Tarih baz\u0131 insanlar\u0131 alt\u0131n harflerle yazarken, baz\u0131 insanlar\u0131n da \u00fcst\u00fcn\u00fc \u00e7izer. Cumhuriyet tarihinde \u00fcst\u00fc \u00e7izilen \u00e7ok insan varken, unutulmaz sanat\u0131yla ad\u0131 alt\u0131n harflerle yaz\u0131lan b\u00fcy\u00fck sanatk\u00e2rlar da vard\u0131r. Naz\u0131m Hikmet i\u015fte bu alt\u0131n siluetlerden biridir. Bu yaz\u0131m\u0131zda onu, \u00f6nyarg\u0131lardan ya da \u00f6n kabullerden azade olarak, yaln\u0131zca sanat\u0131yla de\u011ferlendirmeye \u00e7al\u0131\u015faca\u011f\u0131z.<\/p>\n
G\u00fcn\u00fcm\u00fczde bir\u00e7ok insan, edebiyat\u0131m\u0131za serbest vezni Garip ak\u0131m\u0131n\u0131n mensuplar\u0131n\u0131n kazand\u0131rd\u0131\u011f\u0131n\u0131 zanneder. Oysa serbest veznin ilk uygulay\u0131c\u0131s\u0131 ve iyi bir te\u015fbihle \u201cbabas\u0131\u201d Naz\u0131m Hikmet\u2019tir.<\/p>\n
Naz\u0131m Hikmet, 1902 y\u0131l\u0131nda Selanik\u2019te d\u00fcnyaya geldi. Hen\u00fcz ortaokul y\u0131llar\u0131nda denizciler i\u00e7in \u00a0\u00a0yazd\u0131\u011f\u0131 bir \u015fiirini, d\u00f6nemin en kudretli \u015fahsiyetlerden Cemal Pa\u015fan\u0131n be\u011fenmesi \u00fczerine Bahriye Mektebine al\u0131nd\u0131. Burada, \u015fiire kabiliyetini geli\u015ftirece\u011fi uygun bir zemin bulmu\u015ftu. D\u00fc\u015f\u00fcn\u00fcn ki hocalar\u0131ndan biri Yahya Kemal idi. \u0130\u015fin ilgin\u00e7 yan\u0131 ise daha sonralar\u0131 \u201cputlar\u0131 y\u0131k\u0131yoruz\u201d diyerek b\u00fcy\u00fck bir dil kavgas\u0131na tutu\u015ftu\u011fu insanlar\u0131n en \u00f6nemlilerinden biri de ayn\u0131 Yahya Kemal\u2019dir.<\/p>\n
Okulundan mezun olduktan sonra g\u00f6rev ald\u0131\u011f\u0131 askeriye i\u00e7erisinde fazlaca tutunamad\u0131 b\u00fcy\u00fck \u015fair. O, ba\u015fka bir iklimin, ba\u015fka bir sahan\u0131n insan\u0131yd\u0131. Aray\u0131\u015flar\u0131n\u0131n \u00f6zeti \u00fcslup ve siyaset \u00fczerine yo\u011funla\u015fmakt\u0131r denebilir. \u00dclke b\u00fcy\u00fck bir buhran\u0131n i\u00e7ine d\u00fc\u015fm\u00fc\u015f, hem \u00f6zg\u00fcrl\u00fckler hem de vatan elden gitmi\u015fti. B\u00f6yle bir ortamda siyaset, t\u00fcm kalem erbab\u0131n\u0131n temel esin kaynaklar\u0131ndan elbette biri olacakt\u0131r. \u0130lk \u015fiirlerini hece \u00f6l\u00e7\u00fcs\u00fcyle yazan mavi g\u00f6zl\u00fc devin, \u00fcslup aray\u0131\u015f\u0131nda oldu\u011funu bu eserlerinde g\u00f6rmek m\u00fcmk\u00fcn asl\u0131nda. Di\u011fer hece \u015fairlerinin aksine, konular\u0131 i\u015fleyi\u015fi ve dili kullan\u0131\u015f \u015fekli ger\u00e7ekten \u00e7ok farkl\u0131d\u0131r. Ancak hecenin anlat\u0131m\u0131n\u0131 s\u0131n\u0131rland\u0131rmas\u0131, anlatmak istedi\u011fi \u015feylerin yo\u011funlu\u011fu d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde Naz\u0131m Hikmet i\u00e7in bir sorun olarak g\u00f6r\u00fclmesine de yol a\u00e7m\u0131\u015ft\u0131r.<\/p>\n
Hen\u00fcz 1921 y\u0131l\u0131nda Moskova\u2019ya giden \u015fair ceketli \u00e7ocuk, Bol\u015fevik devriminin ilk y\u0131llar\u0131na tan\u0131k olmu\u015f, ayn\u0131 zamanda Mayakovski\u2019nin \u015fiirleriyle de tan\u0131\u015fma f\u0131rsat\u0131 bulmu\u015ftu. \u0130lk olarak duvarlardaki ilanlarda g\u00f6rd\u00fc\u011f\u00fc bu \u015fiir tarz\u0131, onda derin bir etki b\u0131rakm\u0131\u015f ve \u015fiirdeki yol haritas\u0131n\u0131, t\u0131pk\u0131 siyasi hayattaki yol haritas\u0131 gibi, \u00e7izmesini sa\u011flam\u0131\u015ft\u0131. \u0130lk \u015fiir kitab\u0131n\u0131 da Moskova\u2019da ayn\u0131 y\u0131l sahneleme f\u0131rsat\u0131 bulmu\u015ftu. Ayn\u0131 y\u0131l yurda d\u00f6nen gen\u00e7 Naz\u0131m, yay\u0131nlad\u0131\u011f\u0131 \u015fiirlerindeki ve yaz\u0131lar\u0131ndaki ifadeler sebebine 15 y\u0131l hapis istemiyle yarg\u0131lanmaya ba\u015flay\u0131nca, yeniden Moskova g\u00fcnleri ba\u015flam\u0131\u015f oldu.<\/p>\n
D\u00f6rt y\u0131l sonra af kanunundan yararlan\u0131p yurda d\u00f6nd\u00fc\u011f\u00fcnde, birikimini sahaya s\u00fcrme vakti gelmi\u015fti. Resimli ay dergisindeki yaz\u0131lar\u0131 ve polemikleri b\u00fcy\u00fck ilgi uyand\u0131rd\u0131. Peyami Safa ile giri\u015fti\u011fi kavga, her iki \u015fah\u0131s i\u00e7in de devasa eserlerin ortaya \u00e7\u0131kmas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. Bu g\u00fcn\u00fcn gazete polemikleri g\u00f6zl\u00fc\u011f\u00fcnden, o g\u00fcn\u00fcn polemiklerine bak\u0131ld\u0131\u011f\u0131nda inan\u0131lmaz bir dil kullan\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6ylemek gerekir. Ustaca kinaye, ironi ve ifadelerin yan\u0131 s\u0131ra, \u00e7ok b\u00fcy\u00fck hakaretlerin de havada u\u00e7u\u015ftu\u011funu aktarmam\u0131z icab eder. D\u00f6nem, t\u00fcm d\u00fcnyada kavga d\u00f6nemidir. Naz\u0131m Hikmet\u2019te bu d\u00f6nemde, denebilir ki hemen herkesle kavgaya tutu\u015fmu\u015ftu. Bir yandan Yahya Kemal\u2019le kalem m\u00fccadelesine giriyor, di\u011fer yandan Ahmet Ha\u015fim\u2019e salvolarda bulunuyor, d\u00f6nemin siyaset\u00e7ilerine ve d\u00fczenine de verip veri\u015ftiriyordu.<\/p>\n
Bir\u00e7ok \u015fehir efsanesine kaynakl\u0131k eden, Piraye Han\u0131mla evlili\u011fi de i\u015fte tam bu d\u00f6neme denk gelmektedir. Bu, Naz\u0131m Hikmet\u2019in \u00fc\u00e7\u00fcnc\u00fc ama en bilinen evlili\u011fidir. 1938 Y\u0131l\u0131nda, askeri, \u00fcstlerine isyana te\u015fvik su\u00e7lamas\u0131yla yarg\u0131land\u0131 ve 28 y\u0131l hapis cezas\u0131na \u00e7arpt\u0131r\u0131ld\u0131. Tam 12 y\u0131l s\u00fcren hapishane hayat\u0131 boyunca yazmaya, davas\u0131 ad\u0131na m\u00fccadele etmeye devam etti. Bu d\u00f6nemdeki eserlerinin bir k\u0131sm\u0131n\u0131 m\u00fcstear isimlerle yay\u0131nlad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. \u015eiirindeki co\u015fkunluk, hayat\u0131ndaki fikir seliyle birle\u015ftik\u00e7e b\u00fcy\u00fcd\u00fc. Ancak mevcut \u015fartlar alt\u0131nda \u00fclkeden ayr\u0131lmas\u0131 gerekiyordu. 1950 Y\u0131l\u0131nda, gizlice Moskova\u2019ya gitti. Hayat\u0131n\u0131n sonuna kadar da burada memleket hasretiyle ya\u015famaya mahkum olmu\u015ftu. 1963 Y\u0131l\u0131nda hayata g\u00f6zlerini yuman, b\u00fcy\u00fck kavgalar\u0131n yal\u00e7\u0131n silah\u015f\u00f6r\u00fc, bu g\u00fcn h\u00e2len edebiyat d\u00fcnyam\u0131z\u0131 etkilemeye devam etmektedir. \u00dcn\u00fc, \u00fclke s\u0131n\u0131rlar\u0131n\u0131 a\u015fan bu b\u00fcy\u00fck kalem i\u00e7in, \u00f6l\u00fcm\u00fcn\u00fcn ard\u0131ndan Aragon ve Jean Paul Sartre gibi d\u00fcnya edebiyat\u0131n\u0131n dev isimlerinin \u00f6vg\u00fc dolu s\u00f6zler s\u00f6ylemesi bir yana, 2002 y\u0131l\u0131n\u0131n, UNESCO taraf\u0131ndan \u201cNaz\u0131m Hikmet y\u0131l\u0131\u201d ilan edilmesi bile, onun muhte\u015fem sanatk\u00e2rl\u0131\u011f\u0131n\u0131n kan\u0131t\u0131d\u0131r.<\/p>\n
\u00c7o\u011fu zaman, d\u00fczyaz\u0131s\u0131, \u015fiirlerinin g\u00f6lgesinde kalm\u0131\u015ft\u0131r denebilir. Sa\u011f kesimin dev kalemi Necip Faz\u0131l\u2019\u0131n \u015fiir ekol\u00fcn\u00fcn, ayn\u0131 kesim taraf\u0131ndan devam ettirilmedi\u011fini nas\u0131l s\u00f6yleyebiliyorsak, ayn\u0131 \u015feyi Sol fikriyat\u0131n zirvesi olan Naz\u0131m Hikmet i\u00e7in de s\u00f6ylemek m\u00fcmk\u00fcnd\u00fcr. \u015eiirlerinde \u00f6l\u00e7\u00fcden vazge\u00e7mesine kar\u015f\u0131n, kafiyeyi bir ahenk unsuru olarak g\u00f6ren gurbetin \u015fairi, m\u0131sra m\u0131sra \u015fiir i\u015f\u00e7ili\u011fi de yap\u0131yordu. \u015eiirlerinin \u00e7o\u011funda, m\u0131sra bazl\u0131 sanatsal s\u00f6yleyi\u015ften vazge\u00e7medi. Toplum i\u00e7in sanat ilkesine ba\u011fl\u0131 kalmas\u0131na kar\u015f\u0131n, sanatsal s\u00f6yleyi\u015ften \u00f6d\u00fcn vermemesi, \u015fiirlerindeki temaya ve anlam b\u00fct\u00fcnl\u00fc\u011f\u00fcne sad\u0131k kal\u0131\u015f\u0131, hitaplar\u0131ndaki co\u015fkuyla devam eden tekrarlamalar\u0131, onun kalem kudretinin temel \u00f6\u011feleridir. Zaman zaman, f\u00fct\u00fcrizmden etkilenen \u015fiir tarz\u0131nda, aray\u0131\u015flar\u0131n\u0131 da asla b\u0131rakmad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Edebiyat\u0131m\u0131za mekanik-robotik- tarz \u015fiiri getiren de yine Naz\u0131m Hikmet\u2019tir. Ancak bu konuda ba\u015far\u0131l\u0131 oldu\u011funu s\u00f6ylemek imkans\u0131za yak\u0131nd\u0131r.<\/p>\n
\u015eiirin d\u0131\u015f\u0131nda yazd\u0131\u011f\u0131 eserlerin bir k\u0131sm\u0131, para kazanmak i\u00e7in aceleyle ve takma isimlerle yay\u0131nlanm\u0131\u015f kitaplard\u0131r. Koca \u00c7\u0131nar\u2019\u0131 bu eserlerini baz alarak ele\u015ftirmek, onun kalemine de bir sayg\u0131s\u0131zl\u0131kt\u0131r asl\u0131nda. Naz\u0131m Hikmet\u2019in nesrini de\u011ferlendirmek i\u00e7in en \u00f6nemli \u00f6l\u00e7\u00fct \u201cYa\u015famak G\u00fczel \u015eey Be Karde\u015fim\u201d isimli roman\u0131d\u0131r. Roman\u0131n ba\u015fkahraman\u0131 olarak kendisini anlatan \u015fair, \u015fiirlerindeki ustal\u0131\u011f\u0131n\u0131, kurgu yetene\u011fini ve co\u015fkun s\u00f6yleyi\u015fini bu eserine yans\u0131tmay\u0131 ba\u015farm\u0131\u015ft\u0131r. \u0130lk yay\u0131nland\u0131\u011f\u0131nda \u201cRomantikler\u201d ismiyle okuyucusuna sunulan bu kitap, romantik sava\u015f\u00e7\u0131lar\u0131n ac\u0131 dolu ya\u015fant\u0131s\u0131na dokunu\u015flarla doludur. Ayn\u0131 zamanda yazar\u0131n son eseri ve otobiyografisi de say\u0131lan bu roman, nedense g\u00fcn\u00fcm\u00fczde unutulmaya y\u00fcz tutmu\u015f durumdad\u0131r. \u201cKan Konu\u015fmaz\u201d \u0130simli roman\u0131 da olduk\u00e7a g\u00fc\u00e7l\u00fc bir kitapt\u0131r. Osmanl\u0131n\u0131n Tanzimat sonras\u0131 d\u00f6neminin iyi i\u015flendi\u011fi bu eser, yaz\u0131ld\u0131\u011f\u0131 dilin a\u011f\u0131rl\u0131\u011f\u0131na ra\u011fmen olduk\u00e7a derin bir mana k\u00fclt\u00fcr\u00fcne sahiptir.<\/p>\n
Naz\u0131m Hikmet, ne bir vatan hainidir ne de ele\u015ftirilemeyecek bir put. O, devasa bir sanatkar, sars\u0131lmaz bir m\u00fccadele adam\u0131, a\u015f\u0131k bir y\u00fcrek ve kanayan bir yarad\u0131r. Sanat\u0131n\u0131 anlatabilmek i\u00e7in cilt cilt kitaplar yazmam\u0131z gereken bu b\u00fcy\u00fck kaleme \u00e7ok \u015fey bor\u00e7luyuz ve ondan alaca\u011f\u0131m\u0131z daha \u00e7ok \u015fey var. \u0130deolojilerden ar\u0131nd\u0131r\u0131lm\u0131\u015f bir zihinle, ula\u015f\u0131lmas\u0131 son derece g\u00fc\u00e7 olan bu zirveye ancak yakla\u015fabiliriz.<\/p>\n
U\u011furlar ola mavi g\u00f6zl\u00fc dev! U\u011furlar ola \u015eair y\u00fcrekli yara! U\u011furlar ola sar\u0131\u015f\u0131n kahraman!<\/p>\n","protected":false},"excerpt":{"rendered":"
Tarih baz\u0131 insanlar\u0131 alt\u0131n harflerle yazarken,…<\/p>\n","protected":false},"author":2,"featured_media":8429,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[53,62],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/8170"}],"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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8170"}],"version-history":[{"count":0,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/8170\/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=8170"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8170"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8170"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}