{"id":2227,"date":"2010-11-07T19:33:31","date_gmt":"2010-11-07T17:33:31","guid":{"rendered":"http:\/\/www.sorubak.com\/blog\/?p=2227"},"modified":"2021-11-27T21:41:19","modified_gmt":"2021-11-27T18:41:19","slug":"tanzimat-edebiyatinda-hikaye-ve-roman","status":"publish","type":"post","link":"https:\/\/www.sorubak.com\/blog\/tanzimat-edebiyatinda-hikaye-ve-roman.html","title":{"rendered":"Tanzimat edebiyat\u0131nda hikaye ve roman"},"content":{"rendered":"
\n

Divan edebiyat\u0131m\u0131z\u0131n Leyla ile Mecnun, H\u00fcsrev ile \u015eirin, Yusuf ile Z\u00fcheyla, v.b. mesnevilerini; halk edebiyat\u0131m\u0131z\u0131n Kerem ile Asl\u0131, Tahir ile Z\u00fchre, Arzu ile Kanber, v.b. \u00f6yk\u00fcleri; meddah \u00f6yk\u00fclerini; Battal Gazi, Hayber Kalesi, v.b. gibi dinsel ve tarihsel \u00f6yk\u00fcleri bir kenara b\u0131rak\u0131rsak, Avrupa’daki anlam\u0131yla \u00f6yk\u00fc ve roman t\u00fcrleri T\u00fcrkiye’ye Tanzimat edebiyat\u0131 ile girmi\u015ftir. \u00c7eviri ile ba\u015flayan bu s\u00fcre\u00e7, taklitler ile devam ederek geli\u015fmi\u015f ve kimli\u011fini kazanarak g\u00fcn\u00fcm\u00fcze gelinmi\u015ftir.
\nEdebiyat\u0131m\u0131zda g\u00f6r\u00fclen roman bi\u00e7imindeki ilk eser, Yusuf Kamil Pa\u015fa’n\u0131n F\u00e9nelon’dan \u00e7evirdi\u011fi “Telemak”t\u0131r (1859). Bu eser \u00f6zetlenerek \u00e7evrilmesine ra\u011fmen uzun y\u0131llar (“Ahlak kitab\u0131” olarak g\u00f6r\u00fcld\u00fc\u011f\u00fcnden) okullarda okutulmu\u015ftur.<\/span><\/p>\n

Bu ilk d\u00f6nemde bu terc\u00fcme eseri takip eden bir \u00e7ok eser daha \u00e7evrilmi\u015fti. Ancak, bu eserlerdeki en b\u00fcy\u00fck sorun “dil”di. Dil olduk\u00e7a a\u011f\u0131rd\u0131. Al\u0131\u015f\u0131lagelen eski dil kullan\u0131m\u0131 Bat\u0131 roman\u0131na uygun de\u011fildi. \u0130kincisi de bat\u0131 k\u00fclt\u00fcr\u00fc ile Osmanl\u0131 k\u00fclt\u00fcr\u00fc aras\u0131nda ki ahlak fark\u0131yd\u0131. \u00c7evrilecek eserler M\u00fcsl\u00fcman ahlak\u0131na ters d\u00fc\u015fmemeliydi.<\/p>\n

T\u00fcrk edebiyat\u0131nda \u00f6yk\u00fc ve roman alan\u0131ndaki yerli \u00fcr\u00fcnler, Ahmet Mithat’\u0131n 1870’te bas\u0131lan “K\u0131ssadan Hisse” ve “Letaif-i Rivayat” adl\u0131 \u00f6yk\u00fc kitaplar\u0131 ile verilmeye ba\u015flad\u0131.<\/p>\n

Tanzimat d\u00f6neminde \u00e7eviri eserler i\u00e7in s\u00f6z konusu olan dil ve ahlak sorunlar\u0131 yerli eserlerin de ba\u015fl\u0131ca sorunlar\u0131 oldu.<\/p>\n

Tanzimat Edebiyat\u0131 \u00f6yk\u00fc ve roman \u00f6zellikleri :
\n<\/strong>
\n1 – Tanzimat edebiyat\u0131 \u00f6yk\u00fc ve roman\u0131nda olaylar \u00e7o\u011funlukla g\u00fcnl\u00fck ya\u015famdan veya tarihten al\u0131nm\u0131\u015ft\u0131r; olaylar\u0131n olmu\u015f ya da olabilir izlenimini b\u0131rakmas\u0131 gerekti\u011fi konusunda b\u00fct\u00fcn Tanzimat romanc\u0131lar\u0131 birle\u015fmi\u015flerdir.<\/p>\n

2 – \u0130lk \u00f6yk\u00fclerde topluluk \u00f6n\u00fcnde anlat\u0131lan meddah \u00f6yk\u00fclerinin etkisi ve tekni\u011fi g\u00f6r\u00fcl\u00fcr.<\/p>\n

3 – Daha ilk eserlerden ba\u015flayarak, Tanzimat edebiyat\u0131 \u00f6yk\u00fc ve romanc\u0131lar\u0131n\u0131n bir k\u0131sm\u0131 halka (Ahmet Mithat, Emin Nihat, \u015eemsettin Sami, Nabizade Naz\u0131m), bir k\u0131sm\u0131 ayd\u0131n ki\u015filere (Nam\u0131k Kemal, Sami Pa\u015fazade Sezai, Recaizade Mahmut Ekrem) seslenmeyi tercih etmi\u015flerdir.<\/p>\n

4 – Bunun sonucu olarak da, halka seslenen yazarlar sade dille, ayd\u0131n ki\u015filere seslenen yazarlarsa yabanc\u0131 s\u00f6zl\u00fck ve dil kurallar\u0131 ile y\u00fckl\u00fc bir dille yazm\u0131\u015flard\u0131r.<\/p>\n

5 – Eserler genel olarak, duygusal, ac\u0131kl\u0131 konular \u00fczerine kurulmu\u015ftur.<\/p>\n

6 – Tanzimat \u00f6yk\u00fc ve roman\u0131nda i\u015flenen \u00f6nemli temalar: “tutsakl\u0131k”; zorla yap\u0131lan evliliklerin do\u011furdu ac\u0131 sonu\u00e7lar; Bat\u0131 uygarl\u0131\u011f\u0131 ile Osmanl\u0131 uygarl\u0131\u011f\u0131 aras\u0131ndaki farklar\u0131n kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131; kad\u0131n erkek aras\u0131nda ki ili\u015fkilerde de\u011fi\u015fik ortamlarda geli\u015fen evlilik, a\u015f\u0131k olma temalar\u0131 a\u011f\u0131rl\u0131kl\u0131 olarak i\u015flenmi\u015ftir.<\/p>\n

7 – Tanzimat edebiyat\u0131n\u0131n ilk d\u00f6neminde yeti\u015fen ve romantizm ak\u0131m\u0131n\u0131n etkisi alt\u0131nda kalan yazarlar\u0131n eserlerinde bu ak\u0131m\u0131n \u00f6zelli\u011fi olarak :<\/p>\n

-Tesad\u00fcflere \u00e7ok yer verilmi\u015ftir.<\/p>\n

-Yazarlar\u0131n ki\u015fili\u011fi gizlenmemi\u015f; ikide bir okuyucuya “Ey Kaari!” (okuyucu) diye seslenilmi\u015f; olaylar okuyucuyla konu\u015fa konu\u015fa y\u00fcr\u00fct\u00fclm\u00fc\u015ft\u00fcr.<\/p>\n

-S\u0131ras\u0131 d\u00fc\u015ft\u00fck\u00e7e, olay\u0131n y\u00fcr\u00fcy\u00fc\u015f\u00fc durdurulmu\u015f, bir tak\u0131m bilgiler verilmi\u015ftir.<\/p>\n

Roman arac\u0131l\u0131\u011f\u0131 ile bireyi e\u011fitme ve toplumu d\u00fczeltme amac\u0131 g\u00f6zetilmi\u015f; bunun i\u00e7in de siyaset, din, ahlak, felsefe v.b. ile ilgili d\u00fc\u015f\u00fcnce ve bilgiler ya olay\u0131n y\u00fcr\u00fcy\u00fc\u015f\u00fc durdurulup ya da olaylar\u0131n \u00f6r\u00fcl\u00fc\u015f\u00fc i\u00e7inde dolayl\u0131 olarak okuyucuya aktar\u0131lm\u0131\u015ft\u0131r.<\/p>\n

-Kahramanlar \u00e7o\u011fu zaman ya\u015famdan al\u0131nm\u0131\u015f do\u011fal ki\u015filerdi. Ancak kimi zaman ola\u011fan\u00fcst\u00fc olaylara ve insanlara da yer verilmi\u015ftir.<\/p>\n

-Kahramanlar \u00e7o\u011fu zaman tek y\u00f6nl\u00fcd\u00fcr. \u0130yiler tamamen iyi, k\u00f6t\u00fcler de tamamen k\u00f6t\u00fcd\u00fcr.<\/p>\n

-Olaylar\u0131n sonunda, \u00e7o\u011fu zaman iyiler \u00f6d\u00fcllerini, k\u00f6t\u00fcler ya da su\u00e7lular cezalar\u0131n\u0131 al\u0131rlar.<\/p>\n

-Kahramanlar \u00e7o\u011fu zaman bir g\u00f6r\u00fc\u015fte a\u015f\u0131k olurlar.<\/p>\n

-Yer ve \u00e7evre tasvirleri \u00e7o\u011fu zaman eseri s\u00fcslemek i\u00e7in yap\u0131lm\u0131\u015ft\u0131r.<\/p>\n

-Ki\u015fi tasvirleri de \u00e7o\u011fu zaman olay i\u00e7inde eritilmemi\u015f; tersine, olay\u0131n y\u00fcr\u00fcy\u00fc\u015f\u00fc durdurularak, ki\u015finin ka\u015f\u0131, g\u00f6z\u00fc, sa\u00e7\u0131, v.b. \u00f6zellikleri teker teker anlat\u0131lm\u0131\u015ft\u0131r.<\/p>\n

10 – Tanzimat edebiyat\u0131n\u0131n ikinci d\u00f6neminde yeti\u015fen realizm (ger\u00e7ek\u00e7ilik) ile nat\u00fcralizm (do\u011falc\u0131l\u0131k) ak\u0131mlar\u0131n\u0131n etkisi alt\u0131nda kalmaya ba\u015flayan yazarlar\u0131n eserlerinde ise, g\u00f6zleme \u00f6nem verilmi\u015f, nedenlerle sonu\u00e7lar aras\u0131nda ba\u011flar aranm\u0131\u015f, ola\u011fan\u00fcst\u00fc olaylar ve ki\u015filer b\u0131rak\u0131lm\u0131\u015f, anlat\u0131lan her \u015feyin olabilir izlenimini b\u0131rakmas\u0131na dikkat edilmi\u015ftir.<\/p>\n

Tanzimat Edebiyat\u0131nda Roman
\nT\u00fcrk edebiyat\u0131nda roman 1860’tan sonra ba\u015flar, Edebiyat\u0131m\u0131zdaki ilk roman, Fran\u00e7ois Fenelon’dan Yusuf K\u00e2mil Pa\u015fa taraf\u0131ndan Telemak (1862) ad\u0131 ile \u00e7evrilen romand\u0131r. O d\u00f6nemde \u00e7evrilen di\u011fer romanlar: Sefiller, Monte Kristo Kontu, Atala, Paul ve Virginie…<\/p>\n

Frans\u0131z romanlar\u0131ndan \u00e7evrilen \u00f6rneklerin ard\u0131ndan Ahmet Mithat, Nam\u0131k Kemal, \u015eemsettin Sami gibi yazarlar roman yazmaya ba\u015flam\u0131\u015flard\u0131r. T\u00fcrk\u00e7ede roman niteli\u011fini ta\u015f\u0131yan yerli ilk roman \u015eemsettin Sami’nin Taa\u015f\u015fuk-u Talat ve F\u0131tnat adl\u0131 eseridir.<\/p>\n

Bat\u0131l\u0131 anlay\u0131\u015fta yaz\u0131lan ve \u00e7evrilen romanlar\u0131 tan\u0131yana kadar T\u00fcrk okuyucusu, \u00e7e\u015fitli kaynaklardan gelen hik\u00e2yeleri okuyordu: Halk hik\u00e2yeleri ve mesneviler. Hacim bak\u0131m\u0131ndan bazen bir roman b\u00fcy\u00fckl\u00fc\u011f\u00fcnde de olabilen mesneviler, Divan edebiyat\u0131 naz\u0131m \u015fekillerinden biriydi. Pek \u00e7ok karakteri ortak olan mesnevilerde Leyl\u00e2 ile Mecnun, Yusuf ile Zeliha, H\u00fcsrev ve \u015eirin hik\u00e2yeleri de\u011fi\u015fik \u015fairlerce i\u015flenmi\u015fti. G\u00f6zleme ve ger\u00e7ek\u00e7ili\u011fe yer verilmeyen mesnevilerde dil \u00e7ok a\u011f\u0131rd\u0131 ve psikolojik analizlere yer verilmezdi. Mesneviler bu \u00f6zellikleri ile romandan \u00e7ok, geli\u015fmi\u015f bir masal olarak kabul edilebilir. Halk hik\u00e2yeleri de mesnevilerle benzer hik\u00e2yeleri anlatm\u0131\u015ft\u0131r. Halk hik\u00e2yeleri dil ve \u00fcsl\u00fbp bak\u0131m\u0131ndan halk\u0131n konu\u015fma diline ve \u00fcsl\u00fbbuna \u00e7ok yak\u0131nd\u0131r.<\/p>\n

Bat\u0131dan gelen roman, Tanzimat d\u00f6neminde iki yoldan geli\u015fmi\u015ftir. Birinci yol, Ahmet Mithat’\u0131n, Bat\u0131l\u0131 hik\u00e2ye ve romanla T\u00fcrk halk hik\u00e2yelerini uzla\u015ft\u0131rmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 yoldur. Yazar, romanlar\u0131n\u0131 yazarken Halk hik\u00e2yecili\u011finden yararlanm\u0131\u015ft\u0131r. Sanat\u00e7\u0131n\u0131n bu tarz ile yapt\u0131\u011f\u0131, halk hik\u00e2yelerinin modernle\u015ftirilmesi \u00e7al\u0131\u015fmas\u0131d\u0131r.<\/p>\n

Tanzimat romanc\u0131l\u0131\u011f\u0131ndaki ikinci yol ise Nam\u0131k Kemal’in Bat\u0131l\u0131 hik\u00e2ye ve roman tekni\u011fini uygulamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 yoldur. Tanzimat edebiyat\u0131n\u0131n di\u011fer romanc\u0131lar\u0131 Ahmet Mithat’\u0131n de\u011fil, Nam\u0131k Kemal’in yolunu se\u00e7mi\u015flerdir. Tanzimat romanc\u0131lar\u0131, hem kendilerinin hem de T\u00fcrk okuyucusunun as\u0131rlardan beri romantizme olan b\u00fcy\u00fck yak\u0131nl\u0131\u011f\u0131ndan dolay\u0131 romantizmi izlemeyi tercih etmi\u015flerdir.<\/p>\n

Tanzimat edebiyat\u0131nda Ahmet Mithat pop\u00fcler roman\u0131n, Nam\u0131k Kemal edeb\u00ee (sanatk\u00e2rane) roman\u0131n \u00f6nc\u00fcs\u00fc olarak ortaya \u00e7\u0131km\u0131\u015f, bu iki romanc\u0131 roman kurgusunda, tekni\u011finde, dil ve \u00fcsl\u00fbpta ayr\u0131larak iki ayr\u0131 damar olu\u015fturmu\u015flard\u0131r.<\/p>\n

Tanzimat Roman\u0131n\u0131n Genel \u00d6zelli\u011fi
\nKi\u015fi: Tanzimat romanlar\u0131n\u0131n birinci d\u00f6nem sanat\u00e7\u0131lar\u0131 taraf\u0131ndan yaz\u0131lanlar\u0131nda (\u0130ntibah, Felatun Bey’le Rak\u0131m Efendi, Cezmi) idealize edilmi\u015f ki\u015filer vard\u0131r. Nam\u0131k Kemal, Cezmi’de kendi gen\u00e7li\u011fini ve ki\u015fili\u011fini anlat\u0131r \u00e2deta. Ahmet Mithat’\u0131n Felatun Bey’le Rak\u0131m Efendi’sinde Felatun Bey bat\u0131l\u0131la\u015fmay\u0131 yanl\u0131\u015f anlayan bir tiptir; Rak\u0131m Efendi ise bat\u0131l\u0131la\u015fma konusunda idealize edilmi\u015f bir tiptir ve do\u011fru bat\u0131l\u0131la\u015fman\u0131n nas\u0131l olaca\u011f\u0131n\u0131 g\u00f6sterir.<\/p>\n

\u0130kinci d\u00f6nem sanat\u00e7\u0131lar\u0131n\u0131n eserlerinde ise (Serg\u00fcze\u015ft, Karabibik, Araba Sevdas\u0131) ger\u00e7ek\u00e7i ki\u015filer vard\u0131r: Dilber (cariye), Karabibik (k\u00f6yl\u00fc), Bihruz Bey (Bat\u0131l\u0131la\u015fma sevdal\u0131s\u0131 cahil bir adam)… Tanzimat sanat\u00e7\u0131lar\u0131, her kesimden ki\u015fiyi kendi sosyal ve ekonomik konumlar\u0131na uygun olarak konu\u015fturmu\u015flard\u0131r.<\/p>\n

Olay: Tanzimat roman\u0131nda anlat\u0131lan olaylar\u0131n ya ger\u00e7ek ya da ger\u00e7e\u011fe benzer olmas\u0131 gerekti\u011fi d\u00fc\u015f\u00fcncesi h\u00e2kimdir. \u015eemsettin Sami, Taa\u015f\u015fuk-\u0131 Tal’at ve F\u0131tnat’taki olaylar\u0131n ger\u00e7ekten ya\u015fanm\u0131\u015f oldu\u011funu s\u00f6ylemi\u015ftir. Tanzimat romanlar\u0131nda olaylar\u0131n merkezinde a\u015fk ve entrikalar vard\u0131r. Tanzimat sanat\u00e7\u0131lar\u0131 romanlar\u0131 s\u00fcr\u00fckleyici h\u00e2le getirmek i\u00e7in a\u015fk\u0131 ve entrikay\u0131 olaylar\u0131n geli\u015fmesinde tesad\u00fcflere \u00e7ok yer vererek ba\u015far\u0131l\u0131 bir \u015fekilde kullanm\u0131\u015ft\u0131r. \u0130ntibah, Serg\u00fcze\u015ft, Araba Sevdas\u0131, M\u00fc\u015fahed\u00e2t, Taa\u015f\u015fuk-\u0131 Talat ve F\u0131tnat, Zehra adl\u0131 romanlarda bunun uygulamas\u0131n\u0131 g\u00f6rebiliyoruz. Tanzimat roman\u0131nda ya\u015fanm\u0131\u015f veya ya\u015fanmas\u0131 m\u00fcmk\u00fcn olan olaylar anlat\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Zaman: Tanzimat romanlar\u0131nda zaman, Cezmi d\u0131\u015f\u0131nda, sanat\u00e7\u0131lar\u0131n ya\u015fad\u0131\u011f\u0131 zaman, genellikle Osmanl\u0131 toplumunun Bat\u0131 ile tan\u0131\u015fmaya ba\u015flad\u0131\u011f\u0131 d\u00f6nemdir. Baz\u0131 romanlarda Bat\u0131ya d\u00f6n\u00fck ki\u015filerin ya\u015fam\u0131 ve zaman\u0131 (Araba Sevdas\u0131, Felatun Bey’le Rak\u0131m Efendi) baz\u0131 romanlarda ise Osmanl\u0131’n\u0131n i\u00e7e kapan\u0131k d\u00f6nemi yans\u0131t\u0131l\u0131r. (Taa\u015f\u015fuk-\u0131 Talat ve F\u0131tnat, Serg\u00fcze\u015ft) Genel olarak zaman, Osmanl\u0131 toplumunun Bat\u0131 medeniyeti ile tan\u0131\u015fmaya ba\u015flad\u0131\u011f\u0131 zamand\u0131r.<\/p>\n

Mek\u00e2n: Tanzimat romanlar\u0131nda olaylar\u0131n ge\u00e7ti\u011fi mek\u00e2n genellikle \u0130standul’dur. \u0130stanbul’da \u00c7aml\u0131ca ve Beyo\u011flu gibi e\u011flence mek\u00e2nlar\u0131 \u00f6ne \u00e7\u0131kar, (\u0130ntibah, Araba Sevdas\u0131) Bu romanlar aile merkezli oldu\u011fu i\u00e7in mek\u00e2n da aile \u00e7evresidir. (Taa\u015f\u015fuk-\u0131 Talat ve F\u0131tnat, \u0130ntibah, Zehra, Felatun Bey’le Rak\u0131m Efendi, M\u00fc\u015fahed\u00e2t). Ahmet Mithat olaylar\u0131, hakk\u0131nda bilgi vermek istedi\u011fi mek\u00e2nlarda ge\u00e7irmi\u015ftir. Bu mek\u00e2nlar, genellikle Anadolu, Suriye, Kuzey Afrika, Balkanlar ve Bat\u0131 Avrupa’d\u0131r. Karabibik’te ise mek\u00e2n Antalya’n\u0131n bir k\u00f6y\u00fcd\u00fcr. Cezmi’de olaylar, \u0130ran’da ve K\u0131r\u0131m’da ge\u00e7er. Serg\u00fcze\u015ft’in son b\u00f6l\u00fcm\u00fcnde ise mek\u00e2n M\u0131s\u0131r’d\u0131r. Tanzimat romanlar\u0131nda mek\u00e2n, fon olarak kullan\u0131lsa da a\u011f\u0131rl\u0131kl\u0131 olarak o d\u00f6nemin sosyal ya\u015fam\u0131n\u0131 yans\u0131tacak yerlerdir.<\/p>\n

Tema: Tanzimat romanlar\u0131nda \u015fu konulara a\u011f\u0131rl\u0131k verilmi\u015ftir:<\/p>\n

Araba Sevdas\u0131: Yanl\u0131\u015f bat\u0131la\u015fman\u0131n yol a\u00e7t\u0131\u011f\u0131 komik durumlar.
\nTaa\u015f\u015fuk-\u0131 Talat ve Fitnat: G\u00f6rmeden evlilik, erkek bask\u0131s\u0131 ve zulm\u00fcne dayal\u0131 aile \u015fartlar\u0131, kad\u0131nlar\u0131n esareti.
\n\u0130ntibah, Araba Sevdas\u0131: Yanl\u0131\u015f kad\u0131nlar\u0131 sevmenin do\u011furdu\u011fu y\u0131k\u0131mlar.
\nSerg\u00fcze\u015ft: K\u00f6lelik ve cariyelik.
\nKarabibik: Bir k\u00f6y ya\u015fam\u0131.
\nZehra: K\u0131skan\u00e7l\u0131k ve k\u0131skan\u00e7l\u0131\u011f\u0131n yol a\u00e7t\u0131\u011f\u0131 olumsuzluklar.
\nCezmi: Tarihi bir olay.
\nFelatun Bey’le Rak\u0131m Efendi: Bat\u0131l\u0131la\u015fman\u0131n hangi yoldan ve ne \u015fekilde olmas\u0131 gerekti\u011fi.<\/p>\n

Dil ve \u00dcsl\u00fbp: Tanzimat’\u0131n birinci d\u00f6neminde halk\u0131n anlayaca\u011f\u0131 bir dil kullan\u0131lm\u0131\u015f, ikinci d\u00f6nemde ise bu sade dilden uzakla\u015f\u0131lm\u0131\u015ft\u0131r. Ahmet Mithat, olaylar\u0131 heyecanl\u0131 bir \u015fekilde anlatm\u0131\u015ft\u0131r. S\u0131fatlara, benzetmelere, abartmalara s\u0131k\u00e7a yer veren Nam\u0131k Kemal, romanda anlat\u0131lan olaya g\u00f6re \u00fcsl\u00fbbunu de\u011fi\u015ftirmi\u015ftir. Sava\u015f betimlemelerinde co\u015fkuludur.<\/p>\n

Diyaloglarda ise sakindir. \u015eemsettin Sami, dili kullanmada ba\u015far\u0131s\u0131zd\u0131r. Roman\u0131nda yer yer dil bilgisi bozukluklar\u0131na rastlanmaktad\u0131r. Yazar, ki\u015filerin kendi a\u011f\u0131zlar\u0131na g\u00f6re konu\u015fturulmas\u0131nda ba\u015far\u0131l\u0131d\u0131r. Samipa\u015faz\u00e2de Sezai, Serg\u00fcze\u015ft’teki betimleme ve analizlerde, T\u00fcrk\u00e7eden uzakla\u015fm\u0131\u015ft\u0131r. Eserde \u00f6zensiz bir \u00fcsl\u00fbp g\u00f6r\u00fcl\u00fcr. Recaiz\u00e2de Mahmut Ekrem, Araba Sevdas\u0131’nda, \u00e7o\u011funlukla Osmanl\u0131ca terkip ve tamlamalar kullanm\u0131\u015ft\u0131r. Roman\u0131n dili bu y\u00fczden sade de\u011fildir. Nabizade Naz\u0131m ise Fars\u00e7a ve Arap\u00e7a kelimelerden ve tamlamalardan m\u00fcmk\u00fcn oldu\u011fu kadar uzakla\u015farak, ortalama bir dil kurmu\u015ftur.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Divan edebiyat\u0131m\u0131z\u0131n Leyla ile Mecnun, H\u00fcsrev ile \u015eirin, Yusuf ile Z\u00fcheyla, v.b. mesnevilerini; halk edebiyat\u0131m\u0131z\u0131n Kerem ile Asl\u0131, Tahir ile Z\u00fchre, Arzu ile Kanber, v.b. \u00f6yk\u00fcleri; meddah \u00f6yk\u00fclerini; Battal Gazi, Hayber Kalesi, v.b. gibi dinsel ve tarihsel \u00f6yk\u00fcleri bir kenara b\u0131rak\u0131rsak, Avrupa’daki anlam\u0131yla \u00f6yk\u00fc ve roman t\u00fcrleri T\u00fcrkiye’ye Tanzimat edebiyat\u0131 ile girmi\u015ftir. \u00c7eviri ile ba\u015flayan … Devam\u0131n\u0131 oku…<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,224],"tags":[],"class_list":["post-2227","post","type-post","status-publish","format-standard","hentry","category-dn","category-edebiyat-dil-anlatim"],"_links":{"self":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/2227","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/comments?post=2227"}],"version-history":[{"count":0,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/2227\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/media?parent=2227"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/categories?post=2227"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/tags?post=2227"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}