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Müstear isim, çağdaş Türk edebiyatında eski edebiyatta kullanılan kişinin kendi ismi yerine geçen mahlastan farklı olarak yazar ve şairlerin gerçek kimliklerini muhtelif sebepler sunarak gizleme isteklerinden ortaya çıkmış bir kavramdır. Müstear isimler bir belirsizlik taşımalarından dolayı batılılaşma devri Türk edebiyatında yoğunluk kazanan edebî münakaşalara sebep olmuştur. Evveli 1930'lu yıllara dayanan fakat ilk olarak 1948 yılında Aile dergisinde yayımlanan Râbia Hâtun imzalı şiirler de bu tarzda bir edebî münakaşayı doğurmuştur. Râbia Hâtun'un kimliği ve şiirlerin eskiliği üzerine öne sürülen iddialara aynı devirde bir Türk edebiyatı tarihi yazan Nihad Sâmi Banarlı itiraz etmiştir. Nihad Sâmi Banarlı gazete ve dergi yazılarında şiirlerin eski olmadığını edebiyat bilgisini kullanarak ortaya koymaya çalışmıştır. Nihad Sâmi Banarlı'nın bu uğraşına karşı başta İsmail Hami Danişmend olmak üzere Aile dergisi efradı cevap niteliği taşıyan yazılar kaleme almıştır. Bu yazıda Râbia Hâtun müstear ismiyle yayımlanan şiirler üzerine İsmail Hami Danişmend ve Nihad Sâmi Banarlı arasında çıkan edebî münakaşa anlatılmaya ve bu münakaşa sonucunda ortaya çıkan Râbia Hâtun'un gerçek kimliği delillendirilmeye çalışılmıştır.
The name Müstear is a concept that emerged from the desire to hide the authentic identity of the writers and poets, unlike the name of the person used in ancient Turkish literature, and from the desire to hide the authentic identity of the poet. Mustear names caused literary disputes that gained intensity in the Turkish literature due to their uncertainty. The poems signed by Râbia Hâtun, based on the 1930s, but first published in the Family magazine in 1948, also gave birth to a literary dispute in this way. Nihad Sami Banarlı, who wrote a Turkish literature history in the same period, opposed the allegations on the identity of Rabia Hâtun and the ancientity of the poems. Nihad Sami Banarlı tried to reveal that poems in newspapers and magazines are not old using literary knowledge. Nihad Sami Banarlı's efforts against this initially had the family magazine, including Ismail Hami Danişmend, received a paper with a response character. In this article, the poems published under the name of Rabia Hâtun are attempted to describe the literary dispute between Ismail Hami Danişmend and Nihad Sami Banarlı and to prove the real identity of Rabia Hâtun that appears as a result of this dispute.
In contemporary Turkish literature, pseudonym emerged as a concept arose out of the need of writers and poets to hide their real identities rather than revealing their own name for various reasons in the earlier times of literature. As pseudonyms have uncertainty, they caused intense literary debates in Turkish literature in the Westernization period. The poems signed by Râbia Hâtun, which dated back to 1930s, but first published in 1948 in the magazine named Aile, also led to this kind of literary argument. Nihad Sâmi Banarlı, who wrote Turkish literature history at the same era, denied the asserted claims on the deficiency of Râbia Hâtun's identity and poetry. In the newspapers and magazines, Nihad Sâmi Banarlı tried to reveal that poetry was not obsolete by using his literary knowledge. Against Nihad Sâmi Banarlı's fight, especially İsmail Hami Danişmend and people from Aile magazine wrote some articles as answers. In this study, the literary controversy between İsmail Hami Danişmend and Nihad Sâmi Banarlı, based on poems published by pseudonym "Râbia Hâtun", was tried to be explained and the real identity of Râbia Hâtun was tried to be proved.
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