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Çamlıca’daki Eniştemiz, Fahim Bey ve Biz ve Ali Nizami Beyin Alafrangalığı ve Şeyhliği adlı üç romanı olan Hisar, üçünde de aynı tarz roman anlayışıyla karşımıza çıkmaktadır: Romanlar belli bir yere kadar olayların ve kişilerin anlatımı olarak verilirken ilerleyen bölümler belli bir temanın işlendiği tiratlara dönmektedir. Bu bölümlerde kullanılan dil ve üslup bir romandan çok deneme türünü andırmaktadır. Adı geçen romanlarda yazar, yaşadıklarından, gördüklerinden ve duyduklarından hareketle belli kişileri tavsif etmekte, sonra da onlar üzerinden hayata, sanata, yaşlılığa ve ölüme dair görüşlerini ortaya koymaktadır. Romanlarda yakından tanıdığı kişileri, babasının, eniştesinin ve yakın çevresinin anlattıklarına kendi gözlemlerini de katarak ele almaktadır. Romancı hakkında ilk izlenim budur ve bu düşünce yaygın olarak kabul görmüştür. Ancak onun romanlarda sadece gördüklerini ve yaşadıklarını anlattığını söylemek yanıltıcıdır. Yazarın bu üç romanda ele aldığı kişilerin, Çamlıca’daki Enişte, Fahim Bey ve Ali Nizami Bey’in gerçekte tanıdığı ve yaşayan kişiler olup olmadığını bilmiyoruz. Bunların gerçek kişiler olduğu düşüncesiyle onun muhayyileden yoksun olduğunu söylemek romanı sadece ‘modern roman’ bağlamında anlayanların söyleyebileceği ve kabul edebileceği bir görüştür. Romanların yazıldığı 1940’lı ve 1950’li yıllarda roman, sadece ‘modern roman’ ın kurallarının kabul edildiği bir çağı geride bırakmış, ‘yeni roman’ arayışlarına yönelmiştir. Yirminci yüzyılın başlarında başta İngiltere’de Virginia Woolf ve Almanya’da Franz. Kafka olmak üzere birçok Avrupa ülkesinde geleneksel-gerçekçi/modern romanlardan içerik ve biçimce farklı romanlar yazılmaya başlanmıştır. Bu yeni roman anlayışı geleneksel gerçekçi roman anlayışını yıkarak yeni bir roman tarzı yaratmıştır: Modernist roman. Batıda başarılı örnekleri verilen modernist roman tarzı Türk edebiyatını da etkilemiştir. Ahmet Hamdi Tanpınar, Peyami Safa ve Abdülhak Şinasi Hisar gibi Türk romancıları bu akımdan etkilenerek benzer romanlar yazmaya girişmişlerdir. Tanpınar’ın, Safa’nın bazı romanlarını ve Hisar’ın adı geçen romanlarını Batıda başlayan modernist roman anlayışının erken dönem örnekleri olarak görmek mümkündür. Bu makalede modernist roman üzerinde durularak Hisar’ın modern romandan modernist romana geçişte köprü görevi gördüğü ve romanlarıyla modernist romanı hazırladığı üzerinde durulacaktır.
Eniştemiz in Çamlıca, Fahim Mr. and Biz and Ali Nizami Brain Alafrangalığı and Şeyhlığı, Hisar, three novels, in the third one comes to us with the same style of novel understanding: Novels are given to a certain place as the narrative of events and persons while the advancing sections turn to the tirates in which a particular topic is processed. The language and style used in these sections are much more like a experimental type than a novel. In his novel, the writer advises certain people from what he has lived, seen and heard, and then shows his views on life, art, ageing and death. In the novels he addresses the people he knows closely, adding his own observations to what his father, his enthusiast and his close surroundings tell. This is the first impression about the novelist and this thought has been widely accepted. But it is misleading to say that he only tells what he sees and lives in the novels. We don’t know if the people the author has addressed in these three novels are the people that Enişte in Çamlıca, Mr. Fahim and Mr. Ali Nizami really know and live. To say that they are real persons with the idea that he is absent from the narrative is a view that only those who understand the novel in the context of 'modern novel' can say and accept. In the 1940s and 1950s in which the novels were written, the novel left behind only an age in which the rules of the modern novel were accepted, and turned to the search for a new novel. At the beginning of the twentieth century, first in England, Virginia Woolf and in Germany, Franz. In many European countries, including Kafka, traditional-realist/modern novels have begun to be written in different forms and content. This new novel concept has created a new novel style by wasting the traditional realistic novel concept: Modernist novel. The modernist style of novel, given successful examples in the West, has also influenced Turkish literature. Turkish novelists such as Ahmet Hamdi Tanpınar, Peyami Safa and Abdülhak Shinasi Hisar have been influenced by this stream and started writing similar novels. It is possible to see Tanpınar's some novels, Safa's novels and Hisar's named novels as early-term examples of modernist novel concept that began in the West. This article will focus on the modernist novel that Hisar has seen as a bridge in the transition from the modernist novel and has prepared the modernist novel with his novels.
Three of his books, namely Camlıca’daki Enistemiz, Fahim Bey ve Biz and Ali Nizami Bey’in Alafrangalığı ve Şeyhliği are exhibited in the same genre of novels. The language and style used in these chapters resembles a type of essay rather than a novel. In the aforementioned novels, the author gives advice to certain people based on what they have seen, what they see and hear, and then reveals their views on life, art, death and old age. He takes his acquaintances from the novels by including his own observations by his father, his brother-in-law, and his close circle. This is the first impression of the novelist, and this idea is widely accepted. It is misleading to say that in this novel and in this language, he tells only what he has seen and experienced in his novels. We don’t know if the people he dealt with in these three novels are the people who are actually living in Uncle on Camlıca, Fahim Bey and Ali Nizami Bey. To say that they are deprived of their imagination with the idea that they are real persons is a view that only those who understand in the context of modern novel can and can accept. In the 1940s and 1950s, when the novels were written, the novel left behind an age in which the rules of the modern novel were accepted and the ‘new novel’ searched. At the beginning of the twentieth century, different novels were written in traditional and realistic / modern novels, especially in England Virginia Woolf and Germany Franz Kafka. Their search for new novels/modernist has been one of the major crossroads that prepared the modernist and postmodernist novel. Turkish novelists such as Ahmet Hamdi Tanpınar, Peyami Safa and Abdülhak Sinasi Hisar influenced this and began writing similar novels. İt is possible to see soma of Tanpinar’s, Safa’s novels and Hisar’s novels as early examples of the modernist novel understanding that started in the West. İn this article, it will be emphasized that Hisar act as a bridge in transition from modern novel to modernist novels and prepares modernist novel with his novels.
Field : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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