S H A R Q M A S H ’ A L I
36
Халқ ҳажвиётининг муҳим хусусияти шундаки, у яшаш учун курашда мазлум
кишиларнинг устунликка эришиш йўлида фойдаланадиган қуролидир. Жамиятдаги ҳоким
синфлар устунликни моддий жиҳатдан қўлга киритганлар. Эзилувчилар эса ҳоким синфга
қарши курашиш учун ҳажвдан қурол сифатида фойдаланадилар. Бундай ҳажвия сиёсий ва
ижтимоий нуқтаи назардан кучсизларнинг кучлиларга қарши ишлатувчи қуролидир.
Тад
қ
и
қ
отда
шунга
амин
бўлдикки
,
қ
озо
қ
хал
қ
ижодиётидаги
Насриддинхўжанинг
ҳ
икоялари
назарга
илинмай
келаётган
мерос
эмас
эканлиги
аксинча
,
Насриддинхўжа
ҳ
икоялари
хал
қ
ининг
о
ғ
зида
,
тилида
,
олимлар
ва бадиий санъат эгаларининг назарида бўлиб, асрлар бўйи айтилиб,
тўпланиб, нашрдан чи
қ
иб
келаётган
хал
қ
нинг
туганмас
маънавий
меросидир
.
Қ
озо
қ
хал
қ
ининг
афсона
-
ҳ
икоялари
,
уларнинг
орасида
кўп
таралган
Жайрончи
,
Алдар
кўса
,
Насриддинхўжа
,
Аёз
би
,
Асан
қ
ай
ғ
у
ва бош
қ
а
ҳ
ар
қ
адамда
айтилиб
юрган
кулгили
,
ҳ
азил
,
иронияли
,
бир
қ
ўр
қ
о
қ
бойлар
бугунги
фан
юту
қ
лари
ну
қ
таи
назардан
хал
қ
имизнинг
миллий
,
тарихий
ва
маданий
анъаналари
,
маънавий
тажрибасини
ўрганишда
катта
а
ҳ
амиятга
эга
.
MODERNIZATION OF TURKISH LITERATURE
FIKRI AYDEMİR
docent of Giresun University
Abstract. Modernism can be regarded as a movement of thought that has emerged in Europe since the
mid-seventeenth century and influenced the entire world. Modernism, which is based on the idea of
enlightenment, has become the opposite of the traditional in every field with the Industrial revolution.
Modernism, which affects all areas of society, also causes changes in the field of art and literature. Ottoman
society, art and literature were not unfamiliar to this trend, which developed especially under the leadership
of European thought and art. After the French Revolution, thoughts affecting the whole world raise Europe
as a center. All the world's attention and face turns there. The interest of Ottoman society develops in the
same direction. But in the first place, the attention of the Ottoman is for military area. Lost wars and lands,
the future of the army, which has lost its former glory and power, is in the West. So the first transformation
moves begin on the army. After that, change will begin in other social areas. However, it has been discussed
for a long time how these developments and changes will be; in which direction they will affect society and
art. The modernization of the Ottoman Empire has taken the road with the dream of capturing the west,
reaching that level and living like the west. With the publication of the Tanzimat Fermanı (1839),
modernization appears to have exceeded an important threshold. The expression of equality of all citizens in
the edict has in some sense been the most modernist breakthrough. Therefore, despite the existence of various
changes before it, the proclamation of the Tanzimat edict is considered the beginning of modernism.
Keywords and expressions: Modernisation, Turkish Literature, Ottoman Literature, Tanzimat Period.
Аннотация. Модернизмга Европада XVII аср ўрталарида пайдо бўлган ва бутун дунёга таъсир
этган фикрлар оқими сифатида қараш мумкин. Маърифатчилик ғоясига боғлиқ бўлган модернизм
индиструал инқилоб билан биргаликда ҳар бир соҳада анъанавий ҳаётга қарши ғояга айланди.
Жамиятнинг ҳар бир соҳасига таъсир кўрсатган модернизм санъат ва адабиёт соҳасидаги
ўзгаришларни ҳам келтириб чиқаради. Айниқса, Европанинг фикр ва санъати раҳнамолигида ривож-
ланган ушбу оқимдан Усмонли жамияти, санъати ва адабиёти, бебаҳра қолмади. Буюк француз
S H A R Q M A S H ’ A L I
37
буржуа инқилобидан кейин бутун дунёга таъсир қилган ғоялар Европани бир марказ ҳолига келтирди.
У ер бутун дунёнинг диққат-эътиборини ўзига жалб этди. Усмонли жамиятининг қизиқиши ҳам
худди шу йўналишда ривожланди. Аммо Усмонлиларнинг эътибори илк босқичда ҳарбий соҳага
қаратилди. Йўқотилган урушлар ва ерлар, олдинги шон-шарафини ва кучини йўқотган армиянинг
келажагини ғарбда кўрдилар. Шундай учун ҳам, дастлабки трансформация ҳаракатлари армияда
бошланади. Шундан кейин, бошқа ижтимоий соҳаларда ҳам ўзгаришлар бошланади. Аммо бу ривож-
ланиш ва ўзгаришлар қандай амалга ошиши; жамият ва санъатга қайси йўналишда таъсир қилиши
узоқ вақт муҳокама қилинди. Усмонли давлати замонавийлаштириш, ғарбга етиб олиш, унинг
савиясини ўзида мужассам этиш, ғарбдаги каби яшаш орзуси билан одимлар отди. Танзимат
фармони (1839) эълон қилиниши билан модернизация учун муҳим эшик очилгани маълум бўлди. Фар-
мондаги барча фуқароларнинг тенглиги ифодаси, маълум маънода, энг модернистик ҳаракат бўлди.
Шу сабабли, Танзимат Фармони ундан олдин турли хил янгиликлар кириб келишига қарамай, модер-
низмнинг бошланиши сифатида қабул қилинган.
Таянч сўз ва иборалар: Модернизм, Турк адабиёти, Усмонли адабиёти, Танзимот даври.
Аннотация. В данной статье модернизм рассматривается как поток идей, которые возникли в
Европе в середине XVII века и повлияли на весь мир. Модернизм, основанный на идее просвещения, наряду
с промышленной революцией, стал идеей против обыденной жизни во всех сферах. Он вызывает
изменения и в области искусства и литературы. Появившиеся после французской революции идеи превра-
тили Европу в центр всех событий. Под руководством европейского мировоззрения развивалось и османс-
кое общество, турецкое искусство и литература.
Изначально внимание османов было сосредоточено на военную сферу. Поэтому процесс трансфор-
мации начался в армии. Общество хотело восстановить былую мощь и славу армии по европейским
критериям. Постепенно изменения стали происходить и в других социальных сферах. Османское
государство стало модернизироваться, появилось желание жить по западным меркам. Провозглашение
Указа о Танзимате стало важным шагом по этому направлению и открыло новые возможности перед
турецким обществом. Самым важным проявлением модернизма стало выражение равенства всех
граждан, именно поэтому данный документ считается началом модернизма в Турции, несмотря на
нововведения, которые появились задолго до его принятия.
Опорные слова и выражения: модернизм, турецкая литература, османская литература, тан-
зиматский период.
İntroduction.
Modernization and Westernization with its counterpart in the Ottoman Empire
due to lost wars and lands is a concept that belongs to the period when the Empire lost its former
power.Hanioğlu: “
Günümüz Türkçe'sinde Batılılaşma (Garplılaşma) tabiri, genel olarak Batı
ülkeleri dışında kalan toplumlarda, özel olarak da Osmanlı imparatorluğu ile Cumhuriyet
Türkiye’sinde Batı'nın gelişmişlik seviyesine ulaşabilmek için gerçekleştirilen siyasi, sosyal ve
kültürel hareketleri ifade etmek üzere kullanılmaktadır.”
1
defines westernization in this way. The
goal of achieving the level of development of the West highlighted here is an important point. The
idea of Westernization will be perceived in various ways and will become a side of a conflict, as
opposed to the shape stated in this definition. This is the east west or old new debate. This discussion
will immediately spread to literature in the early periods and will continue to have an effect
throughout the Republican period.
The Ottoman Empire, which reached its widest limits during the reign of Sultan Süleyman, did
not win any major successes or battles during the period of the following Sultans. The Empire, which
ruled almost a third of the known world, also had an interest in the outside world within the
1
Hanioğlu, Ş., https://islamansiklopedisi.org.tr/batililasma#5-edebiyat, (accessed:23.01.2020)
S H A R Q M A S H ’ A L I
38
framework of its own idea of greatness. The beginning of wars and territorial losses would be the end of
this idea of greatness in a sense. The Ottoman Empire, far from the invention of the printing press and
the intellectual change in Europe, was not able to benefit from the Industrial Revolution which was a
continuation of this. In this whole process, especially losing war results in an openness of interest towards
how the winners achieve this transition. First of all, learning the developments in military technology
and preventing defeats is the first aim. But the establishment of permanent embassies and increased
relations with the West will open the door to changes in all areas of life over time.
Modernization on Literature
After Sheikh Galib, who was considered the last great poet of classical period poetry, the Divan
poem, which could not rise to these levels and repeated itself, changed direction due to the influence of
the period in which the Empire passed through. The superiority and victories of Europe, which began
before the Tanzimat Edict, resulted in the Ottomans turning their face to the west. The state, which rose
to the almost central position of the known world after the expansion of the empire and the conquests,
and the rising literature; however, have now progressed almost in the period of decline. After
geographical discoveries, with the French Revolution and the Industrial Revolution, Europe now
becomes the holder of the word modern. The process of modernization, which started with students sent
to learn the reasons for progress in Europe, is reflected in literature with the spread of printing and
newspaper. Western artifacts, which were previously brought to the attention of literary artists through
translations, have begun to be reflected in the general public through newspapers.
The first examples of this reflection, of course, can be considered as the elite of the state is a
group of pashas. Akif Pasha, Sadullah Pasha, Münif Pasha, Yusuf Kamil Pasha are examples of this
group. These pashas both took part in the administration of the state and influenced the innovations
in the field of thought and literature with their translations and arts. Akif Pasha’s “Adem Kasidesi”;
Muhifat-ı Hikemiye, which was translated from French philosophers by MünifPaşa; Yusuf Kamil
Pasha's translation of
Telemak
from Fenelon, which is considered the first translated novel; Sadullah
Pasha's “Ondokuzuncu Asır” poem and the translation of “Göl’ from Lamartins poem are accepted
as the basic texts of modernization.
Can verir âdeme endişe-i sahbâ-yı adem
Cevher-i canmı aceb cevher-i minâ-yı adem
Çeşm-i im'ânile baktıkça vücûd-i ademe
Sahn-ı cennet görünür âdeme sahrâ-yı adem
The above section, taken from the Adam Kasidesi, which exalts the absence of Akif Pasha
against existence, is an example of a different path from our classical poetry. However, this change
is not in the form of the poem, but in the thoughts of it. The form still doesn’t sever its connection
with the classical poem. Throughout the poem these existence-absence themes are diagnosed. There
is also a new world of thought in Sadullah Pasha's nineteenth century poem.
Erişti mevc-i kemalata nur-i idrakat
Yetişti rütbe-yi imkana kısm-ı mümteniat
Besait oldu mürekkeb, mürekkeb oldu basît
Bedahat oldu tecârib lehayli mechûlat
Yıklıdı belki esasından eski ma''lumat
Mebahis-i felek ü arz ü hikmet-ü kimya
S H A R Q M A S H ’ A L I
39
Değil vesavis-i ezhan ü vehmül tems
ilat
Mesail-i nazariyete carib oldu sened
The ancient knowledge and sciences are now replaced by chemistry and rhyazia. The perception
by an Ottoman Pasha of the age of positive sciences can be seen throughout the poem. Now there is
a whole different world. The poet tries to show this modern world.
It is natural for modernized literature to differ from existing ones, and for existing genres,
subjects and ways of processing subjects to change. Especially the Kasides written by Şinasi for
Reşit Pasha are examples of this change mentioned above. Şinasi has written four kasides for Reşit
Pasha. Tanpınar, as mentioned above, states that through these poems Şinasi impacts the tradition:
“
Kasideler ile sadece herhangi bir vezir medhedilmez, asırlardan beri sürüp giden bir ruh tembelliği
sarsılır; geleneğin, müphemin dünyasından, aklın ve aydınlık düşüncenin dünyasına geçer”.
1
Detailed analysis of the poems supports this idea.
2
Tanpinar's famous word, which is known by
everyone, actually makes an important point not only in terms of literature but also in terms of the
whole world of thought: “
Modern Türk Edebiyatı bir medeniyet krizi ile başlar.”
3
He continues to
say that modern literature came about as a result of this change in Civilization. Now the direction of
our literature is not in the East but in the West. After the first translations, foreign languages learned
from private teachers at home are also added to the literary learning of foreign languages by their
own efforts. Thus, translations from Western literature are increased remarkably. In addition to the
official newspaper, the private newspapers that started their publishing life also support this
transition and translation activities. New genres and different interpretations of existing genres are
thus identified by our literatures. Theatre, novel, modern story, criticism, types of articles are seen
in our literature as a result of these modernization movements that started with Tanzimat. Again,
Tanpınar's remarks about the necessity of heading to the west are quite explanatory at this point:
“
Türk cemiyeti yaşamak iradesiyle garplılaştı. Bu suretle yeni bir cemiyet, yeni bir ahlâk, yeni bir
hayat tarzı peşinde giderken elbetteki, yeni bir edebiyatı da arayacaktı. Hattâ daha iyisi muayyen
bir devreden sonar bu garplılaşmak yolunda – bu yeni ve Avrupalı örneklere gore yapılmış edebiyat
medeniyet yolunda ona istikamet dahi verdi.”
4
In addition to the fact that Tanpınar sees this
transformation as the normal course of life, the words of our modernized literature in the last
sentence have led to westernization with the examples given after a while. Now this movement for
change has cost us. This particular period in the literature mentioned by Tanpınar can be considered
as the period of Servet-i Fünun.
In this period there are about thirty years between the publication of the Tanzimat Fermanı and
Tercüman-ı Ahval. This situation can be interpreted as political and social developments started
modernization movements before literature; then these developments led literature to follow. Okay
refers to this situation as:
“Tarihlerinde tam bir isabet
olmasa
bile her ikisi de Batılılaşma'ya bağlanan
siyasi
Tanzimat
ve
Tanzimat edebiyatı
arasındaki yirmi yıllık ara, edebiyatın siyaseti
sürükleyici olmadığını. aksine
1
Tanpınar A.H., “İbrahim Şinâsî Efendi”, XIX. Asır Türk Edebiyatı Tarihi, 5. Edition, Çağlayan Bookstore, İstanbul
1982,pp. 198.
2
Çalışkan A., İbrahim Şinâsî Efend’nin Mustafa Reşid Paşa Üzerine Bir Kasîde’si ve Tahlili, İnternotional Journal of
Social Researchs , vol:4, no:19, Autumn 2011
3
Tanpınar A.H, Türk Edebiyatında Cereyanlar, Edebiyat Üzerine Makaleler, Ed: Zeynep Kerman, Dergâh Publishing, ,
İstanbul 1998, pp.101
4
S.b. pp.88
S H A R Q M A S H ’ A L I
40
siyasetin
arkasından gittiğini gösterir.
Nitekim
edebiyatımızda Batılılaşma
'
nın
bu
ilk devresi
(yaklaşık 1859-1885
aras
ı)
diğer
edebi devrelere kıyasla aşırı bir sosyal-siyası
karaktere sahiptir”
1
What is meant here is that literature and social and political life do not progress simultaneously.
The reason why this first circuit has an extreme political and social character is that the artists are
intertwined with politics, they meet in government posts, they are sent into exile.
Şinasi is one of the students sent to the West mentioned above. But he was not only educated in
finance and economics but also learned the ideas and products that will play a key role in the
transformation of our literature. “
Düşünsel ve kültürel olarak yeterli bir zemini ve kendisine işlerlik
kazandıracak donanımlı bir aydın kadroya sahip olmayan bu amaç, uzun yıllar kesintili, sancılı
oluşum ve gelişim evreleri geçirdikten sonar edebi ve düşünsel anlamda ilk gerçek temsilcisini
Şinasi’de bulur.
”
2
Şinasi is now the new and Western representative of society. Tercüman-ı Ahval
(1860), the first private newspaper published by Şinasi with Agah Efendi, was the engine of
modernisation. The language he uses in his articles, poems, theatrical works and writings is a
reflection of modernization into literature. The departure of Şinasi from Tercüman-ı Ahval and the
publication of Tasvir-i Efkar(1862) newspaper was instrumental in the transformation of another
pioneer, Namik Kemal. Şinasi leaves the newspaper to Namık Kemal on his way to Europe. Namık
Kemal, one of the poets of the Encümen-i Şuara, was found in his early youth alongside famous
poets of the period such as Leskofçalı Galip and Hersekli Arif Hikmet. He became a modernist after
he met with Şinasi while he was producing classical poetry. After the events that followed the
staging of
Vatan Hayut Silistre
, Namık Kemal went to Europe and published the modernist
newspaper Hürriyet with Ali Suavi and Ziya Pasha the support of Egyptian Mustafa Fazil Pasha.
Vatan Yahut Silistre is the work of Namık Kemal who received the title of poet of the homeland.
Namık Kemal's nomination Section at the beginning of the work is as follows:
Ey vatanın hayatını
koruma uğrunda canını veren mücahitler!
Namık Kemal, who greets the soldiers of the homeland,
draws attention to the duty of writers and poets in the present situation at the end of the nomination:
“Vatanın ne demek olduğunu bilen kalem sahiplerinin, onu korumak için yapabileceği şey,
askerde, Allah göstermesin, (bir) felâket görürse (onlarla) birlikte ölmek, zafer görürse milletin
teşekkürünü dile getirmektir.
Yaşasın askerimiz! Yaşasın vatan!”
Kemal's first salute to the soldiers and then the role he devised in literature during his own period
is extremely humid and shows the characteristic of being the first. These words are the most
remarkable example of the mission of being close to the public and educating the public, which
began with Şinasi. The mission of the writers, who are taped with the pen owners, is to die with the
soldiers in disaster, in defeat; in victory he States as expressing their feelings as an interpreter of the
people. Namık Kemal, who emphasized the purpose of the artist in this way with an unprecedented
definition, is sent to exile after the events that happened after the evening when the theater was first
staged. The audience was very impressed with the game and went to the newspaper administration
shouting” Long Live Vatan, Long Live Kemal" slogans and left a letter of thanks to Namık Kemal
when he could not find it. Upon the publication of the letter in the İbret newspaper, Namık Kemal
was sent to the castle of Magosa and the newspaper was closed due to this incident. This exile further
1
Okay O, https://islamansiklopedisi.org.tr/batililasma#5-edebiyat, (accessed:23.01.2020)
2
Gariper C., Yenileşmenin Başlangıcı ve Öncüleri, Yeni Türk Edebiyatı El Kitabı, Ed: Ramazan Korkmaz, Grafiker
Publishing, 12. edition, Ankara 2018, pp.31
S H A R Q M A S H ’ A L I
41
enhanced Namık Kemal's existing fame and greatly influenced interest in his current and later works.
It is unprecedented for a theatre play to affect the public in this way.
Hürriyet Kasidesi
(1876) is also an important poem of Namık Kemal who is seen as a polar star
by the modernists due to his thoughts and exiles that he experienced. The notions like freedom,
homeland, justice, equality have a chance to place in the thoughts of public thanks to man of letters.
Görüp ahkâm-ı asrı münharif sıdk u selâmetten
Çekildik izzet ü ikbâl ile bâb-ı Hükûmet'ten
Usanmaz kendini insan bilenler halka hizmetten
Mürüvvet-mend olan mazlûma el çekmez iânetten
Leaving the government from prosperity, glory and reputation, the office and position is also a
very important event in that period.. Rising in Pasha, principality and government levels is
something that everyone will demand.
Namık Kemal refuses this position, money and fame
. It is now
through his works that he will also act towards serving the public which he intended. The second
couplet emphasizes that it is enough to be human without the need for authority or anything else to
serve the people. The Sultan and the state are now in a second plan.
Poet makes public service the
most sublime business. This mindset is to touch a point that has not been seen before. The most
important factor for human is public. Namık Kemal tries to show this with his poem. In all this exile
and overseas life, it aims to serve the people and raise public awareness.
This change in both the social life and the field of literature has now become irreversible. Literary
debates on various occasions were not only in the field of literature, but extended to an east-west
debate at a higher point. These debates can in some sense be seen as the throes of modernization.
In the old-new discussions of Tanzimat generation and in the idea of modernization, it is the
literaturist Ziya Pasha who takes a different path from his original ideas. Ziya Pasha is a character
with the same political and literary views as Namık Kemal at first. They are exiled during the same
period. However, on his return from exile, changes occur in Ziya Pasha's thoughts towards ancient
poetry and literature. In his poem
Terci-i Bend
, which he wrote during his time as a clerk in the
palace, there is a new and different person from old literature and Eastern thought. In his 1868
Şiir
ve İnşa
, he considers Ottoman poetry and therefore literature as simple imitators of Iranian and Arab
literatures and accuses poets of not changing this situation. However, on his return from exile, he
had an argument with Namık Kemal due to the changes in his view of divan poetry on the occasion
of his Harabat anthology. He's backed out of blaming old poetry and poets. This change would be
the first change of opinion in the old new and east west debates during that period. Ziya Pasha comes
from a young modernist poet and literaturist who gives his right to the classical period and looks
east differently than before.
At this point, Ahmet Mithat Efendi discussed the issue of how modernization or westernization
should be through by novel characters. The author presents two different examples of modernization
through Rakım and Felatun, the chief protagonists of the novel Felatun Bey and Rakım Efendi.There
is a character who don’t have decency and a good manner, even uses a name Felatun to want to
imitate Platon, in the opposite character of Rakım who is decent, knowledgeable, hardworking,
chaste and speaking a foreign language. Mithat Efendi promotes Rakım, one of these two characters,
both of whom remained fatherless at an early age, with his hard work, manners and commitment to
his own culture; lowers Felatun as a mis-modernized and misunderstood character. Throughout the
novel It is clearly diagnosed that the author is on Rakım's side and supports him and convicts Felatun.
Mardin states that the main factor that feeds modernization and western opposition is that people
S H A R Q M A S H ’ A L I
42
see modernization as a moral devotion XIX’s and XX’s. He states that this ideology is dominant in
opposing movements at the beginning of the century.
1
Mithat Efendi also used this consideration in
the novel. Another important role of him is that he introduced the western characters to Ottoman
society with the books he wrote.
The most important contribution to the change in the field of poetry in the Tanzimat period comes
from Abdulhak Hamid. Hamid, who has been in Europe as an embassy officer for many years, is
the person who recognizes and learns the changes in literature on the spot. His works called
Sahra
and
Belde
are texts in which the view of nature changes and the shape and subject changes in our
poetry become evident. Nature now becomes an element that can be experienced and diagnosed
from a pattern used through mazmuns in classical poetry. His much-known
Makber
poem was also
written with a view not seen until then. In the face of the abstract and specific features of our beloved
classical poet, Hamid lived as a living being and wrote his poem after his dead wife.
Eyvâh! .. Ne yer, ne yâr kaldı,
Gönlüm dolu âh ü zâr kaldı.
Şimdi buradaydı gitti elden,
Gitti ebede gelip ezelden.
Ben gittim o hâksâr kaldı,
Bir kûşede târumâr kaldı.
Bâkî o, enîs–i dilden eyvâh!
Beyrût’ta bir mezâr kaldı
The woman who is loved, expected, desired to be reunited and lost as in the poem is no longer a
distant and imaginary personality. At this point, it should be seen that Hamid achieved the changes
in his works regardless of theoretical thinking. He writes
Makber, Sahra and Belde
but he doesn’t
need to think about these poems and the benefits of them to our literature.
An important person of the Tanzimat era who also influenced the later periods is Recaizade
Mahmut Ekrem. His ideas in the field of literature and his views on poetry speed up the old-new,
that is, the East - West debates again. Supporters of modernity get involved around him. An
interesting point here is that, as Ali İhsan Kolcu stated in his work
Türkçe’de Batı Şiiri
,
2
Muallim
Naci, who had translated the most from the West during his period, was seen as a supporter of ancient
literature. Naci is also the son-in-law of Ahmet Mithat Efendi and the editor-in-chief of the
newspaper Tercüman-ı Hakikat which he owns. After Naci's death in 1893, the rhyme debate widens
and becomes an old-new topic between Ekrem and Naci's supporters. The debate about whether the
rhyme should appeal to the eyes or ears ranges from a technical issue to a matter of thought. The
post-Tanzimat period is the period in which Tanpınar is referring to modernization. The role of
Recaizade Mahmut Ekrem in this period is also guiding. He is the one who brought Tevfik Fikret to
the head of the literature section of Servet-i Fünun magazine. This becomes the beginning of a
literary period. The change in form and thought is more evident. With poems, critiques, translations
and novels by Halit Ziya, the renewal would have been ours in this period. This is a transformation
seen in both social and literary fields. The debate now is not about modernization itself, but about
how and in what way it will be reflected in our society and literature.
1
Mardin, Ş., Türk Modernleşmesi, İletişim Publishing, İstanbul 1991,pp.71
2
Kolcu A. İ.,Türkçe’de Batı Şiiri, Salkımsöğüt Publishing, 2. Edition, Erzurum 2008
S H A R Q M A S H ’ A L I
43
Result.
As a result, modernization has spread throughout the world, especially as a result of
Enlightenment thought. Each society has been affected by this current in its own development and
transformation. Ottoman society has also progressed towards modernization to the extent that it has
accelerated its relations with the West. It is obvious that this movement, which affects all areas of
life, will also be reflected in art and literature. The opposite of this reflection in our literature is
largely due to students going west and especially Şinasi. In later periods, the traditions of classical
literature begin to change with new genres and new perspectives. Both the topics covered and the
way poets and writers dealt with these topics are new. All writers on the path to modernization have
passed through the newspaper. Namık Kemal, Ekrem, Ahmet Mithat, Ali Süavi, Ziya Paşa are
among the important examples of this group. The period of Servet-i Fünun is the period when it is
diagnosed that this change and transformation results in favor of the new and the West. Genres,
subjects, style are now shaped in this direction. But the old-new and east-west debate in the world
of thought will continue for a long time.
ҲАЛДУН ТАНЕР ДРАМАТУРГИЯСИ
ҚАЮМОВА МЕҲРИНИСО
Ўқитувчи, ТДШУ
Аннотация. Ушбу мақола ХХ аср турк драматургиясиинг ёрқин намояндаларидан бири бўлган
Ҳалдун Танернинг саҳна асарларини ўрганишга бағишланган. Туркия, Германия, Австрия давлатларида
адабиётшунослик, журналистика, санъат ва театр тарихи соҳаларида изланиш ва тадқиқот ишларини
олиб борган ёзувчи ўзидан жуда бой адабий мерос қолдириш билан бирга, турк драматургиясида улкан
бурилиш ясаган. У машҳур немис драматурги Бертольд Брехт таъсири остида турк адраматургиясига
“эпик театр” тушунчасини олиб кирган ва шу жанрда ёзган саҳна асарлари билан шуҳрат қозонган
драматургдир. Ўз асарларида турк миллий анъанавий театри ва ғарб театрини уйғунлаштира олган
моҳир ёзувчи Ҳалдун Танер турк драматургиясини дунёга танитган адиб ҳисобланади. Хусусан,
замонавий турк драмаси деганда, дунё томошабинининг кўзи олдига келадиган “Кешанлик Али достони”
драмаси йигирмага яқин давлатларда саҳна юзини кўриб, Туркиянинг ўзида 1425 марта саҳнада қўйилган
асар ҳисобланади. Ўзининг драматик асарлари билан бир қанча халқаро мукофотлар совриндори бўлган
Ҳалдун Танернинг саҳна асарлари ўзбек адабиётшунослари томонидан деярли ўрганилмаган ва ўзбек
тилига таржима қилинмаган. Ёзувчининг бир қанча ҳикояларигина адабиётшунос олим П.У.Кенжаева
томонидан таржима қилинган.
Юқоридагиларни инобатга олган ҳолда, муаллиф Ҳалдун Танер драмаларини ўрганишни ўз олдига
мақсад қилиб олди.
Таянч сўз ва иборалар: турк драматургияси, жанр, “эпик театр”, сюжет, кабаре театри.
Аннотация. Данная статья посвящена изучению пьес Халдуна Танера, одного из ярких предста-
вителей турецкой драматургии ХХ века. Проводивший исследования в области литературы, жур-
налистики, истории искусства и театра Турции, Германии и Австрии писатель оставил очень
богатое литературное наследие и сделал большой поворот в национальной драматургии. Под
влиянием творчества немецкого драматурга Бертольда Брехта он ввел понятие «эпический театр»
и прославился своими пьесами в этом направлении.
