Goethe’den Nigari’ye Benlik Alg\u0131s\u0131 Yahut \u0130nsan ile \u015eeytan\u0131n M\u00fccadelesi (Monomit Teorisi Ba\u011flam\u0131nda Benlik Yolculu\u011fu)
\nDo\u00e7. Dr. Metin HAKVERD\u0130O\u011eLU
\nAy\u015feg\u00fcl \u00d6ZDA\u011e<\/p>\n
\u0130NG\u0130L\u0130ZCE OR\u0130J\u0130NAL\u0130 (L\u0130NK)
\nhttps:\/\/kesitakademi.com\/?mod=tammetin&makaleadi=&makaleurl=1c03b628-9461-4948-a9db-96505f36b1ab.pdf&key=51903<\/p>\n
MAKALEN\u0130N T\u00dcRK\u00c7ES\u0130
\nGOETHE’DEN, N\u0130GAR\u0130’YE BENL\u0130K ALGISI YAHUT
\n\u0130NSAN \u0130LE \u015eEYTANIN M\u00dcCADELES\u0130
\n(Monomit Teorisi Ba\u011flam\u0131nda Benlik Yolculu\u011fu)<\/p>\n
\u00d6Z
\nFaust ile ayn\u0131 d\u00f6nemde \u0130slami \u00e7er\u00e7evede yaz\u0131lm\u0131\u015f bir eser olan Nigar-name, insan\u0131n i\u00e7sel yolculu\u011fu ve \u00e7e\u015fitli engellerle m\u00fccadelesini anlatmas\u0131 bak\u0131m\u0131ndan benzerlik g\u00f6stermektedir. Her iki eserde de insan\u0131n tek\u00e2m\u00fcl yolculu\u011funun benzer y\u00f6ntemle anlat\u0131lmas\u0131 dikkate \u015fayand\u0131r. Ayn\u0131 d\u00f6nemde birbirinden habersiz bir \u015fekilde yaz\u0131lan bu iki eserin anlat\u0131 d\u00fczlemindeki bu benzerli\u011fi, insan\u0131n inan\u00e7 ya da i\u00e7inde bulundu\u011fu toplum fark etmeksizin temelde ayn\u0131 sorunla ba\u015f etmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 ortaya koymaktad\u0131r. Bu temel sorun ise Jung\u2019a g\u00f6re kolektif bilin\u00e7d\u0131\u015f\u0131n\u0131n bir \u00fcr\u00fcn\u00fcd\u00fcr. \u0130nsanl\u0131\u011f\u0131n ortak \u00fcr\u00fcn\u00fc olan bu sorunlarla ba\u015fa \u00e7\u0131kma \u015fekilleri arketip kavram\u0131n\u0131n temelini olu\u015fturmu\u015ftur. \u0130nsanlar\u0131n kar\u015f\u0131la\u015ft\u0131klar\u0131 her t\u00fcrl\u00fc olaya kar\u015f\u0131 olu\u015fturduklar\u0131 \u00e7e\u015fitli psikolojik savunma mekanizmalar\u0131 arketiplerle a\u00e7\u0131klanm\u0131\u015ft\u0131r.
\nBu \u00e7al\u0131\u015fmada, Goethe ve Nigar\u00ee\u2019nin ayn\u0131 d\u00f6nemde (1800\u2019l\u00fc y\u0131llar) ortaya koyduklar\u0131 iki farkl\u0131 eserin temelde nas\u0131l bir benzerli\u011fe sahip oldu\u011fu incelenmi\u015ftir ve insan\u0131n d\u00f6n\u00fc\u015f\u00fcm yolculu\u011fu J. Campbell\u2019in Monomit Kuram\u0131 \u00fczerinden a\u00e7\u0131klanarak arketip kavram\u0131n\u0131n farkl\u0131 k\u00fclt\u00fcrlerde benzer yaratmalar\u0131n meydana \u00e7\u0131k\u0131\u015f\u0131ndaki rol\u00fc \u00fczerinde durulmu\u015ftur.
\nAnahtar Kelimeler: Goethe, Faust, Nigar\u00ee, Nigar-name, Monomit, Arketip, Jung, Campbell, Mukayeseli Edebiyat.<\/p>\n
SELF PERCEPTION FROM GOETHE TO NIGARI OR
\nFIGHT OF HUMAN AND THE DEVIL
\n(Self Journey in Context of Monomite Theory)<\/p>\n
ABSTRACT
\nNigar-name, a work written in an Islamic framework at the same time as Faust, is similar in terms of describing the inner journey of man and his struggle against various obstacles. It is noteworthy that both works describe the evolutionary journey of man. This similarity in the narrative plane of these two works, which were written without knowing each other in the same period, reveals that human beings basically try to cope with the same problem, regardless of belief or society. This fundamental problem is, according to Jung, a product of the collective unconscious. The ways of dealing with these problems, which are the common product of humanity, formed the basis of the archetype concept. Various psychological defense mechanisms created by people against all kinds of events they encounter are explained with archetypes.
\nIn this study, the similarity of the two different works of Goethe and Nigari in the same period is examined and the role of the concept of archetype in the emergence of similar creations in different cultures is emphasized by explaining the transformation journey of human through J. Campbell’s Monomite Theory.<\/p>\n
Keywords: Goethe, Faust, Nigari, Nigar-name, Monomit, Archetype, Jung, Campbell, Comparative Literature.<\/p>\n
Giri\u015f
\nOrta\u00e7a\u011f Avrupa\u2019s\u0131nda filizlenen Faust efsanesinin, \u0130ncil\u2019in El\u00e7ilerin \u0130\u015fleri b\u00f6l\u00fcm\u00fcnde bahsi ge\u00e7en B\u00fcy\u00fcc\u00fc Simon\u2019un \u00f6yk\u00fcs\u00fcnden kaynakland\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Faust efsanesi insan\u0131n ruhunu \u015eeytana satmas\u0131yla sonu\u00e7lanmaktad\u0131r. \u201cYa\u015fam\u0131n\u0131n sonuna dek Faust \u00fczerinde \u00e7al\u0131\u015fan ve onu tamamlad\u0131ktan k\u0131sa bir s\u00fcre sonra da \u00f6len Goethe\u2019nin Alman edebiyat\u0131na etkisi \u00e7ok \u00f6nemlidir.\u201d (Mendereso\u011flu, 2005) Goethe bu efsaneden esinlenerek kaleme ald\u0131\u011f\u0131 Faust Tragedyas\u0131n\u0131 klasik efsanedeki olaylardan farkl\u0131 olarak insan\u0131n ya\u015fam i\u00e7erisindeki yolculu\u011funu, d\u0131\u015f d\u00fcnya ile kurdu\u011fu irtibat\u0131n\u0131, elindekilerden daha fazlas\u0131na sahip olma \u00e7abas\u0131n\u0131 anlatan \u00e7e\u015fitli olaylar \u00e7er\u00e7evesinde kurgulam\u0131\u015ft\u0131r. Bu \u00f6zellikleri bak\u0131m\u0131ndan yaln\u0131zca efsanenin yarat\u0131ld\u0131\u011f\u0131 toplumla s\u0131n\u0131rl\u0131 kalmayarak evrensel bir \u00f6zelli\u011fe de sahip olmu\u015ftur.
\nFaust ya\u015fad\u0131\u011f\u0131 d\u00f6nemin b\u00fct\u00fcn ilimlerinde uzmanla\u015fm\u0131\u015f bir doktordur. Ruh ve b\u00fcy\u00fc \u00fczerine de \u00e7al\u0131\u015fmalar y\u00fcr\u00fcten Faust, bulundu\u011fu ilim mertebesine ra\u011fmen doyuma ula\u015famam\u0131\u015f, yapt\u0131\u011f\u0131 hi\u00e7bir i\u015ften tatmin olamam\u0131\u015ft\u0131r. Faust bu ruhsal bunal\u0131mlar\u0131 ya\u015fayadursun, o s\u0131rada g\u00f6kte Tanr\u0131 ve \u015eeytan aras\u0131nda bir bahse tutu\u015fulur. Anlat\u0131da \u015eeytan olarak kar\u015f\u0131m\u0131za \u00e7\u0131kan Mephisto, Faust\u2019u ba\u015ftan \u00e7\u0131kararak yanl\u0131\u015fa s\u00fcr\u00fckleyece\u011fini, Tanr\u0131 ise \u015eeytan ne yaparsa yaps\u0131n insan\u0131n \u00f6z\u00fcn\u00fcn iyi oldu\u011funu ve her t\u00fcrl\u00fc yanl\u0131\u015fa s\u00fcr\u00fcklenme ve aldanmaya ra\u011fmen sonunda Faust (insan)\u2019un do\u011fru yola erece\u011fini ifade etmi\u015ftir. Bu sebepledir ki Tanr\u0131, \u015eeytan\u2019\u0131n Faust \u00fczerinde bir deneme yapmas\u0131n\u0131 serbest b\u0131rakm\u0131\u015ft\u0131r.
\nMephisto, ruhi bir \u00e7\u0131kmazda s\u00fcr\u00fcklenen Faust\u2019a, hayat\u0131n b\u00fct\u00fcn zevklerini tatt\u0131r\u0131p onu tatmine ula\u015ft\u0131rabilece\u011fine dair vaatlerde bulunur. Sonu\u00e7 olarak Faust ve Mephisto aras\u0131nda bir s\u00f6zle\u015fme yap\u0131l\u0131r. Anla\u015fmaya g\u00f6re Faust herhangi bir zamanda en ufak bir an i\u00e7in bile \u2018dur ge\u00e7me zaman, ne kadar g\u00fczelsin\u2019 diyecek olursa ruhunu \u015eeytana satmay\u0131 kabul ederek \u00f6lecek ve Mephisto hem Faust\u2019la hem de Tanr\u0131\u2019yla girdi\u011fi iddiay\u0131 kazanacakt\u0131r.
\nO zamana kadar \u00f6mr\u00fc yaln\u0131zca kitaplar aras\u0131nda ge\u00e7mi\u015f olan Faust\u2019u t\u00fcrl\u00fc zevk \u00fc sefa \u00e2lemlerinde gezdiren Mephisto, girdi\u011fi iddiay\u0131 kazanmak ad\u0131na her t\u00fcrl\u00fc giri\u015fimde bulunur. Onu, d\u00fcnya nimetinin bin bir t\u00fcrl\u00fcs\u00fcyle muhatap eder. B\u00fcy\u00fcc\u00fc bir kad\u0131na haz\u0131rlatt\u0131\u011f\u0131 a\u015fk iksirini Faust\u2019a i\u00e7irip kar\u015f\u0131s\u0131na Margeret ad\u0131nda bir gen\u00e7 k\u0131z \u00e7\u0131kar\u0131r ve Faust\u2019u ona \u00e2\u015f\u0131k eder. Bu a\u015fk Faust i\u00e7in engellenemeyecek arzular uyand\u0131r\u0131r. Ancak bu a\u015fk da kal\u0131c\u0131 olmaz ve Mephisto, Faust\u2019u oradan oraya s\u00fcr\u00fcklemeye devam eder. Bu ama\u00e7s\u0131z s\u00fcr\u00fcklenmeler sonucu kendini kaybeden Faust, Gretchen (Margeret)\u2019\u0131n \u00f6l\u00fcm\u00fc ile sars\u0131larak vicdan\u0131 ile ba\u015f ba\u015fa kal\u0131r ve ilk b\u00f6l\u00fcm sonland\u0131r\u0131l\u0131r.
\n\u0130kinci b\u00f6l\u00fcmde ise tatminsiz kahraman\u0131m\u0131z Faust bu kez de Yunan g\u00fczeli Helena\u2019ya \u00e2\u015f\u0131k olur. Tragedyan\u0131n ba\u015flang\u0131c\u0131nda Faust bir \u0130ncil \u00e7evirisi ile me\u015fgulken yarad\u0131l\u0131\u015f\u0131n ba\u015flang\u0131c\u0131na dair baz\u0131 \u00e7\u0131kar\u0131mlarda bulunmu\u015ftur. Yarad\u0131l\u0131\u015f\u0131n ba\u015flang\u0131c\u0131 \u201cs\u00f6z m\u00fcd\u00fcr?\u201d, \u201canlam m\u0131d\u0131r?\u201d yoksa \u201ceylem midir?\u201d Bu d\u00fc\u015f\u00fcnce \u00fczerindeki \u00e7\u0131kar\u0131m ikinci b\u00f6l\u00fcmde net olarak ortaya koyulur ve Faust yarad\u0131l\u0131\u015f\u0131n amac\u0131n\u0131n \u201ceylem\u201d oldu\u011funa karar verir. Bu karar ikinci b\u00f6l\u00fcm\u00fcn \u015fekilleni\u015fi a\u00e7\u0131s\u0131ndan kayda de\u011ferdir. Zira Faust bu k\u0131s\u0131mda daha \u00e7ok yapt\u0131klar\u0131yla \u00f6n plana \u00e7\u0131karak tatmin olmay\u0131 ye\u011flemektedir. \u0130nsanlara ve \u00e7evresine faydal\u0131 oldu\u011fu m\u00fcddet\u00e7e yarad\u0131l\u0131\u015f\u0131n\u0131n anlam\u0131n\u0131 buldu\u011funu d\u00fc\u015f\u00fcnmekte ve kalbi mutmain seviyesine bir ad\u0131m daha yakla\u015fmaktad\u0131r. Bu d\u00fc\u015f\u00fcncelerle batakl\u0131k sahay\u0131 verimli bir otlak haline getirme karar\u0131n\u0131 ald\u0131\u011f\u0131 anda manevi tatmine ula\u015farak mutmain seviyesinde zamana; \u201cdur ge\u00e7me \u00e7ok g\u00fczelsin\u201d der ve ruhunu teslim eder. Son s\u00f6zleri \u201cBenim bu d\u00fcnyada ya\u015fad\u0131\u011f\u0131m g\u00fcnlerin izi y\u00fczy\u0131llarca silinmeyecektir. \u015eimdi bu b\u00fcy\u00fck mutlulu\u011fu i\u00e7inde ya\u015f\u0131yor ve en y\u00fcce an\u0131n zevkine var\u0131yorum.\u201d (Mendereso\u011flu, 2005) olur. G\u00f6r\u00fcn\u00fc\u015fte, Mephisto kazanm\u0131\u015f ve Faust\u2019un \u00f6l\u00fcm\u00fcne sebep olmu\u015ftur; ancak Faust\u2019un erdemli davran\u0131\u015f\u0131 sayesinde melekler onun ruhunu g\u00f6\u011fe y\u00fckseltmi\u015f, Faust da i\u00e7indeki iyilik sayesinde affedilmi\u015ftir.
\n\u00c7al\u0131\u015fmam\u0131z\u0131n bir di\u011fer aya\u011f\u0131 da Mir Hamza Nigar\u00ee taraf\u0131ndan kaleme al\u0131nm\u0131\u015f olan Nigar-name adl\u0131 4545 beyitlik eserden yola \u00e7\u0131k\u0131larak olu\u015fturulmu\u015ftur. Mir Hamza Nigari, Azerabycan\u2019dan Rus zulm\u00fc y\u00fcz\u00fcnden Anadolu\u2019ya g\u00f6\u00e7en b\u00fcy\u00fck bir \u0130slam alimidir. 19. Y\u00fczy\u0131l boyunca hem sanat hem de \u0130slami ilimlerde \u00f6nemli eserler vermi\u015ftir. T\u00fcrk\u00e7e ve Fars\u00e7a Divan\u0131 yan\u0131nda Nigarname adl\u0131 mesnevisi de vard\u0131r. Nak\u015fibendili\u011fin Halidi kolunda ir\u015fad faaliyeti y\u00fcr\u00fcten Nigari Ruslarla yap\u0131lan m\u00fccadele yan\u0131nda insan\u0131n nefsiyle yapt\u0131\u011f\u0131 m\u00fccadelede de ba\u015far\u0131l\u0131 olmas\u0131 gerekti\u011fini savunmu\u015ftur. Nigar-name, tamamen dini-tasavvufi muhtevada kaleme al\u0131nm\u0131\u015f, Nigar\u00ee\u2019nin a\u015fka dair g\u00f6r\u00fc\u015flerinin yer ald\u0131\u011f\u0131 tasavvuf\u00ee mahiyetli bir eserdir. (Ta\u015fl\u0131ova, 1999; Memmedli, 2012; Karaday\u0131, 2017)
\nNigar\u00ee de Goethe gibi hayat\u0131n\u0131n son demlerinde bu eseri kaleme alm\u0131\u015ft\u0131r. \u00c7al\u0131\u015fmam\u0131z\u0131n temel amac\u0131 da burada ortaya \u00e7\u0131kmaktad\u0131r. Yakla\u015f\u0131k ayn\u0131 y\u0131llarda (Faust-I 1806, Faust- II 1832; Nigar-n\u00e2me 1882) yaz\u0131lan iki eserde t\u00fcm insanl\u0131\u011f\u0131n ortak y\u00f6nlerini ortaya koyan Monomit Teorisinin bu kadar \u00f6rt\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc tespit etmek ilgin\u00e7tir. Bu ayn\u0131 zamanda ister Do\u011fuda ister Bat\u0131da olsun insan\u0131n ayn\u0131 temel sorunla m\u00fccadele etti\u011fini g\u00f6stermektedir: Nefis. Monomit Teorisi her ne kadar zaten bu temel benzerli\u011fi savunuyorsa da iki eserin bu ba\u011flamda incelenmesi mukayeseli edebiyat ad\u0131na \u00f6nemlidir. \u00c7al\u0131\u015fmam\u0131z\u0131n bir aya\u011f\u0131 da bu ba\u011flamda mukayeseli edebiyata uzan\u0131r; Nezahat \u00d6ztekin\u2019in \u015fu c\u00fcmlesini desteklemeyi ama\u00e7lar:
\n\u201cMukayeseli edebiyat tarih\u00e7ileri, k\u00fclt\u00fcr etkile\u015fimlerinin bu geni\u015f haritas\u0131n\u0131 g\u00f6zard\u0131 edip ara\u015ft\u0131rmalar\u0131n\u0131 sadece Avrupa k\u0131tas\u0131yla s\u0131n\u0131rlayarak, Avrupa k\u0131tas\u0131 i\u00e7indeki fikir, tem, tip, duygu, hay\u00e2l ve mek\u00e2nlar\u0131n tarihini \u00e7izmeyi teklif ederler. Avrupa i\u00e7indeki etkile\u015fim ak\u0131mlar\u0131n\u0131n onlar\u0131 genel edebiyat tarihine g\u00f6t\u00fcrece\u011finden emindirler. Oysa Asya\u2019y\u0131 g\u00f6z ard\u0131 ederek yap\u0131lacak bir etkile\u015fim tarihinin eksik olaca\u011f\u0131 muhakkakt\u0131r.\u201d (\u00d6ztekin, 2007: 678)
\nNigar-n\u00e2me\u2019nin konusu temelde a\u015fk ve seyr-i s\u00fcluk \u00fczerine kurulmu\u015ftur. Salikin il\u00e2h\u00ee a\u015fk yolculu\u011funda ya\u015fad\u0131\u011f\u0131 haller ve elde etti\u011fi makamlar hakk\u0131nda detayl\u0131 bilgiler i\u00e7ermektedir. Nigar-n\u00e2me\u2019nin, a\u015fk yoluyla Allah\u2019a ula\u015fman\u0131n zevkini elde etmeyi ve bu yolda \u00e7ekilen \u00e7ileleri, ayn\u0131 zamanda da salikin seyr-i s\u00fcluk e\u011fitim ser\u00fcvenini ilahi a\u015fk perspektifinden i\u015fleyen bir eser oldu\u011funu s\u00f6yleyebiliriz.
\nNigar-n\u00e2me\u2019de salikin bir r\u00fcya ile ba\u015flayan a\u015fk tecr\u00fcbesinin \u00e7e\u015fitli \u00e7at\u0131\u015fmalarla ve ba\u015fka r\u00fcyalarla desteklenerek ilahi a\u015fka d\u00f6n\u00fc\u015fmesi ve bu a\u015fk yolculu\u011funda ayn\u0131 zamanda ilahi makamlar\u0131n da ge\u00e7ilmesi detayl\u0131 bir \u015fekilde anlat\u0131lm\u0131\u015ft\u0131r. \u201cSebeb-i nazm-\u0131 Nigar-name\u201d b\u00f6l\u00fcm\u00fcnde Nigar\u00ee, eserinin ni\u00e7in yazd\u0131\u011f\u0131n\u0131 da bizzat kendisi a\u00e7\u0131klam\u0131\u015ft\u0131r. Kendisinin bir r\u00fcya g\u00f6rd\u00fc\u011f\u00fcn\u00fc, bu r\u00fcyada bade i\u00e7ti\u011fini, bu badenin onu a\u015fka d\u00fc\u015f\u00fcrd\u00fc\u011f\u00fcn\u00fc ve a\u015fk ate\u015finin elinde \u00e7aresiz kald\u0131\u011f\u0131n\u0131 belirten bir \u015fiirle kendinde vuku bulan halden bizleri haberdar eder.
\nBil kadrini imdi bir bin\u00e2 et
\nBir t\u00e2ze hik\u00e2yeyi ed\u00e2 et
\nAl kilki ele kit\u00e2bet eyle
\nBir k\u0131ssa-y\u0131 ter hikayet eyle (Memmedli, 2012: 40)
\nNigar\u00ee, Allah\u2019\u0131n bir ikram\u0131 olarak g\u00f6rd\u00fc\u011f\u00fc a\u015fk ile kemale erme yolunda ilerlemi\u015f ve mutlak g\u00fczele ula\u015fm\u0131\u015ft\u0131r. Nigar-name de bu olgunlu\u011fun bir meyvesidir. Alegorik bir eser olan Nigar-name, nefis ile insan m\u00fccadelesini anlatan mesnevilerden birisidir. \u015eair r\u00fcyas\u0131nda g\u00f6rd\u00fc\u011f\u00fc nuran\u00ee bir g\u00fczelli\u011fe ba\u011flad\u0131\u011f\u0131 g\u00f6nl\u00fcn\u00fc, manevi meclislerde kimi zaman ariflerle ve \u00e2limlerle konu\u015fturarak kimi zaman da nefs\u00ee \u00f6zellikleri temsil eden mihmanlarla sava\u015ft\u0131rarak belli merhalelerden ge\u00e7irir.
\n\u201cNasihat\u00e7i olarak \u015fu dostlar \u00e2\u015f\u0131\u011f\u0131n evine davet edilir: \u00e2lim-i \u015feriat (\u015feriat \u00e2limi), k\u00e2mil-i tar\u00eekat (tarikatta olgunla\u015fm\u0131\u015f), v\u00e2iz-i Hud\u00e2 (Allah\u2019\u0131 anlatan vaiz), s\u00e2kiy\u00e2n-\u0131 mest\u00e2n (i\u00e7ki sunan sarho\u015f), k\u00e2mil-i k\u00fchen-s\u00e2l (ya\u015fl\u0131 k\u00e2mil), nev-civan-\u0131 ho\u015fh\u00e2l (gen\u00e7 arkada\u015f), rehneverd (yolcu), Lokman (hekim), mutrib-i ho\u015f-\u00e2vaz (\u00e7alg\u0131c\u0131), \u015f\u00e2ir-i g\u00fcher-b\u00e2r (\u015fair), m\u00e2l-d\u00e2r\u00ee (zengin). Bu dostlar\u0131n her biri, kendince, d\u00fcnyan\u0131n as\u0131l gayesinin kendi hayat d\u00fcsturlar\u0131 oldu\u011funu, di\u011fer \u015feylerin ise bo\u015f oldu\u011funu iddia ederler. \u00c2\u015f\u0131k ise her birine Nigar\u2019a giden yolun oradan ge\u00e7medi\u011fini g\u00f6sterir.\u201d (Hakverdio\u011flu, 2017: 461)
\n\u201cManevi yolculuk anlat\u0131s\u0131 tarih i\u00e7inde geli\u015ftik\u00e7e yolcu tipleri halkla\u015f\u0131r. Yolculu\u011fun amac\u0131 da yolcuda bulunur. Yani ama\u00e7; yolculukta elde edilen olgunluktur. Bu noktada manevi yolculuk anlat\u0131s\u0131 ile mesnevinin a\u015fk yolundaki temas\u0131 \u00f6rt\u00fc\u015f\u00fcr. Manevi yolculuk anlat\u0131lar\u0131nda, tarihin ba\u015f\u0131ndan beri bir \u00e7e\u015fit a\u015fk yolunda olgunla\u015fma temas\u0131 vard\u0131r. Bu tema mesnevi gelene\u011fi ile birle\u015fince, manevi yolculuk anlat\u0131s\u0131 kad\u0131n-erkek ili\u015fkisi i\u00e7erisinde i\u015flenmeye ba\u015flar.\u201d (Holbrook, 1996: 7)
\nBu durum Nig\u00e2r-n\u00e2me i\u00e7in de ge\u00e7erlidir. Mesnevi kahraman\u0131 Mizban (ev sahibi) da Nig\u00e2r isimli bir kad\u0131n tahayy\u00fcl\u00fc \u00fczerinden manevi yolculu\u011fa ba\u015flam\u0131\u015ft\u0131r. Neticede hakikat, varl\u0131k itibariyle sevgiliden ayr\u0131 de\u011fildir, sevgilinin varl\u0131\u011f\u0131 hakikatin bir yans\u0131mas\u0131d\u0131r. Sevgili arac\u0131l\u0131\u011f\u0131yla hakikatin asl\u0131na ula\u015fmak m\u00fcmk\u00fcnd\u00fcr.
\nYol ve yolculuk metaforu Faust\u2019ta da kendini g\u00f6stermektedir. Ancak Faust\u2019ta yolculuk yaln\u0131zca i\u00e7 \u00e2lemde de\u011fil fizik\u00ee olarak da ger\u00e7ekle\u015fmektedir. Faust\u2019un yolculu\u011fu d\u0131\u015f d\u00fcnyadan hareketle ruhuna sirayet etmi\u015ftir. D\u00fcnya zevklerini tadarak doyuma ula\u015fmaya \u00e7al\u0131\u015fm\u0131\u015f, bu yan\u0131lg\u0131lar\u0131n\u0131n ard\u0131ndan yolculu\u011fu boyunca arad\u0131\u011f\u0131 manevi tatminin asl\u0131nda d\u00fcnyevi zevklerden ziyade manevi zevklerle olu\u015faca\u011f\u0131n\u0131 anlam\u0131\u015ft\u0131r.
\n\u0130ki anlat\u0131 \u00fczerinden tespit etti\u011fimiz a\u015famalar, Jung\u2019un etkisiyle Campbell taraf\u0131ndan olu\u015fturulan \u201cmonomit kuram\u0131\u201d ile olduk\u00e7a benzerlik g\u00f6stermektedir. Campbell, anlat\u0131lardaki basamaklar\u0131, kahramanlar\u0131n yola \u00e7\u0131k\u0131\u015f\u0131ndan ba\u015flayarak a\u015famalara ay\u0131rm\u0131\u015f, bu yolculu\u011fu \u201cYola \u00c7\u0131k\u0131\u015f\u201d \u201cErginlenme\u201d ve \u201cGeri D\u00f6n\u00fc\u015f\u201d olarak bir sistemati\u011fe oturtmu\u015ftur.
\nC.G. Jung, insanl\u0131\u011f\u0131n ge\u00e7mi\u015ften bug\u00fcne olu\u015fan k\u00fclt\u00fcrel birikiminin tamam\u0131n\u0131n insan\u0131n bilin\u00e7 d\u0131\u015f\u0131nda kay\u0131tl\u0131 oldu\u011funu \u00f6ne s\u00fcrm\u00fc\u015ft\u00fcr. Jung\u2019a g\u00f6re insanlar farkl\u0131 co\u011frafyalarda birbirlerinden habersiz ya\u015fasalar da evrensel bir k\u00fclt\u00fcr\u00fcn etkisinde benzer yaratmalarda bulunmu\u015flard\u0131r. Tarih boyunca ya\u015fan\u0131lan hi\u00e7bir olay silinip gitmemi\u015ftir. Ya\u015fan\u0131lan bu ortak k\u00fclt\u00fcr insanlar\u0131n bilin\u00e7 d\u0131\u015f\u0131nda otomatik olarak kay\u0131tl\u0131d\u0131r. Bilin\u00e7 d\u0131\u015f\u0131nda gizli olarak bulunan bu evrensel k\u00fclt\u00fcr birikimi baz\u0131 sembollerle a\u00e7\u0131\u011fa \u00e7\u0131kar. Bu sembollere ise arketip denilmi\u015ftir. R\u00fcyalar ve hayaller de bu sembollerin insan bilincine aktar\u0131ld\u0131\u011f\u0131 alanlard\u0131r. Bu sebepledir ki insan ge\u00e7mi\u015ften bug\u00fcne bilin\u00e7li ya da bilin\u00e7siz, i\u00e7inde bulundu\u011fu ya\u015fam\u0131 ve \u00e7evreyi bu r\u00fcya ve hayallerin, hislerin etkisiyle \u015fekillendirmi\u015ftir.
\nCampbell de Jung\u2019un \u00e7al\u0131\u015fmas\u0131ndan hareketle kahraman\u0131n anlat\u0131lardaki ortak \u00f6zelliklerini ke\u015ffetmi\u015f ve bunu \u201cmonomit\u201d kavram\u0131yla a\u00e7\u0131klam\u0131\u015ft\u0131r. Bu kurama g\u00f6re kahraman d\u00f6ng\u00fcsel nitelikte bir yolculuk ile maceraya at\u0131l\u0131r. Kar\u015f\u0131 konulamaz yol \u00e7a\u011fr\u0131s\u0131 ile ba\u015flayan hik\u00e2ye farkl\u0131 alegorik yakla\u015f\u0131mlarla \u00f6r\u00fclm\u00fc\u015f bir maceraya d\u00f6n\u00fc\u015f\u00fcr. Bu macera ise erginlenme\/d\u00f6n\u00fc\u015f\u00fcm i\u00e7in gerekli olan \u00e7e\u015fitli s\u0131navlarla \u00f6r\u00fcl\u00fcd\u00fcr ve maceran\u0131n sonunda kahraman ba\u015flad\u0131\u011f\u0131 yere geri d\u00f6ner. Burada kastedilen ba\u015flang\u0131\u00e7 insan\u0131n yarad\u0131l\u0131\u015f\u0131ndaki iyilik, i\u00e7erisinde bar\u0131nd\u0131rd\u0131\u011f\u0131 a\u015fk, asli vatan\u0131 olan ruhlar \u00e2lemi ya da ruhunun tek\u00e2m\u00fcl\u00fc, y\u00fckseli\u015fi olarak adland\u0131r\u0131labilir. \u0130nsan d\u00fcnyaya g\u00f6nderildi\u011finden beri gurbettedir ve as\u0131l vatan\u0131ndan ayr\u0131d\u0131r. As\u0131l vatan\u0131 ise yarat\u0131c\u0131n\u0131n cemalidir. Bu vatana kavu\u015fmak ise ruhun y\u00fckseli\u015fi ile m\u00fcmk\u00fcnd\u00fcr. Campbell\u2019in \u201cerginlenme\u201d olarak adland\u0131rd\u0131\u011f\u0131 basamak ise tasavvufi anlamda insan-\u0131 k\u00e2mil olmakla ve ruhun y\u00fckseli\u015fi ile alakal\u0131d\u0131r. Bu a\u00e7\u0131dan yolculuk kahraman\u0131n ba\u015flad\u0131\u011f\u0131 yere d\u00f6nmesi ile sonu\u00e7lan\u0131r. \u00c7\u00fcnk\u00fc ba\u015flang\u0131\u00e7 \u2018nur-\u0131 ilah\u00ee\u2019dir.
\nBu \u00e7al\u0131\u015fmada ayn\u0131 y\u00fczy\u0131lda farkl\u0131 co\u011frafyalarda yaz\u0131lm\u0131\u015f iki eser olan Faust ve Nigar-name\u2019de insan\u0131n anlam aray\u0131\u015f\u0131 monomit kuram\u0131 \u00fczerinden \u00e7\u00f6z\u00fcmlenmeye \u00e7al\u0131\u015f\u0131lm\u0131\u015ft\u0131r. \u0130ki esere de konu olan aray\u0131\u015f yolculu\u011fu iki yazar\u0131n da gen\u00e7lik d\u00f6neminden ba\u015flayarak hayatlar\u0131n\u0131n son d\u00f6nemine kadar ya\u015fad\u0131klar\u0131n\u0131n birer aynas\u0131 olmas\u0131 bak\u0131m\u0131ndan benzerlik g\u00f6stermektedir. Nigar-name mesnevisi Mizban karakteri \u00fczerinden tek\u00e2m\u00fcl basamaklar\u0131n\u0131 bir bir \u00e7\u0131kan, seyr-i s\u00fcluk yolcusu bir dervi\u015fin nefsiyle olan manevi \u00e2lemdeki m\u00fccadelesini konu alm\u0131\u015ft\u0131r. \u00d6te taraftan Goethe\u2019nin Faust\u2019u ise yine ayn\u0131 d\u00fczlemde fakat farkl\u0131 bir yoldan giderek insan\u0131n anlam aray\u0131\u015f\u0131n\u0131 ve bu aray\u0131\u015fta kar\u015f\u0131la\u015ft\u0131\u011f\u0131 t\u00fcrl\u00fc zorlu\u011fu, \u015eeytan ile olan m\u00fccadeleyi, panteist bir yakla\u015f\u0131mla ele alarak ortaya koymu\u015ftur.
\nEserler aras\u0131nda do\u011frudan bir ili\u015fki g\u00f6zlemlenememekle beraber i\u015flenilen konunun temel eksendeki benzerli\u011fi dikkate \u015fayand\u0131r. Ele ald\u0131\u011f\u0131m\u0131z iki eser de insan\u0131n sorgulama merkezli bir yakla\u015f\u0131mla \u00f6z\u00fcn\u00fc, varolu\u015f amac\u0131n\u0131 aramas\u0131 sonucu olu\u015fan yolculu\u011fu i\u015flemi\u015flerdir.
\nNigar\u00ee (Mizban) bir m\u00fcr\u015fittir ve etraf\u0131nda m\u00fcritleri vard\u0131r. M\u00fcr\u015fit olmas\u0131 onun dini ve ahlaki a\u00e7\u0131dan m\u00fckemmel oldu\u011funun g\u00f6stergesidir. Faust da hik\u00e2yede ya\u015fad\u0131\u011f\u0131 d\u00f6nem i\u00e7in \u00f6nemli bir bilgin, ahlakl\u0131 ve dinine ba\u011fl\u0131 bir insan olarak g\u00f6r\u00fclmektedir. Tragedyan\u0131n prolog k\u0131sm\u0131nda da Tanr\u0131 kat\u0131nda derece kazanm\u0131\u015f bir insan olarak tasvir edilmi\u015ftir. Tanr\u0131 Faust\u2019un, ne kadar aldan\u0131rsa aldans\u0131n, sonunda do\u011fru yolu bulaca\u011f\u0131n\u0131 bilir ve \u015eeytana onun \u00fczerinde oyun oynamas\u0131 i\u00e7in f\u0131rsat verir.
\n\u201cMevl\u00e2n\u00e2 da, \u201cz\u00fchd\u201d ya\u015fam\u0131n\u0131 s\u00e2lik i\u00e7in olmazsa olmaz bir a\u015fama olarak \u00f6ng\u00f6r\u00fcrken bu s\u00fcre\u00e7te tak\u0131l\u0131p kalman\u0131n s\u00e2liki \u00f6ld\u00fcr\u00fcc\u00fc bir huzursuzluk i\u00e7inde b\u0131rakaca\u011f\u0131n\u0131 ifade eder. Mevl\u00e2n\u00e2, bu evrede \u00e7ekilen s\u0131k\u0131nt\u0131 ve zorluklar\u0131, bir peygamberin kendisine n\u00fcb\u00fcvvet verilmeden \u00f6nceki d\u00f6nemine benzetir.\u201d (K\u00fc\u00e7\u00fck, 2009: 46 akt. G\u00f6kcan, 2018: 20).
\nBelli s\u0131navlardan ge\u00e7meden ula\u015f\u0131lan mertebe i\u00e7selle\u015ftirilmi\u015f say\u0131lmaz. S\u0131navlara tabi tutulmayan s\u00e2likin de olgunla\u015fmas\u0131 m\u00fcmk\u00fcn olmaz. Olgunla\u015famayan s\u00e2lik ibadet ve riyazette ne kadar ileri seviyelere \u00e7\u0131ksa da bu y\u00fckseli\u015f surettedir, sirete inememi\u015ftir. (G\u00f6kcan, 2018)
\nBu sebeple Faust\u2019un ak\u0131l ve bilim yoluyla elde etti\u011fi hi\u00e7bir \u015fey onu doyuma ula\u015ft\u0131rmaz. \u00d6mr\u00fc boyunca elde etti\u011fi birikim bir anda \u00e7\u00f6ker ve \u015eeytan ile ba\u015f ba\u015fa kal\u0131r. \u00c7\u00fcnk\u00fc birikimi i\u00e7sel dayanaktan yoksundur, surettedir. G\u00f6r\u00fcn\u00fc\u015fte kendisini g\u00fcn \u0131\u015f\u0131\u011f\u0131ndan bile mahrum edecek kadar ilime adam\u0131\u015f olan Faust, i\u00e7 \u00e2leminde dayanak noktas\u0131 olmad\u0131\u011f\u0131ndan ruhi bunal\u0131mlara s\u00fcr\u00fcklenmekte, tatmine ula\u015famamaktad\u0131r.
\n\u0130ki eserde de k\u0131r\u0131lma noktas\u0131 a\u015fkt\u0131r. Kuvvetli ruhsal bir sars\u0131nt\u0131 olmal\u0131d\u0131r ki bu yavan benlik y\u0131k\u0131ls\u0131n ve salik yolculu\u011fa ba\u015flayabilsin. Bu kuvvetli sars\u0131nt\u0131y\u0131 ise ancak a\u015fk sa\u011flayabilece\u011finden kahramanlar a\u015fka d\u00fc\u015f\u00fcr\u00fclerek benlik m\u00fccadelesine tabi tutulmu\u015f ve sonunda \u201cben\u201di b\u0131rak\u0131p \u201co\u201dnu aramaya ba\u015flam\u0131\u015flard\u0131r.<\/p>\n
YOLA \u00c7IKI\u015e
\nMaceraya \u00c7a\u011fr\u0131
\nJ. Campbell, daha \u00f6nce masal incelemeleri i\u00e7in ortaya at\u0131lan \u201cyap\u0131salc\u0131l\u0131k kuram\u0131\u201dna benzer bir \u015femay\u0131 b\u00fct\u00fcn anlat\u0131 t\u00fcrleri i\u00e7in ortak kabul etmi\u015f ve her anlat\u0131n\u0131n \u201cayr\u0131lma-erginlenme-d\u00f6n\u00fc\u015f\u201d a\u015famalar\u0131ndan meydana geldi\u011fini monomit kuram\u0131 \u00e7er\u00e7evesinde a\u00e7\u0131klam\u0131\u015ft\u0131r. Monomit, temel olarak insan\u0131n ya\u015fam\u0131n\u0131 ve \u00e7evresini anlamland\u0131rmak i\u00e7in ortaya koydu\u011fu bir anlat\u0131 \u015femas\u0131d\u0131r. Campbell\u2019e g\u00f6re bu \u015fema insanl\u0131k tarihi boyunca de\u011fi\u015fmez bir yap\u0131ya sahiptir. \u00c7\u00fcnk\u00fc her anlat\u0131n\u0131n bir kahraman arketipi vard\u0131r ve bu kahraman\u0131 meydana getiren bilin\u00e7 ve bilin\u00e7 d\u0131\u015f\u0131 faaliyetler toplumun ortak yaratmalar\u0131n\u0131n hatta evrensel k\u00fclt\u00fcr\u00fcn bir sonucudur. Bu evrensel k\u00fclt\u00fcr kahramana etki eden dolayl\u0131 kurallar b\u00fct\u00fcn\u00fc oldu\u011fundan anlat\u0131 nerede ortaya \u00e7\u0131karsa \u00e7\u0131ks\u0131n temel olay ortak olacakt\u0131r. Evrensel k\u00fclt\u00fcr sonucunda ortaya \u00e7\u0131kan anlat\u0131larda temel benzerlik kahraman\u0131n bir yolculu\u011fa \u00e7\u0131kmas\u0131 ve bu yolculuk sonucunda de\u011fi\u015fim ve d\u00f6n\u00fc\u015f\u00fcme u\u011framas\u0131d\u0131r.
\n\u201c\u0130ster b\u00fcy\u00fck ister k\u00fc\u00e7\u00fck ve hangi ya\u015fam sahnesinde ya da a\u015famas\u0131nda olursa olsun, \u00e7a\u011fr\u0131, her zaman bir d\u00f6n\u00fc\u015f\u00fcm\u00fcn-tamamland\u0131\u011f\u0131nda bir \u00f6l\u00fcme ve bir do\u011fuma e\u015fitlenen bir ruhsal ge\u00e7i\u015f an\u0131 ya da ayininin- gizemiyle perdeyi kald\u0131r\u0131r. Al\u0131\u015f\u0131lm\u0131\u015f ya\u015fam ufku geni\u015flemi\u015ftir; eski kavramlar, idealler ve duygusal kal\u0131plar art\u0131k yetmez; bir e\u015fi\u011fi a\u015fma zaman\u0131 gelmi\u015ftir.\u201d (Campbell, 2010: 65)
\nSeyr-i s\u00fcluk yolculu\u011fu da yap\u0131 olarak monomit kuram\u0131 ile ayn\u0131 do\u011frultuda ilerler. Yarad\u0131l\u0131\u015f\u0131n ard\u0131ndan insan\u0131n d\u00fcnyaya g\u00f6nderilmesiyle ayr\u0131l\u0131\u015f a\u015famas\u0131 ba\u015flam\u0131\u015ft\u0131r. D\u00fcnyada ya\u015fan\u0131lan d\u00f6nemde ge\u00e7ilen s\u0131navlar ve yap\u0131lan sava\u015flar neticesinde insan erginlenme a\u015famas\u0131n\u0131 tamamlar. Bu a\u015famada ge\u00e7ilen s\u0131navlar\u0131n amac\u0131 tek\u00e2m\u00fcld\u00fcr. Y\u00f6n ise cemal-i mutlakt\u0131r. D\u00f6n\u00fc\u015f ba\u015flang\u0131\u00e7 noktas\u0131na ula\u015fmak, \u00f6z\u00fcne d\u00f6nmek, i\u00e7inde ba\u015ftan beri var olan\u0131 ke\u015ffetmektir. Uzun ve me\u015fakkatli yolculu\u011fun ard\u0131ndan s\u00fcreci tamamlayan kahraman asl\u0131nda ba\u015flad\u0131\u011f\u0131 yerdedir.
\nKahraman kim olursa olsun \u201chep ayn\u0131 tehlikeyi, g\u00fcven kazan\u0131m\u0131n\u0131, s\u0131namay\u0131, ge\u00e7i\u015fi ve do\u011fumun gizemlerinin tuhaf kutsall\u0131\u011f\u0131n\u0131 simgeleyen arketipsel imgeler harekete ge\u00e7er.\u201d (Campbell, 2010:66) Bu imgeler Nigar-name\u2019de r\u00fcya motifiyle ve ard\u0131ndan mihmanlar ve Nigar Han\u0131m ile; Faust\u2019ta ise Mephisto ve onun Faust\u2019u gezdirdi\u011fi t\u00fcrl\u00fc \u00e2lemlerdeki yarat\u0131klar ve a\u015fk\u0131n simgesi olan kad\u0131nlar arac\u0131l\u0131\u011f\u0131yla ortaya konulmu\u015ftur.
\nYolculu\u011fa \u00e7a\u011fr\u0131 a\u015famas\u0131 b\u00fct\u00fcn anlat\u0131lar\u0131n k\u0131r\u0131lma noktalar\u0131 olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Bu k\u0131r\u0131lmadan sonra anlat\u0131n\u0131n seyri de\u011fi\u015fir, kahraman\u0131n s\u0131radan hayat\u0131 bir anda maceraya d\u00f6n\u00fc\u015f\u00fcr ki as\u0131l olay da bu a\u015famadan sonra cereyan etmeye ba\u015flar. \u00c7a\u011fr\u0131 Mizban\u2019a bir r\u00fcya ile iletilirken Faust\u2019a kendiyle ba\u015f ba\u015fa oldu\u011fu bir ortamda bilincinin a\u00e7\u0131k oldu\u011fu bir anda \u00e7al\u0131\u015fma odas\u0131nda iletilmi\u015ftir.
\n\u00c7a\u011fr\u0131 a\u015famas\u0131 ger\u00e7ekle\u015ftikten sonra kahraman i\u00e7in art\u0131k hi\u00e7bir \u015fey eskisi gibi olmayacakt\u0131r. Bu a\u015famada kahraman ilk ba\u015fta i\u00e7ine \u00e7ekildi\u011fi yolculu\u011fun fark\u0131na varmayabilir veya bu \u00e7a\u011fr\u0131y\u0131 kabul etmeyebilir. Bu, \u00e7a\u011fr\u0131n\u0131n reddedili\u015fi a\u015famas\u0131n\u0131 olu\u015fturmaktad\u0131r. Ancak \u00e7a\u011fr\u0131 her ne kadar reddedilip g\u00f6rmezden gelinse de art\u0131k macera ka\u00e7\u0131n\u0131lmazd\u0131r ve bu reddedi\u015f zamanla yerini kabullenmeye b\u0131rakacakt\u0131r.
\n\u00c7a\u011fr\u0131n\u0131n Reddedili\u015fi
\nCampbell\u2019e g\u00f6re bu a\u015fama kahraman\u0131n mevcut d\u00fczeninin bozulmas\u0131n\u0131 istememesi, konfor alan\u0131n\u0131 terk etmek istememesi ya da i\u00e7inde bulundu\u011fu k\u00fclt\u00fcr ortam\u0131n\u0131n dayatmas\u0131n\u0131n bir sonucu olarak gelen \u00e7a\u011fr\u0131y\u0131 reddetmesi, yok saymas\u0131 yahut fark\u0131na varamamas\u0131 \u015feklinde tan\u0131mlanmaktad\u0131r.
\nKahramana g\u00f6nderilen yol \u00e7a\u011fr\u0131s\u0131 bilin\u00e7li veya bilin\u00e7siz herhangi bir sebeple g\u00f6rmezden gelinir ya da inkar edilir.
\n\u201cGer\u00e7ek ya\u015famda s\u0131k s\u0131k, mitlerde ve halk masallar\u0131ndaysa bol bol, yan\u0131t verilmeyen \u00e7a\u011fr\u0131 gibi garip bir durumla kar\u015f\u0131la\u015f\u0131r\u0131z; \u00e7\u00fcnk\u00fc ba\u015fka ilgilere y\u00f6nelmek her zaman olas\u0131d\u0131r. \u00c7a\u011fr\u0131lar\u0131n reddi maceray\u0131 olumsuza \u00e7evirir. S\u0131k\u0131nt\u0131yla, a\u011f\u0131r \u00e7al\u0131\u015fmayla ya da \u201ck\u00fclt\u00fcr\u201d ile kaplanan \u00f6zne, belirgin olumlu eylem g\u00fcc\u00fcn\u00fc kaybeder ve kurtar\u0131lacak bir kurban olur.\u201d ( Campbell, 2010: 73)
\nNigar-name\u2019de \u00e7a\u011fr\u0131 bir r\u00fcya ile yap\u0131l\u0131r. Mizban \u00e7ocukluk d\u00f6neminde bir r\u00fcya g\u00f6r\u00fcr ancak bu r\u00fcyay\u0131 anlamland\u0131ramaz. Bu anlams\u0131z bulu\u015f \u00e7a\u011fr\u0131n\u0131n reddedili\u015fi a\u015famas\u0131 olarak de\u011ferlendirilebilir. Ancak \u00e7a\u011fr\u0131 g\u00f6rmezden gelinse de kader ilerleyen zamanlarda kahraman\u0131 bu yolculu\u011fa mecbur edecektir. \u00c7\u00fcnk\u00fc kahraman \u00e7a\u011fr\u0131n\u0131n reddiyle birlikte kurtar\u0131lmas\u0131 gereken bir kurban durumuna d\u00fc\u015fm\u00fc\u015ft\u00fcr. Ayn\u0131 reddedi\u015f Faust i\u00e7in de ge\u00e7erlidir. Faust\u2019a benlik yolculu\u011funun ilk \u00e7a\u011fr\u0131s\u0131 \u00e7al\u0131\u015fma odas\u0131nda \u00e7e\u015fitli metafizik u\u011fra\u015flara dalm\u0131\u015f bir vaziyette bulundu\u011fu bir s\u0131rada Mephisto\u2019nun k\u00f6pek sil\u00fcetinden s\u0131yr\u0131l\u0131p siyah bir duman \u015feklinde kendini g\u00f6stermesi ile gelir. Faust da ilk a\u015famada \u00e7a\u011fr\u0131y\u0131 reddetme yolunu se\u00e7mi\u015ftir. \u00c7\u00fcnk\u00fc ona g\u00f6re \u00e7a\u011fr\u0131n\u0131n habercisi olan yarat\u0131k bir iblistir ve onun \u00e7a\u011fr\u0131s\u0131na uymak ya\u015fad\u0131\u011f\u0131 dini ve k\u00fclt\u00fcrel \u00e7evre i\u00e7in kabul edilebilir bir durum de\u011fildir. Ayn\u0131 zamanda Faust, \u015eeytan\u0131 a\u015fa\u011f\u0131l\u0131k ve zavall\u0131 bir yarat\u0131k olarak g\u00f6rmekte ve onun kendi mertebesine ula\u015famayacak bir sefil oldu\u011funu bu sebeple ondan bir fayda g\u00f6remeyece\u011fini d\u00fc\u015f\u00fcnmektedir. Mizban Rahmani olup olmad\u0131\u011f\u0131n\u0131 bilmedi\u011fi bir i\u015fret alm\u0131\u015ft\u0131r; ancak Faust \u015eeytani bir i\u015faret ald\u0131\u011f\u0131ndan emindir.
\nDo\u011fa\u00fcst\u00fc Yard\u0131m
\nBu a\u015famada kahraman \u00e7a\u011fr\u0131y\u0131 reddettikten sonra kurtar\u0131lmas\u0131 gereken bir kurban durumunda oldu\u011fu i\u00e7in yapt\u0131\u011f\u0131 yanl\u0131\u015ftan d\u00f6nmesi ad\u0131na ona yard\u0131mc\u0131lar g\u00f6nderilir. \u00c7\u0131k\u0131lacak yolculu\u011fun ka\u00e7\u0131n\u0131lmaz oldu\u011funu g\u00f6steren bu yard\u0131mc\u0131lar haberci olarak da nitelendirilir. Yard\u0131mc\u0131lar maceran\u0131n ba\u015f\u0131nda haberci konumundayken macera ba\u015flad\u0131ktan sonra kahramana yard\u0131m eden karakterlere d\u00f6n\u00fc\u015febilmektedir.
\n\u0130lk \u00e7a\u011fr\u0131n\u0131n reddinden bir s\u00fcre sonra Mizban e\u011fitim almak i\u00e7in gitti\u011fi derg\u00e2h\u0131n han\u0131m\u0131 olan Nigar ile kar\u015f\u0131la\u015f\u0131r.
\n\u201cHabercinin haberleri, ya\u015famak ya da ya\u015fam\u0131n daha ileri bir an\u0131nda, \u00f6lmek olabilir. \u00d6nemli tarihsel bir olaya \u00e7a\u011fr\u0131 gibi g\u00f6r\u00fcnebilir. Ya da dinsel bir ayd\u0131nlanman\u0131n \u015fafa\u011f\u0131n\u0131 belirtebilir. Mistik taraf\u0131ndan yorumland\u0131\u011f\u0131 \u015fekliyle de, \u201cbenli\u011fin uyanmas\u0131\u201d denilen \u015feyi belirtir.\u201d (Campbell, 2010: 65)
\nNigar\u2019\u0131n r\u00fcyay\u0131 hat\u0131rlatmas\u0131 ile, Mizban\u2019\u0131n a\u015fk aray\u0131\u015f\u0131na ve dolay\u0131s\u0131yla i\u00e7sel yolculu\u011funa \u00e7\u0131kmas\u0131na vesile olmas\u0131 bak\u0131m\u0131ndan \u2018benli\u011fin uyanmas\u0131\u2019 i\u00e7in ilk basamak olan haberci ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Bu kar\u015f\u0131la\u015fmadan sonra Mizban\u2019\u0131n yolculu\u011fu ba\u015flam\u0131\u015f ve kemale erme yolunda ilk ad\u0131m a\u015fk aray\u0131\u015f\u0131 ile at\u0131lm\u0131\u015ft\u0131r. Kurban durumundaki kahraman art\u0131k kurtulu\u015f i\u00e7in yola \u00e7\u0131km\u0131\u015f ve bu yoldaki ilk yard\u0131mc\u0131s\u0131 Nigar olmu\u015ftur.
\nFaust\u2019un yard\u0131mc\u0131s\u0131 ise Mephisto\u2019dur. \u00c7\u00fcnk\u00fc o da \u00e7a\u011fr\u0131y\u0131 reddetmi\u015f ve kurtar\u0131lmas\u0131 gereken bir kurban durumuna d\u00fc\u015fm\u00fc\u015ft\u00fcr. Mephisto\u2019nun g\u00f6revi Faust\u2019u yolculu\u011fa ikna etmektir. Mephisto da hem yard\u0131mc\u0131 hem de haberci konumunda kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. Haberci ile ilk kar\u015f\u0131la\u015fmada Faust da \u015eeytan\u0131 ho\u015f kar\u015f\u0131lamam\u0131\u015f ve \u00e7a\u011fr\u0131y\u0131 reddetmi\u015ftir. Bu reddedi\u015ften sonra Mephisto tekrar Faust\u2019u ikna etme \u00e7abas\u0131nda bulunmu\u015f ve art\u0131k \u00e7abas\u0131 sonu\u00e7 vermi\u015f, anla\u015fma sa\u011flanm\u0131\u015ft\u0131r. Bu anla\u015fma Faust\u2019un benli\u011fine do\u011fru \u00e7\u0131kt\u0131\u011f\u0131 yolculu\u011fun ilk ad\u0131m\u0131n\u0131 olu\u015fturur.
\nDo\u011fa\u00fcst\u00fc yard\u0131mc\u0131 genellikle kad\u0131n olsa da erkek yard\u0131mc\u0131lar da seyrek g\u00f6r\u00fclen tiplerdir diyemeyiz. Goethe de Faust\u2019ta erkek rehberi Mephisto olarak sunar ve bunu onun k\u00f6t\u00fc y\u00f6nlerini \u00f6n plana \u00e7\u0131kararak yapar. \u00c7\u00fcnk\u00fc masum Faust\u2019u s\u0131nav yoluna s\u00fcr\u00fckleyen odur.
\n\u201c\u0130ster d\u00fc\u015f ister mit olsun, bu maceralarda, ya\u015famda yeni bir d\u00f6nemi, a\u015famay\u0131 belirterek birdenbire rehber olmak \u00fczere ortaya \u00e7\u0131kan fig\u00fcr\u00fcn kar\u015f\u0131 koyulmaz \u00f6l\u00e7\u00fcde b\u00fcy\u00fcleyici bir havas\u0131 oldu\u011fu g\u00f6r\u00fcl\u00fcr.\u201d (Campbell, 2010: 70) Mizban\u2019a r\u00fcyas\u0131n\u0131 hat\u0131rlatan Nigar\u2019\u0131n da Faust\u2019un odas\u0131nda birden bire belirerek onu etkisi alt\u0131na alan Mephisto\u2019nun da bu tan\u0131ma uygun haberci ve ayn\u0131 zamanda da rehber olma \u00f6zelliklerini ta\u015f\u0131d\u0131klar\u0131n\u0131 g\u00f6rebiliriz. Mephisto doymak bilmez bir merak ve bilme arzusuyla yanan Faust\u2019a tatmini vaat etmi\u015ftir. Bu vaat onu kar\u015f\u0131 konulamaz k\u0131lan en \u00f6nemli \u00f6zelliktir. \u00c7\u00fcnk\u00fc o \u015eeytand\u0131r ve kar\u015f\u0131s\u0131ndakinin zaaf\u0131n\u0131 en iyi bilen ve bu do\u011frultuda hareket eden yeg\u00e2ne varl\u0131kt\u0131r.
\nAyn\u0131 \u015fekilde Mizban da r\u00fcyas\u0131nda g\u00f6rd\u00fc\u011f\u00fc nuran\u00ee varl\u0131\u011f\u0131n etkisini ruhunun derinliklerinde bilin\u00e7sizce muhafaza etmekteyken kar\u015f\u0131s\u0131na Nigar \u00e7\u0131kar. Mizban\u2019\u0131n ruhunun derinliklerinde gizli olan \u015fey asl\u0131nda a\u015fkt\u0131r. Nigar da bu a\u015fk\u0131n tetikleyicisi konumundad\u0131r. Ruhunda ta\u015f\u0131d\u0131\u011f\u0131 gizli arzunun ortaya \u00e7\u0131k\u0131\u015f\u0131n\u0131 sa\u011flayan Nigar da bu bak\u0131mdan vazge\u00e7ilemez ve b\u00fcy\u00fcl\u00fc bir etkiye sahiptir.
\n\u201cHz. Musa\u2019n\u0131n yanan bir a\u011fa\u00e7ta Rabbinin nuruna vas\u0131l olmas\u0131, Mevl\u00e2n\u00e2\u2019n\u0131n \u015eems\u2019te hissetti\u011fi nurla Rabbine a\u015fkla y\u00fcr\u00fcmesi, Mecnun\u2019un Leyl\u00e2\u2019da g\u00f6rd\u00fc\u011f\u00fc nurla Mevl\u00e2 Mevl\u00e2 demesi, Ferhad\u2019\u0131n \u015eirin\u2019de g\u00f6rd\u00fc\u011f\u00fc nurla da\u011flar\u0131 yarmas\u0131, A\u015fk\u2019\u0131n H\u00fcsn\u2019de g\u00f6rd\u00fc\u011f\u00fc nur ile simyay\u0131 bulmas\u0131 neyse HamzaNig\u00e2r\u00ee\u2019nin de Nig\u00e2r\u2019\u0131 g\u00f6rmesi ile bek\u00e2billahta cilve-i cem\u00e2le meftun olmas\u0131 ayn\u0131 \u015feydir.\u201d (Hakverdio\u011flu, 2017: 498)
\n\u0130lk E\u015fi\u011fin A\u015f\u0131lmas\u0131
\nE\u015fik, s\u0131radan ak\u0131\u015f\u0131n sekteye u\u011frad\u0131\u011f\u0131 ve kahraman olma s\u00fcrecinin ba\u015flad\u0131\u011f\u0131 ge\u00e7i\u015f an\u0131d\u0131r. Kahraman i\u00e7in bu e\u015fik s\u0131radan ya\u015fam\u0131 ile maceral\u0131 yolculu\u011funun ba\u015flayaca\u011f\u0131 d\u00fcnya aras\u0131nda bir perde g\u00f6revi g\u00f6r\u00fcr. Bu perdeyi Campbell \u201ce\u015fik muhaf\u0131z\u0131\u201d olarak tan\u0131mlar. \u201cKahraman, kaderinin ona rehber ve yard\u0131mc\u0131 olan ki\u015file\u015ftirmeleriyle birlikte maceras\u0131nda, a\u015f\u0131r\u0131 g\u00fc\u00e7 b\u00f6lgesinin giri\u015findeki \u201ce\u015fik muhaf\u0131z\u0131\u201dna gelinceye dek ilerler.\u201d (Campbell, 2010: 94) Kahraman aday\u0131, s\u0131radan ya\u015fam\u0131n\u0131 terk edip tehlikelerle dolu bir maceraya at\u0131lacakt\u0131r ve bu onda baz\u0131 tedirginliklere sebep olacakt\u0131r. Yine de kahraman bu tehlikeleri g\u00f6ze al\u0131p cesaretiyle e\u015fi\u011fi a\u015far ve maceraya at\u0131l\u0131r.
\nNigar\u00ee (Mizban) i\u00e7in e\u015fik Nigar Han\u0131m ile kar\u015f\u0131la\u015ft\u0131\u011f\u0131 and\u0131r. Bu kar\u015f\u0131la\u015fmadan \u00e7ok \u00f6nce g\u00f6rd\u00fc\u011f\u00fc r\u00fcya maceraya \u00e7a\u011fr\u0131n\u0131n yap\u0131ld\u0131\u011f\u0131 ilk i\u015farettir; fakat Mizban bu r\u00fcyay\u0131 anlamland\u0131rmada o d\u00f6nem yetersiz kalm\u0131\u015f ve bilin\u00e7siz olarak \u00e7a\u011fr\u0131y\u0131 reddetmi\u015ftir. \u00c7a\u011fr\u0131n\u0131n reddinden sonra kar\u015f\u0131la\u015ft\u0131\u011f\u0131 Nigar, maceraya ge\u00e7i\u015fin ilk ad\u0131m\u0131 olan Nigar ayn\u0131 zamanda \u201ce\u015fik muhaf\u0131z\u0131\u201dd\u0131r. \u00c7\u00fcnk\u00fc kahraman bu kar\u015f\u0131la\u015fmadan sonra s\u0131radan hayat\u0131ndan ayr\u0131larak yeni ve maceralarla dolu hayat\u0131na ilk ad\u0131m\u0131 atacakt\u0131r. Bu ad\u0131m \u201cbalinan\u0131n karn\u0131\u201dna ge\u00e7i\u015fte ilk e\u015fiktir.
\nFaust i\u00e7in e\u015fik; Mephisto ile imzalad\u0131\u011f\u0131 anla\u015fmad\u0131r. Faust \u0130ncil\u2019i kendine g\u00f6re terc\u00fcme etmeye \u00e7al\u0131\u015f\u0131r ve \u2018s\u00f6z\u2019\u00fcn yerine \u2018eylem\u2019in daha do\u011fru oldu\u011fu karar\u0131na var\u0131r. Bu karar, Mephisto ile imzalayaca\u011f\u0131 anla\u015fman\u0131n \u00f6n haz\u0131rl\u0131\u011f\u0131 gibidir. \u00c7\u00fcnk\u00fc art\u0131k Faust d\u00fc\u015f\u00fcnceden eyleme, teoriden prati\u011fe ge\u00e7menin onu tatmin edece\u011fine dair bir inan\u00e7 i\u00e7erisine girmi\u015ftir. \u0130\u015fte bu a\u015famada Mephisto ile yapaca\u011f\u0131 anla\u015fma ona an\u0131 ya\u015fatacak eylem i\u00e7in f\u0131rsatlar sunacakt\u0131r. Faust bu anla\u015fma ile konfor alan\u0131ndan \u00e7\u0131kacak bilmedi\u011fi bir \u00e2lemde teoriden kurtulup prati\u011fe ula\u015farak bilimin y\u0131llar boyu onu ula\u015ft\u0131ramad\u0131\u011f\u0131 tatmine bu \u015fekilde kavu\u015facakt\u0131r. Bu anla\u015fma t\u00fcm belirsizliklere ve tedirginliklere ra\u011fmen kahraman aday\u0131n\u0131n d\u00f6n\u00fc\u015f\u00fcm i\u00e7in kararl\u0131 ve istekli oldu\u011funun bir g\u00f6stergesidir. Art\u0131k eski hayat\u0131 geride kalacak ve benli\u011fine do\u011fru yapaca\u011f\u0131 yolculu\u011fun ilk ve en \u00f6nemli a\u015famas\u0131 olan \u201cbalinan\u0131n karn\u0131\u201dna ge\u00e7i\u015f yap\u0131lacakt\u0131r.<\/p>\n
Balinan\u0131n Karn\u0131
\nCampbell\u2019e g\u00f6re balinan\u0131n karn\u0131 kahraman\u0131n yeniden do\u011fu\u015funun ger\u00e7ekle\u015fece\u011fi yerdir. (2010:108) Bu alan kahraman\u0131n tam anlam\u0131yla olgunla\u015faca\u011f\u0131, her y\u00f6n\u00fcyle kemale erece\u011fi aland\u0131r. Campbell ilk e\u015fikten sonra bir yeniden do\u011fumun simgesi olarak belirledi\u011fi bu a\u015famay\u0131 rahim imgesi olarak balinan\u0131n karn\u0131 ile sembolize etmi\u015ftir. (2010:107) Bir d\u00f6n\u00fc\u015f\u00fcm i\u00e7in gerekli olan bu alan; ma\u011fara, kuyu, tap\u0131nak ya da bir uyku hali gibi bir\u00e7ok sembolle ifade edilebilir. Bu alanlar\u0131n \u00e7o\u011funlukla kendine has yap\u0131sal \u00f6zellikleri bulunur. Bu mek\u00e2nlar erginlenme yolculu\u011fundaki kahraman i\u00e7in ruhsal anlamda kendini buldu\u011fu, d\u00f6n\u00fc\u015f\u00fcm\u00fcn ger\u00e7ekle\u015fmesi i\u00e7in gerekli \u00f6zelliklere sahip yerler olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar.<\/p>\n
Mizban i\u00e7in balinan\u0131n karn\u0131 Mihman-sarayd\u0131r ve a\u015f\u0131\u011f\u0131n g\u00f6n\u00fcl evini sembolize eden soyut bir mek\u00e2n olarak tasvir edilmi\u015ftir. Soyut olan bu mek\u00e2nda Mizban yine soyut misafirler taraf\u0131ndan ziyaret edilir. Bu misafirler a\u015f\u0131\u011f\u0131 seyr-i s\u00fcluk yolculu\u011fundan al\u0131koymaya \u00e7al\u0131\u015fan bir nevi toplumsal de\u011fer yarg\u0131lar\u0131d\u0131r. Tasavvuf\u00ee manada s\u00fcluk kavram\u0131 bedene ve d\u00fcnyaya hapsolmu\u015f ruhu \u00f6zg\u00fcrle\u015ftirmek ve onu en y\u00fcksek mertebe olan fena makam\u0131na ula\u015ft\u0131rmakt\u0131r. \u0130\u00e7sel yolculu\u011fa \u00e7\u0131kmay\u0131 g\u00f6ze alan kahraman art\u0131k fark\u0131ndal\u0131k sahibi bir birey olarak e\u015fyaya bak\u0131\u015f\u0131n\u0131 de\u011fi\u015ftirir, bulundu\u011fu ortam\u0131n de\u011fer yarg\u0131lar\u0131ndan uzakla\u015farak onlara kar\u015f\u0131 bir sava\u015f a\u00e7ar. Bu sava\u015f a\u00e7\u0131\u015f, asl\u0131nda salikin ayn\u0131 zamanda kendi nefsine kar\u015f\u0131 a\u00e7m\u0131\u015f oldu\u011fu bir sava\u015ft\u0131r. Nefsiyle girdi\u011fi bu sava\u015f sonucunda \u201ckenz-i mahf\u00ee\u201dye ula\u015facakt\u0131r. Bu e\u015fsiz hazine ise kendi \u2018ben\u2019inde var olan hakikattir. Hakikat ise g\u00f6n\u00fcl evinde yap\u0131lan kaz\u0131 ile a\u00e7\u0131\u011fa \u00e7\u0131kar. (K\u00fc\u00e7\u00fck, 2007) \u0130nsan d\u00f6rt bir yanda arad\u0131\u011f\u0131 hakikat hazinesini nihayetinde kendi i\u00e7inde bar\u0131nd\u0131rd\u0131\u011f\u0131 sonsuz nurda bulur ki bu ke\u015fif ile h\u00fcsn-i mutlak ile birle\u015fir. Bu birle\u015fme onda y\u00fcksek bir bilin\u00e7 ve edep h\u00e2s\u0131l eder. Mizban\u2019\u0131n konuklar\u0131 onun a\u015fk derdiyle d\u00fc\u015ft\u00fc\u011f\u00fc duruma \u00fcz\u00fclerek ona \u00e7e\u015fitli tekliflerde bulunurlar. Ancak \u00e2\u015f\u0131k hi\u00e7birine kulak asmayarak s\u0131\u011f\u0131nd\u0131\u011f\u0131 g\u00f6n\u00fcl evinde tek\u00e2m\u00fcl yolculu\u011funa devam eder. Mihman-saray asl\u0131nda bir misafirhanedir. Bu misafirhaneye t\u00fcrl\u00fc mihmanlar gelip gitse de bunlar\u0131n nesnel bir kar\u015f\u0131l\u0131\u011f\u0131 olmad\u0131\u011f\u0131 i\u00e7in a\u015f\u0131\u011f\u0131n insanlardan soyutlanmas\u0131 ve kendiyle ba\u015f ba\u015fa kalmas\u0131 i\u00e7in se\u00e7ti\u011fi soyut bir mek\u00e2nd\u0131r. Bu a\u00e7\u0131dan balinan\u0131n karn\u0131 olarak nitelendirilebilir. Neticede balinan\u0131n karn\u0131 da kahraman\u0131n erginle\u015fme ve kendini bulma s\u00fcrecinde d\u0131\u015f d\u00fcnyadan soyutlanmak amac\u0131yla i\u00e7ine \u00e7ekildi\u011fi simgesel bir mek\u00e2nd\u0131r.
\n\u00c2\u015f\u0131\u011f\u0131n, gelen t\u00fcm nasihatlere kar\u015f\u0131 kendini kapatmas\u0131, her bir mihmana ayr\u0131 ayr\u0131 cevaplar vererek hakl\u0131l\u0131\u011f\u0131n\u0131 ispatlamas\u0131, sevgilisine yo\u011funla\u015fmas\u0131 olarak de\u011ferlendirilebilir. Burada mihmanlarla verdi\u011fi m\u00fccadele asl\u0131nda a\u015f\u0131\u011f\u0131n maddi \u00e2lemden s\u0131yr\u0131lma yolunda verdi\u011fi m\u00fccadelelerdir. Mizban kar\u015f\u0131l\u0131k olarak verdi\u011fi her cevapta biraz daha i\u00e7 d\u00fcnyas\u0131na \u00e7ekilmektedir. Bu i\u00e7e \u00e7ekilmenin sonucunda \u00e2\u015f\u0131k kendini bulacak, hakikate erecek ve Nig\u00e2r\u2019a kavu\u015ftu\u011fu anda yeniden do\u011facakt\u0131r.
\nMihman-saray bir yandan da anne arketipinin bir sembol\u00fcd\u00fcr. Anne arketipi; di\u015fili\u011fi, y\u00fcceli\u011fi, yeniden do\u011fu\u015fu, merhameti simgelemektedir. Anne; bak\u0131p b\u00fcy\u00fcten, karn\u0131nda ta\u015f\u0131yan, olgunlu\u011fa g\u00f6t\u00fcren bir sembold\u00fcr. Mihman-saray da t\u0131pk\u0131 anne gibi Mizban\u2019\u0131 i\u00e7inde saklayan, onu belli bir olgunlu\u011fa gelene kadar ta\u015f\u0131yan ve zaman\u0131 geldi\u011finde yeniden do\u011fu\u015funa sebep olan yerdir.
\nElde etmek i\u00e7in y\u0131llar boyu uzun ve s\u0131k\u0131nt\u0131l\u0131 s\u00fcre\u00e7ler ge\u00e7irdi\u011fi bilgiler, manevi geli\u015fim a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda belli bir a\u015famadan sonra salik i\u00e7in irfan elde etmesini engelleyen zahiri bilgiye d\u00f6n\u00fc\u015febilir. (K\u00fc\u00e7\u00fck, 2007) Bu minvalde Faust\u2019un y\u0131llarca emek harcad\u0131\u011f\u0131 bilgi birikimi de onu tatmin etmemi\u015f hatta isyana s\u00fcr\u00fcklemeye ba\u015flam\u0131\u015ft\u0131r. \u00d6yle ki Faust hayat\u0131n\u0131n anlam\u0131n\u0131 yitirmenin verdi\u011fi bunal\u0131m ile kendini zehirleme noktas\u0131na bile gelmi\u015ftir. Bu s\u0131rada, \u00e7al\u0131nan paskalya \u00e7an\u0131 Faust\u2019u kendine getirmi\u015f ve adeta yeniden do\u011fu\u015funa ortam haz\u0131rlam\u0131\u015ft\u0131r. Paskalya, Hristiyan inanc\u0131nda Hz. \u0130sa\u2019n\u0131n dirili\u015finin sembol\u00fcd\u00fcr. Kurtar\u0131c\u0131 \u0130sa o g\u00fcn de Faust i\u00e7in dirilmi\u015f ve onu hayata yeniden ba\u011flam\u0131\u015ft\u0131r.
\nFaust i\u00e7in balinan\u0131n karn\u0131 \u201c\u00c7al\u0131\u015fma Odas\u0131\u201dd\u0131r. Burada \u0130ncil\u2019i kendine g\u00f6re tefsir ederek \u2018s\u00f6z\u2019\u00fcn yerine \u2018eylem\u2019i koyar. \u00c7\u00fcnk\u00fc art\u0131k teori de\u011fil pratik, s\u00f6z de\u011fil eylem \u00f6nemlidir. Anla\u015fmay\u0131 imzalayan Faust yolculuk i\u00e7in ilk ad\u0131m\u0131 atm\u0131\u015ft\u0131r. Art\u0131k Faust i\u00e7in hi\u00e7bir \u015fey eskisi gibi olmayacakt\u0131r. Ya\u015faman\u0131n ve ilerlemenin kayna\u011f\u0131 olarak eylemi se\u00e7en Faust kitab\u00ee bilgiler yerine an\u2019\u0131n tad\u0131na varacak, d\u00fc\u015ft\u00fc\u011f\u00fc \u00e7\u0131kmazdan bu \u015fekilde kurtulacakt\u0131r. \u0130\u00e7inde var olan tanr\u0131sal g\u00fcc\u00fcn fark\u0131nda olan Faust buna ra\u011fmen onu harekete ge\u00e7irecek g\u00fc\u00e7ten yoksundur. \u0130\u015fte burada devreye Mephisto girecek ve en sefil hallere s\u00fcr\u00fckleyerek herc\u00fcmer\u00e7 etti\u011fi ya\u015fam\u0131n\u0131 her an y\u0131k\u0131l\u0131p yeniden \u015fekillenen bir d\u00fczen i\u00e7inde oradan oraya s\u00fcr\u00fckleyecektir.<\/p>\n
ERG\u0130NLENME
\nS\u0131navlar Yolu
\nE\u015fi\u011fi a\u015ft\u0131ktan sonra, kahraman bir dizi s\u0131navdan ge\u00e7mek \u00fczere tuhaf bi\u00e7imde ak\u0131\u015fkan, belirsiz bi\u00e7imlerin d\u00fc\u015f d\u00fcnyas\u0131nda ilerler (Campbell, 2010: 113). \u201cBalinan\u0131n karn\u0131\u201dnda ger\u00e7ekle\u015fen sembolik do\u011fumdan sonra kahraman kendini olgunla\u015ft\u0131racak s\u0131navlarla \u00f6r\u00fcl\u00fc yollardan ge\u00e7er. Bu yolda kahraman, s\u0131navlar\u0131n\u0131 ba\u015far\u0131yla ge\u00e7mesi i\u00e7in baz\u0131 yard\u0131mc\u0131lar taraf\u0131ndan desteklenir. Yolculuk ayn\u0131 zamanda kahraman\u0131n kendine olan g\u00fcvenini geli\u015ftirmesi a\u00e7\u0131s\u0131ndan da \u00f6nemlidir. Manevi geli\u015fim i\u00e7in gerekli olan bu a\u015famada kahraman hayata ve e\u015fyaya bak\u0131\u015f\u0131n\u0131 farkl\u0131 y\u00f6nde \u015fekillendiren hadiselerle kar\u015f\u0131 kar\u015f\u0131ya kal\u0131r. Kemale ula\u015fma a\u00e7\u0131s\u0131ndan en \u00f6nemli basamak bu s\u0131navlar\u0131n ba\u015far\u0131yla atlat\u0131lmas\u0131d\u0131r.
\nKahraman erginle\u015fmesi i\u00e7in \u00e7\u0131kt\u0131\u011f\u0131 yolculukta t\u00fcrl\u00fc engellerle kar\u015f\u0131la\u015f\u0131r. Bu yolculukta engelleri a\u015fabilmesi i\u00e7in de mutlaka bir yard\u0131mc\u0131s\u0131 olmal\u0131d\u0131r. Kendisini destekleyen iyi kalpli bir g\u00fc\u00e7 taraf\u0131ndan yolu ayd\u0131nlat\u0131lmal\u0131, menzile ula\u015ft\u0131r\u0131lmal\u0131d\u0131r. Mizban\u2019\u0131n da bu yoldaki destek\u00e7ileri mihmanlar\u0131 olmal\u0131d\u0131r. \u00c7\u00fcnk\u00fc onun haline \u00fcz\u00fcl\u00fcp nasihat etmekte ve onun derdiyle dertlenmektedirler. Fakat bu dostlar ayn\u0131 zamanda gidilecek as\u0131l noktay\u0131 (Tanr\u0131ya kavu\u015fma) bilmedikleri i\u00e7in engel \u00f6zelli\u011fi de ta\u015f\u0131maktad\u0131r. Bir tipte birden fazla arketipin \u00f6zelli\u011fini g\u00f6rmek m\u00fcmk\u00fcnd\u00fcr. S\u00e2hib-i Dil de hem bilge hem de g\u00f6lge arketipi \u00f6zelli\u011fi g\u00f6stermektedir. Mizban\u2019\u0131n durumuna \u00fcz\u00fcl\u00fcp ona \u00e7are olmaya \u00e7al\u0131\u015fmas\u0131, yol g\u00f6stermek istemesi, kendi yetemedi\u011fi yerde kendince akl-\u0131 selim olarak g\u00f6rd\u00fc\u011f\u00fc di\u011fer mihmanlar\u0131 \u00e7a\u011f\u0131rmas\u0131 y\u00f6n\u00fcnden, a\u015f\u0131\u011fa yolculu\u011fu boyunca e\u015flik eden bilge arketip olarak yorumlan\u0131r. \u00d6te yandan a\u015fk\u0131 yad\u0131rgay\u0131p akl\u0131 \u00f6ne \u00e7\u0131karmas\u0131, di\u011fer mihmanlar\u0131n nasihatlerine \u00f6nayak olmas\u0131 bak\u0131m\u0131ndan da olumsuzlanan bir g\u00f6lge olarak kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. Mizban\u2019\u0131n i\u00e7sel yolculu\u011funda \u00f6nemli bir yere sahiptir ve onun korkular\u0131n\u0131n yahut eksik y\u00f6nlerinin v\u00fccut bulmu\u015f hali olarak bu yolculu\u011fun daimi refakat\u00e7isidir. \u0130\u00e7sel yolculuk boyunca a\u015f\u0131\u011f\u0131n kar\u015f\u0131l\u0131kl\u0131 konu\u015ftu\u011fu ve ikilemlerinin sonucuna ula\u015ft\u0131\u011f\u0131 konu\u015fmalar\u0131n ba\u015flat\u0131c\u0131s\u0131 olmu\u015f i\u00e7sel \u00e7at\u0131\u015fma boyunca kar\u015f\u0131t d\u00fc\u015f\u00fcncelerin temsili olarak a\u015f\u0131\u011f\u0131n do\u011fruyu bulmas\u0131na yard\u0131mc\u0131 olmu\u015ftur. Sonu\u00e7 olarak Mizban\u2019\u0131n kemale erip Nigar\u2019a kavu\u015fmas\u0131 asl\u0131nda S\u00e2hib-i Dil ve mihmanlar\u0131n kar\u015f\u0131t g\u00f6r\u00fc\u015fleriyle ya\u015fad\u0131\u011f\u0131 \u00e7at\u0131\u015fma sonucunda olmu\u015ftur. Bu \u00e7at\u0131\u015fma \u00e2\u015f\u0131\u011fa do\u011fru yolu buldurmu\u015f ve sevgilisine kavu\u015fturmu\u015ftur.
\n\u00d6te yandan Faust ise Mephisto ile yapt\u0131\u011f\u0131 antla\u015fmadan sonra art\u0131k yolculuk i\u00e7in haz\u0131rd\u0131r. Bu yolda ge\u00e7ece\u011fi t\u00fcrl\u00fc s\u0131navlarda yard\u0131mc\u0131s\u0131 Mephisto olacakt\u0131r. Tragedyada, Mephisto olumsuzlanan bir tip olarak sunulmu\u015ftur. A\u015fa\u011f\u0131l\u0131k ve sefil \u00f6zellikler bar\u0131nd\u0131r\u0131r ki neticede o bir \u015eeytand\u0131r. Kolektif bilincin bir \u00fcr\u00fcn\u00fc olarak ona bu olumsuz \u00f6zelliklerin y\u00fcklenmesi gayet tabiidir. Mephisto anlat\u0131 boyunca Faust\u2019un yol g\u00f6stericisi olacakt\u0131r fakat bu yol g\u00f6sterici gelene\u011fin aksine iyiye ve do\u011fruya g\u00f6t\u00fcren bir kandilden ziyade insan\u0131 a\u015fa\u011f\u0131lar\u0131n da a\u015fa\u011f\u0131s\u0131na \u00e7ekmeye \u00e7al\u0131\u015fan bir karanl\u0131k olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Anlat\u0131 boyunca ate\u015fle ve karanl\u0131k ile tasvir edilen Mephisto kendisine y\u00fcklenen g\u00f6revi ba\u015far\u0131yla yerine getirmi\u015f g\u00f6r\u00fcnmektedir. Mephisto bu y\u00f6n\u00fcyle g\u00f6lge arketipine \u00f6rnektir. Bilindi\u011fi gibi g\u00f6lge olumsuzlanan \u00f6zelliklere sahip bir y\u00f6nlendiricidir. T\u00fcrl\u00fc g\u00f6z boyamalarla yanl\u0131\u015fa s\u00fcr\u00fckledi\u011fi Faust\u2019u yoldan \u00e7\u0131karmay\u0131 ba\u015farm\u0131\u015ft\u0131r. Tragedyan\u0131n sonunda asl\u0131nda yoldan \u00e7\u0131k\u0131\u015f\u0131n zahirde oldu\u011fu Faust\u2019un ruhunun g\u00f6\u011fe y\u00fckselmesiyle ortaya konulmu\u015ftur. \u0130\u015fte bu minvalde Mephisto her ne kadar kahraman\u0131 k\u00f6t\u00fc yollara s\u00fcr\u00fcklese de bu yollar kahraman\u0131 asl\u0131nda olmas\u0131 gereken yere yani i\u00e7inde bulundurdu\u011fu iyili\u011fe ula\u015ft\u0131rm\u0131\u015ft\u0131r. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda Mephisto yolu yanl\u0131\u015f olsa da kahraman\u0131 do\u011fruya ula\u015ft\u0131rd\u0131\u011f\u0131 i\u00e7in ayn\u0131 zamanda kahramana yard\u0131mc\u0131 olmas\u0131 \u00f6zelli\u011fiyle bilinen bilge arketipi olarak da yorumlanabilir. Bilindi\u011fi gibi bilge arketipi kahraman\u0131 \u00e7\u0131kt\u0131\u011f\u0131 yolculukta kar\u015f\u0131s\u0131na \u00e7\u0131kan engelleri a\u015fmas\u0131 i\u00e7in destekler ve hi\u00e7bir yard\u0131m\u0131 esirgemez. Mephisto da yolculuk boyunca Faust\u2019a yol g\u00f6stermi\u015f, ba\u015f\u0131na gelen t\u00fcrl\u00fc hadiselerden kolayl\u0131kla s\u0131yr\u0131lmas\u0131 i\u00e7in ona ak\u0131l vererek kahraman\u0131n yoluna devam etmesini sa\u011flam\u0131\u015ft\u0131r. Her imtihan, sonucu k\u00f6t\u00fc de olsa insan\u0131 olgunla\u015ft\u0131r\u0131r, ruhunu y\u00fcceltir. Ate\u015f de olgunluk verir.
\nFaust i\u00e7in ya\u015fam\u0131n amac\u0131 eylem olduktan sonra art\u0131k ya\u015flanm\u0131\u015f olan v\u00fccudu fiziksel emellerine ula\u015fmas\u0131 i\u00e7in kar\u015f\u0131s\u0131na \u00e7\u0131kan ilk engel olarak sunulur. Yard\u0131mc\u0131m\u0131z Mephisto ilk g\u00f6revini onu gen\u00e7 bir v\u00fccuda kavu\u015fturarak yerine getirir. Faust art\u0131k hem fizik\u00ee hem de fikr\u00ee olarak Mephistonun istedi\u011fi k\u0131vama gelmi\u015ftir. Bu de\u011fi\u015fimden sonra bir engeli kalmayan doyumsuz kahraman\u0131m\u0131z Faust i\u00e7in yolculuk tam anlam\u0131yla ba\u015flam\u0131\u015ft\u0131r. Mephisto\u2019nun Faust\u2019u istedi\u011fi yere \u00e7ekmesi i\u00e7in bir tetikleyiciye ihtiyac\u0131 vard\u0131r. Bu tetikleyici yolculu\u011fun ilk ad\u0131m\u0131nda safl\u0131\u011f\u0131n ve masumiyetin temsilcisi olan Gretchen olacakt\u0131r. Gretchen\u2019\u0131n g\u00fczelli\u011fi Faust\u2019u fizik\u00ee zevk ve arzular\u0131n k\u0131skac\u0131na alacak ve onu ka\u00e7\u0131n\u0131lmaz sona do\u011fru \u00e7ekecektir. Bu saf ve g\u00fczel gen\u00e7 k\u0131z Faust\u2019un y\u0131llar boyunca u\u011fra\u015ft\u0131\u011f\u0131 \u00e7al\u0131\u015fmalar\u0131n\u0131n ve bilgi birikiminin elde edemeyece\u011fi kadar saf bir g\u00fczelli\u011fe ve y\u00fcce bir g\u00f6n\u00fcle sahiptir. \u0130\u015fte bu \u00f6zellik Faust\u2019u arzular\u0131n\u0131n k\u0131skac\u0131na al\u0131r ve Mephisto ilk amac\u0131na bu sayede ula\u015f\u0131r. Gretchen\u2019\u0131 elde etmek u\u011fruna bir\u00e7ok yanl\u0131\u015fa s\u00fcr\u00fcklenen Faust \u015eeytana istedi\u011fini vermi\u015ftir.
\nS\u0131navlar yolunda kahraman tek bir s\u0131navla kar\u015f\u0131la\u015fabilece\u011fi gibi birbiri ard\u0131nca s\u0131ralanan s\u0131navlar dizisiyle de imtihan edilebilir. Bir s\u0131nav\u0131n sonu di\u011fer bir s\u0131nav\u0131n ba\u015flang\u0131c\u0131 olabilir. Ele ald\u0131\u011f\u0131m\u0131z iki kahraman\u0131m\u0131z i\u00e7in de bu s\u0131navlar dizisi ge\u00e7erlidir. Her ikisi de bir s\u0131nav\u0131 bitirir bitirmez ba\u015fka bir s\u0131nava tabi tutulur. Mizban, mihmanlar\u0131 ile yapt\u0131\u011f\u0131 hararetli tart\u0131\u015fmalarla s\u0131navlar\u0131n\u0131 verirken Faust \u015eeytan\u0131n t\u00fcrl\u00fc hilelerle onu s\u00fcr\u00fckledi\u011fi a\u015fa\u011f\u0131l\u0131k ortamlarda insan olman\u0131n gere\u011fini yerine getirmek ile \u015eeytana uymak aras\u0131nda bir sava\u015f verir. Mizban, her bir mihman\u0131 s\u0131ras\u0131yla tart\u0131\u015farak bertaraf eder. Mihmanlar burada nesnesel bir formdan ziyade soyut varl\u0131klar olarak ele al\u0131nabilir. Mesnevinin yazar\u0131 eserinde onlar\u0131 fiziksel a\u00e7\u0131dan betimlememi\u015ftir. Ancak Mizban ile olan mukabelelerinden hareketle mihmanlar\u0131n asl\u0131nda birer insandan ziyade Mizban\u2019\u0131n zihninde ve g\u00f6nl\u00fcnde var olan ve onun \u00f6z\u00fcne ula\u015fmas\u0131n\u0131 engelleyen baz\u0131 fikir ve d\u00fc\u015f\u00fcnceler oldu\u011fu kan\u0131s\u0131na var\u0131labilir. \u00d6te yandan Faust\u2019un ise ilk s\u0131nav\u0131 Gretchen\u2019\u0131 ayartt\u0131ktan sonra yar\u0131 yolda b\u0131rakmas\u0131yla ba\u015flar. Bu s\u0131nav ayn\u0131 zamanda masum k\u0131z\u0131n a\u011fabeyinin \u015eeytan\u0131n g\u00fcd\u00fcm\u00fcndeki bir k\u0131l\u0131\u00e7la Faust\u2019un elinden katledilmesi s\u0131nav\u0131n\u0131 da beraberinde getirir. Gretchen ile m\u00fcnasebeti bitiren bu olay erginlenme yolundaki Faust\u2019un vicdan\u0131 ile bir muhasebeye girmesine vesile olur. \u0130nsan\u0131n i\u00e7inde bar\u0131nd\u0131rd\u0131\u011f\u0131 iyili\u011fe ilk vurgu burada yap\u0131l\u0131r. Faust her ne kadar \u015eeytana uysa ve ruhunu ona satt\u0131\u011f\u0131 bir anla\u015fma bile imzalam\u0131\u015f olsa da \u00f6z\u00fcnde olan iyilik kaybolmam\u0131\u015ft\u0131r. \u015eeytan ne kadar aldat\u0131rsa aldats\u0131n insan \u00f6z\u00fcnde iyidir ve ne kadar yoldan saparsa saps\u0131n sonunda yine do\u011fruyu bulacakt\u0131r.
\nTanr\u0131\u00e7a \u0130le Kar\u015f\u0131la\u015fma
\nKahraman bu a\u015famada kad\u0131n fig\u00fcr\u00fc ile kar\u015f\u0131 kar\u015f\u0131ya getirilir. Kad\u0131n fig\u00fcr\u00fc kahraman i\u00e7in tamamlay\u0131c\u0131 bir unsur olarak sunulur.
\n\u201cYa\u015fam denen yava\u015f erginlenmede ilerledik\u00e7e, Tanr\u0131\u00e7an\u0131n bi\u00e7imi onun i\u00e7in bir dizi de\u011fi\u015fimden ge\u00e7er: hi\u00e7bir zaman kahraman\u0131n kendisinden b\u00fcy\u00fck olamaz, ama onun kavrayabilece\u011finden daha \u00e7o\u011funu vaat edebilir. Cezbeder, rehberlik eder, zincirlerini k\u0131rmas\u0131n\u0131 sa\u011flar. Ve e\u011fer kahraman onun arzusuna uyabilirse, ikisi, bilen ve bilinen, her t\u00fcrl\u00fc s\u0131n\u0131rlamadan kopacakt\u0131r.\u201d (Campbell, 2010: 134)
\nAnlat\u0131da kahraman\u0131n kar\u015f\u0131la\u015ft\u0131\u011f\u0131 bu kad\u0131n fig\u00fcr\u00fc arketipsel ba\u011flamda anima ve animus arketiplerinin de birer yans\u0131mas\u0131d\u0131r. Bu kar\u015f\u0131la\u015fma ile insan\u0131n i\u00e7inde var oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen eril ve di\u015fil y\u00f6n b\u00fct\u00fcnle\u015fir ve burada bir m\u00fckemmeliyet ortaya \u00e7\u0131kar.
\nJung, erke\u011fin bilin\u00e7d\u0131\u015f\u0131nda bulunan di\u015fisel \u00f6\u011felere \u201canima\u201d, kad\u0131n\u0131n bilin\u00e7d\u0131\u015f\u0131nda bulunan erkeksi \u00f6\u011felere de \u201canimus\u201d der. Animan\u0131n \u00e7ift bir g\u00f6r\u00fcn\u00fcm\u00fc vard\u0131r. Bir yandan saf, iyi ve soylu Tanr\u0131\u00e7alara benzer ki\u015fili\u011fi, \u00f6te yanda, ba\u015ftan \u00e7\u0131kar\u0131c\u0131 ve cad\u0131 nitelikleri olmak \u00fczere kad\u0131nlar\u0131n ayd\u0131nl\u0131k ve karanl\u0131k y\u00f6nlerini temsil ederler. \u201cAnima, ana temas\u0131 a\u015fk olan anlat\u0131larda daha belirgindir. Kahraman\u0131n sevgilisi olan bey, padi\u015fah k\u0131zlar\u0131, devin tutsak etti\u011fi k\u0131zlar, di\u015fisel \u00f6\u011feler birer animad\u0131r.\u201d (Kayaokay, 2014: 9)
\nBuna g\u00f6re Nigar, Mizban\u2019\u0131n bilin\u00e7d\u0131\u015f\u0131ndaki kolektif kad\u0131n imaj\u0131 olarak kabul edilirse a\u015f\u0131\u011f\u0131n animas\u0131d\u0131r, diyebiliriz. Nigar, mesnevide olumlu \u00f6zelliklere sahip bir anima olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Mizban\u2019\u0131n ilahi a\u015fk\u0131 bulmas\u0131na yard\u0131mc\u0131 olmu\u015ftur. \u00c2\u015f\u0131k, Nigar\u2019a olan a\u015fk\u0131n\u0131n sonucunda kendinde var olan a\u015fk olgusunun fark\u0131na varm\u0131\u015f ve buradan hareketle i\u00e7sel bir yolculu\u011fa, dolay\u0131s\u0131yla da ilahi bir a\u015fk aray\u0131\u015f\u0131na \u00e7\u0131km\u0131\u015ft\u0131r. Anima, benlik ve bilin\u00e7d\u0131\u015f\u0131 g\u00fc\u00e7leri aras\u0131nda ileti\u015fim kuran ve a\u015famalarda kahramanlara yard\u0131mc\u0131 olan di\u015fi bir fig\u00fcrd\u00fcr. Bu y\u00f6n\u00fcyle a\u015f\u0131\u011f\u0131n Nigar\u2019a duydu\u011fu a\u015fk bilin\u00e7d\u0131\u015f\u0131ndaki formlar\u0131 ortaya \u00e7\u0131kararak aray\u0131\u015f\u0131 ba\u015flatm\u0131\u015ft\u0131r. Bu a\u015fk, Mizban\u2019\u0131n kendini bulup b\u00fct\u00fcnl\u00fc\u011fe ula\u015fabilmesi i\u00e7in gerekli olan g\u00fcc\u00fc ortaya \u00e7\u0131karm\u0131\u015ft\u0131r.
\nMizban r\u00fcyas\u0131nda g\u00f6rd\u00fc\u011f\u00fc bir g\u00fczelli\u011fe \u00e2\u015f\u0131k olmu\u015ftur. Bu g\u00fczellik de bir di\u015fi olarak nesnele\u015ftirilmi\u015f ve ad\u0131na Nigar denilmi\u015ftir. \u00c2\u015f\u0131k, g\u00f6rd\u00fc\u011f\u00fc g\u00fczelli\u011fi bir kad\u0131n olarak atfetmi\u015ftir \u00e7\u00fcnk\u00fc yarat\u0131lm\u0131\u015flar\u0131n i\u00e7inde en g\u00fczel varl\u0131k olan insan\u0131n da en g\u00fczeli olan di\u015fi varl\u0131kt\u0131r ve g\u00fczelli\u011fi onunla sembolize etmek bir gelenek olarak s\u00fcre gelmi\u015ftir. R\u00fcyada g\u00f6r\u00fclen g\u00fczellik Tanr\u0131\u2019n\u0131n bir yans\u0131mas\u0131 olan nuran\u00ee bir g\u00fczellik olmas\u0131na kar\u015f\u0131l\u0131k, anlat\u0131c\u0131 onu bir kad\u0131n gibi g\u00f6stermi\u015f ve mesnevi boyunca bu kad\u0131na duydu\u011fu a\u015fk\u0131 anlatm\u0131\u015ft\u0131r. Bu tesad\u00fcf\u00ee bir olay de\u011fildir. R\u00fcyadaki g\u00fczelli\u011fi bir kad\u0131n olarak sembolize etmesi a\u015f\u0131\u011f\u0131n bilin\u00e7d\u0131\u015f\u0131ndaki di\u015fisel duygular\u0131n\u0131n bir sonucudur.
\nAyn\u0131 \u015fekilde Faust i\u00e7in de di\u015fi \u00f6gesi tamamlay\u0131c\u0131 bir unsur olarak sunulur. Gretchen\u2019da bulunan saf iman ve y\u00fcce g\u00f6n\u00fcl imgesi Faust i\u00e7in ula\u015f\u0131lmaz oland\u0131r. Y\u0131llarca u\u011fra\u015f\u0131p didindi\u011fi u\u011fruna hayat\u0131ndan bile vazge\u00e7ti\u011fi bilim ona bu saf iman\u0131 ve y\u00fcce g\u00f6nl\u00fc verememi\u015ftir. T\u00fcm bunal\u0131m\u0131n\u0131n sebebi olan bu ruhi tatminsizli\u011fin kayna\u011f\u0131 Gretchen\u2019da v\u00fccut bulmu\u015ftur. Ancak bu Faust\u2019un erginlenmesi i\u00e7in yeterli seviyede bir birliktelik ile sonu\u00e7lanmaz. Yaln\u0131zca bir basamak olacak \u015fekilde yard\u0131mc\u0131 bir unsur olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Faust\u2019un esas Tanr\u0131\u00e7a ile kar\u015f\u0131la\u015fma a\u015famas\u0131 Truval\u0131 Helen ile olacakt\u0131r. Helen g\u00fczelli\u011fi ile Faust\u2019u b\u00fcy\u00fcleyen yeg\u00e2ne varl\u0131k olarak sunulur. T\u0131pk\u0131 Mizban i\u00e7in Nigar\u2019\u0131n \u2018h\u00fcsn-i mutlak\u2019tan bir par\u00e7a onun bir yans\u0131mas\u0131 olarak sunulmas\u0131 gibi Helen de Faust i\u00e7in Tanr\u0131dan bir par\u00e7a bir yans\u0131ma olarak ele al\u0131n\u0131r ve y\u00fcceltilir.
\nFaust\u2019un kendini bulup erginlenme a\u015famas\u0131n\u0131 tamamlayabilmesi i\u00e7in gerekli olan g\u00fc\u00e7 Helen\u2019e duydu\u011fu a\u015fk ile ortaya \u00e7\u0131kar\u0131lm\u0131\u015ft\u0131r. Helen\u2019in etkisiyle Faust art\u0131k s\u00f6z\u00fcn yerine koydu\u011fu eylemin zevkine tam manas\u0131yla vak\u0131f olabilmi\u015ftir. Art\u0131k ne ge\u00e7mi\u015fle ne de gelecekle ilgilenir, yaln\u0131zca \u00e2n\u0131 ya\u015faman\u0131n verdi\u011fi zevkle adeta mest olur, \u015fimdiyi bir hazine olarak g\u00f6r\u00fcr. O yaln\u0131zca \u015fimdiyi ya\u015faman\u0131n verdi\u011fi mutlulukla yetinecek bir k\u0131vama gelmi\u015ftir. Art\u0131k tek elde etmek istedi\u011fi \u00e7ok \u00e7al\u0131\u015farak g\u00fc\u00e7 kazanmak ve kendine ait yeni bir d\u00fcnya in\u015fa edebilmektir. Helen ile olan kar\u015f\u0131la\u015fma Faust\u2019a yaln\u0131zca an\u0131n zevkini daha iyi alma \u015ferefi kazand\u0131rmaz, ayn\u0131 zamanda onu art\u0131k kendine yetebilen \u00f6zg\u00fcr bir kahramana da d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Bundan sonra Mephisto\u2019ya olan ihtiyac\u0131 gittik\u00e7e azalm\u0131\u015f, daha g\u00fc\u00e7l\u00fc daha kendine g\u00fcvenen bir hale b\u00fcr\u00fcnm\u00fc\u015ft\u00fcr. Art\u0131k tek ba\u015f\u0131na y\u00fcr\u00fcr, hata yapmaktan korkmaz. \u00c7\u00fcnk\u00fc art\u0131k kendi kendine yetebilmeyi \u00f6\u011frenmi\u015ftir ve \u015eeytandan ba\u011f\u0131ms\u0131z da var olabilece\u011finin fark\u0131na varm\u0131\u015ft\u0131r. Tanr\u0131\u00e7an\u0131n olumlu etkisi Faust\u2019u deyim yerindeyse yeniden yaratm\u0131\u015f, beklenildi\u011fi \u00fczere kendini bulmas\u0131nda bir mihenk ta\u015f\u0131 olmu\u015ftur.
\nTanr\u0131la\u015fma
\nBu b\u00f6l\u00fcmde kahraman\u0131n yolculu\u011fa \u00e7\u0131kmadan \u00f6nceki hali simgesel olarak \u00f6l\u00fcr ve kahraman b\u00fct\u00fcnlenmi\u015f ve zaaflar\u0131ndan ar\u0131nm\u0131\u015f bir halde ruhsal olarak yeniden do\u011far. Bu y\u00f6n\u00fcyle bu b\u00f6l\u00fcmde yeniden do\u011fu\u015f tamamlan\u0131r. (G\u00fczel, 2014: 202)
\nTanr\u0131la\u015fma a\u015famas\u0131 Faust i\u00e7in Mephisto\u2019ya ihtiyac\u0131n\u0131n kalmad\u0131\u011f\u0131n\u0131 fark etti\u011fi anda ger\u00e7ekle\u015fir. Kahraman\u0131m\u0131z art\u0131k kendi kendine yetebilmenin s\u0131rr\u0131na ula\u015fm\u0131\u015f, anlat\u0131n\u0131n ba\u015f\u0131nda g\u00f6zlemledi\u011fimiz ne yapaca\u011f\u0131n\u0131 bilmez halde s\u00fcrekli Mephisto\u2019dan medet uman Faust yerine kendi kendine yetebilen bir Faust\u2019a evrili\u015f g\u00f6zler \u00f6n\u00fcne serilmi\u015ftir. Art\u0131k kahraman\u0131m\u0131z zaaflar\u0131ndan ar\u0131nm\u0131\u015f, erginlenme a\u015famas\u0131n\u0131 tamamlam\u0131\u015f ve yeniden do\u011fu\u015fu ger\u00e7ekle\u015ftirmi\u015f olarak kendi benine yapt\u0131\u011f\u0131 yolculu\u011fun son a\u015famas\u0131na gelmi\u015ftir.
\nManevi yolculu\u011fun son ad\u0131m\u0131na do\u011fru yakla\u015fan Mizban da art\u0131k Seyrang\u00e2h-\u0131 Vahdet makam\u0131nda enel-hakk s\u0131rr\u0131na vak\u0131f olmu\u015f d\u00fcnya ve onun nimetleriyle ve a\u011fyarla hi\u00e7bir alakas\u0131 kalmad\u0131\u011f\u0131n\u0131 ispatlam\u0131\u015f ve art\u0131k Nigar\u2019\u0131n\u0131 bulmu\u015ftur. Burada t\u00fcm varl\u0131\u011f\u0131ndan kurtulmu\u015f ve Hakk\u2019\u0131n varl\u0131\u011f\u0131nda yeniden do\u011fmu\u015ftur. Art\u0131k dili susmu\u015f kalbi konu\u015fmaya ba\u015flam\u0131\u015ft\u0131r. Ruhu mutlulu\u011fa gark olmu\u015f kalbi mutmain derecesine y\u00fckselmi\u015ftir. Art\u0131k hem kendisi a\u015fk\u0131ndan yani Rabbinden raz\u0131 hem de Rabbi kendisinden raz\u0131 olmu\u015ftur. Bu makamdan sonra fena ve beka makamlar\u0131n\u0131 da ge\u00e7en \u00e2\u015f\u0131k adeta t\u00fcm makamlar\u0131 kendisinde toplaman\u0131n sevinciyle kanatlan\u0131p u\u00e7mu\u015ftur.
\nD\u00d6N\u00dc\u015e
\nBirtak\u0131m sebeplerle \u00e7\u0131k\u0131lan ve baz\u0131 yard\u0131mc\u0131lar arac\u0131l\u0131\u011f\u0131yla s\u00fcrd\u00fcr\u00fclen yolculu\u011fun art\u0131k tamamlanmas\u0131 ve kahraman\u0131n \u00e7\u0131k\u0131lan yolculuktan d\u00f6nmesi gerekmektedir. Nigar-name\u2019de d\u00f6n\u00fc\u015f\u00fcn ba\u015flamas\u0131ndan evvel kahraman\u0131n ilk \u00f6nce misafirlerinden ayr\u0131ld\u0131\u011f\u0131n\u0131 ve kendisiyle ba\u015f ba\u015fa kalarak yolculu\u011funun son k\u0131s\u0131na girdi\u011fini g\u00f6rmekteyiz. Mizban \u00e7\u0131kt\u0131\u011f\u0131 bu ilahi basamaklarda sadece kendisi kalmal\u0131d\u0131r ki yolculuk istenilen noktaya varabilsin ve nihai ama\u00e7 olan Tanr\u0131ya ula\u015fabilsin. Bu makamlar vahdetin birer simgesi oldu\u011fu i\u00e7in ve ula\u015f\u0131labilecek derecelerin en \u00fcst\u00fc durumunda bulundu\u011fu i\u00e7in benlikten, hev\u00e2 ve hevesten bilhassa da nefis denilen d\u00fc\u015fmandan kurtulmak \u015fartt\u0131r. Mizban da nefsiyle mihmanlar arac\u0131l\u0131\u011f\u0131yla sava\u015fm\u0131\u015f ve onu yenerek b\u00fcsb\u00fct\u00fcn kurtulmu\u015ftur. Art\u0131k sadece a\u015fktan ibarettir. Tek iste\u011fi ise ma\u015fukunun cemalini g\u00f6rmektir.
\nMihmanlar\u0131n yan\u0131nda r\u00fcyas\u0131nda eri\u015fti\u011fi makamlar\u0131n mutlulu\u011fuyla uyanan \u00e2\u015f\u0131k bu m\u00fcjdeyi onlara da vermi\u015ftir. Mihmanlar da bu durumdan ziyadesiyle memnun kalm\u0131\u015flard\u0131r. Bu da g\u00f6steriyor ki ba\u015fta da belirtildi\u011fi \u00fczere Mizban da mihmanlarda ayn\u0131 bedende ikamet eden kalbi ve d\u00fcnyevi hev\u00e2 ve hevesi temsil eden sembolik birer kahramand\u0131r. Bu sembolizm nedense pek \u00e7ok Bat\u0131l\u0131 ayd\u0131n taraf\u0131ndan g\u00f6rmezden gelinmektedir ve bu yolla ili\u015fkiler yuma\u011f\u0131 bir t\u00fcrl\u00fc \u00e7\u00f6z\u00fcmlenememektedir. The Age of Beloveds : Love and the Beloved in Early-Modern Ottoman and European Culture and Society adl\u0131 eserde bunun en belirgin hali g\u00f6r\u00fclmektedir (Andrews, 2005). Mizban, mihmanlar\u0131n hepsini alt edip b\u00fct\u00fcn d\u00fcnyevi arzular\u0131 elinin tersiyle itmi\u015f, tek gayesinin Allah oldu\u011funu belirtmi\u015f ve son olarak da misafirlerini g\u00f6nderip a\u015fk\u0131yla ba\u015f ba\u015fa kalarak fena makam\u0131nda sevgilin cemalinde kaybolmu\u015ftur. Bu kaybolu\u015f Mizban\u2019\u0131n erginle\u015fme s\u00fcrecini tamamlad\u0131\u011f\u0131n\u0131n habercisidir. Nigar\u2019\u0131n a\u015fk\u0131 onu art\u0131k arad\u0131\u011f\u0131na ula\u015ft\u0131rm\u0131\u015ft\u0131r. Mizban art\u0131k bilin\u00e7 ve bilin\u00e7d\u0131\u015f\u0131 aras\u0131ndaki ba\u011f\u0131 kurmu\u015ftur. Yolculu\u011fun sonunda arad\u0131\u011f\u0131 hazineye ula\u015fm\u0131\u015ft\u0131r.
\n\u201cH\u00e2l\u0131kdur o yirde c\u00fcmle e\u015fy\u00e2
\nOl yerde bulunmaz ill\u00e2 Mevl\u00e2
\nErb\u00e2b-\u0131 g\u00f6n\u00fcl ol yerde mestd\u00fcr
\nBilmez \u00f6z\u00fcni ki nist \u00fc hestd\u00fcr
\nSermestd\u00fcr o yirde \u00e2\u015f\u0131k-\u0131 Hakk
\nBilmez \u00f6z\u00fcni ki dir Enel-Hakk
\nHall\u00e2c o yirde virdi c\u00e2n\u0131
\nC\u00e2n virdi ki buld\u0131 bir can\u00e2n\u0131
\nMahv old\u0131 it\u00fcrdi ar u var\u0131n
\nTerk eyledi buld\u0131 bir nig\u00e2r\u0131n
\nTerk eyledi c\u00fcmle \u00e2r u v\u00e2r\u0131n
\nOl vakt ki buld\u0131 bir nig\u00e2r\u0131n
\nAnlad\u0131 hem\u00een ki bir Hud\u00e2dur
\nOl ki ana c\u00e2n u dil fed\u00e2dur\u201d (Memmedli, 2012: 346-347)
\nFaust\u2019un geri d\u00f6n\u00fc\u015f\u00fc ise ate\u015f imgesiyle hissettirilmi\u015ftir. Ate\u015fin ar\u0131nd\u0131r\u0131c\u0131 ve yeni bir olu\u015fuma imk\u00e2n veren \u00f6zelli\u011fi sayesinde Faust\u2019un d\u00f6n\u00fc\u015f\u00fcm\u00fc ve de\u011fi\u015fimi g\u00f6zler \u00f6n\u00fcne serilmi\u015ftir. Ate\u015f imgesi Faust anlat\u0131s\u0131 boyunca s\u0131k\u00e7a an\u0131lm\u0131\u015ft\u0131r. Ancak anlat\u0131n\u0131n bu noktas\u0131nda ele al\u0131nan ate\u015f sembolik ve mecaz\u00eedir, vicdan azab\u0131ndan kaynaklanan ate\u015fi sembolize eder. Faust yolculu\u011fu boyunca ya\u015fad\u0131klar\u0131n\u0131n bir muhakemesi sonucunda vicdan azab\u0131yla yanar. Bu yan\u0131\u015f onu kemale ula\u015ft\u0131racak olan en \u00f6nemli arac\u0131d\u0131r. Vicdan azab\u0131nda pi\u015fer ve bu ate\u015f sahip oldu\u011fu her \u015feyi yakarak, onu hayat\u0131ndan vazge\u00e7irerek kemale ermesini sa\u011flar. \u0130\u015fte bu vazge\u00e7i\u015fler ile i\u00e7inde bar\u0131nd\u0131rd\u0131\u011f\u0131 saf iyili\u011fe ula\u015f\u0131r. \u0130ncil\u2019in ilk ayetinde \u201cs\u00f6z\u201d\u00fcn yerine koydu\u011fu \u201ceylem\u201d art\u0131k nihai amac\u0131na ula\u015f\u0131r, iyilik z\u0131rh\u0131n\u0131 ku\u015fan\u0131r. \u0130nsanl\u0131\u011fa faydas\u0131 olan her t\u00fcrl\u00fc i\u015f art\u0131k Faust i\u00e7in manevi tatminin zirvesini ifade etmektedir. Bu minvalde bir batakl\u0131\u011f\u0131n kurutulup meraya \u00e7evrilmesi g\u00f6revini \u00fcstlenir. Bu batakl\u0131\u011f\u0131 kurutmak belki insanl\u0131k i\u00e7in b\u00fcy\u00fck bir ad\u0131m olmayacakt\u0131r fakat ba\u015flang\u0131c\u0131n eylem olarak tan\u0131mland\u0131\u011f\u0131 ilk k\u0131s\u0131mdaki ama\u00e7 ger\u00e7ekle\u015fecektir. Bu eylemin sembolik olarak anlam\u0131 ve anlat\u0131 boyunca ifade edilmeye \u00e7al\u0131\u015f\u0131lan as\u0131l unsur olan \u2018iyilik\u2019 kavram\u0131d\u0131r. Batakl\u0131k ifadesinin kar\u015f\u0131l\u0131\u011f\u0131 olarak da k\u00f6t\u00fcl\u00fck ele al\u0131nm\u0131\u015ft\u0131r. Faust\u2019un batakl\u0131\u011f\u0131 kurutmaktaki kutsal amac\u0131 asl\u0131nda yery\u00fcz\u00fcndeki k\u00f6t\u00fcl\u00fck batakl\u0131\u011f\u0131n\u0131 kurutmak ve iyilik meras\u0131nda umutlar ye\u015fertmektir. T\u0131pk\u0131 Mizban\u2019\u0131n etraf\u0131ndaki \u201ck\u00f6t\u00fcl\u00fck\u201d \u00e7emberinden, Tanr\u0131\u2019y\u0131 hissederek kurtulmas\u0131 gibi.
\nHik\u00e2ye bu hal \u00fczere sona ula\u015ft\u0131\u011f\u0131nda Faust ba\u015f\u0131ndan beri pe\u015finde oldu\u011fu manevi tatmine ula\u015fm\u0131\u015f, sonsuz mutlulu\u011fu yakalayarak ruhunu ve nefsini mutmain derecesine ula\u015ft\u0131rm\u0131\u015ft\u0131r. Bu hal \u00fczereyken kendisi i\u00e7in \u00f6l\u00fcm anlam\u0131na gelen \u015fu ifadeler dilinden d\u00f6k\u00fclm\u00fc\u015f \u201cdur ge\u00e7me zaman \u00e7ok g\u00fczelsin\u201d ve ayn\u0131 anda g\u00f6\u011fe y\u00fckselerek asl\u0131nda ba\u015flad\u0131\u011f\u0131 yere d\u00f6nm\u00fc\u015f ve maceras\u0131n\u0131 burada tamamlam\u0131\u015ft\u0131r.
\nSonu\u00e7
\nJung, ortaya koydu\u011fu arketip kavram\u0131 ile ortak bilin\u00e7d\u0131\u015f\u0131n\u0131n, evrensel boyutta benzer de\u011ferlerin var oldu\u011funun ipu\u00e7lar\u0131n\u0131 vermi\u015ftir. Bu ipu\u00e7lar\u0131ndan hareketle Campbell taraf\u0131ndan ortaya konulan monomit kuram\u0131 ise anlat\u0131 kahramanlar\u0131n\u0131n bu ortak bilin\u00e7d\u0131\u015f\u0131 ve evrensel de\u011ferler temeline dayanan \u00f6zel bir yolculu\u011funun oldu\u011funu ifade etmektedir. Bu yolculuk ise \u201cyola \u00e7\u0131k\u0131\u015f\u201d \u201cerginlenme\u201d ve \u201cd\u00f6n\u00fc\u015f\u201d olarak belirlenmi\u015f, bu a\u015famalar da kendi i\u00e7inde alt basamaklara ayr\u0131larak kahraman\u0131n i\u00e7sel yolculu\u011fu \u00fczerine detayl\u0131 bir inceleme yapma f\u0131rsat\u0131 sa\u011flam\u0131\u015ft\u0131r.
\nBu kuramsal yakla\u015f\u0131mdan yola \u00e7\u0131k\u0131larak, Goethe\u2019nin Faust Tragedyas\u0131 ve Mir Hamza Nigar\u00ee\u2019nin Nigar-name adl\u0131 mesnevisi aras\u0131ndaki benzerlik ele al\u0131nm\u0131\u015f, her iki eserde kahraman\u0131n d\u00f6n\u00fc\u015f\u00fcm yolculu\u011fu ad\u0131m ad\u0131m takip edilerek erginlenme yoluna \u00e7\u0131kan kahramanlar\u0131n ge\u00e7irdi\u011fi de\u011fi\u015fim ve ula\u015ft\u0131klar\u0131 mertebe ortaya konulmu\u015ftur.
\nTasavvufi anlamda insan-\u0131 kamil mertebesi ile Jung\u2019un ortaya koydu\u011fu bireyle\u015fim s\u00fcreci aras\u0131ndaki benzerlik, tasavvufi metinler i\u00e7in de monomit teorisinin uygulanabilir oldu\u011funu g\u00f6stermektedir. \u00c7al\u0131\u015fma boyunca ele al\u0131nan iki eser aras\u0131ndaki; yol metaforu, insan\u0131n kendiyle ve nefsiyle olan m\u00fccadelesi, a\u015fk\u0131n iki anlat\u0131da da kar\u015f\u0131m\u0131za \u00e7\u0131kan etkin rol\u00fc gibi benzerlikler de bu yakla\u015f\u0131m\u0131n do\u011frulu\u011funa kan\u0131t olacak niteliktedir.
\nFaust da Mizban da d\u00fcnyevi arzular\u0131n ate\u015finde pi\u015ferek ve ayn\u0131 zamanda a\u015fk\u0131n pe\u015finde ko\u015farak kendi benlerine do\u011fru yapt\u0131klar\u0131 yolculuklar\u0131n sonucunda, sava\u015ft\u0131klar\u0131 t\u00fcrl\u00fc zorluklara galip gelerek istenilen mertebeye ula\u015fm\u0131\u015flar, bireyle\u015fme s\u00fcrecini ba\u015far\u0131yla tamamlayarak mutmain seviyesinde, ba\u015flad\u0131klar\u0131 yere geri d\u00f6nm\u00fc\u015fler yani yarat\u0131c\u0131n\u0131n varl\u0131\u011f\u0131nda yok olarak yeniden do\u011fu\u015fu ger\u00e7ekle\u015ftirmi\u015flerdir. Mukayeseli edebiyat y\u00f6n\u00fcnden de bu iki ayr\u0131 co\u011frafyan\u0131n iki k\u00fclt\u00fcr insan\u0131; iki \u00f6l\u00fcms\u00fcz karakterle ayn\u0131 aray\u0131\u015f\u0131 ve bulu\u015fu ger\u00e7ekle\u015ftirmi\u015ftir: Kendi \u00d6z\u00fcn\u00fc Bulan \u0130nsan.<\/p>\n
Kaynaklar
\nAndrews, W. G. (2005). The Age of Beloveds : Love and the Beloved in Early-Modern Ottoman and European Culture and Society. Washington: Univ of Washington Pr.
\nCampbell, J. (2010). Kahraman\u0131n Sonsuz Yolculu\u011fu. \u0130stanbul: Kabalc\u0131 Yay\u0131nevi.
\nG\u00f6kcan, M. (2018). \u201cFaust ve \u015eeyh San\u2019an Hik\u00e2yelerinde Varolu\u015fsal Yolculuk\u201d, ZfWT Vol:10, no:2, s.15-32.
\nG\u00fcld\u00fcrmez, S. (2017). \u201cFaust\u2019u G\u00f6lgesinden Seyretmek Yahut Modernizm Ba\u011flam\u0131nda Faust\u2019a Dair Baz\u0131 Dikkatler\u201d, Turkish Studies \u0130nternatinal Periodical fort he Languages Literature of History of Turkish or Turkic, Volume:12\/15, s.321-344.
\nG\u00fczel, C. (2014). \u201cMonomit Teorisi Ba\u011flam\u0131nda Bayan Toolay Destan\u0131\u201d T\u00dcBAR-XXXVI\/G\u00fcz, s.191-205.
\nHakverdio\u011flu, M. (2017). \u201cNigar Han\u0131m ve Mir Hamza\u2019n\u0131n Nigarnamesi\u201d, Uluslararas\u0131 T\u00fcrk Dili ve Edebiyat\u0131nda Kad\u0131n Sempozyumu, Amasya. s. 460-500.
\nHolbrook, V. (1996). \u201cAlegorinin \u00d6l\u00fcm\u00fc H\u00fcsn \u00fc A\u015fk\u0131n \u00d6zg\u00fcnl\u00fc\u011f\u00fc\u201d, Defter 27.
\nJung, C. G. (2003). D\u00f6rt Arketip, \u0130stanbul: Metis Yay\u0131nlar\u0131.
\nKaraday\u0131, O. N. (2017). \u201cNigarname\u2019de A\u015fk\u0131n Seyri\u201d, \u0130lahiyat Tetkikleri Dergisi, s. 48, 161-194.
\nKayaokay, \u0130. (2014). \u201cFuzuli\u2019nin Leyla ile Mecnun Mesnevisinin Arketipsel Sembolizm Ba\u011flam\u0131nda \u00c7\u00f6z\u00fcmlenmesi\u201d, Akademik Sosyal Ara\u015ft\u0131rmalar Dergisi, Say\u0131:7, s. 337-351.
\nK\u00fc\u00e7\u00fck, O. N. (2007). \u201cMevlana\u2019da Benli\u011fin D\u00f6n\u00fc\u015f\u00fcm\u00fc: S\u00fcl\u00fbk\u201d, Doktora Tezi, Ankara: Ankara \u00dcniversitesi.
\nMemmedli, N. (2012). Mir Hamza Seyid Nigar\u00ee, Nigar-name, Bak\u00fc: \u0130lm ve Tahsil.
\nMendereso\u011flu, \u0130. (2005). Faust, \u0130stanbul: C\u00fcmle Yay\u0131nc\u0131l\u0131k,.
\n\u00d6ztekin, N. (2007). \u201cMukayeseli Edebiyat Ara\u015ft\u0131rma Tarihi ve Y\u00f6ntem\u201d, Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 2\/4 Fall, s.672-679.
\nTa\u015fl\u0131ova, M. (1999). \u201cKaraba\u011fl\u0131 Hamza Nig\u00e2r\u00ee ve Nig\u00e2r-n\u00e2me Mesnevisi\u201d, Mill\u00ee Folklor Uluslararas\u0131 Halkbilimi Dergisi, Cilt 6, Y\u0131l 11, Say\u0131 44, K\u0131\u015f, Ankara,115-120.<\/p>\n","protected":false},"excerpt":{"rendered":"
Goethe’den Nigari’ye Benlik Alg\u0131s\u0131 Yahut \u0130nsan ile \u015eeytan\u0131n M\u00fccadelesi (Monomit Teorisi Ba\u011flam\u0131nda Benlik Yolculu\u011fu) Do\u00e7. Dr. Metin HAKVERD\u0130O\u011eLU Ay\u015feg\u00fcl \u00d6ZDA\u011e \u0130NG\u0130L\u0130ZCE OR\u0130J\u0130NAL\u0130 (L\u0130NK) https:\/\/kesitakademi.com\/?mod=tammetin&makaleadi=&makaleurl=1c03b628-9461-4948-a9db-96505f36b1ab.pdf&key=51903 MAKALEN\u0130N T\u00dcRK\u00c7ES\u0130 GOETHE’DEN, N\u0130GAR\u0130’YE BENL\u0130K ALGISI YAHUT \u0130NSAN \u0130LE \u015eEYTANIN M\u00dcCADELES\u0130 (Monomit Teorisi Ba\u011flam\u0131nda Benlik Yolculu\u011fu) … Okumaya devam et