IN THE FOOTSTEPS OF A TRAGEDY: SAMİPAŞAZADE SEZAİ’S ŞÎR AND LITERARY INFLUENCES

Ayşe Nur Özdemir

Makale detayları

IN THE FOOTSTEPS OF A TRAGEDY: SAMİPAŞAZADE SEZAİ’S ŞÎR AND LITERARY INFLUENCES

Yazarlar:

Ayşe Nur Özdemir

Yayıncı:

Ayla KAŞOĞLU

Ana Başlıklar:

Dil Çalışmaları (Diğer)

Dergi:

Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 42, pp.466-480

Belge Tipi:

Makale

Yayın Tarihi:

2/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001342278

pISSN:

2147-2610

Anahtar kelimeler:

Özet:

 Theater is one of the new genres that entered Turkish literature in the Tanzimat Period after contacts with the West. The Ottoman theater made a breakthrough with the staging of many copyrighted, translated and adapted works, especially with the concession given to Güllü Agop. Holding theater superior to all other literary genres, important figures of the period such as Namık Kemal, Ahmet Mithat Efendi, Abdülhak Hamit Tarhan, Recaizade Mahmut Ekrem, Şemsettin Sami, and others supported the Turkish theater with copyrighted works, various articles they wrote on theater, and by giving pronunciation lessons to actors of different ethnic identities or members of minorities. Samipaşazade Sezai, one of the second generation names of the Tanzimat Period, who was particularly influenced by Namık Kemal and Abdülhak Hamit, published his first play, even his first work, Şîr, in 1879, which was mixed with enthusiasm and inexperience. This play text, produced during the development process of the Turkish theater of the Tanzimat Period, also contains the influences of Western literary movements. The play, which did not have a great impact when it was published, has been criticized as being influenced by some Western writers and not going beyond imitating Namık Kemal and Hamit. Of course, it is possible that this situation can be associated with Sezais early writing experience; however, it can also be said that this influence or imitation is more extensive than the effects identified. Although the work bears traces of some of Shakespeares other plays, it shows great similarities with Othello in terms of certain structural elements such as subject, plot and cast of characters. In this context, the Afghan prince Şîr, who is famous for his bravery and heroism, and the Maghrebian commander Othello, who serves the Venetian state, kill their wives, to whom they are affiliated with great passion and love, as a result of a slander, thinking that they are cheating on them, and commit suicide when they learn the truth. Similarly, many motifs are common in the texts intersected by these tragic events. In this study, the similarities between Shakespeares Othello, which we justifiably assume that Şîr is influenced by in terms of content, structure and style, and texts such as Namık Kemals Vatan yahut Silistre and Abdülhak Hamits Mâcerâ-yı Aşk will be analyzed. The various levels of influence of these texts on Şîr will be evaluated in terms of plot, thematic elements, cast of characters, dramatic techniques and style. With this kind of analysis, it is aimed to determine the synthesizing qualities of a text in the first steps of the theater genre in the Tanzimat Period, some reflections of Western influence on Turkish theater, and the scope of the play in question in the evolution of Turkish theater.

 Theater is one of the new genres that entered Turkish literature in the Tanzimat Period after contacts with the West. The Ottoman theater made a breakthrough with the staging of many copyrighted, translated and adapted works, especially with the concession given to Güllü Agop. Holding theater superior to all other literary genres, important figures of the period such as Namık Kemal, Ahmet Mithat Efendi, Abdülhak Hamit Tarhan, Recaizade Mahmut Ekrem, Şemsettin Sami, and others supported the Turkish theater with copyrighted works, various articles they wrote on theater, and by giving pronunciation lessons to actors of different ethnic identities or members of minorities. Samipaşazade Sezai, one of the second generation names of the Tanzimat Period, who was particularly influenced by Namık Kemal and Abdülhak Hamit, published his first play, even his first work, Şîr, in 1879, which was mixed with enthusiasm and inexperience. This play text, produced during the development process of the Turkish theater of the Tanzimat Period, also contains the influences of Western literary movements. The play, which did not have a great impact when it was published, has been criticized as being influenced by some Western writers and not going beyond imitating Namık Kemal and Hamit. Of course, it is possible that this situation can be associated with Sezais early writing experience; however, it can also be said that this influence or imitation is more extensive than the effects identified. Although the work bears traces of some of Shakespeares other plays, it shows great similarities with Othello in terms of certain structural elements such as subject, plot and cast of characters. In this context, the Afghan prince Şîr, who is famous for his bravery and heroism, and the Maghrebian commander Othello, who serves the Venetian state, kill their wives, to whom they are affiliated with great passion and love, as a result of a slander, thinking that they are cheating on them, and commit suicide when they learn the truth. Similarly, many motifs are common in the texts intersected by these tragic events. In this study, the similarities between Shakespeares Othello, which we justifiably assume that Şîr is influenced by in terms of content, structure and style, and texts such as Namık Kemals Vatan yahut Silistre and Abdülhak Hamits Mâcerâ-yı Aşk will be analyzed. The various levels of influence of these texts on Şîr will be evaluated in terms of plot, thematic elements, cast of characters, dramatic techniques and style. With this kind of analysis, it is aimed to determine the synthesizing qualities of a text in the first steps of the theater genre in the Tanzimat Period, some reflections of Western influence on Turkish theater, and the scope of the play in question in the evolution of Turkish theater.

 Theater is one of the new genres that entered Turkish literature in the Tanzimat Period after contacts with the West. The Ottoman theater made a breakthrough with the staging of many copyrighted, translated and adapted works, especially with the concession given to Güllü Agop. Holding theater superior to all other literary genres, important figures of the period such as Namık Kemal, Ahmet Mithat Efendi, Abdülhak Hamit Tarhan, Recaizade Mahmut Ekrem, Şemsettin Sami, and others supported the Turkish theater with copyrighted works, various articles they wrote on theater, and by giving pronunciation lessons to actors of different ethnic identities or members of minorities. Samipaşazade Sezai, one of the second generation names of the Tanzimat Period, who was particularly influenced by Namık Kemal and Abdülhak Hamit, published his first play, even his first work, Şîr, in 1879, which was mixed with enthusiasm and inexperience. This play text, produced during the development process of the Turkish theater of the Tanzimat Period, also contains the influences of Western literary movements. The play, which did not have a great impact when it was published, has been criticized as being influenced by some Western writers and not going beyond imitating Namık Kemal and Hamit. Of course, it is possible that this situation can be associated with Sezais early writing experience; however, it can also be said that this influence or imitation is more extensive than the effects identified. Although the work bears traces of some of Shakespeares other plays, it shows great similarities with Othello in terms of certain structural elements such as subject, plot and cast of characters. In this context, the Afghan prince Şîr, who is famous for his bravery and heroism, and the Maghrebian commander Othello, who serves the Venetian state, kill their wives, to whom they are affiliated with great passion and love, as a result of a slander, thinking that they are cheating on them, and commit suicide when they learn the truth. Similarly, many motifs are common in the texts intersected by these tragic events. In this study, the similarities between Shakespeares Othello, which we justifiably assume that Şîr is influenced by in terms of content, structure and style, and texts such as Namık Kemals Vatan yahut Silistre and Abdülhak Hamits Mâcerâ-yı Aşk will be analyzed. The various levels of influence of these texts on Şîr will be evaluated in terms of plot, thematic elements, cast of characters, dramatic techniques and style. With this kind of analysis, it is aimed to determine the synthesizing qualities of a text in the first steps of the theater genre in the Tanzimat Period, some reflections of Western influence on Turkish theater, and the scope of the play in question in the evolution of Turkish theater.

 Tiyatro, Batı ile temaslardan sonra, Tanzimat Döneminde Türk edebiyatına giren yeni türlerden biridir. Osmanlı tiyatrosu özellikle Güllü Agopa verilen imtiyaz ile birlikte telif, tercüme, adaptasyon birçok eserin sahnelenmesiyle bir atılım yapmıştır. Tiyatroyu bütün edebî türlerden üstün tutan Namık Kemal başta olmak üzere Ahmet Mithat Efendi, Abdülhak Hamit Tarhan, Recaizade Mahmut Ekrem, Şemsettin Sami gibi dönemin önemli isimleri telif eserlerle, tiyatroya dair yazdıkları muhtelif yazılarla, farklı etnik kimlikler taşıyan veya azınlık mensubu oyunculara telaffuz dersleri vermek suretiyle Türk tiyatrosuna destek olmuştur. Bu aydınlardan özellikle Namık Kemal ve Abdülhak Hamitin etkisinde kalan Tanzimat Döneminin ikinci kuşak isimleri arasında olan Samipaşazade Sezai, 1879 yılında heves ve acemilikle yoğrulan ilk piyesini hatta ilk eserini, Şîri yayımlar. Tanzimat Dönemi Türk tiyatrosunun gelişim sürecinde üretilen bu piyes metni, Batılı edebiyat akımlarının etkilerini de barındırmaktadır. Yayımlandığında büyük bir etki uyandırmayan piyes hakkında, Batılı birtakım yazarların tesirinin görüldüğü, Namık Kemal ve Hamiti taklitten öteye geçemediği yönünde tespitler yapılmıştır. Bu durumun, Sezainin ilk dönem yazarlık tecrübesiyle ilişkilendirilebilmesi elbet mümkündür; ancak bu etki ya da taklidin tespit edilen etkilerden daha geniş kapsamlı oluğu da söylenebilir. Eser, Shakespearein diğer kimi oyunlarından izler taşısa da özellikle Othello isimli piyesiyle konu, olay örgüsü, kişi kadrosu gibi birtakım yapı unsurları açısından büyük benzerlik gösterir. Bu bağlamda cesaretleri ve göstermiş oldukları kahramanlıklarla ün salan Afgan şehzadesi Şîr ile Venedik devletine hizmet eden Mağripli komutan Othello, büyük bir tutku ve aşk ile bağlandıkları eşlerini, bir iftira sonucu, kendilerini aldattıkları zannıyla öldürecek ve gerçekleri öğrendiklerinde ise intihar edeceklerdir. Söz konusu trajik sonlu olayların kesiştirdiği metinlerde benzer şekilde birçok motifin ortak olduğu görülür. Bu çalışmada Şîrin içerik, yapı ve üslup açısından etkisinde kaldığını haklı gerekçelerle varsaydığımız Shakespearein Othello adlı piyesi ve Namık Kemalin Vatan yahut Silistre ile Abdülhak Hamitin Mâcerâ-yı Aşk gibi metinleri arasındaki benzerlikler irdelenecektir. Bu metinlerin Şîr üzerindeki etkilerinin çeşitli düzeyleri; olay örgüsü, tematik bileşenler, kişi kadrosu, dramatik teknikler ve üslup gibi unsurlar açısından değerlendirilecektir. Bu tür bir inceleme ile Tanzimat Döneminde tiyatro türünün ilk basamaklarındaki bir metnin sentezleyici niteliklerinin, Batı etkisinin Türk tiyatrosuna kimi yansımalarının ve söz konusu piyesin Türk tiyatrosunun evrimindeki yerinin belirlenmesi hedeflenmektedir.

Makale detayları

IN THE FOOTSTEPS OF A TRAGEDY: SAMİPAŞAZADE SEZAİ’S ŞÎR AND LITERARY INFLUENCES

Yazarlar:

Ayşe Nur Özdemir

Yayıncı:

Ayla KAŞOĞLU

Ana Başlıklar:

Dil Çalışmaları (Diğer)

Dergi:

Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 42, pp.466-480

Belge Tipi:

Makale

Yayın Tarihi:

2/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001342278

pISSN:

2147-2610

Turkish Theater

Samipaşazade Sezai

Şîr

William Shakespeare

Namık Kemal

Abdülhak HamitTürk Tiyatrosu

Samipaşazade Sezai

Şîr

William Shakespeare

Namık Kemal

Abdülhak Hamit

Sayı

Makale detayları

Yazarlar: Ayşe Nur Özdemir

Yayıncı: Ayla KAŞOĞLU

Ana Başlıklar: Dil Çalışmaları (Diğer)

Dergi: Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 42, pp.466-480

Belge Tipi: Makale

Yayın Tarihi: 2/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001342278

pISSN: 2147-2610

Sayı

Yazarlar:

Ayşe Nur Özdemir

Yayıncı:

Ayla KAŞOĞLU

Ana Başlıklar:

Dil Çalışmaları (Diğer)

Dergi:

Avrasya Uluslararası Araştırmalar Dergisi Vol.13 Issue 42, pp.466-480

Belge Tipi:

Makale

Yayın Tarihi:

2/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001342278

pISSN:

2147-2610