THOMAS STEARNS EL\u0130OT VE D\u0130VAN \u015eA\u0130R\u0130N\u0130N ORTAK D\u00dcNYASI<\/p>\n
Dr. Metin HAKVERD\u0130O\u011eLU<\/p>\n
Turkish Studies
\nInternational Periodical For the Languages, Literature
\nand History of Turkish or Turkic
\nVolume 4\/2 Winter 2009<\/p>\n
hakverdioglu@hotmail.com<\/p>\n
\u00d6ZET
\nDivan \u015fairi ile T. S. Eliot aras\u0131nda bir d\u00fc\u015f\u00fcnce ve metot birli\u011fi mevcuttur. \u0130nsanl\u0131k i\u00e7in d\u00fc\u015f\u00fcnen bu iki ayr\u0131 d\u00fcnyan\u0131n insan\u0131 bir noktada birle\u015fiyor: Arif insan. Eliot\u2019\u0131n dediklerini divan \u015fairi destekliyor, divan \u015fairinin y\u00fczy\u0131llar \u00f6ncesinden im\u00e2 etti\u011fini Eliot d\u00fcnyaya hayk\u0131r\u0131yor. Bu ortak noktalar Avrupa Birli\u011fi \u00fclk\u00fcs\u00fcne sahip milletimize ilgin\u00e7 gelecektir. \u00c7\u00fcnk\u00fc orada bizim gibi, atalar\u0131m\u0131z gibi d\u00fc\u015f\u00fcnen insanlar da var. Eliot o insanlar\u0131n hem fikir babas\u0131 hem de aksiyon \u00f6rne\u011fidir. 1948\u2019de Nobel \u00f6d\u00fcl\u00fc verilen yazar, divan \u015fairinin felsefesine \u00e7ok yak\u0131n s\u00f6zler s\u00f6yl\u00fcyor. Bize d\u00fc\u015fen, ge\u00e7mi\u015fi bilip her sahay\u0131 ciddi bir \u015feklide tetkik etmektir. Eliot ve Divan \u015fairi aras\u0131nda k\u00fclt\u00fcr, gelenek, din, felsefe ve edebiyat konusunda paralel d\u00fc\u015f\u00fcncelere \u015fa\u015fmamak elden gelmiyor. Paganla\u015fan modern d\u00fcnyaya kar\u015f\u0131 y\u00fcz y\u0131llar \u00f6ncesinden Eliot\u2019a destek, divan \u015fairinden geliyor.<\/p>\n
Anahtar Kelimeler: T. S. Eliot ve Divan \u015eairi, T. S. Eliot ve Divan \u015eairinin Ortak Poetikas\u0131, Yeni Ortak Arif \u0130nsan Modeli, Modernlik ve Geleneksellik, Dindarl\u0131k ve Modern Paganl\u0131k.<\/p>\n
THOMAS STEARNS ELIOT AND OTTOMAN POETS IDEA UNION
\nOTTOMAN POEM<\/p>\n
Dr. Metin Hakverdio\u011flu<\/p>\n
Macit Zeren Sience Hign School \/ Amasya\/ hakverdioglu@mynet.com<\/p>\n
ABSTRACT<\/p>\n
There is an idea and a method union between Ottoman Poets and T. S. Eliot. Two different world man who contemplating unite a point for humanity that is genostic human. Ottoman poets support Eliot\u2019s speech, Eliot says the world that Ottoman poets intimate before century. Our nation who has E. U. ideals will interest us to know these similar points. Because there are many thinker people there as us and ancetor. For these people, Eliot is a model both idea father and also acknowledged man. The writer who was given Nobel reward is saying similar words as Ottoman poets\u2019 philosophy. In our duty, we know the past and research seriously Eliot. It isnt\u2019t possible astonish paralel opinions about culture, tradition, religion, philophy, literature. Having been pagan modern world against, it is a support to Eliot from Ottoman poets before century.<\/p>\n
Key Words: T. S. Eliot and Ottoman Poets, T. S. Eliot and Ottoman Poets Similar Poetic, New and Similar Acknowledged Human Model, Modernity and Tradition, Religion and Modern Paganity.<\/p>\n
A-G\u0130R\u0130\u015e
\nBu makale T. S. Eliot marifetiyle bizde olan g\u00fczellikleri anlatmaktad\u0131r. \u0130ddia etmektedir ki Bat\u0131 toplumunu bug\u00fcn\u00fcn buhran\u0131ndan kurtarmaya \u00e7al\u0131\u015fan ve bu yolda Nobel \u00f6d\u00fcl\u00fc ile m\u00fckafatland\u0131r\u0131lan Eliot, bizim y\u00fcz y\u0131llar \u00f6nceki elmas tarlam\u0131z\u0131 sat\u0131n alan ki\u015fidir. Bizim geli\u015ftirdi\u011fimiz ilac\u0131n son kimyageri Eliot\u2019t\u0131r .
\nMakalemizde Eliot ile divan \u015fairi, Eliot\u2019\u0131n felsefesi ile tasavvuf k\u00fclt\u00fcr\u00fc, Eliot\u2019\u0131n H\u0131ristiyanl\u0131k anlay\u0131\u015f\u0131 ile divan \u015fairinin \u0130slam anlay\u0131\u015f\u0131 aras\u0131nda pek \u00e7ok paralellikler g\u00f6r\u00fclecektir. Baz\u0131 paragraflarda bug\u00fcn\u00fcn modern T\u00fcrk-\u0130slam toplumunu anlat\u0131yor bu yazar, diyece\u011fimiz benzerlikler, asl\u0131nda toplumlar\u0131n benzer hastal\u0131klarla bo\u011fu\u015ftu\u011funu ve \u00e7aresinin de genellikle ayn\u0131 manev\u00ee ila\u00e7larda bulundu\u011funu g\u00f6stermektedir.
\n\u0130ster Neo-klasik, ister egzistansiyalist diyelim Eliot, bizim dindar, mutasavv\u0131f divan \u015fairimiz ile benzer iksirle topluma y\u00f6n vermenin tela\u015f\u0131ndad\u0131r.
\nZaman g\u00f6receli bir kavramd\u0131r; insanl\u0131k ise, her zaman benzer s\u0131k\u0131nt\u0131lar\u0131, huzursuzluklar\u0131 ya\u015fayarak sonsuza ak\u0131p giden bir nehirdir. Divan \u015fairinin benzetmesiyle denizdeki dalgalard\u0131r. \u0130yi, her d\u00f6nmede en \u00e7ok aranan elmas cinsi olmu\u015ftur. \u0130yi insan, iyi \u015fiir, iyi \u015fair, iyi gelenek, iyi ahlak, iyi d\u00fcnya ve \u00e2hiret i\u00e7in Eliot ile divan \u015fairi paralel bir izi takip etmektedir.<\/p>\n
\u201cKainatta sadece tek bir daire ve tek bir merkez oldu\u011fu halde, vasat insan kendi dairesinin merkezi etraf\u0131nda d\u00f6nmektedir. Her \u015feyde \u0130lahi akl\u0131n izleri g\u00f6r\u00fcld\u00fc\u011f\u00fc halde insanlar\u0131n \u00e7o\u011fu kendi ak\u0131llar\u0131na g\u00fcvenirler.\u201d T. S. Eliot (KANTARCIO\u011eLU,1987)<\/p>\n
\u201cCihan-\u00e2r\u00e2 cihan i\u00e7inded\u00fcr aray\u0131bimezler
\nO mah\u00eeler ki dery\u00e2 i\u00e7red\u00fcr dery\u00e2y\u0131 bilmezler\u201d Hay\u00e2l\u00ee (\u00c7AVU\u015eO\u011eLU, 1987)
\nCihan\u0131 s\u00fcsleyen cihan\u0131n i\u00e7indedir ama aray\u0131p bulmamaktay\u0131z. Ayn\u0131 \u015fu durum gibi: O bal\u0131klar ki derya i\u00e7indedirler ama deryay\u0131 bilmezler.<\/p>\n
B- THOMAS STEARNS EL\u0130OT VE D\u0130VAN \u015eA\u0130R\u0130N\u0130N ORTAK D\u00dcNYASI<\/p>\n
a. Thomas Stearns Eliot Kimdir: Thomas Stearns Eliot (1888-1965) Amerika\u2019n\u0131n Yeni \u0130ngiltere b\u00f6lgesinde, Missouri eyaletinin St. Louis kasabas\u0131nda do\u011fdu. 1906 y\u0131l\u0131nda Harvard \u00dcniversitesi\u2019ne girdi. \u00dcniversitede \u0130rving Babbitt\u2019in etkisinde kalan \u015fair, ayn\u0131 zamanda Elizabet devri ve I. James devri edebiyat\u0131na, \u0130talyan R\u00f6nesans\u2019\u0131 ve Hint felsefesine kar\u015f\u0131 duyulan b\u00fcy\u00fck ilginin de etkisi alt\u0131nda kald\u0131. Mezuniyet tezini F. H. Bradley\u2019in idealist felsefesi \u00fczerine haz\u0131rlad\u0131.
\nEliot, I. D\u00fcnya \u015eava\u015f\u0131\u2019n\u0131n \u00e7\u0131kmas\u0131ndan bir s\u00fcre sonra Fransa ve Almanya\u2019ya gitti. Oralarda felsefe ve edebiyat \u00e7al\u0131\u015ft\u0131. Sonra \u0130ngiltere\u2019ye giden \u015fair, orada Yunan felsefesiyle u\u011fra\u015ft\u0131. Londra\u2019ya yerle\u015ftikten sonra Eliot, J. A. Prufrock\u2019un A\u015fk \u015eark\u0131s\u0131 adl\u0131 \u015fiirini, ilk defa 1915 y\u0131l\u0131nda k\u0131sa \u00f6m\u00fcrl\u00fc bir dergide yay\u0131mlad\u0131. 1922 y\u0131l\u0131nda \u00c7orak Toprak adl\u0131 eseri, \u0130ngiltere\u2019de ve Amerika\u2019da bas\u0131ld\u0131. Gerontion ve D\u00f6rt Kuartet di\u011fer iki \u00f6nemli eserleridir. Birbirini tamamlayan bu \u015fiirler silsilesi \u00e2deta nehir roman gibi bir b\u00fct\u00fcn\u00fcn par\u00e7alar\u0131n\u0131 olu\u015fturuyor; \u015fairin kafas\u0131ndaki insan modelini ge\u00e7ekle\u015ftiriyor.
\n\u00c7al\u0131\u015fmam\u0131za temel olarak bu d\u00f6rt \u015fiiri ve bu \u015fiirleri \u00fczerine en detayl\u0131 incelmeyi yapan Sevim Kantarc\u0131o\u011flu\u2019nun \u201cT. S. Eilot \u2018\u0131n \u015eiirinde \u0130nsan\u0131n Kendisini Ger\u00e7ekle\u015ftirme Temas\u0131\u201d adl\u0131 \u00e7al\u0131\u015fmas\u0131n\u0131 ald\u0131k.
\nEliot, edeb\u00ee ele\u015ftirileri ile as\u0131l \u00fcn\u00fcn\u00fc yapm\u0131\u015ft\u0131r.
\nDin\u00ee konular i\u015fleyen tiyatrolar\u0131 da vard\u0131r: Murder in the Cathedral (1935) The Family Reunion (1939), The Coctail Party, The Confidental Clerk, The Elder Statesman.
\nEliot\u2019un \u015fiirlerini iki grupta toplayabiliriz: Birinci grupta \u00e7a\u011fda\u015f bat\u0131 d\u00fcnyas\u0131n\u0131n manev\u00ee \u00e7\u00f6k\u00fcnt\u00fcs\u00fc konu edilmi\u015ftir. \u0130kinci gruptakiler ise, Anglikan Kilisesine girdikten sonra ruhi s\u00fckun arad\u0131\u011f\u0131 devrenin mahsulleridir. D\u00f6rt Kuartet ad\u0131yla 1943\u2019te bas\u0131lan \u015fiirlerinde zaman ve ebediyet aras\u0131ndaki ili\u015fki \u00fczerinde durmu\u015ftur.
\n\u015eiirde s\u0131n\u0131rl\u0131 temleri i\u015fleyen \u015fairin \u00f6zellikle ele\u015ftiri alan\u0131ndaki ba\u015far\u0131lar\u0131, 1948 y\u0131l\u0131nda Nobel Edebiyat \u00d6d\u00fcl\u00fcn\u00fc almas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.
\n\u201cMetafizik ve Sembolist bir \u015fair olarak edebiyata ve bat\u0131 d\u00fc\u015f\u00fcncesine getirdi\u011fi sentez, kendine edebiyat tarihindeki m\u00fcstesna yerini kazand\u0131rm\u0131\u015ft\u0131r.\u201d (KANTARCIO\u011eLU, 1987)
\n\u015eairin Metafizik ve Sembolist olmas\u0131 divan \u015fairi ile paralelli\u011finin ilk ve en \u00f6nemli k\u0131sm\u0131d\u0131r. Ayr\u0131ca yukar\u0131daki k\u0131sa biyografide \u201cHint Felsefesi\u201d tabirine dikkat etmek gerekir. \u015eairin, divan \u015fairi ile pek \u00e7ok konuyu benzer sembollerle ve benzer mant\u0131kla a\u00e7\u0131klamas\u0131n\u0131n temel nedeni divan \u015fairinin de pek \u00e7ok konuda Hint felsefesinden etkilenmi\u015f olmas\u0131d\u0131r.
\nb. Eliot\u2019\u0131n Genel D\u00fc\u015f\u00fcnce Yap\u0131s\u0131: Eliot, h\u00fcmanist k\u00fclt\u00fcr ve onun \u00fcr\u00fcn\u00fc olan romantik bir edebiyat\u0131n temel kavramlar\u0131na kar\u015f\u0131 \u00e7\u0131karak edeb\u00ee kariyerine ba\u015flam\u0131\u015ft\u0131r. \u00c7a\u011fda\u015f \u015fuuru gelenek ile yo\u011furarak kendi \u00e7a\u011fda\u015f klasik felsefesini kurmu\u015f ve bu felsefe \u00fczerinde uygulay\u0131c\u0131s\u0131 oldu\u011fu kendi yeni klasik \u015fiir ve ele\u015ftiri kavramlar\u0131n\u0131 tutarl\u0131 bir \u015fekilde yerli yerine oturtmu\u015ftur. Eliot\u2019\u0131 etkileyen ve bat\u0131 medeniyetinin olu\u015fturdu\u011fu ilme ve ilm\u00ee g\u00f6r\u00fc\u015fe sayg\u0131 duyan Jung, \u015fu fikirleri savunur: Zeka \u00fcst\u00fcn bir melekedir. Fakat ilm\u00ee metotlar insan\u0131n duygu, hayal g\u00fcc\u00fc ve sezgisinin de yerini ald\u0131\u011f\u0131 zaman, hataya d\u00fc\u015fmektedir. \u201cJung\u2019a g\u00f6re zekan\u0131n bitti\u011fi yerde insan\u0131n hayal g\u00fcc\u00fc ve sezisi ba\u015flar. Ona g\u00f6re, b\u00fct\u00fcn insanlar\u0131n ruhunda, b\u00fct\u00fcn k\u00fclt\u00fcr ve \u015fuur farklar\u0131n\u0131 a\u015fan ortak bir zemin vard\u0131r. Bu ortak zemin, ortak \u015fuur alt\u0131d\u0131r. Mitlerdeki benzer hareketler bunun ispat\u0131d\u0131r. Fikr\u00ee yakla\u015f\u0131mlar tek ba\u015f\u0131na felaket getirir.\u201d(KANATARCIO\u011eLU,1987: XIV) Bu da \u015fuur alt\u0131na bask\u0131 yapan bir unsur olarak ortaya \u00e7\u0131km\u0131\u015ft\u0131r.
\nF.H. Bradley felsefesi ve S\u00f6ren Kierkegaard\u2019\u0131n H\u0131ristiyan egzistansiyalizmi aras\u0131ndaki benzerliklerden yararlanarak kendi hayat felsefesini -Tanr\u0131, insan ve sanat kavramlar\u0131n\u0131- geli\u015ftiren Eliot, h\u00fcmanizmin insan\u0131 sosyal de\u011ferlerin yegane kayna\u011f\u0131 ve yarat\u0131c\u0131s\u0131 yapan k\u00fclt\u00fcr birikimini ve gelene\u011fi k\u00fc\u00e7\u00fcmseyen de\u011ferlerini kendi gerek\u00e7eleriyle reddetmi\u015ftir. Romantizmin d\u00fc\u015f\u00fcn\u00fcyorum, hissediyorum, o halde var\u0131m h\u00fckm\u00fcnde \u00f6zetledi\u011fi felsefesine d\u00fc\u015f\u00fcn\u00fcyorum, hissediyorum \u00f6yleyse sadece g\u00f6r\u00fcnt\u00fcy\u00fcm diye cevap vermi\u015ftir. Romantizmin zaman ve mekan i\u00e7inde tanr\u0131la\u015fabilen insan kavram\u0131n\u0131 reddeden Eliot, \u201c\u2026romantizm, sadece ger\u00e7ekten yoksun bir garabete giden en kestirme yoldur ve onun m\u00fcritleri, Tanr\u0131y\u0131 bulduklar\u0131n\u0131 sand\u0131klar\u0131 yerde sadece kendilerini bulurlar.\u201d (KANTARCIO\u011eLU,1987:XVI)demi\u015ftir.
\nBu ve benzeri g\u00f6r\u00fc\u015fleriyle Eliot, Avrupa\u2019y\u0131 etkilemi\u015f b\u00fcy\u00fck bir \u015fair, oyun yazar\u0131, ele\u015ftirici ve fikir adam\u0131d\u0131r.
\nMutlak g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131na g\u00f6re zaman ve mekan i\u00e7indeki b\u00fct\u00fcn g\u00f6r\u00fc\u015f a\u00e7\u0131lar\u0131 ve ideolojiler \u2013idealizm, materyalizm, realizm\u2026- nispeten do\u011fru fakat mutlak anlamda yanl\u0131\u015ft\u0131rlar. Eliot\u2019a g\u00f6re bu mutlak g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131 ayn\u0131 zamanda, merkezi her yerde ve \u00e7eperi sonsuzda olan bir k\u00fcredir; zaman ve mekana s\u0131\u011fmayan, zekan\u0131n analitik s\u00fczgecinden ge\u00e7memi\u015f, bilenle bilineni ihtiva eden, yo\u011fun bir tecr\u00fcbedir. Her \u015fey bir g\u00f6r\u00fcnt\u00fcden ibarettir veya her \u015fuur seviyesi nisp\u00ee bir ger\u00e7ekli\u011fe sahiptir. Demek ki, insan\u0131n zaman ve mekan i\u00e7inde ula\u015fabilece\u011fi ger\u00e7ek, sadece kendi i\u00e7inde tutarl\u0131 ve uyumlu bir sistemdir ve bir g\u00f6r\u00fcnt\u00fcden ba\u015fka bir \u015fey de\u011fildir.
\n\u0130nsan, Eliot\u2019\u0131n vas\u0131tas\u0131z tecr\u00fcbe (inmediate experience) dedi\u011fi \u00f6zel anlarda pek \u00e7ok \u015feye vak\u0131f olur. Buna mutasavv\u0131flar\u0131n vecd an\u0131 demek m\u00fcmk\u00fcnd\u00fcr. Bu an, \u015fairler i\u00e7in ise ilham an\u0131d\u0131r. Bu imtiyazl\u0131 anlar\u0131n bakiyesi, akl\u0131n analitik s\u00fczgecinden ge\u00e7erken canl\u0131l\u0131k ve b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc kaybeder. \u00c2lemi anlamak ve hissettiklerini a\u00e7\u0131klamak hi\u00e7 de kolay de\u011fildir.
\nBu durumun ve kainat\u0131n olu\u015fumunun \u0130mam-\u0131 Rabban\u00ee gibi bir \u0130slam \u00e2limi taraf\u0131ndan a\u00e7\u0131klan\u0131\u015f \u015fekli ise \u015f\u00f6yledir:
\n\u201c\u00c2lem mevhumdur demek, Allah \u00e2lemi vehm mertebesinde yaratt\u0131 demektir. \u00c2lem yarat\u0131l\u0131rken vehm yoktu. Fakat Allah\u2019\u0131n ilminde vard\u0131. Nokta-y\u0131 cevvaleden meydana gelen dairenin varl\u0131\u011f\u0131 vehm mertebesindedir. Yani bir ipin ucuna bir ta\u015f ba\u011flay\u0131p, \u00f6teki ucundan tutup, ipi elimiz etraf\u0131nda \u00e7evirirsek, d\u00f6nen ta\u015f, kar\u015f\u0131dan daire \u015feklinde g\u00f6r\u00fcn\u00fcr. D\u00f6nen ta\u015f nokta-y\u0131 cevvaledir. G\u00f6r\u00fcnen daire de daire-yi mevhumdur. Daire yoktur, yaln\u0131z bir g\u00f6r\u00fcn\u00fc\u015ft\u00fcr. Allah b\u00fct\u00fcn mahluklar\u0131 bu mertebede yaratt\u0131. Fakat g\u00f6r\u00fcn\u00fc\u015fleri devam ettirmektedir. B\u00f6ylece var olmalar\u0131 yanl\u0131\u015f de\u011fil, do\u011frudur. Vehm mertebesinden kurtulup nefs-i emr\u00ee olmu\u015flard\u0131r. Yani, yaln\u0131z ge\u00e7ici bir g\u00f6r\u00fcn\u00fc\u015f olmay\u0131p kal\u0131c\u0131 bir varl\u0131k olmu\u015flard\u0131r.\u201d (G\u00dcM\u00dc\u015e,1995)<\/p>\n
\u201cMerkezi her yerde, \u00e7eperi ebediyette olan k\u00fcrenin merkezine varabilmek sadece azize vergidir.\u201ddiyen Eliot, \u0130slam inanc\u0131ndaki evliyan\u0131n tan\u0131m\u0131n\u0131 yapar gibidir.
\n\u201cKainatta sadece tek bir daire ve tek bir merkez oldu\u011fu halde, vasat insan kendi dairesinin merkezi etraf\u0131nda d\u00f6nmektedir. Her \u015feyde \u0130lah\u00ee akl\u0131n izleri g\u00f6r\u00fcld\u00fc\u011f\u00fc halde insanlar\u0131n \u00e7o\u011fu kendi ak\u0131llar\u0131na g\u00fcvenirler.\u201d Eliot (G\u00d6KT\u00dcRK,1961).
\nEliot\u2019a g\u00f6re, zaman ve mekanda ikicilik (dualizm) ka\u00e7\u0131n\u0131lmaz bir durumdur. Yani, zaman ve mekanda bilenle (subject), bilinen ( object) bir birinden tamamen kopuk ve ayr\u0131d\u0131rlar. O halde zaman ve mekanda mutlak ger\u00e7e\u011fe ula\u015fmak m\u00fcmk\u00fcn de\u011fildir. Her \u015fey g\u00f6r\u00fcnt\u00fcden ibarettir veya her \u015fuur seviyesi nisb\u00ee bir ger\u00e7ekli\u011fe sahiptir. T\u0131pk\u0131 divan k\u00fclt\u00fcr\u00fcndeki Tanr\u0131 \u2013 \u0130nsan ve Bilme \u2013 Bilinme teorileri gibi: \u0130nsan ve kainat bir aynada yans\u0131yan, ger\u00e7e\u011fin izaf\u00ee bir g\u00f6r\u00fcnt\u00fcs\u00fcd\u00fcr. Ger\u00e7ek kar\u015f\u0131dad\u0131r ve e\u015fya kendini yapan\u0131-yaratan\u0131 idrakten acizdir.
\n\u201cKendi h\u00fcsn\u00fcn h\u00fbblar \u015feklinde peyd\u00e2 eyledin
\nSonra d\u00f6n\u00fcp \u00e7e\u015fm-i \u00e2\u015f\u0131kdan tem\u00e2\u015fa eyledin<\/p>\n
Ger\u00e7i dilber kendidir hem giydi \u00e2\u015f\u0131k kisvesin
\nPes cem\u00e2l-i cilvesin kendi temenn\u00e2 k\u0131ld\u0131 Hak\u201d
\nL\u00e2edr\u00ee (CENG\u0130Z,1983:31)
\nDivan \u015fairi bu beyitlerle adeta Eliot\u2019un yukar\u0131daki s\u00f6zlerini \u00f6zetlemektedir: Tanr\u0131 kendi g\u00fczelli\u011fini seyretmek i\u00e7in \u00e2lemi yaratt\u0131.<\/p>\n
c. Eliot, Divan \u015eairi ve Gelenek
\nEliot, \u015fiirde gelene\u011fin \u00f6nemi \u00fczerinde \u00e7ok fazla durmu\u015ftur. Divan \u015fiirinin gelenek ile ili\u015fkisini bu \u015fiirlere az \u00e7ok ilgi duymu\u015f herkes bilir. Ahmed\u00ee\u2019den Galib\u2019e kadar tam bir gelenek kilimi dokuyan divan \u015fiiri, arada bir kulaktan duymayla dahi m\u00fckemmel \u015fair s\u0131n\u0131f\u0131na giren \u015fahsiyetler yeti\u015ftirebilmenin ayr\u0131cal\u0131\u011f\u0131na sahiptir. Z\u00e2t\u00ee bu hususta en g\u00fczel \u00f6rneklerden birisidir. Gelenek, toplum i\u00e7inde \u00f6yle bir yer edinmi\u015f ki, i\u00e7inde cevheri olan pek \u00e7ok ki\u015fiye y\u00fczlerce merhaleyi kulak a\u015final\u0131\u011f\u0131 ile dahi a\u015f\u0131rabilmektedir. Gelene\u011fe sahip olmak i\u00e7in gerekli olan tarih \u015fuuru ise divan \u015fairinin kulland\u0131\u011f\u0131 \u201ctelmih\u201d sanat\u0131nda gizlidir. Bir \u015fairin iyi \u015fiir yazabilmesi i\u00e7in \u00f6nceki divanlar\u0131 tetkik etmesi ve tarihi, mitolojiyi, \u00f6rf ve \u00e2detleri \u00e7ok iyi bilmesi gereklidir. Geleneksellikte bir b\u00fct\u00fcnl\u00fck ve s\u00fcreklilik s\u00f6z konusudur. Bu hususta da alt\u0131 y\u00fczy\u0131ll\u0131k bir s\u00fcrede ayn\u0131 minval \u00fczere s\u00f6z saraylar\u0131 in\u015fa eden divan \u015fairi \u00f6nemli bir yer i\u015fgal eder. Divan \u015fairi ayn\u0131 zamanda \u0130slam d\u00fcnyas\u0131n\u0131n ortak \u015fuurunu da temsil etmektedir. Arap, Acem, Hint \u015fiiri bu \u015fiirin bazen \u00f6n\u00fcnde bazen arkas\u0131nda ama daima beraberinde, ayn\u0131 temlerle veya mitlerle ayn\u0131 d\u00fcnyan\u0131n in\u015fas\u0131nda yer alm\u0131\u015ft\u0131r.
\n\u201cDivan \u015fiiri, kendine \u00f6zg\u00fc bir sanat anlay\u0131\u015f\u0131, s\u0131n\u0131rl\u0131 bir duygu ve \u015fiir d\u00fcnyas\u0131, sanatl\u0131 bir dili, \u0130slam dini ve tasavvufa dayal\u0131 bir d\u00fc\u015f\u00fcnce \u00f6rg\u00fcs\u00fc bulunan \u015fekilci, kuralc\u0131 ve idealist T\u00fcrk edebiyat\u0131d\u0131r. Bu edebiyat y\u00fcksek bir de\u011fer ta\u015f\u0131mas\u0131, yer yer duru ve muhte\u015fem \u00f6rnekler ortaya koymas\u0131, ruha hitap eden y\u00fcksek duygu ve heyecanlar\u0131yla, ifadesindeki g\u00fczellik ve sa\u011flam diliyle, b\u00fct\u00fcn g\u00fczelli\u011fini \u00f6n plana \u00e7\u0131karan beyit yap\u0131s\u0131yla, yo\u011fun sanat g\u00fcc\u00fc ve s\u00f6yleyi\u015fiyle alt\u0131 asr\u0131 a\u015fk\u0131n bir zaman Osmanl\u0131 toplumundaki sanat zevkinin en se\u00e7kin ve b\u00fcy\u00fck b\u00f6l\u00fcm\u00fcn\u00fc olu\u015fturmu\u015ftur.\u201d (PALA, 1997: 18)
\nEliot, \u015fiir, \u015fair ve gelenek hususunda \u015fu benzer hususlar\u0131 \u00f6n plana \u00e7\u0131karmaktad\u0131r:
\n\u201cGelene\u011fe sahip olmak i\u00e7in \u00f6nce \u2018tarih \u015fuuru\u2019 geli\u015ftirmeye ihtiya\u00e7 vard\u0131r. Tarih \u015fuuru ise yirmi be\u015finden sonra da \u015fiir yazamaya devam etmek hevesinde olan herkes i\u00e7in ka\u00e7\u0131n\u0131lmaz bir \u015feydir. Tarih \u015fuuru olan \u015fair, yaln\u0131z kendi zaman\u0131n\u0131n \u015fuurunu ifade etmekle kalmaz. Onun i\u00e7in Homer\u2019den bu yana b\u00fct\u00fcn Avrupa edebiyat\u0131 ve onun i\u00e7inde d\u00fc\u015f\u00fcn\u00fclmesi gereken kendi milletinin edebiyat\u0131 ayn\u0131 anda vard\u0131r ve b\u00fct\u00fcn edeb\u00ee eserler organik bir b\u00fct\u00fcnl\u00fck olu\u015fturur. Ge\u00e7mi\u015fin \u2018hal\u2019 i\u00e7inde varl\u0131\u011f\u0131n\u0131 hissetmek kadar, ebediyeti s\u0131n\u0131rl\u0131 olanda, yani bug\u00fcnde bulmak, bu beraberli\u011fi hissedebilmek, bir yazar\u0131 gelenek\u00e7i yapar.\u201d (KANTARCI\u011eLU,1987)<\/p>\n
Eliot\u2019un \u015fu ifadesi divan \u015fiirini de tarif eden c\u00fcmlelerden say\u0131labilir:
\n\u201c\u015eairin gelene\u011fe ba\u011fl\u0131 olmas\u0131yla objektif olabilmesi aras\u0131nda s\u0131k\u0131 bir ili\u015fki vard\u0131r. \u015eiirin ham maddesi duygu olmakla beraber, \u015fiirde ifade edilen duygunun \u015fahsi olmamas\u0131, estetik ve objektif olmas\u0131 gerekir. Objektif olabilmekse, ancak \u015fairin kendi \u015fahsiyetinden ka\u00e7\u0131\u015f\u0131 ve kendisini kolektif bir \u015fuura, yani gelene\u011fe teslim edi\u015fi ile m\u00fcmk\u00fcnd\u00fcr. \u015eiirin yarat\u0131ld\u0131\u011f\u0131 an\u0131, ge\u00e7mi\u015fin hal ile birle\u015fti\u011fi veya \u015fairin ge\u00e7mi\u015fin kolektif \u015fuuru ile kendi \u015fahsi tecr\u00fcbesini birle\u015ftirdi\u011fi an\u0131 olgun bir dima\u011fa mal eder. \u015eairin i\u00e7indeki \u0131st\u0131rap \u00e7eken insanla, \u015fiiri yaratan ki\u015fi aras\u0131ndaki ayr\u0131l\u0131k ve mesafe korunabilir. \u015eairin dima\u011f\u0131, ayn\u0131 kusursuz \u00f6l\u00e7\u00fcde \u015fiirin ham maddesi olan duygular\u0131 \u00f6z\u00fcmler ve onlar\u0131 yepyeni bir b\u00fct\u00fcn i\u00e7inde sunar.\u201d (KANTARCIO\u011eLU:1987)
\nToplumda eski-yeni konusunda \u00e7\u0131kan tart\u0131\u015fmalar ve yeni i\u00e7in eskiyi kald\u0131r\u0131p atmalar hususunda gelenekselli\u011fin yanl\u0131\u015f anla\u015f\u0131ld\u0131\u011f\u0131 bir ger\u00e7ektir. Bu meseleye Eliot, \u015fu c\u00fcmlelerle \u00e7\u00f6z\u00fcm getiriyor: \u201cVar olan an\u0131t eserler kendi aralar\u0131nda, yeni kat\u0131lan eserin de\u011fi\u015ftirece\u011fi eksiksiz bir d\u00fczen g\u00f6sterirler. Bu d\u00fczen yeni eser gelmeden \u00f6nce tamd\u0131r; yenili\u011fin araya giri\u015finden sonra da s\u00fcrmesi i\u00e7in bu d\u00fczenin pek hafif de olsa de\u011fi\u015ftirilmesi gerekir; b\u00f6ylece her sanat eserinin b\u00fct\u00fcne olan ba\u011flar\u0131, oranlar\u0131 yeniden ayarlan\u0131r; i\u015fte bu, eski ile yeni aras\u0131ndaki uyu\u015fmad\u0131r.\u201d (G\u00d6KT\u00dcRK, 1961: 10)
\nDivan \u015fairi yukar\u0131daki c\u00fcmleyi aynen hayata ge\u00e7irmekte hi\u00e7bir enaniyet g\u00f6stermezken; Tanzimat ve Servet-i f\u00fcn\u00fbn d\u00f6nemi \u015fairinin ve bu devirden sonraki her yeni ak\u0131m\u0131n eski kabul edilen bir \u00f6nceki d\u00f6nem \u015fiirine nas\u0131l sald\u0131rd\u0131\u011f\u0131 herkesin malumudur. Fuz\u00fbl\u00ee taraf\u0131ndan yaz\u0131lan Leyla ve Mecnun mesnevisinin daha \u00f6nce de pek \u00e7ok \u015fair taraf\u0131ndan yaz\u0131ld\u0131\u011f\u0131n\u0131; ancak en ba\u015far\u0131l\u0131 ve kal\u0131c\u0131 olan\u0131n Fuz\u00fbl\u00ee\u2019nin eseri oldu\u011funu herkes bilir. Eliot da garip bir paralelli\u011fe parmak bas\u0131yor: \u201cHamlet de\u011fi\u015fik ki\u015filerin yazmay\u0131 denedikleri bir konudur; bu ki\u015filerden her biri kendinden \u00f6nce gelenlerin yapt\u0131klar\u0131 \u00fczerine kendi yapabileceklerini kurar. Oyunun b\u00fct\u00fcn\u00fcn\u00fc Shakepaere\u2019nin kendi mal\u0131 sayacak yerde, Hamlet\u2019in son bi\u00e7iminde bile kendini g\u00f6steren \u00e7ok ham gere\u00e7ler \u00fczerine kurulmu\u015f oldu\u011funu d\u00fc\u015f\u00fcnsek, Shakespeare\u2019nin eseri apayr\u0131 g\u00f6r\u00fcn\u00fcr bize.\u201d (G\u00d6KT\u00dcRK, 1961: 50)<\/p>\n
d. Eliot ve Divan \u015eiirinin Benzer Poetikas\u0131:
\nDil, \u00f6l\u00e7\u00fc ve ahenk kavramlar\u0131 \u015fiirin en temel hususlar\u0131d\u0131r. Divan \u015fairi kadar bu hususta hassas davranan ba\u015fkaca bir \u015fair toplulu\u011fu bulmak m\u00fcmk\u00fcn de\u011fildir. Bu iddiay\u0131 hi\u00e7 de\u011filse T\u00fcrk edebiyat tarihi dahilinde rahatl\u0131kla s\u00f6ylememiz m\u00fcmk\u00fcnd\u00fcr. Ayn\u0131 musikiyi y\u00fcz y\u0131llarca aruzla yakalayan divan \u015fairi, kelimeleri adeta k\u0131l\u0131 k\u0131rk yararak se\u00e7mi\u015f ve beyitteki aliterasyona g\u00f6re kelime se\u00e7mi\u015ftir. Divan \u015fairi dili adeta bir kuyumcu hassasiyeti ile i\u015fler, tek bir sesi dahi hak etmedi\u011fi yerde kullanmazd\u0131.
\nBu konuda Prof. Dr. Do\u011fan Aksan, \u015eiir Dili ve T\u00fcrk \u015eiir Dili adl\u0131 eserinde hem Eliot\u2019a verdi\u011fi de\u011ferden dolay\u0131 onun g\u00f6r\u00fc\u015flerine yer veriyor hem de bizim iddia etti\u011fimiz hususlarda en g\u00fczel \u00f6rnekleri s\u0131ral\u0131yor:
\nDo\u011fan Aksan, Eliot\u2019tan \u015fu g\u00f6r\u00fc\u015f\u00fc kitab\u0131n\u0131n giri\u015f b\u00f6l\u00fcm\u00fcne alm\u0131\u015f: \u201cEn ulusal sanat dal\u0131 \u015fiirdir; \u00e7\u00fcnk\u00fc bir ulusu ba\u015fka uluslar gibi d\u00fc\u015f\u00fcnd\u00fcrmek kolay oldu\u011fu halde, ona ba\u015fka uluslar gibi hissetmeyi \u00f6\u011fretmek olanakl\u0131 de\u011fildir.\u201d (AKSAN, 1993)
\nAksan, bu eserinde, \u015fiir i\u00e7in yirmi \u00fc\u00e7 adet g\u00fczellik unsuru belirliyor ve bunlar\u0131n bir \u015fiiri \u015fiir yapan unsurlar oldu\u011funda \u0131srar ediyor. Bu hususlar s\u0131rayla \u015funlard\u0131r: imge(hayal), lirizm, eksiltilik, k\u0131sal\u0131k(kesiflik), g\u00fcnl\u00fck dilden yaralanma(mahallilik), bilgelik, i\u00e7ten anlat\u0131m, \u00e7ok anlaml\u0131l\u0131k(tevriye), g\u00f6ndergesel anlam, \u00f6zel adlardan yararlanma(mit kullanma-telmih),s\u00f6z dizimi yap\u0131s\u0131, yan anlamlar, uzak \u00e7a\u011fr\u0131\u015f\u0131mlar(iham-\u0131 tenas\u00fcp-mazmun), e\u015f adl\u0131l\u0131k, kannotatif, kar\u015f\u0131t anlaml\u0131l\u0131k(tezat), benzetmeler(te\u015fbih), deyim aktarmas\u0131(istiare-te\u015fhis) , somutla\u015ft\u0131rma, uzak \u00e7a\u011fr\u0131\u015f\u0131mlar, sapmalar, \u00f6l\u00e7\u00fc, kafiye. Bu yirmi \u00fc\u00e7 \u00f6zellikten sadece eksiltilik ve kannotatif divan \u015fiirinde hi\u00e7 kullan\u0131lmam\u0131\u015ft\u0131r.
\nEliot\u2019un da \u015fiirde olmazsa olmaz olarak g\u00f6rd\u00fc\u011f\u00fc \u00f6zelliklerdir bunlar. Bu \u00f6zelliklerin tamam\u0131 divan \u015fairi taraf\u0131ndan kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n
\u201cBir kelimenin musikisi, bu kelimenin \u015fiirde kendisinden \u00f6nceki ve sonraki kelimelerin ve b\u00fct\u00fcn di\u011fer kelimelerin yaratt\u0131\u011f\u0131 musikiyle uyum i\u00e7inde olmas\u0131yla \u00f6l\u00e7\u00fcl\u00fcr\u201d c\u00fcmlesini Eliot\u2019un Edebiyat \u00fczerine D\u00fc\u015f\u00fcnceler (KANTARCIO\u011eLU,1983:140) adl\u0131 eserinden alan Muhsin Macit, \u201cDivan \u015eiirinde Ahenk Unsurlar\u0131\u201d (MAC\u0130T,1996)adl\u0131 eserinde bu konu hakk\u0131nda Do\u011fan Aksan\u2019dan biraz daha derinlemesine \u00e7al\u0131\u015fm\u0131\u015f ve pek \u00e7ok divandan \u00f6rnekler vermi\u015ftir.
\n\u015eiirin bu g\u00fczellikleri i\u00e7inde bar\u0131nd\u0131rmas\u0131 gerekti\u011fini bir m\u0131sra-\u0131 berceste ile ortaya koyan Nedim\u2019in \u015fu ifadesi konuyu \u00f6zetler niteliktedir:
\n\u201c\u00c7\u00fcnki \u015f\u00e2irsin hay\u00e2l-i t\u00e2zedir senden mur\u00e2d\u201d (MAC\u0130T, 1997)<\/p>\n
Divan \u015fairi bazen \u00f6yle ruh\u00ee anlar\u0131 sesle, kelimeyle ete kemi\u011fe b\u00fcr\u00fcnd\u00fcr\u00fcr ki yukar\u0131da belirtti\u011fimiz \u201cd\u00fcrr-i galtanlar\u201d (nadir inci de\u011ferinde beyitler) bir bir v\u00fccut bulur. Bu vecd an\u0131 bir anlamda T\u00fcrklerin \u0130slam \u00f6ncesi \u015eamanlar\u0131n\u0131n trans haline benzer. Veya bir evliyan\u0131n keramet an\u0131 gibidir.
\n\u201cBir \u015eu\u2019lesi var ki \u015fem\u2019-i c\u00e2n\u0131n
\nF\u00e2n\u00fbsuna s\u0131\u011fmaz \u00e2sm\u00e2n\u0131n\u201d \u015eeyh Galib (KALKI\u015eIM, 1994)
\n\u201cCan mumunun bir ate\u015fi var ki g\u00f6k kubbenin fanusuna s\u0131\u011fmaz.\u201d
\nEliot, adeta bizim s\u00f6ylediklerimiz tekrar eder gibi dil, \u00f6l\u00e7\u00fc ve ahenk konusunda \u015f\u00f6yle der: \u201cOrganik bir b\u00fct\u00fcn olan \u015fiirin kelimeleri, kelime gruplar\u0131, c\u00fcmleleri ve benzetmeleri, ortak bir merkez etraf\u0131nda, ayn\u0131 musikinin temposuna ayak uydurarak dans eden k\u00fcrecikler gibidir.\u201d Eliot, kesi\u015fme anlar\u0131 (intersection times) dedi\u011fi imtiyazl\u0131 anlarda \u015fairin zaman ve mekan i\u00e7inde yeniden do\u011fu\u015fa eri\u015fti\u011fini, \u015fiirin dil ortam\u0131n\u0131n da bu \u00e2na v\u00fccut verdi\u011fini ifade eder.
\nOna g\u00f6re her kelime \u015fiirin di\u011fer kelimelerine anlam kazand\u0131racak \u015fekilde yerini bulmu\u015ftur. \u201c\u015eiirde kelimeler ne hak ettiklerinden az, ne de hak ettiklerinden \u00e7ok yer i\u015fgal ederler. \u015eiirde sesler ortak bir musikinin temposuna ayak uydurur; her kelime grubu ve her c\u00fcmle hem bir ba\u015flang\u0131\u00e7 , hem de bir sondur. Her \u015fiir bir \u00e2bide, zaman ve mekan i\u00e7inde bir \u00f6l\u00fc\u015f ve dirili\u015ftir.\u201d (EL\u0130OT, 1956)<\/p>\n
Eliot\u2019a g\u00f6re: \u201c\u2026olgun bir \u015fiir; olgun bir k\u00fclt\u00fcr\u00fcn, olgun bir dilin ve olgun bir dima\u011f\u0131n mahsul\u00fc olmal\u0131d\u0131r. Ona g\u00f6re olgun bir k\u00fclt\u00fcr, kendisini meydana getiren unsurlar aras\u0131nda tam bir denge kurmu\u015f olan ve kendi de\u011ferlerinin \u015fuurunda olan bir k\u00fclt\u00fcrd\u00fcr. Klasik bir dil ise, kendini konu\u015fan milletin b\u00fct\u00fcn duygu ve d\u00fc\u015f\u00fcnce inceliklerini ifade eden bir dildir. Klasik bir \u015fair, hem b\u00f6yle bir dilin mahsul\u00fcd\u00fcr, hem de bu dilin dehas\u0131n\u0131 ger\u00e7ekle\u015ftiren ki\u015fidir.\u201d (KANTARCIO\u011eLU, 1987)
\nDivan \u015fairi, kulland\u0131\u011f\u0131 ve geli\u015ftirdi\u011fi dil y\u00f6n\u00fcnden bug\u00fcnle k\u0131yaslanamayacak kadar m\u00fckemmel bir zenginli\u011fe sahiptir. Sadece \u015fairlerin d\u00fcn ve bug\u00fcn kulland\u0131\u011f\u0131 kelime say\u0131s\u0131n\u0131 belirlesek, g\u00fcn\u00fcm\u00fcz \u015fairinin \u00e7ok k\u0131s\u0131r kald\u0131\u011f\u0131 a\u00e7\u0131k\u00e7a g\u00f6r\u00fcl\u00fcr<\/p>\n
Eliot, dilin musikisi konusunda Nedim gibi d\u00fc\u015f\u00fcnmektedir: \u201c\u015eiirde musiki yaratabilmek i\u00e7in \u015fairin konu\u015fulan dilin musikisine dikkat etmesi gerekir. Ancak, \u015fiir dili konu\u015fulan dile sad\u0131k kalmakla beraber, o dilin en kusursuz bir \u015fekilde sunuldu\u011fu bir ortamd\u0131r.\u201d (KANTARCIO\u011eLU, 1987) Dilde devrimi reddeden Eliot, s\u00fcrekli de\u011fi\u015fmeyi k\u00fclt\u00fcr\u00fcn ve dilin en ka\u00e7\u0131n\u0131lmaz ger\u00e7e\u011fi olarak kabul etmi\u015ftir.
\nSade k\u00fclfetsiz fakat derin anlamlar ta\u015f\u0131yan \u015fiirler \u201cSehl-i M\u00fcmteni\u201d denilen bir ak\u0131m halinde d\u00fc\u015f\u00fcn\u00fclebilir. Bu ak\u0131m\u0131n ilk b\u00fcy\u00fck temsilcisi ise Yunus Emre\u2019dir. Nedim de bu ak\u0131m\u0131n son ve en \u00f6nemli halkas\u0131 olarak g\u00f6r\u00fclebilir. Hasibe Maz\u0131o\u011flu a\u015fa\u011f\u0131daki gazeli \u00f6rnek g\u00f6stererek onun bu k\u00fclfetsiz ama m\u00fckemmel ahenkli, sihirli s\u00f6yleyi\u015fine i\u015faret eder:
\n\u201cBir s\u00f6z dedi c\u00e2nan ki ker\u00e2met var i\u00e7inde
\nD\u00fcn geceye d\u00e2ir bir i\u015f\u00e2ret var i\u00e7inde \u201d (MAZIO\u011eLU, 1992)<\/p>\n
Maz\u0131o\u011flu\u2019nu Gibb destekliyor ve \u015f\u00f6yle diyor: \u201cNedim\u2019in eserlerinin ikinci b\u00fcy\u00fck hassas\u0131 lisan\u0131n g\u00fczelli\u011fi, ba\u015fkas\u0131nda g\u00f6r\u00fclmeyen m\u00fczik armonisi ve T\u00fcrk\u00e7enin isti\u2019datl\u0131 oldu\u011fu ho\u015f ifadeyi en g\u00fczel bir \u015fekilde g\u00f6stermi\u015f olmas\u0131d\u0131r. O devirde bir \u0130ngiliz \u015fairi buna benzer bir \u015fekilde \u015fiir yazsa Nedim\u2019in lisan\u0131n\u0131n sihrini, m\u00fczi\u011fini ve onun elde etti\u011fi berrak nefaseti elde edip etmeyece\u011fi \u00fczerine \u015f\u00fcpheliyim.\u201d (G\u0130BB, 1940: 30)
\nDivan, Halk ve Tekke edebiyat\u0131 gibi ayr\u0131mlar\u0131n yersiz oldu\u011funu ve T\u00fcrk edebiyat\u0131n\u0131n bir b\u00fct\u00fcn te\u015fkil etti\u011fini savunan Cemal Kurnaz, Halk ve Divan \u015eiirinin M\u00fc\u015fterekleri \u00dczerine Denemeler adl\u0131 eserinde her iki kesimin ne kadar \u00e7ok ortak noktas\u0131 bulundu\u011funu izah ettikten sonra Baki\u2019nin \u015fu beytinin ritmine dikkat \u00e7ekiyor: \t\t\t\t \u201cYine g\u00f6mg\u00f6k tere batm\u0131\u015f \u00e7\u0131ka geldi \u00e7emene
\nNev-bah\u00e2r irdi diy\u00fc virdi haberler s\u00fcnb\u00fcl\u201d
\nKan, ter i\u00e7inde, nefes nefese gelen bir haberci: s\u00fcmb\u00fcl. \u00c7emene ilkbahar geldi diye haber getiriyor. Ger\u00e7ekten menek\u015fe, s\u00fcmb\u00fcl ilk a\u00e7an \u00e7i\u00e7ekler oldu\u011fundan divan \u015fairince bahar\u0131n habercisi kabul edilirler. \u201cG\u00f6mg\u00f6k tere batmak\u201d deyimi s\u00fcmb\u00fcl\u00fcn kendi rengi dolay\u0131s\u0131yla gayet uygun d\u00fc\u015fm\u00fc\u015ft\u00fcr. \u0130kinci dizedeki \u201cr\u201d tekrar\u0131 vezinle birlikte g\u00fczel bir ahenk meydana getiriyor. Dolu-dizgin gelen atl\u0131n\u0131n hareketini hissettiriyor. Tabloda renk ve hareket unsuru birbirini tamamlamaktad\u0131r.\u201d (KURNAZ, 1990)
\nB\u00fct\u00fcn bu ifadeler hep ayn\u0131 noktay\u0131 i\u015faret eder: Divan \u015fairi ile Eliot dil, \u00f6l\u00e7\u00fc ve ahenk konusunda paralel d\u00fc\u015f\u00fcnmektedir.<\/p>\n
e. Metotlar Benzerli\u011fi: Eliot \u015fiir yazarken d\u00f6rt temel metot geli\u015ftirmi\u015ftir:
\n1-Objektif Kar\u015f\u0131l\u0131k (objektive corellative): Kusursuz bir ruh\u00ee dengenin sembol\u00fc olan bir \u015fiirde, \u015fiirin ifade sistemini olu\u015fturan b\u00fct\u00fcn unsurlar \u2013kelimeler, semboller, benzetmeler- \u015fiirin yans\u0131tt\u0131\u011f\u0131 tecr\u00fcbenin objektif kar\u015f\u0131l\u0131klar\u0131d\u0131r ve ama\u00e7 okuyucunun ruhunda da \u015fiirde ifade edilen duygu ve d\u00fc\u015f\u00fcnceleri uyand\u0131rabilmesidir.
\nDivan \u015fairi, Fuz\u00fbl\u00ee\u2019nin \u015fiiriyle bu konuda ayn\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn\u00fc ortaya koyuyor:<\/p>\n
\u201cOldur gazel ki feyzi anun \u00e2m olup m\u00fcd\u00e2m
\nAr\u00e2yi\u015f-i mec\u00e2lis-i ehl-i kabul ola
\nVird-i zeb\u00e2n-\u0131 ehl-i saf\u00e2 v\u00fc s\u00fcr\u00fbr olup
\nMazm\u00fbnu zevk-bah\u015f \u00fc seri\u00fc\u2019l-hus\u00fbl ola
\nAndan ne s\u00fbd kim ola m\u00fcbhem ib\u00e2reti
\nHer yerde istim\u00e2\u2019\u0131n edenler mel\u00fbl ola\u201d (AKY\u00dcZ,2000:310)
\n\u201cGazel odur ki okuyucunu ruhunda \u015fiirde ifade edilen duygu ve d\u00fc\u015f\u00fcnce daima uyanabile\u2026\u201d<\/p>\n
2- Ortak \u015euur (collective subjectivity): \u015eair, ayn\u0131 zamanda ruhunda birbiriyle tezat te\u015fkil eden pek \u00e7ok g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131n\u0131 ba\u011fda\u015ft\u0131rarak, kendi i\u00e7inde tutarl\u0131 ve d\u0131\u015f d\u00fcnyada objektif kar\u015f\u0131l\u0131\u011f\u0131 bulunan bir sistem olu\u015fturmak ve b\u00f6ylece olduk\u00e7a y\u00fcksek bir \u015fuur seviyesinde Tanr\u0131s\u0131yla birlikte titre\u015fimi ya\u015fayabilmek g\u00fcc\u00fcne sahiptir. Bu birlikte titre\u015fim an\u0131 ge\u00e7mi\u015fin, halin ve gelece\u011fin kesi\u015fti\u011fi and\u0131r. Bir anlamda fen\u00e2fillah, sema, cezbe veya trans an\u0131d\u0131r.
\nDivan \u015fairi ise bu an\u0131 her divan\u0131nda birka\u00e7 \u015fiirde tekrar etmi\u015f ve bunu tasavvufta derecesinin y\u00fcksek oldu\u011funu im\u00e2 etmek i\u00e7in kullanm\u0131\u015ft\u0131r. \u00d6rne\u011fin Nesim\u00ee, Divan\u0131nda bir birlikte titre\u015fin an\u0131, cezbe an\u0131 diyebilece\u011fimiz demde \u015fu beyitleri s\u00f6ylemi\u015ftir:<\/p>\n
\u201cD\u00e2im Ene\u2019l-Hak s\u00f6ylerem Hakdan \u00e7\u00fc Mans\u00fbr olmu\u015fam
\nKimdir beni ber-d\u00e2r iden bu \u015fehre me\u015fh\u00fbr olmu\u015fam
\nK\u0131blesiyem s\u00e2d\u0131klar\u0131n ma\u2019\u015fuk\u0131yam \u00e2\u015f\u0131klar\u0131n
\nMaksud\u0131yam l\u00e2y\u0131klar\u0131n \u00e7\u00fcn Beyt-i Ma\u2019m\u00fbr olmu\u015fam\u201d (CENG\u0130Z,1983: 560)
\nNesimi, ben Hakk\u0131m diyen Halla\u00e7 gibi olmu\u015f ve bu y\u00fczden as\u0131lmaya haz\u0131rd\u0131r. O, sad\u0131klar\u0131n k\u0131blesi ve a\u015f\u0131klar\u0131n sevgili olmu\u015ftur.<\/p>\n
Bu s\u00f6zler Eliot\u2019un s\u00f6ylemek istedi\u011fini dahi a\u015fan ve fenafillah ad\u0131 verilen Allah\u2019\u0131n varl\u0131\u011f\u0131nda yok olma derecesine gelmek demektir. Divan \u015fairlerinin hepsi kullanmasa da, insan\u0131n t\u00fcm beninden kurtulup kendi varl\u0131\u011f\u0131n\u0131 yok edip Allah\u2019ta yok olma durumu s\u00f6z konusudur. Bu durum Eliot\u2019un vas\u0131tas\u0131z tecr\u00fcbe (inmediate experience) veya kesi\u015fme anlar\u0131 (intersection times) dedi\u011fi imtiyazl\u0131 anlarla b\u00fcy\u00fck benzerlik g\u00f6sterir. \tFakat Eliot bu durumu adeta \u015fiir i\u00e7in bir gerek gibi g\u00f6r\u00fcrken, divan \u015fairi bu durumu \u015fahsi hayat\u0131n\u0131n yeg\u00e2ne g\u00e2yesi olarak kabul eder. Divan \u015fairi belli bir seyr-i s\u00fclukla ve terk-i d\u00fcnya, terk-i ukba, terk-i terk yaparak \u201c\u00f6lmeden \u00f6nce \u00f6lm\u00fc\u015f olmak i\u00e7in \u00e7\u0131rp\u0131n\u0131r. Leyla ve Mecnun ile H\u00fcsn \u00fc A\u015fk mesnevileri bu terklerin en edeb\u00ee ifadeleridir. En fazla l\u00e2-dini dedi\u011fimiz \u015fair dahi bu ortak temleri kullanmadan \u015fiir yazamaz. Bazen bir \u015feh\u00fc\u2019l-islam\u0131n meyhaneden bahsetti\u011fini ve oray\u0131 \u00f6vd\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcr\u00fcz ve hi\u00e7 \u015fa\u015f\u0131rmay\u0131z;\u00e7\u00fcnk\u00fc bu \u015fiirin ortak temleri, sembolizmi bunu ka\u00e7\u0131n\u0131lmaz hale getirmektedir.<\/p>\n
3- Dramatik Monolog Metodu: Bu metot \u015fairin i\u00e7inden iki ayr\u0131 karakteri konu\u015fturmas\u0131 \u015feklinde ortaya \u00e7\u0131kar. \u015eair kendi d\u00fc\u015f\u00fcncelerini \u015fiirdeki herhangi bir \u015fahsiyete s\u00f6yletir.
\n\u201cFuz\u00fbl\u00ee rind \u00fc \u015feyd\u00e2dur hem\u00ee\u015fe halka r\u00fcsv\u00e2dur
\nSorun kim bu ne sevd\u00e2dur bu sevd\u00e2dan usanmaz m\u0131\u201d (AKY\u00dcZ, 2000)
\nFuzuli rind ve hafif delidir, bu y\u00fczden de halka rezil olmaktad\u0131r. Sorun bakal\u0131m ona, bu nas\u0131l bir sevdaym\u0131\u015f, bu sevdadan usanmaz m\u0131ym\u0131\u015f?
\nFuz\u00fbl\u00ee bu beyti kendisi yazd\u0131\u011f\u0131 halde bu durumun sanki ba\u015fka bir insana sorulmas\u0131n\u0131n gerekti\u011fini ifade eder gibidir.<\/p>\n
4- \u015eiirde Mit Kullanma(mytho-poetic): \u201cPek \u00e7ok mitte, farkl\u0131 sembol ve ifade ayr\u0131m\u0131na ra\u011fmen, insan\u0131n hi\u00e7 de\u011fi\u015fmeyen ruh\u00ee tecr\u00fcbesinin ana \u00e7izgileri mevcuttur. \u015eair, \u201chal\u201di \u201cge\u00e7mi\u015f\u201din kal\u0131b\u0131 i\u00e7inde ifade ederek onlara evrensel ve objektif boyutlar kazand\u0131r\u0131r. Eliot\u2019a g\u00f6re, modern \u015fair, gelene\u011fin enkaz\u0131 alt\u0131nda olan mitte veya gelenekte, insan\u0131n hi\u00e7 de\u011fi\u015fmeyen psikolojik tecr\u00fcbesini yans\u0131tan bir kal\u0131p bulur ve modern karga\u015fay\u0131 bu mit kal\u0131plar\u0131 i\u00e7inde ifade ederek \u00e7\u00f6zmek m\u00fcmk\u00fcn olur.\u201d (KANTARCIO\u011eLU, 1987)
\nDivan \u015fairinin mit kullanma gelene\u011fi ve bu gelenek sayesinde insanlara mesaj verme niyeti, onun en \u00e7ok fark edilen \u00f6zelli\u011fidir. Her \u015fair -\u00f6zellikle kasidelerde- \u0130ran veya Turan mitolojisinden bol bol \u00f6rnekler verir. Memduhunu onlara benzetir veya onlardan \u00fcst\u00fcn g\u00f6sterir. Di\u011fer t\u00fcm naz\u0131m \u015fekillerinde \u015fairin uygun buldu\u011fu yerlerde, mitolojiden pek \u00e7ok kahraman kar\u015f\u0131m\u0131za \u00e7\u0131kar. Bu konuda Divan \u015eiirinde Mitolojik Unsurlar (T\u00d6KEL,2000) adl\u0131 eserde olduk\u00e7a tafsilatl\u0131 a\u00e7\u0131klamalar mevcuttur.
\n\u015eairler, mitler hakk\u0131nda aynen Eliot gibi d\u00fc\u015f\u00fcn\u00fcr ve onlar\u0131n insanl\u0131\u011f\u0131n ortak hareketlerini sergiledi\u011fine inan\u0131rlar: Karun, a\u015f\u0131r\u0131 zenginli\u011fin; Habil ve Kabil, k\u0131skan\u00e7l\u0131\u011f\u0131n; Firavun ve Nemrut , nefsini tanr\u0131la\u015ft\u0131rman\u0131n; Keyk\u00e2vus, d\u00fcnya hayat\u0131na bel ba\u011flaman\u0131n yanl\u0131\u015fl\u0131\u011f\u0131n\u0131 g\u00f6stermek i\u00e7in en iyi \u00f6rneklerdir. Ayr\u0131ca Mecnun, temiz ve \u0130lah\u00ee a\u015fk\u0131n; Lokman, t\u0131bb\u0131n verdi\u011fi \u015fifan\u0131n; Aristo, ak\u0131l ve hikmetin; \u0130brahim Ethem, d\u00fcnyaya meyletmemenin g\u00fczelliklerini anlatmak i\u00e7in s\u0131k s\u0131k kullan\u0131l\u0131r.
\n\u201cI\u015fka d\u00fc\u015fd\u00fcm \u015f\u00e2h iken itd\u00fcm bug\u00fcn fak\u00eeri kab\u00fbl
\nG\u00f6rdiler ahv\u00e2l\u00fcm \u0130br\u00e2h\u00eem-i Ethem sand\u0131lar\u201d
\nMuhibb\u00ee- Kanun\u00ee (T\u00d6KEL, 2000: 410)<\/p>\n
Eliot\u2019un dine bak\u0131\u015f\u0131 ile divan \u015fairinin bak\u0131\u015f\u0131n\u0131n benze\u015fti\u011fini, yazar\u0131n \u015fu bir ka\u00e7 c\u00fcmlesiyle a\u00e7\u0131klayabiliriz: \u201cBir din ne kadar \u00e7ok say\u0131da k\u00fclt\u00fcre be\u015fiklik yaparsa, o kadar \u00e7ok geli\u015fme \u015fans\u0131na sahip olur.\u201d Bir eserin edeb\u00ee olup olmad\u0131\u011f\u0131 tamamen edeb\u00ee \u00f6l\u00e7\u00fcler i\u00e7inde de\u011ferlendirilecek bir husustur. Ancak edeb\u00ee bir eser, ayn\u0131 zamanda belli bir din ve ahlak a\u00e7\u0131s\u0131ndan da de\u011ferlendirilmelidir. Edeb\u00ee eserlerde din\u00ee \u015fuurun hakim olmas\u0131, insan\u0131 bir olu\u015f s\u00fcreci olan hayatta var\u0131lacak en son hedef olan ger\u00e7ek var olu\u015fa, irade h\u00fcrriyetine g\u00f6t\u00fcrecektir. B\u00f6ylece, insan devletin de \u00fcst\u00fcnde olan kendi vicdan\u0131na hizmette kusur etmeyecek ve kendini ger\u00e7ekle\u015ftirmi\u015f olacakt\u0131r. Ona g\u00f6re; edeb\u00ee eser, kas\u0131tl\u0131 olarak din propagandas\u0131 yapamaz, dinden tamamen uzak da kalamaz.
\nDivan \u015fiirinin aslen din\u00ee bir \u00f6zellik sahibi oldu\u011funu hemen hemen herkes kabul eder. Din propagandas\u0131 yaps\u0131n veya yapmas\u0131n Ali Canip Y\u00f6ntem\u2019e g\u00f6re divan \u015fairinin bu \u00f6zelli\u011fi \u015fu hususlardan kaynaklan\u0131r:
\n\u201cMal\u00fbmdur ki \u2018divan edebiyat\u0131\u2019 dedi\u011fimiz m\u00fcessese, asl\u00ee seciyesi itibariyle \u2018iskolastik\u2019tir. \u00c7\u00fcnk\u00fc bu edebiyat, o devrin ilim ve terbiyesini g\u00f6rm\u00fc\u015f dani\u015fmentlerin mal\u0131d\u0131r. O devir ilim ile terbiyesin tedr\u00ees-g\u00e2h\u0131 \u2018medrese\u2019dir. Mens\u00fbb oldu\u011fu z\u00fcmrenin d\u00fcnya ve hayata kar\u015f\u0131 tel\u00e2kkisi \u2018kur\u00fbn-\u0131 v\u00fcst\u00e2\u2019\u00ee\u2019 olmakla beraber ale\u2019l-um\u00fbm m\u00fcesseselerin mekanizmas\u0131 \u2018din\u2019 bulunmas\u0131, sahiplerinin de \u2018iskolastik\u2019 tahs\u00eel g\u00f6rm\u00fc\u015f dani\u015fmentlerden terekk\u00fcp etmesi haysiyetiyle divan edebiyat\u0131 men\u015fe ve devam\u0131nda \u2018\u0130sl\u00e2m\u00ee\u2019dir.\u201d (SEVG\u0130, 1996)<\/p>\n
Divan \u015fairleri, din ve irade h\u00fcrriyeti konusunda Hallac-\u0131 Mansur ve Seyyid Nesim\u00ee gibi iki u\u00e7 \u00f6rne\u011fe sahiptir. Bu ki\u015filerin hayat\u0131, eserleri incelendi\u011finde yukar\u0131da bahsedilen devletin de \u00fcst\u00fcnde bir h\u00fcrriyet s\u00f6z\u00fc tam yerine oturmu\u015f olur. Ayr\u0131ca dinsiz bir divan \u015fairi d\u00fc\u015f\u00fcn\u00fclemeyece\u011fi gibi bu \u015fairlerin tamamen din propagandas\u0131 yapt\u0131\u011f\u0131 da iddia edilemez. \u00d6zellikle sembolik ifadeler \u015fairi bazen tasavvuf-din ekseninde mi yoksa l\u00e2-din\u00ee mi bir \u015feyler s\u00f6yl\u00fcyor diye \u00e7ok derinden ara\u015ft\u0131rmam\u0131z\u0131 gerektirir. L\u00e2-din\u00ee \u015fair diye s\u0131n\u0131fland\u0131rd\u0131\u011f\u0131m\u0131z \u015fairlerin de dinsiz veya dine so\u011fuk sanat\u00e7\u0131 diye alg\u0131lanmamas\u0131 ayr\u0131ca \u00f6nemlidir. Bu konuda Eliot\u2019\u0131n benzetmesi \u00e7ok ho\u015ftur: Kafeinsiz kahve neyse, dinsiz \u015fiir de odur.
\nEliot diyor ki;
\n\u201cAncak \u00e7\u00f6z\u00fclm\u00fc\u015f bir k\u00fclt\u00fcrde, \u2018k\u00fclt\u00fcr\u00fcn dine \u00e7er\u00e7eve te\u015fkil etti\u011fi\u2019 s\u00f6ylenebilir ve bu toplumlarda dinin yerini alan bir sanat olabilir. Bireyin haysiyeti pahas\u0131na sorumsuz bir \u015fekilde geli\u015fen liberalizmi, materyalizmi ve \u015fehirle\u015fmeyi ele\u015ftiren \u015fair, bat\u0131n\u0131n bug\u00fcnk\u00fc ilerleme ve refah\u0131n\u0131 ge\u00e7ici bulmu\u015f, bu sorumsuz paganla\u015fman\u0131n bedelini gelecek nesillerin \u00f6deyece\u011fini belirtmi\u015ftir. Eliot\u2019a g\u00f6re bat\u0131 modern paganizm ile inan\u00e7l\u0131 ya\u015famak aras\u0131nda bir se\u00e7im yapmak zorundad\u0131r.\u201d (KANTARCIO\u011eLU, 1987)<\/p>\n
f. Eliot\u2019\u0131n Eserleri ve Mesaj Benzerlikleri:
\nEliot\u2019\u0131n birbirini tamamlayan d\u00f6rt eserinde ana tema insan\u0131n kendini ger\u00e7ekle\u015ftirmesidir. Bu eserler d\u00f6rt \u015fiirden ibarettir ve adeta bir dervi\u015fin seyr-i s\u00fclukta ad\u0131m ad\u0131m fenafillaha ula\u015fmas\u0131 anlat\u0131lm\u0131\u015ft\u0131r:
\nProfrock\u2019\u0131n A\u015fk \u015eark\u0131s\u0131, Gerontion, \u00c7orak Toprak, D\u00f6rt Kuartet.
\nBu d\u00f6rt \u015fiirde \u015fair Prufrock\u2019la ruh\u00ee k\u0131s\u0131rl\u0131\u011f\u0131, felci, bunal\u0131m\u0131 yaln\u0131zl\u0131\u011f\u0131, korkuyu, endi\u015fe ve inan\u00e7s\u0131zl\u0131\u011f\u0131 anlatmak istemi\u015ftir. \t\u0130lk \u015fiirin kahraman\u0131 olan Profrock, iman\u0131n\u0131 yitirmi\u015f ve hayat\u0131n en basit gereklerinden dahi uzak kalm\u0131\u015f bir insand\u0131r. Be\u015fer\u00ee a\u015fk\u0131 bile tatmam\u0131\u015f, normal bir hayat\u0131n dahi \u00f6zlemi i\u00e7inde ya\u015fayan bir m\u00fcrtettir. Divan \u015fairinin de en \u00e7ok tenkit etti\u011fi ehl-i d\u00fcnya-zahid- m\u00fcrtet tipidir.
\nGerontion\u2019la, ger\u00e7e\u011fi sadece fikirlerinden ibaret ve ilmin s\u0131n\u0131rlar\u0131 i\u00e7inde g\u00f6ren tipik bat\u0131l\u0131 entelekt\u00fceli i\u015fler; ancak bu ilim kendini mutlu hissetmesine yetmemektedir. D\u00fc\u015f\u00fcnebilen ancak inanamayan Tanr\u0131\u2019ya yabanc\u0131la\u015fm\u0131\u015f bir tiptir. Avrupa medeniyetinin en b\u00fcy\u00fck problemi \u00e7\u00f6z\u00fck karakterli insanlard\u0131r. Gerontion, kendini ilme adam\u0131\u015f; ama ilmin metafizik boyutuna hi\u00e7 ge\u00e7ememi\u015f ve hep kabukta kalm\u0131\u015f bir bilim adam\u0131d\u0131r. O da divan \u015fairinin ele\u015ftirdi\u011fi ehl-id\u00fcnya-fakih-vaiz-softa tipidir. Modern bat\u0131l\u0131 insan \u015eeyh Mustafa Selam\u00ee Efendi\u2019nin divan\u0131nda belirtti\u011fi gibi;
\n\u201cAb-\u0131 hayvan diy\u00fc \u0130skender \u00fc D\u00e3r\u00e3da arar
\nNefh-i r\u00fbhu koyub \u2018\u0130s\u00e3y\u0131 etibb\u00e3da arar\u201d (HAKVERD\u0130O\u011eLU, 2002b)
\nruhu as\u0131l \u00fcfleyeni unutmu\u015f; Hazret-i \u0130sa\u2019n\u0131n hastalar\u0131 iyi etmesinin s\u0131rr\u0131n\u0131 t\u0131pta, bilimde aramaktad\u0131r.
\n\u00c7orak Toprak\u2019\u0131n Tresias\u2019\u0131 ise benli\u011findeki \u00e7\u00f6z\u00fclmenin fark\u0131nda olan, g\u00fcnahlar\u0131n\u0131n sebebini anlayan, bu manev\u00ee \u00e7\u00f6k\u00fcnt\u00fcden kurtulman\u0131n yollar\u0131n\u0131 bulan fakat kendini ger\u00e7ekle\u015ftiremeyip Tanr\u0131 ile trans halini ka\u00e7\u0131ran bir ki\u015filiktir. Tiresias tam anlam\u0131yla bir Yahya Kemal kal\u0131b\u0131d\u0131r. Gerontion\u2019u Tevfik Firket\u2019e benzetirsek, Kuartetler\u2019deki \u015fairin i\u00e7 sesinin de Mehmet Akif ve Necip Faz\u0131l \u00e7izgisinde oldu\u011funu s\u00f6ylemek hatal\u0131 olmasa gerektir.
\n\u201c\u00c7orak Toprak \u015fiiri \u00e7a\u011fda\u015f bat\u0131l\u0131n\u0131n kendini, ger\u00e7e\u011fi ve Tanr\u0131y\u0131 aray\u0131\u015f\u0131n\u0131 anlatan uzun bir \u015fiirdir. Eliot, bu \u015fiirinde Bat\u0131n\u0131n d\u00fc\u015fm\u00fc\u015f oldu\u011fu manev\u00ee \u00e7\u00f6k\u00fcnt\u00fcn\u00fcn sebeplerini incelemekte ve tedavi yollar\u0131n\u0131 g\u00f6stermektedir. Konunun \u00f6z\u00fcn\u00fcn R\u00f6nesans\u2019tan bu yana bat\u0131daki laiklik anlay\u0131\u015f\u0131n\u0131n yanl\u0131\u015f yorumlanmas\u0131 oldu\u011funu bunun da insanlar\u0131n k\u00fclt\u00fcr ve ki\u015filiklerinde \u00e7\u00f6z\u00fclmeye sebep oldu\u011funu belirtir.\u201d (KANTARCIO\u011eLU, 1987)
\nEliot bu noktada \u00e7\u00f6z\u00fcm\u00fc k\u0131saca \u015f\u00f6yle belirtiyor: \u0130nsan bir ruh ve beden sentezidir. Dinin ger\u00e7ek g\u00f6revi varl\u0131kta z\u0131t olan unsurlar\u0131 ba\u011fda\u015ft\u0131rmak, insan\u0131 \u00f6nce kendisiyle sonra da d\u0131\u015f d\u00fcnya ile bar\u0131\u015ft\u0131rmakt\u0131r. \u015eiirin kahraman\u0131 Tiresias yar\u0131m imana ula\u015fabilmi\u015f, a\u015fk ve ilmi birle\u015ftirip kendini ger\u00e7ekle\u015ftirmeye \u00e7ok yakla\u015fm\u0131\u015f bir insand\u0131r. Pek \u00e7ok konuda Eliot gibi d\u00fc\u015f\u00fcnen ve d\u00fcnyay\u0131 onun g\u00f6z\u00fcyle ele\u015ftiren; do\u011frular\u0131 dile getiren ve \u00e7\u00f6z\u00fcmler sunan bir kahramand\u0131r. Ama o da en son noktaya yani \u201cazize vergi olan ana\u201d ula\u015famam\u0131\u015ft\u0131r. Divan \u015fairi \u00e7o\u011fu zaman kendisini bu durumda hisseder ve daha \u00fcst makamlar i\u00e7in bu hayret makam\u0131ndan uzakla\u015fmak ister.
\nD\u00f6rt Kuartet\u2019te \u015fair daha \u00e7ok kendi diyalekti\u011fini ve din\u00ee inanc\u0131n\u0131 sanat \u00e7er\u00e7evesini g\u00f6zeterek vermeye \u00e7al\u0131\u015f\u0131r. Divan \u015fairi de bu noktadan ele\u015ftirilmi\u015f ve yanl\u0131\u015f davranmakla, sanat\u0131n\u0131 dinin emrine vermekle itham edilmi\u015ftir. Eliot ise bu ele\u015ftirilere ald\u0131rmadan, serbest bir d\u00fc\u015f\u00fcnce ak\u0131\u015f\u0131 i\u00e7inde \u00f6l\u00fcm, toplum, a\u015fk, aile, \u00f6l\u00fcm sonras\u0131 hayat ve din gibi konulara dalar ve kendisine g\u00f6re do\u011fru bulduklar\u0131n\u0131 s\u0131ralar.
\nEliot\u2019a g\u00f6re bug\u00fcn\u00fcn insan\u0131 tanr\u0131s\u0131n\u0131 tan\u0131mad\u0131\u011f\u0131 i\u00e7in \u00e7\u00f6z\u00fck karakterlidir. Her insan zaman ve mekan i\u00e7inde, sadece tek bir g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131n\u0131 temsil eder ve \u0131\u015f\u0131k ge\u00e7irmeyen, s\u0131n\u0131rl\u0131 k\u00fc\u00e7\u00fck bir k\u00fcredir. Bu k\u00fc\u00e7\u00fck ve \u0131\u015f\u0131k ge\u00e7irmeyen k\u00fcrenin i\u00e7inde kendi \u015fuurundan ba\u015fka hi\u00e7bir \u015fey bilmeyen insan, di\u011fer insanlar\u0131n temsil etti\u011fi \u00f6teki karanl\u0131k k\u00fcrelerin i\u00e7ine de s\u0131zamaz. Yakup Kadri\u2019nin deyimiyle \u201cy\u0131ld\u0131zlar gibiyiz; kar\u015f\u0131dan bak\u0131ld\u0131\u011f\u0131nda yan yana; ama ger\u00e7ekte birbirinden milyonlarca y\u0131l uzakta.\u201d \u0130nsan hi\u00e7bir zaman mutlak \u015fuura ula\u015famaz. Buna kar\u015f\u0131l\u0131k Eliot\u2019a g\u00f6re insan d\u0131\u015f d\u00fcnyan\u0131n b\u00fct\u00fcn kaos ve ahlak\u0131na m\u00fcdahale edebilecek g\u00fc\u00e7tedir. Bununla kendine tutarl\u0131 bir sistem olu\u015fturabilir. K\u00fcll\u00ee ir\u00e2de yan\u0131nda c\u00fcz\u00ee iradenin varl\u0131\u011f\u0131 hususu bu c\u00fcmlelerde Eliot\u2019\u0131n a\u011fz\u0131ndan ifade edilir. \u0130nsan, Tanr\u0131dan kopuk ve yaln\u0131z bir varl\u0131kt\u0131r. Mevlana\u2019n\u0131n mesnevisindeki yurdundan ayr\u0131 kalan kam\u0131\u015f-ney gibi inlemektedir. \u0130nsan hi\u00e7bir \u015fekilde m\u00fckemmel de\u011fildir; fakat kusursuz olan\u0131 anlayabilir. \u0130nsan, zaman ve mekan i\u00e7inde dahi ebediyeti anlayabilir, sezebilir. \u0130nsan\u0131n temel amac\u0131 ger\u00e7ek varolu\u015fa ula\u015fmakt\u0131r. Fenafillaha ula\u015fmak. Divan \u015fairinin ni\u00e7in s\u00fcrekli bir aray\u0131\u015f i\u00e7inde oldu\u011funa g\u00fczel bir cevap te\u015fkil eder bu c\u00fcmle.<\/p>\n
Profrock\u2019\u0131n A\u015fk \u015eark\u0131s\u0131, Gerontion ve \u00c7orak Toprak\u2019ta \u00e7a\u011fda\u015f insan\u0131n ac\u0131kl\u0131 durumu, onun kendisine ve topluma yabanc\u0131la\u015fmas\u0131ndan ve Tanr\u0131s\u0131ndan kopuklu\u011fundan ileri gelmektedir. Eliot, \u00e7\u00f6z\u00fck bir k\u00fclt\u00fcr\u00fcn \u00fcr\u00fcn\u00fc olan modern insan\u0131n psikolojik hastal\u0131\u011f\u0131n\u0131 onun ki\u015fili\u011findeki \u00e7\u00f6z\u00fclmenin ve par\u00e7alanman\u0131n bir sonucu olarak g\u00f6rm\u00fc\u015ft\u00fcr. Bu ki\u015filik par\u00e7alanmas\u0131ndan mustarip olan \u00e7a\u011fda\u015f insan, benli\u011finin birbiriyle tezat te\u015fkil eden unsurlar\u0131 aras\u0131nda hiyerar\u015fik bir d\u00fczen kuramamakta veya ruhunda mevcut olan tutarl\u0131l\u0131k \u00f6l\u00e7\u00fcs\u00fcn\u00fcn yard\u0131m\u0131yla, yine birbiriyle tezat te\u015fkil eden \u00e7ok say\u0131da g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131n\u0131 ba\u011fda\u015ft\u0131rarak kendi i\u00e7inde tutarl\u0131 ve d\u0131\u015f d\u00fcnyada objektif kar\u015f\u0131l\u0131\u011f\u0131 olan bir sistem olu\u015fturamamaktad\u0131r. Modern insan, ger\u00e7ek var olu\u015f seviyesine veya Tanr\u0131yla birlikte titre\u015fime varamamaktad\u0131r.
\nYukar\u0131da da bahsetti\u011fimiz gibi Divan \u015fairinin ideal tipi fenafillaha ula\u015fm\u0131\u015f insand\u0131r. Onun da en b\u00fcy\u00fck hedefi ehl-i d\u00fcnya, zahid, kuru softa, a\u015fks\u0131z ilim sahibi insanlar\u0131 kendi d\u00fcnyas\u0131ndan beyit beyit uyarmakt\u0131r.
\nFuz\u00fbl\u00ee diyor ki: \t\u201cZulm ile ak\u00e7eler al\u0131p z\u00e2lim
\nEyler in\u2019\u00e2m halka minnet ile
\nBilmez an\u0131 ki etti\u011fi zulme
\nG\u00f6recektir cez\u00e2 mezellet ile
\nM\u00fcdde\u2019\u00e2s\u0131 bu kim r\u0131z\u00e2-yi \u0130l\u00e2h
\nAna h\u00e2s\u0131l olur bu \u00e2det ile
\nCenneti almak olmaz ak\u00e7e ile
\nGirmek olmaz behi\u015fte r\u00fc\u015fvet ile\u201d (AKY\u00dcZ, 2000)
\n\u201cZul\u00fcm ile halktan para dev\u015firenler bu zul\u00fcmlerinin kar\u015f\u0131l\u0131\u011f\u0131n\u0131 elbette d\u00fc\u015fk\u00fcnl\u00fckle g\u00f6receklerdir. Bu durum tanr\u0131n\u0131n s\u00f6z\u00fcd\u00fcr. Zalim bilmeli ki cennete r\u00fc\u015fvetle girilmez.\u201d
\n\u0130\u015fte insan i\u00e7in kafa yoran Eliot ve Fuz\u00fbl\u00ee ayn\u0131 noktada bir araya geliyorlar: D\u00fcnya sevgisi Tanr\u0131 sevgisinin \u00f6n\u00fcne ge\u00e7memelidir.
\nDivan \u015fairine g\u00f6re insan, \u00f6nce be\u015fer\u00ee a\u015fk\u0131 tatmal\u0131 daha sonra \u0130l\u00e2h\u00ee a\u015fka y\u00fckselmelidir. Eliot\u2019un Profrock\u2019\u0131 , birinci merhaleyi dahi ya\u015fayamad\u0131\u011f\u0131 i\u00e7in tamamen \u00e7\u00f6z\u00fck bir karakter \u00e7izer. G\u00fcn\u00fcm\u00fcz\u00fcn televizyon-kolik insan\u0131 ayn\u0131 ilgisizlik ve a\u015fks\u0131zl\u0131k i\u00e7inde g\u00fcnlerini s\u00fcrd\u00fcr\u00fcp durmaktad\u0131r.<\/p>\n
Yine divan \u015fairinin,
\n\u201c\u0130lm kesbiyle p\u00e2ye-i rif\u2019at
\nArz\u00fb-yi muh\u00e2l imi\u015f ancak
\n\u2018A\u015fk imi\u015f her ne var \u00e2lemde
\n\u2018\u0130lm bir k\u00eel \u00fc k\u00e2l imi\u015f ancak\u201d
\nFuz\u00fbl\u00ee (AKY\u00dcZ, 2000)
\n\u201c ilim sahibi olmakla y\u00fckseldim zannetmek bir hayal imi\u015f. \u00c2lemde olan her \u015fey a\u015fk ile imi\u015f; ilim denilen ise bir dedikodudan ibaretmi\u015f.\u201d diyerek a\u015fks\u0131z ilmin bir dedikodudan ibaret kalaca\u011f\u0131n\u0131 belirtmesi ilgin\u00e7tir. Bu \u015fiir, Eliot\u2019\u0131n Gerontion adl\u0131 kahraman\u0131 i\u00e7in s\u00f6ylemek istediklerini \u00f6zetler gibidir.
\n\u201cGerontion da, Profrock gibi benli\u011finin sadece tek bir melekesi ile var olmaya \u00e7al\u0131\u015fan, ger\u00e7e\u011fi sadece fikirlerinden ibaret ve ilmin s\u0131n\u0131rlar\u0131 i\u00e7inde g\u00f6ren tipik bir bat\u0131l\u0131 entelekt\u00fceldir. Gerontion, sadece d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc i\u00e7in var olmaya \u00e7al\u0131\u015fan bat\u0131l\u0131 insan\u0131n tipik bir temsilcisidir. Gen\u00e7li\u011fin, verimlili\u011fin ve \u00f6l\u00fcmden sonra yeniden do\u011fu\u015fun sembol\u00fc olan bahar, ona ne \u0130sa\u2019n\u0131n dirili\u015fini im\u00e2 eder ne de kendisinin b\u00f6yle bir inan\u00e7la ya\u015fayabilme g\u00fcc\u00fcn\u00fc hat\u0131rlat\u0131r. Gerontion, inan\u00e7s\u0131z ilmin bo\u015flu\u011funu bilmekte fakat bir t\u00fcrl\u00fc iman edememektedir. \u0130nsan\u0131n ilm\u00ee bulgular\u0131 imans\u0131z ellere d\u00fc\u015fmekte ve ilimde kazand\u0131\u011f\u0131 zaferler c\u00fcr\u00fcm ve g\u00fcnahlara yol a\u00e7maktad\u0131r.\u201d (KANTARCIO\u011eLU, 1987: 36)
\nYunus\u2019un deyimiyle: \t\u201c\u0130lim ilim bilmektir
\nilim kendin bilmektir
\nSen kendini bilmezsin
\nYa nice okumakt\u0131r<\/p>\n
Okumaktan mana ne
\nKi\u015fi Hakk\u2019\u0131 bilmektir
\n\u00c7\u00fcn okudun bilmezsin
\nHa bir kuru emektir\u201d (G\u00d6KDEM\u0130R,1990)<\/p>\n
Bu s\u00f6zler ayn\u0131 zamanda Eliot\u2019\u0131n kar\u015f\u0131 \u00e7\u0131kt\u0131\u011f\u0131, liberalizm, materyalizm, \u015fehirle\u015fme, paganla\u015fmaya en g\u00fczel cevapt\u0131r. \u201cModern insan modern paganizm ile iman aras\u0131nda bir se\u00e7im yapmak zorundad\u0131r.\u201d (KANTARCIO\u011eLU, 1987)
\nDivan \u015fairi s\u0131k s\u0131k K\u00e2run telmihinde bulunarak imans\u0131z bilginin ne kadar y\u0131k\u0131c\u0131 olabilece\u011fini anlatmak istemi\u015ftir.
\n\u201c Yir\u00fcn efl\u00e2k olsa \u00ces\u00ee gibi terk et ki d\u00fcny\u00e2y\u0131
\nNice ge\u00e7ti yire K\u00e2r\u00fbnu g\u00f6r d\u00een\u00e2r sevmekden\u201d
\nZ\u00e2t\u00ee (T\u00d6KEL, 2000: 384)
\n\u201cE\u011fer yerini g\u00f6kler olmas\u0131n\u0131 dilersen Hz. \u0130sa gibi d\u00fcnyay\u0131 terk et. Karun\u2019un para sevgisinin kendisini yerin dibine ge\u00e7irdi\u011fini g\u00f6r.\u201d<\/p>\n
Eliot ele\u015ftirmenlerinden George\u2019a g\u00f6re, Gerontion, esas itibar\u0131yla inan\u00e7s\u0131z bir ki\u015finin ruh\u00ee \u00e7\u0131kmaz\u0131n\u0131 ifade etmektedir. Bu ki\u015fi kalbi, duygular\u0131 ve sezgileri pahas\u0131na eri\u015fti\u011fi ilm\u00ee seviyenin bo\u015flu\u011funu anlam\u0131\u015ft\u0131r; fakat par\u00e7alanan ki\u015fili\u011fini tedavi edecek g\u00fcce sahip de\u011fildir. (GEORGE, 1969)
\nYine bir Eliot tefsircisi olan Smith ise hem bug\u00fcn\u00fcn materyalist \u00e7a\u011fda\u015f insan\u0131na hem de d\u00fcn\u00fcn \u00e2lim ge\u00e7inenlerine Gerontion tipi \u00e7er\u00e7evesinde \u015f\u00f6yle bakar:
\n\u201c\u0130lm\u00ee zaferlerle dolu olan tarih, bu geli\u015fmelerinde b\u00fct\u00fcn ger\u00e7e\u011fi sadece ilm\u00ee bulgularla s\u0131n\u0131rland\u0131rarak insan\u0131n ki\u015fili\u011finde par\u00e7alanmaya sebep olmu\u015ftur. Vasat bir insan\u0131n \u015fuuruna varamayaca\u011f\u0131 bu korkun\u00e7 ger\u00e7ek, ya\u015fl\u0131 adam Gerontion i\u00e7in bir k\u00e2bus yo\u011funlu\u011fundad\u0131r. Hayat\u0131n en radikal ger\u00e7e\u011fi de\u011fi\u015fim ve \u00f6l\u00fcmd\u00fcr. \u00d6l\u00fcmden sonraki dirili\u015f ise, sadece insan\u0131n haf\u0131zas\u0131nda kalan bir k\u0131r\u0131nt\u0131d\u0131r. \u00c7a\u011fda\u015f insan b\u00f6yle bir \u015feye olan inanc\u0131n\u0131 \u00e7oktan yitirmi\u015ftir. Bu \u00f6l\u00e7\u00fcde bir inan\u00e7s\u0131zl\u0131k i\u00e7inde \u00f6l\u00fcm\u00fcn ger\u00e7e\u011fiyle g\u00f6z g\u00f6ze gelmenin cehennem\u00ee \u0131st\u0131rab\u0131n\u0131 ya\u015famak, Gerontion i\u00e7in ka\u00e7\u0131n\u0131lmaz bir tecr\u00fcbedir. (SM\u0130TH, 1956)
\n\u201c\u00d6l\u00fcm \u00e2s\u00fbde bah\u00e2r \u00fclkesidir bir rinde;
\nG\u00f6nl\u00fc her yerde b\u00fbhurdan gibi y\u0131larca t\u00fcter\u201d
\nBeyatl\u0131(BEYATLI, 1988)
\n\u201c\u00d6ld\u00fck \u00f6l\u00fcmden bir \u015feyler umarak
\nBir b\u00fcy\u00fck bo\u015flukta bozuldu b\u00fcy\u00fc\u201d
\nTaranc\u0131 (SAMANO\u011eLU, 1988)
\nYukar\u0131daki \u015fiirler, iki ayr\u0131 d\u00fcnya ve ahiret g\u00f6r\u00fc\u015f\u00fcn\u00fcn tezah\u00fcr\u00fcd\u00fcr. Taranc\u0131, \u00f6l\u00fcm\u00fc b\u00fcy\u00fck bir bo\u015fluk g\u00f6r\u00fcp Gerotion gibi d\u00fcnyas\u0131n\u0131 zindan ederken divan \u015fiirinin r\u00fczgar\u0131yla meyve veren Yahya Kemal, \u00f6l\u00fcm\u00fc \u00e2s\u00fbde bahar \u00fclkesine benzetmek suretiyle hem d\u00fcnya hem de \u00e2hiretini mutlu bir bahara \u00e7evirebiliyor.
\nEliot bir noktada divan \u015fairinin \u00e7ok s\u0131k kulland\u0131\u011f\u0131 bir miti \u2013peygamber k\u0131ssas\u0131n\u0131 ele al\u0131yor: Hz.\u00dczeyr\u2019in \u00f6l\u00fcm ve dirili\u015f ile ilgili \u015f\u00fcphesi ve ald\u0131\u011f\u0131 tanr\u0131sal yan\u0131t\u0131.
\nBu konudaki serbest \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131 Tiresias\u2019\u0131 \u0130ncil\u2019de Ezekiel\u2019in \u00d6l\u00fcm Vadisi\u2019nde Tanr\u0131 ile konu\u015fmas\u0131na g\u00f6t\u00fcr\u00fcr. Ona, iman g\u00fcc\u00fcyle hayata kavu\u015fan \u00d6l\u00fcm Vadisi\u2019ndeki insan kemiklerini hat\u0131rlat\u0131r. Yeniden do\u011fu\u015fun m\u00e2n\u00e2s\u0131n\u0131 anlayabilen Tiresias, kendisi bu moral seviyede olmasa da bat\u0131n\u0131n ve kendisinin mustarip oldu\u011fu hastal\u0131\u011f\u0131n \u015fuurundad\u0131r. Analitik zekan\u0131n k\u0131r\u0131k d\u00f6k\u00fck sundu\u011fu ger\u00e7ek k\u0131r\u0131nt\u0131lar\u0131yla ge\u00e7inen \u00e7a\u011fda\u015f insan, ya\u011fmurdan mahrum bir \u00e7\u00f6lde, \u00e7orak bir toprakta ya\u015famaktad\u0131r.
\nDivan \u015fairi Behi\u015ft\u00ee, He\u015ft Behi\u015ft adl\u0131 didaktik mesnevisinde bu konuyu ayn\u0131 ama\u00e7la -\u00f6l\u00fcmden sonra dirilme var- ve ayn\u0131 \u015feklide ele al\u0131r:
\n\u201c \u00dczeyr, merkebiyle yolculuk ederken Kud\u00fcs\u2019e u\u011frar. \u015eehir Buhtu\u2019n-Nassar taraf\u0131ndan tahrip edilmi\u015ftir, halk\u0131 da yok edilmi\u015ftir. \u00dczeyr \u015fehri dola\u015f\u0131r her yer harap ve \u0131ss\u0131zd\u0131r. Bir ba\u011fdan incir ve \u00fcz\u00fcm toplar; \u00fcz\u00fcm\u00fcn bir k\u0131sm\u0131n\u0131 yer, kalan\u0131n\u0131 da \u015f\u0131ra yap\u0131p mataras\u0131na doldurur. Ba\u011fda gezerken bir husus zihnine tak\u0131l\u0131r. Topra\u011fa kar\u0131\u015fm\u0131\u015f bu insanlar\u0131 Cen\u00e2b-\u0131 Hakk\u2019\u0131n yeniden nas\u0131l diriltece\u011fini \u015fa\u015fk\u0131nl\u0131kla d\u00fc\u015f\u00fcn\u00fcr. Sonra bir yerde oturur, uyuya kal\u0131r. Hakk\u2019\u0131n emriyle melekler onun ruhunu kabzeder. \u00dczeyr, y\u00fcz y\u0131l bu halde yatar, cesedi toz olup topra\u011fa kar\u0131\u015f\u0131r. Y\u00fcz y\u0131l\u0131n sonunda Cen\u00e2b-\u0131 Hak onu yeniden diriltir. Ve ilk olarak da olan\u0131 biteni g\u00f6rmesi i\u00e7in g\u00f6zlerine can verir. \u00dczeyr, \u00f6nce ruhunun terk etti\u011fi bedenini g\u00f6r\u00fcr, sonra t\u00fcm bedeni canlan\u0131r.\u201d (YEN\u0130TERZ\u0130, 2001)
\nEliot\u2019\u0131n tabiriyle, \u00e7a\u011fda\u015f insan\u0131n cehenneminde ya\u015fayamayan, ya\u015famaktan korkan \u00f6l\u00fcler vard\u0131r. Ona g\u00f6re Londra \u00f6l\u00fc ve ger\u00e7ek olmayan bir \u015fehirdir. Londral\u0131lar, Azize Mary Woolnothe Kilisesi\u2019nden gelen davetk\u00e2r \u00e7an seslerine sa\u011f\u0131rd\u0131rlar. T\u0131pk\u0131 t\u00fcm M\u00fcsl\u00fcman \u00fclkelerde g\u00fcnde be\u015f defa namaza \u00e7a\u011f\u0131ran ezana insanlar\u0131n sa\u011f\u0131r olduklar\u0131 gibi. Modern M\u00fcsl\u00fcman toplumun hali de Eliot\u2019\u0131n Londra\u2019s\u0131ndan pek farkl\u0131 de\u011fildir.<\/p>\n
\u015eehvet konusu Mevlan\u00e2\u2019da ve t\u00fcm didaktik mesnevi yazan \u015fairlerde iman\u0131n d\u00fc\u015fman\u0131 bir ate\u015f olarak g\u00f6sterilmi\u015ftir. Eliot ise a\u015fks\u0131z, ruhtan gelmeyen bir birlikteli\u011fin, ge\u00e7ici \u015fehev\u00ee ili\u015fkilerin k\u0131s\u0131rl\u0131k ve imans\u0131zl\u0131k g\u00f6stergesi oldu\u011funu belirtir. Eliot, Modern insan\u0131n evlilikte \u015fehveti a\u015fk\u0131n \u00f6n\u00fcne \u00e7\u0131kararak dinin yapabilece\u011fi ruh-beden bar\u0131\u015fmas\u0131na f\u0131rsat vermedi\u011fini belirtiyor ve \u015f\u00f6yle bitiriyor: \u201cAncak a\u015fkta ili\u015fkinin ruh\u00ee y\u00f6n\u00fc, beden\u00ee y\u00f6n\u00fcnden a\u011f\u0131r basmak zorundad\u0131r. \u0130nsan\u0131n kendisini b\u00fct\u00fcnlerken ruhunda kurdu\u011fu hiyerar\u015fik d\u00fczen de bunu gerektirir. \u015eair \u201c\u00c7orak Toprak\u2019ta ele ald\u0131\u011f\u0131 Lill-Albert ili\u015fkisinde \u2018Evlili\u011fin amac\u0131, gelecek nesilleri yeti\u015ftirmektir.\u2019der; fakat Albert\u2019in kar\u0131s\u0131ndaki bedensel bozulmadan dolay\u0131 ba\u015fka kad\u0131n se\u00e7mesi gibi bir yanl\u0131\u015f zihniyetin, toplumu tuza\u011f\u0131na d\u00fc\u015febilece\u011fini anlat\u0131r. Haz prensibine g\u00f6re d\u00fc\u015f\u00fcn\u00fclen ve onun \u00fczerine kurulan bir evlilikten de ba\u015fka bir \u015fey beklenemez.\u201d (KANTARCIO\u011eLU, 1987)
\n\u201cKi\u015fileri \u015fehvet ate\u015finden ancak Tanr\u0131 a\u015fk\u0131n\u0131n ate\u015fi kurtar\u0131p ar\u0131nd\u0131rabilir.\u201d (KANTARCIO\u011eLU, 1987) Divan \u015fairi bu hususta rahat g\u00f6r\u00fcnse de g\u00fcn\u00fcm\u00fcz\u00fcn modern T\u00fcrk-\u0130slam toplumu ayn\u0131 ate\u015fin tam ortas\u0131ndad\u0131r.<\/p>\n
D\u00f6rt Kuartet adl\u0131 \u015fiirde ise \u015fair kendi deyimiyle tefekk\u00fcr \u015fiirleri yazm\u0131\u015ft\u0131r. Kuartetlerde \u015fairin hayat felsefesi, didaktik olmaks\u0131z\u0131n ve sanat\u0131n amac\u0131na halel getirmeksizin, belli bir din\u00ee \u015fuur i\u00e7inde en belirgin ifadesini bulmu\u015ftur.
\nDivan \u015fairinin d\u00fcnya hakk\u0131nda \u2018vahdeti \u00f6rten kesrettir\u2019 demesi Eliot\u2019\u0131n bu \u015fiirinde gayet a\u00e7\u0131k \u015fekilde dile getiriliyor: \u201cD\u0131\u015f alemde kaosun alt\u0131nda gizlenen il\u00e2h\u00ee d\u00fczeni beyaz \u0131\u015f\u0131kla, insan\u0131n kendi benli\u011finin derinliklerinde \u00e7okluktan meydana gelmi\u015f tekli\u011fi ise, \u0131\u015f\u0131ktan mahrum karanl\u0131kla temsil etmek gerekir.\u201d (KANTARCIO\u011eLU, 1987: 58)
\nZaman konusunda ise divan \u015fairinin ibn-i vakt olarak tabir etti\u011fi d\u00fc\u015f\u00fcnceyi savunur Eliot. \u0130bn-i vakt olan d\u00fcn\u00fcn ge\u00e7mi\u015f oldu\u011funu, onun i\u00e7in \u00fcz\u00fclmenin yersiz oldu\u011funu; yar\u0131n\u0131n gelmedi\u011fini, gelip gelmeyece\u011finin belli olmad\u0131\u011f\u0131n\u0131, o halde onun i\u00e7in de endi\u015fe etmemek gerekti\u011fini savunur. Onun i\u00e7in ebed\u00ee bir \u015fimdiki zaman s\u00f6z konusudur. B\u00f6ylece Allah\u2019\u0131n h\u00fckm\u00fcne boyun e\u011filmi\u015f olur:
\n\u201cHar\u00e2bat ehline d\u00fbz\u00e2h az\u00e2b\u0131n anma ey z\u00e2hid
\nKi bunlar ibn-i vakt oldu gam-\u0131 ferd\u00e2y\u0131 bilmezler\u201d
\nHay\u00e2l\u00ee (CENG\u0130Z, 1983: 376)
\n\u201c Ey zahid, d\u00fcnya ilmiyle hayat\u0131 yorumlayan ki\u015fi, tasavvuf yolundakilere gelecekteki Cehennem azab\u0131ndan bahsetme. \u00c7\u00fcnk\u00fc onlar vaktin evlad\u0131 olmu\u015flard\u0131r, sadece \u015fu an\u0131 d\u00fc\u015f\u00fcn\u00fcrler, gelece\u011fin gam\u0131yla ilgilenmezler.\u201d
\nEliot : \u201cBenli\u011finin z\u0131t unsurlar\u0131n\u0131 birbiriyle ba\u011fda\u015ft\u0131rarak kendi i\u00e7inde tutarl\u0131 bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc olu\u015fturmu\u015f ve Tanr\u0131 ile \u2018birlikte titre\u015fim\u2019i ya\u015fam\u0131\u015f bir ki\u015finin a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131 zaman, hayat ge\u00e7mi\u015fin pi\u015fmanl\u0131klar\u0131 ve gelece\u011fin endi\u015feleriyle kararmam\u0131\u015ft\u0131r. Bu ki\u015fi zamana kar\u015f\u0131 taptaze bir tutum geli\u015ftirmi\u015f olan ve ebed\u00ee bir \u015fimdiki zamanda ya\u015fayabilen bir ki\u015fidir.\u201d (KANTARCIO\u011eLU, 1987)<\/p>\n
\u00d6l\u00fcm konusunda t\u00fcm insanlar gibi uzun uzun d\u00fc\u015f\u00fcnen Eliot, \u00f6l\u00fcm\u00fcn insanlar\u0131 bir potada birle\u015ftirdi\u011fini s\u00f6yler. \u201cGe\u00e7mi\u015fin b\u00fct\u00fcn \u00f6l\u00fcleri ve onlar\u0131n d\u00fc\u015fmanlar\u0131, ebed\u00ee sessizli\u011fin anayasas\u0131n\u0131 kabul edip ayn\u0131 partide birle\u015fmediler mi? Hem ma\u011fluptan hem galipten devrald\u0131\u011f\u0131m\u0131z ve onlar\u0131n bize b\u0131rakmak mecburiyetinde olduklar\u0131 yegane miras, \u00f6l\u00fcmde tamamlanan bir \u00f6m\u00fcr, bir sembol de\u011fil midir?\u201d (KANTARCIO\u011eLU, 1987)
\nYunus da y\u00fcz y\u0131llar \u00f6ncesinden Eliot gibi sesleniyor: \u00d6l\u00fcm insanlar\u0131 e\u015fitleyen en m\u00fcthi\u015f ger\u00e7ektir:
\n\u201cSana ibret gerek ise gel g\u00f6resin bu sinleri
\nGer ta\u015f isen eriyesin bak\u0131p g\u00f6r\u00fccek bunlar\u0131
\n\u015eunlar ki \u00e7oktur mallar\u0131 g\u00f6r nic\u2019 oldu halleri
\nSonucu bir g\u00f6mlek giymi\u015f onun da yoktur yenleri
\nHani m\u00fclke benim diyen k\u00f6\u015fk \u00fc saray be\u011fenmeyen
\n\u015eimdi bir evde yatarlar ta\u015flar olmu\u015f \u00fcst\u00fcnleri
\nBunlar bir vakit beyler idi kap\u0131c\u0131lar korlar idi
\nGel \u015fimdi g\u00f6r bilesin bey hangidir ya kullar\u0131\u201d (AKAR, 1992)
\n\u201c Bir zamanlar bey olanlarla o beyin kap\u0131c\u0131s\u0131 olanlar \u015fimdi mezarda e\u015fitlenmi\u015flerdir. Hangisi bey hangisi kap\u0131c\u0131s\u0131 belli de\u011fildir.\u201d<\/p>\n
\u201c\u0130nsan ruh ve bedeni aras\u0131nda denge kurarak kendisini b\u00fct\u00fcnleyemedi\u011fi i\u00e7in, tabiattan da, Tanr\u0131\u2019da da kopuktur. Kendisini ger\u00e7ekle\u015ftiremeyen insan\u0131n cehennem\u00ee tecr\u00fcbesini ve bu insanlar\u0131n bat\u0131 medeniyetini nas\u0131l manev\u00ee bir enkaza \u00e7evirdi\u011fini g\u00f6rmek gerekir\u2026 \u0130nan\u00e7, \u015fekl\u00ee olmaktan ziyade, bir i\u00e7 ses olmal\u0131d\u0131r, devletin ula\u015famayaca\u011f\u0131 en \u00fccra k\u00f6\u015felerde sadece O\u2019nun -Tanr\u0131n\u0131n- otoritesi h\u00e2kim olabilir\u201d (KANTARCIO\u011eLU, 1987: 11)<\/p>\n
C- SONU\u00c7:
\n\u015e\u00fcphesiz her toplumun farkl\u0131 sorunlar\u0131, farkl\u0131 buhranlar\u0131 vard\u0131r; fakat insan her zaman ayn\u0131 sorular\u0131 kendine soran bir varl\u0131kt\u0131r. Bu sorular\u0131n cevaplar\u0131 insan\u0131 ya insan ya da bir canavar yapmaktad\u0131r. Ben kimim? D\u00fcnyada neden bulunmaktay\u0131m? Yar\u0131n ne olaca\u011f\u0131m? sorular\u0131 her insan\u0131n cevap arad\u0131\u011f\u0131 konulard\u0131r. Bu konuya divan \u015fairi ve Eliot paralel bir yakla\u015f\u0131mla a\u00e7\u0131klama getirmektedir. O halde yar\u0131n\u0131n toplumunu bu konuda mutmain k\u0131lman\u0131n bir yolu da akl\u0131n yolunun bir oldu\u011funu her f\u0131rsatta g\u00f6stermektir.<\/p>\n
D-KAYNAK\u00c7A<\/p>\n
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THOMAS STEARNS EL\u0130OT VE D\u0130VAN \u015eA\u0130R\u0130N\u0130N ORTAK D\u00dcNYASI Dr. Metin HAKVERD\u0130O\u011eLU Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 4\/2 Winter 2009 hakverdioglu@hotmail.com \u00d6ZET Divan \u015fairi ile T. S. Eliot aras\u0131nda bir d\u00fc\u015f\u00fcnce … Okumaya devam et