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Türk edebiyatında Tanzimat’tan sonra başta Fransız edebiyatı olmak üzere Avrupai tarzda gelişen bir mecra oluşmuştur. Bu yolda şekil ve tür olarak Fransız edebiyatının taklidi birçok metin üretilmiştir. Anlatım bakımından eski geleneğin tesiri görülse de tür ve şekil bakımından yenilikler hızla yaygınlık kazanmış ve 1890’larda yetkin şiir ve romanların üretileceği Servet-i Fünûn çizgisine giden yol açılmıştır. Servet-i Fünûn mecmuası etrafında toplanan yeni edebiyat anlayışına sahip şair ve yazarlar adı aynı dergiyle anılacak bir edebî akımın öncüsü ve temsilcisi olmuşlardır. İsmet Özel, 1960 sonrası Türk edebiyatının en müessir şairlerindendir. Genç yaşta kendi şiir yatağını oluşturduğu gibi sonraki dönemlerde de birçok şair için yol gösterici olmuştur. İdeoloji ve gençlik duygularıyla harmanlanmış ilk şiirlerinde yoğun imgeye dayalı ifade şekilleriyle dikkati çeker. Geceleyin Bir Koşu, Evet İsyan, Cinayetler Kitabı ve Celladıma Gülümserken adlı kitapları şiirinin farklı dönemlerini temsil eden metinlerini barındırır. Bu çalışma, söyleyiş, konu, ahenk, üslup bakımından herhangi bir topluluk veya şahsiyetle bağlantısı olmayan İsmet Özel ile Tanzimat’tan sonra gelişen yeni Türk şiirinin temsilcisi olan Servet-i Fünûn şairleri arasında bir koşutluk veya benzerlik aranabilir mi sorusundan yola çıkmaktadır. Servet-i Fünûn edebiyatının en dikkate değer yönü hüzün ve anlam bakımından akraba kelimelere metinlerinde sıkça rastlanmasıdır. İsmet Özel’in şiirlerinde de hüzün kelimesi çok sık olmamakla birlikte dikkati çekecek bir tarzda kullanılmaktadır. Yukarıda zikredilen şiir kitaplarından ilk üçünde kullanıldığı görülen hüzün kelimesinin İsmet Özel şiiri ile Servet-i Fünûn şiirinin ortak kelimelerinden olduğu tespit edilmiştir. Bu çalışmada Servet-i Fünûn şiiri ve İsmet Özel şiirinin hüzün ortak paydasında birleşip birleşmeyeceği tartışılmaktadır.
In Turkish literature, after Tanzimat, a mecra developed in European style, primarily French literature. In this way, the imitation of French literature as a form and type has been produced in many texts. Although the ancient tradition has been seen in terms of narrative, the innovations in terms of style and shape have rapidly gained popularity and in the 1890s competent poems and novels have been produced in the Fünûn line of the Servet-i. Poets and writers with the new literary understanding gathered around the Fünûn Mecmuasi have become the predecessor and representative of a literary stream that will be mentioned in the same magazine. Ismet Özel is one of the most famous poets of Turkish literature since 1960. As he created his own poetry bed at a young age, he has been a guide for many poets in the subsequent periods. In his first poems, combined with the emotions of ideology and youth, he draws attention to the expressions based on intense image. A Night's Running, Yes Rebellion, The Book of Murders, and The Book of Smile of the Culladime contain the texts that represent the different periods of the poem. This work comes from the question of whether a condition or similarity can be sought between the poets of Servet-i Fünûn, who are the representative of the new Turkish poetry that develops after Ismet Özel and Tanzimat, which is not linked to any community or person in terms of speech, subject, harmony, and alignment. The most notable aspect of wealth-i Fünûn literature is the frequent appearance in the texts of the words in terms of sadness and meaning. In the poems of the name Special, the word sadness is also used in a way that attracts attention, though not too often. The first three poems of the poem mentioned above are the words of sadness used in the first three poems of the poem of the name of the special poem and the common words of the poem of the fortune of the Fünûn. In this study it is discussed whether the Poetry and the Poetry of the Fünûn and the Name of the Special Poetry will be united in the common part of sadness.
In Turkish literature, after the Tanzimat, a new approach especially influenced by French literature, was formed. In this period, many literary texts imitating French literature in terms of forms and genres were written. Although the influence of the old literary tradition was seen in terms of expression, new genres and forms quickly became widespread and such reforms led to the Servet-i Fünûn, where competent poems and novels would be written in the 1890s. Poets and writers with a new literary perspective gathered around the Servet-i Fünûn journal became the pioneers and representatives of a literary movement that would later be mentioned with the name of the journal. İsmet Özel is one of the most influential poets of modern Turkish literature. He created his own style of poetry at a young age, and later became a guide for many poets. In his first poems that blended ideology and youth feelings, he draws attention with his expressions based on intense images. His books Geceleyin Bir Koşu, Evet İsyan, Cinayetler Kitabı ve Celladıma Gülümserken contain poems representing different periods of his poetry. This study sets out from the question of whether a parallelism can be established, or similarity can be sought between İsmet Özel (who has no connection with any community in terms of pronunciation, subject, harmony, or style), and the Servet-i Fünûn group who were representative of the new Turkish poetry that developed after the Tanzimat. The most significant aspect of Servet-i Fünûn literature is the frequent occurrence of the words related to hüzün (sadness). In Ismet Özel's poems, the word hüzün (sadness) is used in a remarkable way, although not very often. It has been determined that the word hüzün (sadness) which is used in the first three books mentioned above, is one of the common words found in İsmet Özel’s and Servet-i Fünûn poetry. In this study, it is discussed whether the poetry of Servet-i Fünûn and İsmet Özel will intersect in the common usage of the word hüzün (sadness).
Alan : Eğitim Bilimleri; Filoloji; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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