Özet:

American critic Harold Bloom’s theory of poetry called “The Anxiety of Influence” draws attention to the “oedipal” relationship between an artist (poet) and his/her predecessors. “The Anxiety of Influence” focuses on how a poem creates another poem and the stages it goes through. Poet who lives anxiety of influence tries to revise his/her anxiety going through the stages such as Clinamen (misreading), Tessera ( Completion, antithesis), Kenosis (plucking continuity with predecessor) Daimonication (Against-supreme), Askesis (purification) and Apophrades (the return of the dead). Concern about influence that is also seen in Turkish Literature is seen among the writers and poets of the Tanzimat period Namık Kemal and Abdülhak Hamid. The anxiety of influence that we will consider within the framework of relationship between master-apprentice from one hand successor-predecessor on the other shows itself in poetry and theater. Abdülhak Hamid Tarhan, writes his work called “İçli Kız” completely influenced by called the works Namık Kemal’s “Zavallı Çocuk” and Recaizade Mahmut Ekrem’s “Vuslat”. This influence extends from the characters in his works to the subject. In the first edition of the “İçli Kız” Abdülhak Hamid Tarhan, doesn’t hold back from disclose the work’s resources and cites the character’s of the mentioned works. But in the second edition of the “İçli Kız” seized with the anxiety of hiding resources Abdülhak Hamid Tarhan, removes the pages in his work which is mentioned names of the characters of cited works. As in this example, there are a few particulars similar to this issue like that, and this case exactly demonstrates compliance with ideas which put forward in "The Anxiety of Influence" by Harold Bloom's theory. In this article we will evaluate Namık Kemal and Abdülhak Hamid’s works within the framework of the theory of “the Anxiety of Influence”

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