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19. yüzyıl sonu Osmanlı yazarları açısından yeni bir döneme işaret eder; geleneksel edebiyat terk edilerek yeni, modern bir edebiyat inşa edilecektir. Bu inşa süreci içinde Batı’dan ithal edilen yeni bir edebi tür olarak roman merkezi bir yerde konumlandırılır. Tüm yazarların yeni tür romana atfettikleri birincil özellik gerçeğe benzerliktir. Romanını okurları eğitmek için bir araç olarak gören Ahmet Mithat da dönemin diğer yazarları gibi romanda gerçekliği çok önemser. Makale ve kurmaca eserlerinin önsözlerinde romanın imkân dâhilinde, olmuş ya da olması mümkün olayları anlatması gerektiğini savunur, “gerçek” hayatta gerçekleşmesi mümkün olmayan deneyimleri, olağanüstü durum ve olayları anlatan, sınırsız bir hayal gücünden beslenen anlatıların roman türüne yakışmadığını iddia eder. Ancak kurmaca eserlerine bakıldığında teoride savunduğu bu düşüncelerin pratiğe tam olarak geçirilmediği ve olağanüstü deneyimlerin romanların konusu haline geldiği görülür. İşte bu makalede, Ahmet Mithat’ın üç romanı, Dünyaya İkinci Geliş Yahut İstanbul’da Neler Olmuş, Çengi ve Cinli Han üzerinden yazarın romancılığında olağanüstüden beslenen hayalin neden anlatıda yer aldığı, işlevi ve neye hizmet ettiği tartışmaya açılacaktır.
The end of the nineteenth century marks a new era for the Ottoman writers; a new, modern literature will be built by leaving traditional literature. During this construction process, the novel is placed in a central place as a new literary genre imported from the West. The primary feature that all authors attribute to a new type of novel is the similarity to the truth. Ahmet Mithat, who sees his novel as a tool to train the readers, also takes great attention to the reality in the novel, like the other writers of the time. In his prejudices, he claims that the novel should describe the possible events that have been or may have been, and that the "real" experiences that are unlikely to occur in life, the extraordinary situations and events, and the stories that are fed by an unlimited imagination, do not fit the novel type. However, when it comes to his fictional works, it appears that these ideas he defends in theory are not fully translated into practice and that extraordinary experiences have become the subject of the novels. Here in this article, the three novels of Ahmet Mithat will be open to the discussion of what happened in the World or what happened in Istanbul, why the dream, which is extremely nutritious in the romanticism of the writer through Çengi and Cinli Han, is included in the story, its function and what it serves.
The late 19th century indicates a new era for the Ottoman authors; traditional literature should be abandoned and a new, modern literature should be constructed. In this context, the new genre novel importing from the West has a central position. All the contemporary authors attribute similarity to reality as a primary characteristic of a novel. Like his contemporaries, Ahmet Mithat which evaluates his novel as a tool to educate the readers also gives importance to the reality. In his article and prefaces of his fictions he claims that a novel must include only the possible events and according to him, to tell about experiences which cannot be happened in the “real” life, supernatural situations and events and unlimited imagination ruin a novel. However, when his novels are analyzed, his ideas in theory cannot be realized in the practice and it can be easily seen that supernatural experiences become themes of his novels. Therefore in this article, through his three novels Dünyaya İkinci Geliş Yahut İstanbul’da Neler Olmuş, Çengi and Cinli Han, I will try to discuss imagination based on supernatural in terms of its reason and function.
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