{"id":4426,"date":"2026-05-16T16:14:12","date_gmt":"2026-05-16T13:14:12","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4426"},"modified":"2026-05-16T16:20:39","modified_gmt":"2026-05-16T13:20:39","slug":"cahit-sitki-taranci-abbassiirinin-hikayesi-uzerine-bir-inceleme","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/05\/16\/cahit-sitki-taranci-abbassiirinin-hikayesi-uzerine-bir-inceleme\/","title":{"rendered":"CAH\u0130T SITKI TARANCI \u2018ABBAS\u2019\u015e\u0130\u0130R\u0130N\u0130N H\u0130KAYES\u0130 \u00dcZER\u0130NE B\u0130R \u0130NCELEME"},"content":{"rendered":"

DEV\u0130R<\/strong><\/p>\n

Cahit S\u0131tk\u0131 Taranc\u0131’n\u0131n “Abbas” hik\u00e2yesinde ve bu hik\u00e2yeyle \u015fekillenen me\u015fhur \u015fiirinde tasvir edilen d\u00f6nem, Cumhuriyet D\u00f6nemi’nin 1940’l\u0131 y\u0131llar\u0131na<\/strong>, \u00f6zellikle de II. D\u00fcnya Sava\u015f\u0131’n\u0131n<\/strong> g\u00f6lgesindeki T\u00fcrkiye’ye tekab\u00fcl eder<\/p>\n

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  1. D\u00fcnya Sava\u015f\u0131 ve Askerlik Y\u0131llar\u0131 (1941-1943)<\/strong><\/li>\n<\/ol>\n

    Hik\u00e2yenin ge\u00e7ti\u011fi as\u0131l zaman dilimi 1941<\/strong> y\u0131l\u0131d\u0131r. Cahit S\u0131tk\u0131, e\u011fitim i\u00e7in gitti\u011fi Fransa’dan II. D\u00fcnya Sava\u015f\u0131’n\u0131n patlak vermesi \u00fczerine T\u00fcrkiye’ye d\u00f6nmek zorunda kalm\u0131\u015f ve ard\u0131ndan askerlik g\u00f6revine sevk edilmi\u015ftir. Hik\u00e2ye, \u015fairin Edremit, Burhaniye (Il\u0131ca)<\/strong> sahil muhafaza taburunda yedek subay<\/strong> olarak g\u00f6rev yapt\u0131\u011f\u0131 bu seferberlik d\u00f6nemini yans\u0131t\u0131r. D\u00f6nemin \u015fartlar\u0131 gere\u011fi yedek subay say\u0131s\u0131n\u0131n az olmas\u0131 nedeniyle her subaya bir emir eri tahsis edilmektedir ve “Abbas” fig\u00fcr\u00fc de bu askerlik hiyerar\u015fisi i\u00e7inde \u015fairin hayat\u0131na girmi\u015ftir.<\/p>\n

     <\/p>\n

     D\u00f6nemin Sosyo-Ekonomik ve Psikolojik Atmosferi<\/strong><\/p>\n

    Hik\u00e2ye tahlilinde bu d\u00f6nem, toplumsal ve bireysel bir daralman\u0131n ya\u015fand\u0131\u011f\u0131 bir “ara d\u00f6nem” olarak g\u00f6r\u00fclebilir.<\/p>\n

    Maddi ve Manevi S\u0131k\u0131nt\u0131lar:<\/strong> 1940’lar T\u00fcrkiye’si, sava\u015f\u0131n getirdi\u011fi yoksulluk ve belirsizlikle karakterizedir. \u015eairin kendisi de bu y\u0131llarda maddi zorluklar ya\u015fam\u0131\u015f, Paris’teki hayallerinden kopup memleketine d\u00f6nm\u00fc\u015f ve bir nevi “ma\u011flubiyet” hissiyle babas\u0131n\u0131n yan\u0131na, Diyarbak\u0131r’a s\u0131\u011f\u0131nm\u0131\u015ft\u0131r.<\/p>\n

    Bohem Ya\u015fam ve Melankoli:<\/strong> Cahit S\u0131tk\u0131’n\u0131n bu d\u00f6nemdeki ya\u015fant\u0131s\u0131 “bohem” bir hava ta\u015f\u0131r. Hik\u00e2yede ge\u00e7en \u00e7ilingir sofras\u0131<\/strong>, rak\u0131 ve ge\u00e7mi\u015fe duyulan \u00f6zlem (\u0130stanbul ve Be\u015fikta\u015fl\u0131 sevgili), sava\u015f\u0131n ve askerli\u011fin sert ger\u00e7ekli\u011finden ka\u00e7\u0131p hayal d\u00fcnyas\u0131na s\u0131\u011f\u0131nma arzusunu temsil eder.<\/p>\n

    Yaln\u0131zl\u0131k ve Ka\u00e7\u0131\u015f:<\/strong> \u015eair, \u00e7ocuklu\u011fundan beri pe\u015fini b\u0131rakmayan yaln\u0131zl\u0131k duygusunu bu d\u00f6nemde en \u015fiddetli haliyle hisseder. D\u00f6nemin bo\u011fucu atmosferinde, \u00e7ocuklu\u011funda b\u00fcy\u00fckannesinden dinledi\u011fi masallardaki “Abbas” karakteri ile ger\u00e7ek hayattaki emir eri Abbas’\u0131 \u00f6zde\u015fle\u015ftirerek metafizik bir ka\u00e7\u0131\u015f yolu arar.<\/p>\n

    Edebi Ba\u011flam: “K\u00fc\u00e7\u00fck Adam” \u0131n Hik\u00e2yesi<\/strong><\/p>\n

     <\/strong><\/p>\n

    Edebi a\u00e7\u0131dan 1935-1950 aras\u0131 d\u00f6nem, T\u00fcrk \u015fiirinde ve hik\u00e2yesinde “k\u00fc\u00e7\u00fck adam” \u0131n g\u00fcnl\u00fck hayat i\u00e7indeki s\u0131n\u0131rl\u0131 maceralar\u0131na y\u00f6neldi\u011fi bir evredir. “Abbas” hik\u00e2yesi, Anadolu’nun saf ve mert bir gencini (Midyatl\u0131 Abbas) merkeze alarak d\u00f6nemin insan manzaras\u0131n\u0131 sunar. \u015eairin bu d\u00f6nemde nesre y\u00f6nelmesinin bir sebebi de ge\u00e7im s\u0131k\u0131nt\u0131s\u0131d\u0131r; \u00f6yk\u00fclerini sanat kayg\u0131s\u0131ndan ziyade “para kazanmak” amac\u0131yla kaleme ald\u0131\u011f\u0131n\u0131 bizzat ifade etmi\u015ftir.<\/p>\n

     “Abbas” \u0131n hik\u00e2yesi; sava\u015f\u0131n yaratt\u0131\u011f\u0131 bask\u0131, askeri disiplin, gurbetlik ve maddi imk\u00e2ns\u0131zl\u0131klar ile \u015fairin \u015fahsi melankolisi ve ya\u015fama sevinci aras\u0131ndaki \u00e7at\u0131\u015fman\u0131n ya\u015fand\u0131\u011f\u0131 1940’l\u0131 y\u0131llar\u0131n ba\u015f\u0131ndaki T\u00fcrkiye atmosferinde<\/strong> ge\u00e7er. \u015eiir, ilk kez 19 Eyl\u00fcl 1942<\/strong> tarihinde \u0130nk\u0131lap\u00e7\u0131 Gen\u00e7lik<\/em> dergisinde yay\u0131mlanarak edebiyat d\u00fcnyas\u0131na kazand\u0131r\u0131lm\u0131\u015ft\u0131r. Kaynaklar \u015fairin eseri 1942 y\u0131l\u0131nda Mihrimah Han\u0131m’a duydu\u011fu a\u015fk\u0131n etkisiyle kaleme ald\u0131\u011f\u0131n\u0131 belirtmektedir<\/p>\n

     <\/strong><\/p>\n

    \u015eAHS\u0130YET<\/strong><\/p>\n

     <\/strong>4 Ekim 1910’da Diyarbak\u0131r’da do\u011fmu\u015f ve 12 Ekim 1956’da Viyana’da vefat etmi\u015f, Cumhuriyet d\u00f6nemi T\u00fcrk edebiyat\u0131n\u0131n en \u00f6nemli \u015fairlerinden biridir. Soylu ve zengin bir aile olan Pirin\u00e7\u00e7io\u011fullar\u0131na mensuptur; babas\u0131 Bekir S\u0131tk\u0131 Bey, annesi Arife Han\u0131m’d\u0131r. \u00c7ocuklu\u011fu Diyarbak\u0131r’daki aile kona\u011f\u0131nda ge\u00e7mi\u015f, ilk\u00f6\u011frenimine de burada ba\u015flam\u0131\u015ft\u0131r.<\/p>\n

    E\u011fitimi:<\/strong> Orta\u00f6\u011frenimi i\u00e7in \u0130stanbul’a g\u00f6nderilerek Saint-Joseph Frans\u0131z Lisesi<\/strong> ve ard\u0131ndan Galatasaray Lisesi<\/strong>‘nde okumu\u015f, \u015fiirle ciddi anlamda bu y\u0131llarda ilgilenmeye ba\u015flam\u0131\u015ft\u0131r. Y\u00fcksek\u00f6\u011frenimine M\u00fclkiye Mektebi’nde ba\u015flam\u0131\u015f ancak tamamlayamam\u0131\u015f; daha sonra Paris’e giderek Sciences Politiques’te \u00f6\u011frenim g\u00f6rm\u00fc\u015ft\u00fcr. II. D\u00fcnya Sava\u015f\u0131’n\u0131n ba\u015flamas\u0131yla Paris’ten bisikletle ka\u00e7arak T\u00fcrkiye’ye d\u00f6nmek zorunda kalm\u0131\u015ft\u0131r.<\/p>\n

    \u00c7al\u0131\u015fma Hayat\u0131:<\/strong> S\u00fcmerbank’ta memurluk, Cumhuriyet gazetesinde \u00f6yk\u00fc yazarl\u0131\u011f\u0131, Paris Radyosu T\u00fcrk\u00e7e yay\u0131nlar servisinde sunuculuk, Anadolu Ajans\u0131 ve \u00c7al\u0131\u015fma Bakanl\u0131\u011f\u0131’nda m\u00fctercimlik gibi \u00e7e\u015fitli g\u00f6revlerde bulunmu\u015ftur.<\/p>\n

    Karakteri ve Mizac\u0131:<\/strong> \u015eair, son derece hassas, lirik ve melankolik<\/strong> bir mizaca sahiptir. Kendisini fiziksel olarak \u00e7irkin bulmas\u0131ndan kaynaklanan bir a\u015fa\u011f\u0131l\u0131k kompleksi ve buna ba\u011fl\u0131 geli\u015fen bir i\u00e7ed\u00f6n\u00fckl\u00fc\u011f\u00fc vard\u0131r. Bu durum onu yaln\u0131zl\u0131\u011fa ve i\u00e7ki iptilas\u0131na s\u00fcr\u00fcklemi\u015f, eserlerinde s\u0131k\u00e7a i\u015fledi\u011fi “ka\u00e7\u0131\u015f” duygusunu beslemi\u015ftir. 4 Temmuz 1951’de Cavidan T\u0131naz ile evlenerek k\u0131sa bir s\u00fcre d\u00fczenli ve mutlu bir aile hayat\u0131 s\u00fcrm\u00fc\u015ft\u00fcr.<\/p>\n

    Vefat\u0131:<\/strong> 1954 y\u0131l\u0131nda ge\u00e7irdi\u011fi bir kriz sonucu fel\u00e7 olmu\u015f, tedavi i\u00e7in g\u00f6nderildi\u011fi Viyana’da zat\u00fclcenp nedeniyle hayata g\u00f6zlerini yummu\u015ftur. Mezar\u0131 Ankara’daki Cebeci Asri Mezarl\u0131\u011f\u0131’ndad\u0131r.<\/p>\n

    \u015eiire gen\u00e7 ya\u015fta lise \u00e7a\u011flar\u0131nda ilgi duyan Taranc\u0131, Ahmet Ha\u015fim ve Frans\u0131z edebiyat\u0131n\u0131n etkisiyle bireysel ve lirik bir \u00fcslup geli\u015ftirdi. \u015eiirlerinde genellikle ya\u015fama sevinci, \u00f6l\u00fcm korkusu, yaln\u0131zl\u0131k ve a\u015fk temalar\u0131n\u0131 i\u015fledi. Hece \u00f6l\u00e7\u00fcs\u00fcn\u00fc modern bir s\u00f6yleyi\u015fle birle\u015ftirdi.<\/p>\n

    Frans\u0131z \u015fairlerden etkilenen Taranc\u0131’n\u0131n \u015fiirlerinde \u00f6zellikle sembolizm ak\u0131m\u0131n\u0131n izleri g\u00f6r\u00fclmektedir.Edebiyat hayat\u0131n\u0131n yan\u0131 s\u0131ra \u00e7e\u015fitli kurumlarda, gazetelerde ve radyolarda \u00e7al\u0131\u015ft\u0131.T\u00fcrk \u015fiirine getirdi\u011fi kendine \u00f6zg\u00fc lirizm ve i\u00e7ten anlat\u0131mla \u00f6nemli bir yer edinmi\u015ftir.<\/p>\n

     <\/p>\n

    Eserleri ve Sanat Anlay\u0131\u015f\u0131<\/p>\n

    Taranc\u0131, \u015fiiri “kelimelerle g\u00fczel \u015fekiller kurma sanat\u0131” olarak tan\u0131mlam\u0131\u015f; Baudelaire ve Frans\u0131z sembolistlerinden etkilenerek T\u00fcrk \u015fiirine kendine \u00f6zg\u00fc bir lirizm getirmi\u015ftir. Eserlerinde en \u00e7ok \u00f6l\u00fcm korkusu, ya\u015fama sevinci, yaln\u0131zl\u0131k, mazi \u00f6zlemi ve a\u015fk<\/strong> temalar\u0131n\u0131 i\u015flemi\u015ftir.<\/p>\n

     <\/p>\n

    \u015eiir Kitaplar\u0131:<\/strong><\/p>\n