1960 yılında yayımlanan Çivi Yazısı kitabında yer alan sone tarzında yazılmış bu şiir ikili karşıtlıklara dayanır. Bu karşıtlıkları şiirin hem imge ve ses özelliklerinde hem de temasında görmek mümkündür. Şiirin bu yapısı şiirde takip edilebilir bir anlam örüntüsü tespit etmeyi mümkün kılar. İlhan Berk’in “Siz Ne Güzeldiniz Benimle Bilemezsiniz” şiirini yapı ve anlam bağlamında incelemek şairin poetikasında kuramsal olarak sunduklarının pratikteki yansımalarını tartışmaya açmayı mümkün kılacaktır.
The second New Poem, which emerged in the Turkish poetry in the 1950s, opposes traditional poetry, stereotyped images and the Strange Poetic language. The new poets aimed to create an abstract language of poetry apart from daily language, which regards the meaning as a key issue. Ilhan Berk is one of the leading poets who see meaning primary concern in this poem movement. Berk, who was accused of writing meaningless poems opens some topics up for discussion such as meaning, narration and prose in poetry and opposes storytelling and prose writing in poetry. Close readings on his poems reveal the reflection of poetics of poet. This study aims to analyze a poem named "You Can't Know How Beautiful You Were With Me". This poem wrote in the style of sonnet in the book published in 1960. This poem's structure is based on binary oppositions. These are encountered in the image and sound properties of this poem. Analyzing Ilhan Berk's poem "You Can't Know How Beautiful You Were With Me" in the context of structure and meaning in poetry will make it possible to discuss the practical reflections of what the poet presents theoretically in his poetry.
Ikinci Yeni poem, which emerged in the Turkish poetry in the 1950s, opposes traditional poetry, stereotyped images and the Garip poetic language. Ikıncı Yeni poets aimed to create an abstract language of poetry apart from daily language, which regards the meaning as a key issue. Ilhan Berk is one of the leading poets who see meaning primary concern in this poem movement. Berk, who was accused of writing meaningless poems opens some topics up for discussion such as meaning, narration and prose in poetry and opposes storytelling and prose writing in poetry. Close readings on his poems reveal the reflection of poetics of poet. This study aims to analyze a poem named “You Can’t Know How Beautiful You Were with Me”. This poem wrote in the style of sonnet in Civi Yazısı book published in 1960. This poem’s structure is based on binary oppositions. These are encountered in the image and sound properties of this poem. Analyzing Ilhan Berk’s poem “You Can’t Know How Beautiful You Were with Me” in context of structure and meaning in poetry will make it possible to discuss the practical reflections of what the poet presents theortically in his poetics.
Journal Type : Uluslararası
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