European International Journal of Philological Sciences
68
61
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TYPE
Original Research
PAGE NO.
68-71
DOI
OPEN ACCESS
SUBMITED
26 February 2025
ACCEPTED
22 March 2025
PUBLISHED
25 April 2025
VOLUME
Vol.05 Issue 04 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Use of Argot in The
Dramas of Haldun Taner
Kayumova M.M.
Ass. Prof. Dr. at Tashkent State University of Oriental Studies, Uzbekistan
Arslanbekova D.
Master's student at Tashkent State University of Oriental Studies,
Uzbekistan
Abstract
: Haldun Taner is one of the most prominent
figures in Turkish dramaturgy, known for his unique
linguistic style and rich narrative techniques. This article
focuses on the use of ar
go in Taner’s plays, analyzing its
artistic and dramatic functions. Argo, a form of language
specific to certain social groups, is often used in informal
speech and serves as a powerful tool in drama to
enhance realism. Haldun Taner frequently employs argo
in his works to provide deeper insights into the social
backgrounds, characteristics, and personalities of his
characters.
The article examines how Taner integrates argo into his
plays and its role in shaping social critique and artistic
expression. Through an analysis of selected works, the
study explores how the playwright uses character
speech patterns to reflect social stratification and to add
authenticity to his dialogues. Additionally, the research
investigates how Taner employs argo to depict the
linguistic landscape of his era, creating a more dynamic
stage language while individualizing his characters. The
study also evaluates the artistic impact of argo in
dramatic texts and its influence on theatrical
performance.
Keywords:
Haldun Taner, dramaturgy, argo, theatrical
language, linguistic style, social stratification, character
development, realistic depiction, stage speech, social
critique.
Introduction:
Haldun Taner is a writer with a unique
style in Turkish literature and drama. His works stand
out for their realism, satire, and social criticism. In his
plays, he deeply portrays human psychology, social
stratification, and societal changes, revealing the
characters’ social status and personality through their
language and speech. Notably, in Taner’s dramaturgy,
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European International Journal of Philological Sciences
slang holds an important place as a literary and
dramatic device.
Slang, as an informal form of language, serves to bring
characters closer to real life, enhance their realism,
and strengthen the connection with the audience. By
using slang, Taner accurately reflects the social
environment, highlights the individuality of his
characters, and employs it as a means of social
criticism and satire.
This article presents an analytical approach to the
literary functions of slang in Haldun Taner’s works, its
impact on stage, and its role in character development.
Through this, the writer’s linguistic mastery an
d his
methods of achieving social realism in theatre are
explored.
Distinctive Features of Haldun Taner’s Dramaturgy
Genre and Stylistic Analysis of Taner’s Works.
Haldun Taner developed a unique dramatic style by
synthesizing various literary genres in his creative
work. Through humor and satire, he highlights issues
such as social inequality, bureaucracy, moral
dilemmas, and the contradictions of modernization. By
blending elements of comedy, tragicomedy, and epic
theatre
—
particularly under the influence of Bertolt
Brecht
—
Taner uses techniques that encourage the
audience to think critically.
His plays often approach historical events and societal
problems with a unique sense of irony. His approach to
dramatic genres is closely tied to social criticism, and
he enhances realism through the use of slang. This
stylistic approach is especially evident in ‘Keşanlı Ali
Destanı’ (The Epic of Keşanlı Ali), where colloquial
speech and slang are employed in a distinctive manner.
In this play, Taner's method becomes particularly
apparent. By combining traditional Turkish storytelling,
Karagöz and Hacivat performances, and modern
theatrical techniques, he developed a new and
dynamic theatrical language.
The Role of Language and Style in His Dramatic Works
.
Language and style play a crucial role in Haldun Taner’s
dramaturgy. His plays employ a simple, colloquial, and
lifelike language enriched with deep meaning and
irony. He constructs his characters' dialogues to align
with their social status and personality, which makes
the stage characters more realistic and impactful.
Taner makes extensive use of spoken language, folk
sayings, idioms, and especially slang, which is
particularly noticeable in the speech of lower-class
characters. In his works, language serves as a dramatic
force that helps uncover conflicts between characters.
These features are especially prominent in ‘Keşanlı Ali
Destanı’, where language transforms into a po
werful
artistic tool in the theatre.
The Use of Slang in Haldun Taner’s Works
. Haldun
Taner effectively uses the expressive potential of
language, particularly slang, to depict characters from
different social strata. In his dramas, slang is not merely
an informal speech form but an essential artistic device
that reflects social stratification and highlights the
characters' socio-cultural environment.
Reasons for the Use of Slang in Taner’s Dramas
. The use
of slang in Haldun Taner’s plays is not coincident
al but
serves specific dramatic and artistic purposes. He uses
slang to naturalize characters’ speech and bring them
closer to real life. Slang enhances stage realism and
serves as a tool for satire and social critique. Taner
presents issues such as injustice and bureaucracy with
irony. Drawing inspiration from traditional folk theatre
forms like Karagöz, Hacivat, meddah storytelling, and
orta oyunu (traditional Turkish improvised folk theatre),
he incorporates spoken language and slang as integral
components of his dramatic style.
The Role of Argo in Character Creation
. One of the most
important functions of argo is to reveal the individuality
of characters and to define their social position. Haldun
Taner’s characters are often introduced to the audience
through their manner of speech, and the use of argo in
this process helps to uncover their personalities more
deeply. Taner uses argo to create natural and lively
dialogues.
In Haldun Taner’s works, argo expressions are
predominantly used in the speech of common people.
On the one hand, this reflects the characters’ social
background and living conditions; on the other hand, it
ensures that they speak in a way that is closer to real-
life language. In particular, the main character of the
play ‘Keşanlı Ali Destanı’, Ali, speaks in the vernacular,
and his speech includes many argo expressions and
wordplays. This reflects his life experience, adaptability
to the social environment, and his unique attitude
toward reality.
Especially in the fifth act of the play, the storyline where
Ali ends up in prison is depicted, and this situation
causes a significant increase in the use of argo in his
speech. For example, words like ‘angut’ (fool, idiot),
‘ulan’ (an informal address to young men), and ‘herif’
(scoundrel) are not only argo but also carry derogatory
and emotional connotations. These expressions reflect
the character’s experience in a harsh social
environment, his emotional states, and personal
transformation.
In general, Taner effectively uses argo expressions as a
tool to portray the psychological state and social
portrait of characters representing real social strata.
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The Function of Argo in Enhancing Social Context and
Dramatic Impact
. In Haldun Taner’s dramaturgy, the
use of argo serves not only to reveal the individuality
of characters but also to enhance the overall dramatic
effect. Specifically, in his plays, argo functions as a
powerful
linguistic
tool
that
reflects
social
stratification, the inner emotions of the characters,
and the dynamics of their relationships.
In particular, in ‘Keşanlı Ali Destanı’, argo expressions
play a key role in distinguishing the speech styles of
characters from different social classes. While the
representatives of the lower class frequently use argo
in their speech, the upper-class characters tend to use
more literary and formal language. This contrast is
skillfully used by Taner as an artistic method to express
social stratification.
Furthermore, argo allows for a precise depiction of
characters’
psychological
states,
l
evels
of
dissatisfaction, and emotional intensity. For instance,
the character Zulayho uses expressions such as
“gavlince” (vile, disgusting) in the line: ‘Polisi
mahkemeyi gandıramadın da şimdi beni mi gandıracan,
gavlince...’ (You couldn’t fool the polic
e or the court,
and now you think you can fool me, you disgusting
thing...) and ‘veledi zina’ (bastard –
a severe insult) in:
‘Nerde bana vuran veledi zina diye aranmışım.’
(Where is the bastard who threatened me?)
These expressions vividly convey her anger, contempt,
and hostility toward Ali. They create dramatic intensity
and add sharpness to her accusatory tone. Similarly,
the argo expressions used in Ali’s speech reflect his
attitude toward social realities, his inner struggles, and
emotional conflicts.
For example, the use of “veledi
zina” as a strong insult illustrates his personal rage and
emotional turmoil.
In general, through the use of colloquial language,
Taner reflects not only social differences but also
emotional and dramatic situations on stage in a deep
and realistic manner. This makes his dramaturgical
approach more socially profound and impactful.
Impact on the Audience and Reception
. The use of
slang makes theatrical performances more lively and
realistic. This contributes to enhancing the impact of
the theatre. How slang is received by the audience
depends on the artistic and social function of the
theatre. In Haldun Taner’s plays, the use of slang not
only makes the audience laugh but also encourages
them to reflect on deep social issues.
For instance, in the play ‘Keşanlı Ali Destanı’, slang is
not merely a means to express social differences or
reveal a character’s traits, but also serves as a stylistic
element that creates strong dramatic impact.
Particularly, powerful expressions used in spoken
language astonish the audience and allow for a deeper
understanding of the character's psychological state.
For example, the phrase ‘İkrar ediyorum anasını sattığım
dedim.’ (I confess, damn it!) is a strong curse that
expresses the character’s
rage and inner torment.
Expressions like ‘anasını sattığım’ are common in Turkic
languages and are used in specific dramatic contexts to
evoke strong emotional reactions in the audience.
In addition, the phrase ‘Mapustakiler beni sarakaya
aldılar.’ (‘The inmates made fun of me’) contains the
expression ‘sarakaya almak’ , which carries significant
semantic weight in understanding the social relations
and internal hierarchy among the prisoners around Ali.
Such slang elements not only create a realistic
atmosphere but also serve to intensify the audience's
emotional connection to the events on stage.
Thus, Haldun Taner effectively uses slang expressions to
enhance dramatic power and stage realism. This
approach increases the artistic value of the play and
encourages the audience to think about social issues.
The Connection Between Slang and the Realistic
Theatre Style
In Haldun Taner's dramaturgy, the realist style plays a
leading role. One of the main features of this style is the
truthful portrayal of life on stage, in which the
naturalness of language plays an important role.
Sociological Realism and Slang
Slang, as an important tool of realism, is used to reflect
the social structure of society. In the play ‘Keşanlı Ali
Destanı’, the differences between social classes are
clearly shown through language. In the fifth act of the
play, especially in the prison setting, slang words and
expressions are used frequently. For example, the
expression ‘sırtını okşamak’ (to show respect) signifies
recognition and honor within the prison hierarchy:
‘Ertesi gün bir de baktım ben geçerken bü tün o azılı
mahpuslar açılıp bana yol
veriyor, siftiniyor, sırtımı
okşuyorlar.’ (The next day, I saw that as I walked, those
fierce inmates were parting to make way for me,
showing me respect and gently patting my back).
Similarly, the expression ‘kamanço etmek’ (to hand over
leadership) reflects social changes within the
prison:‘Meydancı Yedi Bela Sakıp, sen aramızda iken
haddime mi diye meydancılığı bana kamanço ediyor.’ (I
used to be the chief here, but now that you’re among
us, who am I to claim that title!’—
he handed over the
leadership to me.).
These slang elements contribute to the play’s realism,
vividly portraying the social structure within the prison
environment. In Haldun Taner’s theatre, slang is not
merely an informal form of language, but an inseparable
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part of theatrical expression. It serves as one of the
core principles of realistic theatre
—
a powerful tool for
stage vitality, dramatic force, and social analysis. The
use of slang on stage enhances the authenticity and
naturalness of the characters, helps establish a closer
connection with the audience, and acts as a strong
artistic device to reveal social stratification and societal
issues. The example of Haldun Taner’s dramaturgy
once again confirms that slang is not just a linguistic
element in theatre but an integral part of the entire
stage expression.
CONCLUSION
In conclusion, in Haldun Taner's dramaturgy, slang is
not merely a linguistic phenomenon but an integral
part of theatrical aesthetics. This study has examined
the expressive possibilities of slang on stage, as well as
its dramatic and social significance. By using slang in his
satirical and humorous works, Taner strengthened the
traditions of realistic theatre, highlighted social issues,
and achieved a direct connection with the audience. In
the future, further exploration of slang and theatrical
language, comparing Taner's dramaturgy with that of
other playwrights, and analyzing his influence on
contemporary theatre will remain important academic
directions.
REFERENCES
Books:
GÖKSEL, A., KERSLAKE, C. Turkish: A Comprehensive
Grammar. London: Routledge, 2005.
HULKİ AKTUNÇ. Türkçenin Büyük Argo Sözlüğü,
İstanbul: Afa Yayınları, 1990.
TANER, H. Keşanlı Ali Destanı. İstanbul: Bilgi Yayınları,
1964.
TANER, H. Gözlerimi Kaparım, Vazifemi Yaparım.
İstanbul: Bilgi Yayınları, 1969.
TANER, H. Sersem Kocanın Kurnaz Karısı. İstanbul:
Adam Yayınları, 1982.
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