Mehmet Rauf (1875-1931), Servet-i F\u00fcn\u00fbn nesir yaz\u0131n\u0131nda Halit Ziya\u2019dan sonraki ikinci b\u00fcy\u00fck yazar olarak kabul edilir. Olduk\u00e7a velut bir yazar olmas\u0131 bu sav\u0131 g\u00fc\u00e7lendirir. Bilindi\u011fi kadar\u0131yla Mehmet Rauf, k\u0131rk alt\u0131s\u0131 II. Me\u015frutiyet\u2019e kadar, seksen alt\u0131s\u0131 II. Me\u015frutiyet\u2019ten sonra olmak \u00fczere toplam y\u00fcz otuz iki hik\u00e2ye kaleme alm\u0131\u015ft\u0131r. Edebiyata ilgi duydu\u011fu andan itibaren \u00f6yk\u00fcye de ilgi duyan Rauf, ayn\u0131 zamanda iyi bir okurdur. Yerli ve yabanc\u0131 edeb\u00ee eserleri okumu\u015f, bunlar aras\u0131ndaki fark\u0131n nereden kaynakland\u0131\u011f\u0131n\u0131 \u00e7\u00f6zmeye \u00e7al\u0131\u015fm\u0131\u015f ve hik\u00e2yede olmas\u0131 gereken unsurlar \u00fczerine fikirler \u00fcretmi\u015ftir.<\/p>\n\n\n\n
Hik\u00e2yenin edebiyat\u0131m\u0131zda yeni bir t\u00fcr oldu\u011funu belirten Mehmet Rauf, bu t\u00fcr\u00fcn uzun s\u00fcre \u00e7evirilerle devam etti\u011fini s\u00f6yler. Bu alanda Samipa\u015fazade Sezai, Nabizade Naz\u0131m ve Halit Ziya\u2019y\u0131 yol a\u00e7\u0131c\u0131 ki\u015filer olarak g\u00f6r\u00fcr. Hik\u00e2yede yo\u011funla\u015ft\u0131rma ve \u00f6\u011feler aras\u0131 dengenin (zaman, mek\u00e2n, ki\u015fi) \u00f6nemli oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr. Mehmet Rauf, Bizde Roman isimli yaz\u0131s\u0131nda edeb\u00ee eserlerin a\u015fktan ziyade tabiat\u0131 ve ya\u015fan\u0131lan hayat\u0131n \u00e7e\u015fitli y\u00f6nlerini anlatmas\u0131 gerekti\u011fini savunmas\u0131na ra\u011fmen \u00f6yk\u00fcc\u00fcl\u00fc\u011f\u00fcnde \u00e7o\u011fu kez bu tav\u0131rdan uzakt\u0131r. Yine ona g\u00f6re \u00fcslup da \u00e7ok \u00f6nemlidir. G\u00f6zlem ve analize dayal\u0131 anlat\u0131m tarz\u0131n\u0131 benimser.<\/p>\n\n\n\n
Hik\u00e2yeye y\u00f6nelik fikirlerinin \u00e7o\u011funu kendi \u00f6yk\u00fclerinde uygulayamad\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. \u00d6zellikle \u00f6geler aras\u0131 denge kurmakta ba\u015far\u0131s\u0131zd\u0131r. Kitaplar\u0131n\u0131n a\u015f\u0131r\u0131 ruh \u00e7\u00f6z\u00fcmlemeleri ve gereksiz uzatmalarla dolu olmas\u0131 bak\u0131m\u0131ndan ele\u015ftirilmektedir. Ele\u015ftirildi\u011fi bir di\u011fer meseleyse \u00f6yk\u00fclerindeki konu k\u0131s\u0131tl\u0131l\u0131\u011f\u0131d\u0131r. Hik\u00e2yelerinde \u00e7o\u011funlukla a\u015fk, kad\u0131n, evlilik ili\u015fkileri ve bunlardan do\u011fan \u00e7at\u0131\u015fmalar\u0131 i\u015fler. Bu konular d\u0131\u015f\u0131nda kalan \u00e7ok az \u00f6yk\u00fcs\u00fc bulunmaktad\u0131r. Bununla birlikte T\u00fcrk \u00f6yk\u00fcc\u00fcl\u00fc\u011f\u00fcnde g\u00f6zlem ve analizi en ba\u015far\u0131l\u0131 kullananlardan biridir. \u0130nsan\u0131, insana dair duygu, h\u00e2l ve durumlar\u0131 b\u00fcy\u00fck bir incelikle i\u015fler. S\u0131radan hayat\u0131n s\u0131radan anlar\u0131ndan \u00f6yk\u00fcler \u00e7\u0131karmay\u0131 bilir. Mehmet Rauf\u2019un hik\u00e2yecili\u011fi hakk\u0131nda g\u00f6ze \u00e7arpan en belirgin \u00f6zellikse \u00f6yk\u00fcleriyle kendi hayat\u0131 aras\u0131nda kurulan paralelliktir. Halit Ziya, \u201cK\u0131rk Y\u0131l\u201dda Mehmet Rauf\u2019un eserlerinde kendi karakterinden s\u0131yr\u0131lamad\u0131\u011f\u0131n\u0131, buna gerek duymad\u0131\u011f\u0131n\u0131 belirtir. Mehmet Rauf, ana kahramanlar\u0131n\u0131 kendi ad\u0131na konu\u015fturdu\u011fu i\u00e7in yard\u0131mc\u0131 \u015fah\u0131slara \u00f6nem vermez. Kahramanlar\u0131n\u0131, ayn\u0131 durumda olsa kendisi nas\u0131l davranacaksa o \u015fekilde bi\u00e7imlendirir. Yeni bir ki\u015filik olu\u015fturmaz. Ki\u015filerde tak\u0131nd\u0131\u011f\u0131 bu tav\u0131r; durum ve olaylar i\u00e7in de ge\u00e7erlidir. Yan konular, mek\u00e2n ve zamana dair detaylar olduk\u00e7a siliktir. T\u00fcm bu \u00f6geler yazar\u0131n i\u015flemek istedi\u011fi ruh \u00e7\u00f6z\u00fcmlemelerini sunabilmek i\u00e7in kulland\u0131\u011f\u0131 unsurlar olarak kalm\u0131\u015f, geli\u015ftirilmemi\u015ftir. Bu da \u00f6yk\u00fclerinin zay\u0131f bir temel \u00fczerine in\u015fa edilmesine neden olur.<\/p>\n\n\n\n
Mehmet Rauf hik\u00e2yelerinin neredeyse tamam\u0131na a\u015f\u0131r\u0131 duyarl\u0131l\u0131k h\u00e2kimdir. Fakirlik, yaln\u0131zl\u0131k, \u00fcz\u00fcnt\u00fc, ac\u0131ma, ihanet, hastal\u0131k, \u00f6l\u00fcm, kar\u015f\u0131l\u0131ks\u0131z a\u015fk gibi konular karamsar bir bi\u00e7imde i\u015flenir. Bu tav\u0131r, Servet-i F\u00fcn\u00fbn edeb\u00ee eserlerinin ortak tavr\u0131d\u0131r. Servet-i F\u00fcn\u00fbn d\u00f6neminin etkisi yazar\u0131n II. Me\u015frutiyet sonras\u0131 kaleme ald\u0131\u011f\u0131 \u00f6yk\u00fclerinde de varl\u0131\u011f\u0131n\u0131 korur. Yaz\u0131n hayat\u0131n\u0131n son d\u00f6nemlerine geldi\u011finde ise ge\u00e7inmek i\u00e7in eserler kaleme almaya ba\u015flar. Bu da yazarl\u0131\u011f\u0131n\u0131 olumsuz \u015fekilde etkileyecek, \u00e7ok okundu\u011fu i\u00e7in somut a\u015fka dayanan \u00f6yk\u00fcler yazacakt\u0131r. Ge\u00e7inmek i\u00e7in kaleme ald\u0131\u011f\u0131 \u00f6yk\u00fcleri b\u00fcy\u00fck oranda teknik bak\u0131m\u0131ndan zay\u0131ft\u0131r.<\/p>\n\n\n\n
Eserlerinde Servet-i F\u00fcn\u00fbn d\u00f6neminin ve kendisinin ruhsal kar\u015f\u0131l\u0131klar\u0131na, psikolojik tahlillerine yer verdi\u011fi i\u00e7in bireysel temalar i\u015flemi\u015f; sosyal problemlerden uzak durmu\u015ftur. Bu tutum da yine Servet-i F\u00fcn\u00fbn d\u00f6nemi nesir yaz\u0131n\u0131n\u0131n ortak \u00f6zelli\u011fidir. Mehmet Rauf\u2019un II. Me\u015frutiyet\u2019ten sonraki \u00f6yk\u00fclerinde i\u015fsizlik, yoksulluk, sava\u015flar\u0131n sebep oldu\u011fu g\u00f6\u00e7 gibi toplumsal konular\u0131 i\u015flemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Fakat bu \u00f6yk\u00fclerde de bireyin i\u00e7 d\u00fcnyas\u0131 ve tahlilleri \u00f6n plana \u00e7\u0131km\u0131\u015f, sorunlar\u0131 topluma yayarak g\u00f6stermekte ba\u015far\u0131l\u0131 olamam\u0131\u015ft\u0131r.<\/p>\n\n\n\n
\u00d6yk\u00fclerindeki e\u011filimler ve makaleleri incelendi\u011finde yerli yazarlardan Samipa\u015fazade Sezai, Nabizade Naz\u0131m, Halit Ziya ve ilk gen\u00e7lik zamanlar\u0131nda da Ahmet Mithat Efendi\u2019den etkilendi\u011fi g\u00f6r\u00fcl\u00fcr. Yabanc\u0131 yazarlardan da M\u00e9rim\u00e9e, Baudelaire, Daudet, Flaubert ve Bourget gibi isimlerin etkisi alt\u0131nda kalm\u0131\u015ft\u0131r. \u00d6zellikle psikolojik realizm ve psikanalitik roman\u0131n \u00f6nc\u00fclerinden Paul Bourget\u2019nin Mehmet Rauf \u00f6yk\u00fcc\u00fcl\u00fc\u011f\u00fcne y\u00f6n verdi\u011fi d\u00fc\u015f\u00fcn\u00fclmektedir. Mehmet Rauf, kendi ruhunu tan\u0131may\u0131 Bourget\u2019ye bor\u00e7lu oldu\u011funu itiraf eder.<\/p>\n\n\n\n
Mehmet Rauf \u00f6yk\u00fcc\u00fcl\u00fc\u011f\u00fcn\u00fcn bu genel \u00f6zellikleri \u0131\u015f\u0131\u011f\u0131nda yazar\u0131n Ana-K\u0131z \u00f6yk\u00fcs\u00fcn\u00fc inceleyece\u011fiz.<\/p>\n\n\n\n
Ana-K\u0131z Hik\u00e2yesi (1893)<\/strong><\/p>\n\n\n\n Ana-K\u0131z, Mehmet Rauf\u2019un hicri 1310 (1893) y\u0131l\u0131nda kaleme ald\u0131\u011f\u0131 \u00f6yk\u00fcs\u00fcd\u00fcr. \u00d6yk\u00fc ilk olarak \u201cSon Emel\u201d kitab\u0131 i\u00e7erisinde yay\u0131mlanm\u0131\u015ft\u0131r. Hik\u00e2ye; ana karakterin gezdi\u011fi sokaklarda rastlad\u0131\u011f\u0131 ve h\u00e2llerinden ge\u00e7im s\u0131k\u0131nt\u0131s\u0131 \u00e7ektikleri belli olan ya\u015fl\u0131 bir kad\u0131n ve k\u0131z\u0131 hakk\u0131ndaki d\u00fc\u015f\u00fcncelerine dayanmaktad\u0131r. Olay\u0131n yok denecek kadar az oldu\u011fu \u00f6yk\u00fcde ana karakter bu iki ki\u015fiyle ileti\u015fime dahi ge\u00e7mez. Hatta bu iki ki\u015finin ana karakterden haberi bile yoktur.<\/p>\n\n\n\n Olay \u00d6rg\u00fcs\u00fc<\/strong><\/p>\n\n\n\n \u00d6yk\u00fc, ana karakterin ya\u015fl\u0131 bir kad\u0131n ve k\u0131z\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 zorluklar \u00fczerine tahmin y\u00fcr\u00fctt\u00fc\u011f\u00fc ve hayatlar\u0131 hakk\u0131ndaki ger\u00e7e\u011fi \u00f6\u011frendi\u011fi k\u0131sa bir kesitten olu\u015fmaktad\u0131r. Bahsi ge\u00e7en ya\u015fl\u0131 kad\u0131n ve k\u00fc\u00e7\u00fck k\u0131z her g\u00fcn Yenik\u00f6y civarlar\u0131nda y\u00fcr\u00fcy\u00fc\u015f yapmakta; kimseyle ileti\u015fime ge\u00e7meden, adeta \u00e7evrelerindeki d\u00fcnyadan habersiz gibi yeknesak bir ya\u015fam s\u00fcrd\u00fcrmektedirler. Her g\u00fcn ayn\u0131 g\u00fczerg\u00e2hta g\u00f6rd\u00fc\u011f\u00fc bu ikilinin d\u00fcnyadan kopuk ve \u00fczg\u00fcn h\u00e2lleri hik\u00e2yenin anlat\u0131c\u0131s\u0131 da olan ana karakterin ilgisini \u00e7eker, fakat sadece uzaktan izlemekle yetinir. Onlara en yakla\u015ft\u0131\u011f\u0131 zaman ise havan\u0131n \u00e7ok ya\u011f\u0131\u015fl\u0131 oldu\u011fu bir g\u00fcn b\u00fct\u00fcn yolcular\u0131n s\u0131\u011f\u0131nd\u0131klar\u0131 gazino bah\u00e7esinde rastlad\u0131\u011f\u0131 g\u00fcn olacakt\u0131r. Anne ile k\u0131z\u0131 ya\u011fmurlu havada kendilerini eve g\u00f6t\u00fcrmesi i\u00e7in arabac\u0131yla pazarl\u0131k etmektedir. Fakat paralar\u0131 \u00e7\u0131k\u0131\u015fmaz. Gazinonun bah\u00e7esinden ayr\u0131ld\u0131klar\u0131nda ana karakter onlar\u0131n vapurla gitti\u011fini d\u00fc\u015f\u00fcn\u00fcr. Fakat kendisi vapurla Tarabya\u2019ya ge\u00e7ti\u011finde onlar\u0131 s\u0131r\u0131ls\u0131klam h\u00e2lde y\u00fcr\u00fcrken g\u00f6r\u00fcr. Paralar\u0131 olmad\u0131\u011f\u0131 i\u00e7in y\u00fcr\u00fcyerek karadan geldiklerini, vakur duru\u015flar\u0131yla yollar\u0131na devam ettiklerini anlar. Bu durum onlara olan ilgisini art\u0131r\u0131r. Bir s\u00fcre sonra ya\u015fl\u0131 kad\u0131n\u0131 daha \u00e7ok \u00e7\u00f6km\u00fc\u015f h\u00e2lde doktorla konu\u015furken g\u00f6r\u00fcr. \u0130lk defa olarak yaln\u0131zd\u0131r. H\u00e2linden k\u0131z\u0131n\u0131n hasta oldu\u011fu ve onun ila\u00e7lar\u0131yla ilgilendi\u011fini anlayan ana karakter, kad\u0131n gittikten sonra doktorla konu\u015farak kim olduklar\u0131n\u0131 sorar. K\u0131z\u0131n babas\u0131n\u0131n bir t\u00fcccar\u0131n yan\u0131nda \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 fakat bir y\u0131l \u00f6nce \u00f6ld\u00fc\u011f\u00fcn\u00fc, anne ve k\u0131z\u0131n kalan \u00e7ok k\u00fc\u00e7\u00fck bir maa\u015fla ge\u00e7inmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 \u00f6\u011frenir. K\u0131z ise on be\u015f g\u00fcnd\u00fcr hasta yatmaktad\u0131r. Ana karakter kad\u0131n\u0131n \u00fczg\u00fcn, \u00e7\u00f6km\u00fc\u015f ve yaln\u0131z h\u00e2li \u00fczerine d\u00fc\u015f\u00fcncelere dalar; \u00f6yk\u00fc bu \u015fekilde sona erer.<\/p>\n\n\n\n Ki\u015filer<\/strong><\/p>\n\n\n\n Ana-K\u0131z\u2019da hik\u00e2yenin anlat\u0131c\u0131s\u0131 da olan ana karakter \u00fczerinden her g\u00fcn y\u00fcr\u00fcy\u00fc\u015f yapan ya\u015fl\u0131 kad\u0131n ile k\u0131z\u0131 anlat\u0131lmaktad\u0131r. \u00d6yk\u00fcdeki ki\u015filer anlat\u0131c\u0131, anne, k\u0131z ve doktordur. Bununla birlikte gazinodaki garson, arabac\u0131 gibi fig\u00fcratif bir iki karakter daha vard\u0131r.<\/p>\n\n\n\n Anlat\u0131c\u0131:<\/em><\/strong> \u00d6yk\u00fcde g\u00f6zlemci konumunda olan, dikkatini \u00e7eken bu anne ile k\u0131z\u0131 rast geldik\u00e7e izleyen ki\u015fidir. Anlat\u0131c\u0131n\u0131n hayat\u0131na dair hi\u00e7bir \u015fey bilmeyiz. Yaln\u0131zca ya\u015fl\u0131 kad\u0131n ve k\u0131zla ayn\u0131 mevkilerde oturmakta, g\u00fcnl\u00fck y\u00fcr\u00fcy\u00fc\u015flerinde onlarla kar\u015f\u0131la\u015fmaktad\u0131r. \u0130lgisini \u00e7eken anne ve k\u0131z \u00fczerine d\u00fc\u015f\u00fcn\u00fcr, onlar i\u00e7in \u00fcz\u00fclmektedir. \u00d6yk\u00fcye ba\u015f\u0131ndan sonuna kadar anlat\u0131c\u0131n\u0131n ya\u015fl\u0131 kad\u0131n ve k\u0131z\u0131 i\u00e7in duydu\u011fu ac\u0131ma, merak ve keder h\u00e2kimdir.<\/p>\n\n\n\n Anne:<\/em><\/strong> Ya\u015fl\u0131, d\u00fcnyadan kopuk, kendi h\u00e2linde, vakur fakat \u00e7ekingen bir kad\u0131nd\u0131r. E\u015fi vefat etti\u011fi i\u00e7in k\u0131z\u0131n\u0131 tek ba\u015f\u0131na b\u00fcy\u00fctmekte, maddi manevi s\u0131k\u0131nt\u0131 \u00e7ekmektedir. D\u00fcnyada ba\u011fl\u0131 oldu\u011fu tek varl\u0131k olan k\u0131z\u0131na \u00e7ok d\u00fc\u015fk\u00fcnd\u00fcr. Onu kaybetmekten b\u00fcy\u00fck bir endi\u015fe duyar.<\/p>\n\n\n\n K\u0131z:<\/em><\/strong> \u00d6yk\u00fcdeki ya\u015fl\u0131 kad\u0131n\u0131n tek \u00e7ocu\u011fudur. Tasvirinden g\u00fczel oldu\u011fu anla\u015f\u0131lan k\u0131z\u0131n g\u00fczelli\u011fini yetim duru\u015fu, kederli y\u00fcz\u00fc g\u00f6lgelemektedir. Di\u011fer karakterler gibi k\u0131za dair bildi\u011fimiz \u015feyler de s\u0131n\u0131rl\u0131d\u0131r. Daima annesinin yan\u0131ndad\u0131r; sessiz, \u00fczg\u00fcn ve durgundur. Babas\u0131n\u0131 bir \u00f6nceki y\u0131l kaybetmi\u015ftir ve \u00f6yk\u00fcn\u00fcn sonunda on be\u015f g\u00fcnd\u00fcr hasta oldu\u011fu belirtilir.<\/p>\n\n\n\n Doktor:<\/em><\/strong> Anlat\u0131c\u0131n\u0131n ya\u015fl\u0131 kad\u0131nla konu\u015furken g\u00f6rd\u00fc\u011f\u00fc, Kalender\u2019de hekimlik yapan biridir. \u00d6yk\u00fcdeki tek g\u00f6revi ana karaktere ya\u015fl\u0131 kad\u0131n ve k\u0131z\u0131 hakk\u0131nda k\u0131saca bilgi vermektir.<\/p>\n\n\n\n Zaman<\/strong><\/p>\n\n\n\n Hik\u00e2yede net bir zaman dilimi yoktur. Kaleme al\u0131nd\u0131\u011f\u0131 tarih 1893\u2019t\u00fcr; anlat\u0131c\u0131n\u0131n ya\u015fl\u0131 kad\u0131n ve k\u0131z\u0131n\u0131 ilk kez g\u00f6rd\u00fc\u011f\u00fc zamansa nisan ay\u0131d\u0131r. Olaylar\u0131n bundan sonraki birka\u00e7 ay\u0131 kapsad\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclebilir. Ana karakter ya\u015fl\u0131 kad\u0131n ve k\u0131z\u0131na hemen her g\u00fcn \u00f6\u011flenleri ya da ak\u015famlar\u0131 y\u00fcr\u00fcy\u00fc\u015fte rastlamaktad\u0131r. Zaman geni\u015flemesi ya da geriye d\u00f6n\u00fc\u015f tekniklerine rastlanmaz. Yaln\u0131zca ya\u015fl\u0131 kad\u0131n\u0131n e\u015finin bir \u00f6nceki sene vefat etti\u011fi belirtilir.<\/p>\n\n\n\n Mek\u00e2n<\/strong><\/p>\n\n\n\n Hik\u00e2ye \u0130stanbul\u2019da; Tarabya, Summer Palas \u00f6n\u00fc, Sar\u0131yer, B\u00fcy\u00fckdere, Yenik\u00f6y, Kalender Burnu civarlar\u0131nda ge\u00e7mektedir. T\u00fcm bu yerler ana karakterin ya\u015fl\u0131 kad\u0131n ve k\u0131z\u0131na y\u00fcr\u00fcrken rastlad\u0131\u011f\u0131 a\u00e7\u0131k mek\u00e2nlard\u0131r. Yar\u0131 kapal\u0131 mek\u00e2n \u00f6rne\u011fi ise ya\u011fmurda s\u0131\u011f\u0131nd\u0131klar\u0131 gazinonun bah\u00e7esidir. \u00d6yk\u00fcde mek\u00e2n sadece olaylar\u0131n ge\u00e7ti\u011fi yeri tan\u0131mlamak \u00fczere kullan\u0131lm\u0131\u015f, detaylara, tasvirlere girilmemi\u015ftir.<\/p>\n","protected":false},"excerpt":{"rendered":" Mehmet Rauf (1875-1931), Servet-i F\u00fcn\u00fbn nesir…<\/p>\n","protected":false},"author":262,"featured_media":11536,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[55,62],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/11535"}],"collection":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/users\/262"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11535"}],"version-history":[{"count":0,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/11535\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/"}],"wp:attachment":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}