{"id":5482,"date":"2026-10-04T16:53:44","date_gmt":"2026-10-04T13:53:44","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=5482"},"modified":"2026-10-04T17:21:24","modified_gmt":"2026-10-04T14:21:24","slug":"don-kisot-ll","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/","title":{"rendered":"Don Ki\u015fot ll"},"content":{"rendered":"

 Cervantes Arap-\u0130slam Anlat\u0131 Gelene\u011findeki Bir Karakterden \u0130lham Alm\u0131\u015f Olabilir mi?<\/strong><\/p>\n

\u00d6nceki de\u011ferlendirmede, Don Ki\u015fot<\/em>‘un roman\u0131n kendi kurgusu i\u00e7inde Arap tarih\u00e7i Cide Hamete Benengeli’ye ve bir Morisko terc\u00fcmana dayand\u0131r\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6sterdik. Bu yaz\u0131da soruyu bir ad\u0131m \u00f6teye ta\u015f\u0131yoruz. Art\u0131k “Don Ki\u015fot bir Arap\u00e7a kitaptan terc\u00fcme edildi mi?” diye sormuyoruz; bu soruya verilecek cevab\u0131n olumsuz oldu\u011funu biliyoruz. Sorumuz \u015fudur:<\/p>\n

Arap-\u0130slam anlat\u0131 gelene\u011finde, Don Ki\u015fot karakterine benzeyen bir tip (hayal ile ger\u00e7e\u011fi kar\u0131\u015ft\u0131ran, idealize etti\u011fi bir sevgili i\u00e7in akl\u0131n\u0131 yitiren, kitaplardan veya s\u00f6zlerden etkilenip d\u00fcnyay\u0131 yanl\u0131\u015f okuyan, g\u00fcl\u00fcn\u00e7 ama bilge bir deli) var m\u0131yd\u0131? Cervantes b\u00f6yle bir anlat\u0131yla kar\u015f\u0131la\u015fm\u0131\u015f ve ondan ilham alm\u0131\u015f olabilir mi? Cide Hamete kurgusu, bu t\u00fcr bir borcun edeb\u00ee bir itiraf\u0131 olarak okunabilir mi?<\/p>\n

Bu hipotez, “Arap\u00e7a Don Ki\u015fot bulundu” iddias\u0131ndan \u00e7ok daha m\u00fctevaz\u0131, fakat tarih\u00ee olarak \u00e7ok daha savunulabilir bir hipotezdir. Onu ciddiye almak i\u00e7in \u00f6nce neyin delil say\u0131labilece\u011fini belirlememiz gerekir.<\/p>\n

Benzerlik ile Etkilenme Aras\u0131ndaki Fark<\/strong><\/p>\n

Edebiyat tarihinde iki eser aras\u0131ndaki benzerlik, tek ba\u015f\u0131na birinin di\u011ferinden etkilendi\u011fini g\u00f6stermez. \u0130nsanl\u0131\u011f\u0131n ortak tecr\u00fcbesinden do\u011fan baz\u0131 tipler (deli bilge, saf k\u00f6yl\u00fc, \u00e2\u015f\u0131k mecnun) birbirinden habersiz k\u00fclt\u00fcrlerde de ortaya \u00e7\u0131kabilir. Bu y\u00fczden bu ara\u015ft\u0131rmada \u00fc\u00e7 d\u00fczey ay\u0131r\u0131yoruz.<\/p>\n

Birinci d\u00fczey do\u011frudan delildir<\/strong>: Cervantes’in belirli bir Arap\u00e7a eseri okudu\u011funu, dinledi\u011fini veya ondan bahsetti\u011fini g\u00f6steren belge. B\u00f6yle bir delil bug\u00fcn elimizde yoktur.<\/p>\n

\u0130kinci d\u00fczey eri\u015fim delilidir<\/strong>: Cervantes’in belirli bir anlat\u0131 gelene\u011fine ula\u015fabilece\u011fi somut kanallar\u0131n varl\u0131\u011f\u0131. Burada elimizde olduk\u00e7a g\u00fc\u00e7l\u00fc veriler vard\u0131r.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc d\u00fczey tipolojik benzerliktir<\/strong>: Arap-\u0130slam anlat\u0131lar\u0131ndaki tiplerle Don Ki\u015fot ve Sancho aras\u0131ndaki yap\u0131sal paralellikler. Bunlar \u00e7oktur, fakat her birinin ayr\u0131ca de\u011ferlendirilmesi gerekir.<\/p>\n

Hipotezimiz ikinci ve \u00fc\u00e7\u00fcnc\u00fc d\u00fczeydeki verilerin birle\u015fmesinden g\u00fc\u00e7 al\u0131r. Birinci d\u00fczeyde bir delil \u00e7\u0131kmad\u0131k\u00e7a “ilham alm\u0131\u015f olabilir” demek me\u015frudur, “ilham alm\u0131\u015ft\u0131r” demek ise de\u011fildir.<\/p>\n

Cervantes’in Arap Anlat\u0131 Gelene\u011fine Eri\u015fim Kanallar\u0131<\/strong><\/p>\n

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  1. Cezayir’de be\u015f y\u0131l<\/strong><\/li>\n<\/ol>\n

    Cervantes 1575-1580 aras\u0131nda Cezayir’de esirdi. Esirler \u015fehrin bagno<\/em> denilen esir hapishanelerinde kal\u0131yor, fakat g\u00fcnd\u00fczleri \u00e7o\u011funlukla \u015fehirde \u00e7al\u0131\u015f\u0131yor ve dola\u015fabiliyordu. Cezayir o d\u00f6nemde Osmanl\u0131’ya ba\u011fl\u0131, T\u00fcrklerin, Ma\u011friplilerin, End\u00fcl\u00fcs’ten g\u00f6\u00e7m\u00fc\u015f Moriskolar\u0131n, m\u00fchtedilerin ve Avrupal\u0131 esirlerin i\u00e7 i\u00e7e ya\u015fad\u0131\u011f\u0131 kozmopolit bir liman \u015fehriydi. Ma\u011frip d\u00fcnyas\u0131nda halk hik\u00e2yecilerinin (meddah ve r\u00e2v\u00eelerin) kahvehane ve meydanlarda kahramanl\u0131k destanlar\u0131n\u0131 ve g\u00fcld\u00fcr\u00fcc\u00fc hik\u00e2yeleri anlatmas\u0131 k\u00f6kl\u00fc bir gelenekti. Cervantes’in bu anlat\u0131lar\u0131 do\u011frudan dinledi\u011fine dair belge yoktur; ancak be\u015f y\u0131l boyunca b\u00f6yle bir ortamda ya\u015fay\u0131p hi\u00e7birine kulak misafiri olmamas\u0131 da pek olas\u0131 de\u011fildir.<\/p>\n

      \n
    1. Cervantes’in Arap\u00e7a bilgisi<\/strong><\/li>\n<\/ol>\n

      Cervantes edeb\u00ee Arap\u00e7a okuyam\u0131yordu; nitekim I\/9’daki anlat\u0131c\u0131 da okuyamad\u0131\u011f\u0131n\u0131 s\u00f6yler. Fakat konu\u015fma dilinden kelimeleri ve Akdeniz limanlar\u0131n\u0131n karma dili lingua franca<\/em>‘y\u0131 bildi\u011fi eserlerinden anla\u015f\u0131l\u0131r. “Esirin Hik\u00e2yesi”nde (I\/39-41) Zoraida’n\u0131n a\u011fz\u0131ndan Arap\u00e7a kelimeler duyar\u0131z; Meryem Ana’ya “Lela Mari\u00e9n” denir. Los ba\u00f1os de Argel<\/em> ve La gran sultana<\/em> gibi oyunlar\u0131nda Arap\u00e7a ve T\u00fcrk\u00e7e kelimeler, din\u00ee form\u00fcller ve g\u00fcnl\u00fck hayat ayr\u0131nt\u0131lar\u0131 bulunur. Bu, okuma yoluyla olmasa da s\u00f6zl\u00fc yoldan Arap anlat\u0131lar\u0131na ula\u015fabilecek d\u00fczeyde bir a\u015final\u0131k demektir.<\/p>\n

        \n
      1. \u0130spanya i\u00e7indeki Moriskolar<\/strong><\/li>\n<\/ol>\n

        Cervantes’in \u0130spanyas\u0131’nda yakla\u015f\u0131k \u00fc\u00e7 y\u00fcz bin Morisko ya\u015f\u0131yordu. Moriskolar \u0130spanyolcay\u0131 Arap harfleriyle yazd\u0131klar\u0131 aljamiado<\/em> edebiyat\u0131nda din\u00ee metinlerin yan\u0131nda Hz. Ali’nin sava\u015flar\u0131n\u0131 anlatan kahramanl\u0131k hik\u00e2yeleri, \u0130skender efsanesi ve peygamber k\u0131ssalar\u0131 gibi anlat\u0131lar\u0131 da ku\u015faktan ku\u015fa\u011fa aktar\u0131yordu. Cervantes’in End\u00fcl\u00fcs’te vergi tahsildar\u0131 olarak dola\u015ft\u0131\u011f\u0131 k\u00f6ylerde Morisko n\u00fcfus yo\u011fundu.<\/p>\n

          \n
        1. Orta \u00c7a\u011f’dan beri \u0130spanyolcaya ge\u00e7mi\u015f Arap anlat\u0131lar\u0131<\/strong><\/li>\n<\/ol>\n

          Cervantes’in Arap\u00e7a bilmesine gerek kalmadan ula\u015fabilece\u011fi bir kanal daha vard\u0131: \u00c7oktan \u0130spanyolcaya aktar\u0131lm\u0131\u015f Arap kaynakl\u0131 hik\u00e2yeler. 1251’de Kastilyacaya \u00e7evrilen Kalila ve Dimne<\/em>, ayn\u0131 d\u00f6nemde Arap\u00e7adan aktar\u0131lan Sendebar<\/em> (Libro de los enga\u00f1os<\/em>), Petrus Alfonsi’nin Disciplina clericalis<\/em>‘i ve Don Juan Manuel’in El conde Lucanor<\/em>‘undaki pek \u00e7ok \u00f6rnek hik\u00e2ye bu gelenekten gelir. El conde Lucanor<\/em>‘un XI. hik\u00e2yesinin, yani Toledolu b\u00fcy\u00fcc\u00fc Don Ill\u00e1n ile kendisine sunulan hayal\u00ee bir gelecekte ya\u015fay\u0131p ger\u00e7ek sanan dekan\u0131n hik\u00e2yesinin Do\u011fu kaynakl\u0131 oldu\u011fu ve Toledo’da ge\u00e7ti\u011fi hat\u0131rlanmal\u0131d\u0131r.<\/p>\n

          Binbir Gece Masallar\u0131 da t\u00fcm\u00fcyle bilinmiyor de\u011fildi. Galland’\u0131n Frans\u0131zca terc\u00fcmesi 1704’te \u00e7\u0131kt\u0131, fakat baz\u0131 hik\u00e2yeler \u00e7ok \u00f6nce \u0130spanya’ya ula\u015fm\u0131\u015ft\u0131. En a\u00e7\u0131k \u00f6rnek, Binbir Gece’deki bilgin cariye Teved\u00fcd hik\u00e2yesinden t\u00fcreyen Historia de la doncella Teodor<\/em>‘dur; bu metin 15. ve 16. y\u00fczy\u0131llarda \u0130spanya’da halk kitab\u0131 olarak defalarca bas\u0131lm\u0131\u015ft\u0131r.<\/p>\n

          Bu d\u00f6rt kanal bir araya getirildi\u011finde \u015fu s\u00f6ylenebilir: Cervantes’in Arap-\u0130slam anlat\u0131 gelene\u011fine eri\u015fimi hem s\u00f6zl\u00fc hem yaz\u0131l\u0131 yoldan, hem \u0130spanya’da hem Kuzey Afrika’da m\u00fcmk\u00fcnd\u00fc.<\/p>\n

           <\/p>\n

          Aday Anlat\u0131lar ve Tipler<\/strong><\/p>\n

          \u015eimdi Don Ki\u015fot’la akrabal\u0131k g\u00f6sterebilecek Arap-\u0130slam anlat\u0131lar\u0131n\u0131 tek tek inceleyelim.<\/p>\n

            \n
          1. Uyuyan adam\u0131n uyan\u0131\u015f\u0131: Sancho’nun Barataria valili\u011fi<\/strong><\/li>\n<\/ol>\n

            Binbir Gece’de, Harun Re\u015fid’in bir e\u011flence olsun diye uyu\u015fturup saray\u0131na getirtti\u011fi s\u0131radan bir adam olan Eb\u00fc’l-Hasan’\u0131n hik\u00e2yesi anlat\u0131l\u0131r. Adam uyand\u0131\u011f\u0131nda herkes ona halifeymi\u015f gibi davran\u0131r ve o da bir g\u00fcn boyunca halifeli\u011fi ger\u00e7ek san\u0131r. Kurgulanm\u0131\u015f bir ger\u00e7ekli\u011fin i\u00e7ine yerle\u015ftirilen saf insan, onu seyreden g\u00fc\u00e7l\u00fc ve e\u011flenen se\u00e7kinler: Bu yap\u0131 Don Ki\u015fot<\/em>‘un ikinci k\u0131sm\u0131ndaki D\u00fck ve D\u00fc\u015fes b\u00f6l\u00fcmleriyle \u00e7arp\u0131c\u0131 bi\u00e7imde \u00f6rt\u00fc\u015f\u00fcr. D\u00fck ve D\u00fc\u015fes, Don Ki\u015fot ile Sancho’yu \u015fatolar\u0131nda a\u011f\u0131rlar ve onlar\u0131n etraf\u0131nda b\u00fct\u00fcn\u00fcyle sahnelenmi\u015f bir \u015f\u00f6valye d\u00fcnyas\u0131 kurarlar. Sancho’yu Barataria “adas\u0131”na vali yaparlar; b\u00fct\u00fcn halk rol keser, Sancho ise g\u00f6revini ciddiyetle ve beklenmedik bir bilgelikle y\u00fcr\u00fct\u00fcr.<\/p>\n

            Burada dikkatli olmak gerekir: Bu motif Cervantes zaman\u0131nda Avrupa’ya \u00e7oktan girmi\u015fti. Burgonya D\u00fck\u00fc \u0130yi Philippe’e atfedilen benzer bir hik\u00e2ye Avrupa’da anlat\u0131l\u0131yordu ve Shakespeare’in H\u0131r\u00e7\u0131n K\u0131z<\/em>‘\u0131n\u0131n \u00e7er\u00e7eve hik\u00e2yesi de ayn\u0131 motife dayan\u0131r. Yani motif Do\u011fu k\u00f6kenli olmakla beraber, Cervantes’e do\u011frudan Arap\u00e7a bir kaynaktan de\u011fil, Avrupa’daki arac\u0131 versiyonlardan ula\u015fm\u0131\u015f olabilir. Yine de bu, hipotezimiz i\u00e7in \u00f6nemli bir \u00f6rnektir: Don Ki\u015fot<\/em>‘un \u00f6nemli bir b\u00f6l\u00fcm\u00fc, k\u00f6keni Arap-\u0130slam d\u00fcnyas\u0131na uzanan bir anlat\u0131 kal\u0131b\u0131 \u00fczerine kuruludur.<\/p>\n

              \n
            1. Mecnun: \u0130dealize edilmi\u015f sevgili i\u00e7in akl\u0131n\u0131 yitiren \u00e2\u015f\u0131k<\/strong><\/li>\n<\/ol>\n

              \"\"  <\/p>\n

              Leyl\u00e2 ile Mecnun hik\u00e2yesinin kahraman\u0131 Kays, Leyl\u00e2’ya olan a\u015fk\u0131 y\u00fcz\u00fcnden akl\u0131n\u0131 yitirir, toplumdan kopar, \u00e7\u00f6llere d\u00fc\u015fer ve sevgilisini ger\u00e7ek Leyl\u00e2’dan \u00e7ok kendi zihnindeki bir ideale d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Tasavvuf\u00ee yorumlarda Mecnun’un sevdi\u011fi art\u0131k Leyl\u00e2’n\u0131n kendisi de\u011fil, onun zihnindeki suretidir.<\/p>\n

              Don Ki\u015fot’un Dulcinea’s\u0131 da tam b\u00f6yledir. Ger\u00e7ekte Aldonza Lorenzo ad\u0131nda s\u0131radan bir k\u00f6yl\u00fc k\u0131z\u0131d\u0131r; Don Ki\u015fot onu belki bir iki kez uzaktan g\u00f6rm\u00fc\u015ft\u00fcr ve k\u0131z bundan habersizdir. Don Ki\u015fot’un sevdi\u011fi Aldonza de\u011fil, kendi hayal g\u00fcc\u00fcn\u00fcn yaratt\u0131\u011f\u0131 Dulcinea’d\u0131r. \u0130kinci k\u0131s\u0131mda Sancho ona \u00e7irkin bir k\u00f6yl\u00fc k\u0131z\u0131n\u0131 Dulcinea diye g\u00f6sterdi\u011finde Don Ki\u015fot, sevgilisinin b\u00fcy\u00fclendi\u011fine inan\u0131r ve ideali korumak i\u00e7in ger\u00e7e\u011fi reddeder. I\/25’te Don Ki\u015fot, Sierra Morena da\u011flar\u0131na \u00e7ekilerek Dulcinea i\u00e7in kendini “\u00e7ile”ye verir, yar\u0131 \u00e7\u0131plak taklalar atar, a\u011fa\u00e7 kabuklar\u0131na \u015fiirler yazar. \u00c7\u00f6lde Leyl\u00e2 i\u00e7in \u015fiirler s\u00f6yleyen Mecnun’u hat\u0131rlatan bir sahnedir bu.<\/p>\n

              Kar\u015f\u0131 delil de a\u00e7\u0131kt\u0131r: Cervantes bu sahnede kaynaklar\u0131n\u0131 kendisi s\u00f6yler. Don Ki\u015fot, sevgilisi taraf\u0131ndan reddedildi\u011fi i\u00e7in da\u011fa \u00e7ekilen Amad\u00eds’i ve a\u015fk\u0131ndan \u00e7\u0131ld\u0131ran Ariosto’nun Orlando’sunu taklit etti\u011fini a\u00e7\u0131k\u00e7a belirtir. Bununla birlikte, Avrupa \u015f\u00f6valye edebiyat\u0131ndaki “a\u015fktan delirme” motifinin kendisinin de Arap a\u015fk edebiyat\u0131yla, \u00f6zellikle udr\u00ee a\u015fk anlay\u0131\u015f\u0131yla ili\u015fkisi ara\u015ft\u0131rmac\u0131larca uzun zamand\u0131r tart\u0131\u015f\u0131lmaktad\u0131r. Bu durumda Mecnun’un Don Ki\u015fot’a do\u011frudan de\u011fil, Avrupa \u015f\u00f6valye edebiyat\u0131 \u00fczerinden dolayl\u0131 olarak ula\u015fm\u0131\u015f olmas\u0131 ihtimali g\u00fcndeme gelir.<\/p>\n

                \n
              1. Ukal\u00e2\u00fc’l-mec\u00e2n\u00een: Ak\u0131ll\u0131 deliler gelene\u011fi<\/strong><\/li>\n<\/ol>\n

                Arap edebiyat\u0131nda “ak\u0131ll\u0131 deliler” (\u02bfukal\u00e2\u02be\u00fc’l-mec\u00e2n\u00een<\/em>) ba\u015fl\u0131 ba\u015f\u0131na bir t\u00fcrd\u00fcr. N\u00ees\u00e2b\u00fbr\u00ee’nin (\u00f6. 1016) bu ad\u0131 ta\u015f\u0131yan eseri, toplumun deli sayd\u0131\u011f\u0131 fakat a\u011f\u0131zlar\u0131ndan derin hikmetler d\u00f6k\u00fclen insanlar\u0131n hik\u00e2yelerini toplar. Bunlar\u0131n en \u00fcnl\u00fcs\u00fc Harun Re\u015fid d\u00f6neminde ya\u015fad\u0131\u011f\u0131 rivayet edilen Behl\u00fbl-i D\u00e2n\u00e2’d\u0131r: Deli kabul edilir, fakat halifeye bile sars\u0131c\u0131 hakikatler s\u00f6yler.<\/p>\n

                Don Ki\u015fot’un romandaki konumu tam olarak budur. \u015e\u00f6valyelikle ilgili her konuda delidir, fakat ba\u015fka her konuda son derece ak\u0131ll\u0131, bilgili ve ahl\u00e2kl\u0131d\u0131r. II\/16-17’de Don Diego de Miranda onu bir t\u00fcrl\u00fc s\u0131n\u0131fland\u0131ramaz ve Cervantes’in ifadesiyle kimi zaman “ak\u0131ll\u0131 bir deli”, kimi zaman “deliye yak\u0131n bir ak\u0131ll\u0131” olarak g\u00f6r\u00fcr. Silahlar ve kalem \u00fczerine yapt\u0131\u011f\u0131 konu\u015fma (I\/38) ya da Sancho’ya valili\u011fi \u00f6ncesinde verdi\u011fi \u00f6\u011f\u00fctler (II\/42-43) bir delinin de\u011fil, bir bilgenin s\u00f6zleridir.<\/p>\n

                Burada da tek kaynakl\u0131 bir a\u00e7\u0131klama yoktur. R\u00f6nesans Avrupas\u0131’nda Erasmus’un Delili\u011fe \u00d6vg\u00fc<\/em>‘s\u00fc arac\u0131l\u0131\u011f\u0131yla “bilge deli” temas\u0131 \u00e7ok yayg\u0131nd\u0131 ve Cervantes’in Erasmus\u00e7u \u00e7evrelerle ba\u011flant\u0131s\u0131 iyi bilinir. Fakat Arap-\u0130slam gelene\u011findeki ak\u0131ll\u0131 deli tipi, End\u00fcl\u00fcs ve Ma\u011frip d\u00fcnyas\u0131nda yayg\u0131n bi\u00e7imde anlat\u0131l\u0131yordu ve Cervantes’in bu tiple Cezayir’de veya Moriskolar aras\u0131nda kar\u015f\u0131la\u015fm\u0131\u015f olmas\u0131 akla yatk\u0131nd\u0131r.<\/p>\n

                  \n
                1. S\u00f6zlere inan\u0131p hayal ile ger\u00e7e\u011fi kar\u0131\u015ft\u0131ran adam<\/strong><\/li>\n<\/ol>\n

                  Hipotezimiz a\u00e7\u0131s\u0131ndan en ilgi \u00e7ekici paralel budur, \u00e7\u00fcnk\u00fc Don Ki\u015fot’un temel \u00f6zelli\u011fi, okuduklar\u0131n\u0131 ger\u00e7ek sanmas\u0131d\u0131r.<\/p>\n

                  Klasik Arap edebiyat\u0131nda ahmaklar\u0131 ve saf ki\u015fileri konu alan anekdot k\u00fclliyat\u0131nda (C\u00e2h\u0131z’\u0131n \u00f6\u011fretmenler hakk\u0131ndaki anlat\u0131lar\u0131 ve \u0130bn\u00fc’l-Cevz\u00ee’nin Ahb\u00e2r\u00fc’l-hamk\u00e2 ve’l-mu\u011faffel\u00een<\/em>‘i gibi derlemelerde) \u015funa benzer bir hik\u00e2ye aktar\u0131l\u0131r: Bir mektep hocas\u0131, bir \u015fiirde \u00dcmm\u00fc Amr ad\u0131nda bir kad\u0131ndan s\u00f6z edildi\u011fini duyar ve hi\u00e7 g\u00f6rmedi\u011fi, belki hi\u00e7 var olmam\u0131\u015f bu kad\u0131na \u00e2\u015f\u0131k olur. Sonra ba\u015fka bir beyitte \u00dcmm\u00fc Amr’\u0131n \u00f6ld\u00fc\u011f\u00fcn\u00fc ima eden bir ifade duyar ve onun i\u00e7in ger\u00e7ekten yas tutmaya ba\u015flar.<\/p>\n

                  Bu anekdotun kayna\u011f\u0131 ve metni yay\u0131mdan \u00f6nce mutlaka Arap\u00e7a as\u0131llar\u0131ndan kontrol edilmelidir. Fakat anlat\u0131n\u0131n \u00f6z\u00fc hipotezimiz i\u00e7in \u00e7ok \u00f6nemlidir: Bir metinde okudu\u011fu veya duydu\u011fu kurmaca bir kad\u0131na ger\u00e7ekmi\u015f gibi \u00e2\u015f\u0131k olan ve onun kurmaca kaderine ger\u00e7ek duygularla tepki veren bir adam. Bu, Dulcinea’y\u0131 yaln\u0131zca kitaplardan \u00f6\u011frendi\u011fi \u015f\u00f6valye a\u015fk\u0131 kal\u0131b\u0131na g\u00f6re yaratan Don Ki\u015fot’un tipolojik bir \u00f6nc\u00fcl\u00fcd\u00fcr.<\/p>\n

                  Bu paralel Cervantes’in bu anekdotu bildi\u011fini g\u00f6stermez. G\u00f6sterece\u011fi \u015fey \u015fudur: “Okudu\u011funu ger\u00e7ek sanan adam” tipi yaln\u0131zca Avrupa’ya ait de\u011fildir; Arap edebiyat\u0131nda Don Ki\u015fot’tan y\u00fczy\u0131llar \u00f6nce mizah\u00ee bir tip olarak mevcuttur.<\/p>\n

                    \n
                  1. Arap \u015f\u00f6valyelik destanlar\u0131 (siyerler)<\/strong><\/li>\n<\/ol>\n

                    \"\"<\/p>\n

                    Arap d\u00fcnyas\u0131nda Avrupa \u015f\u00f6valye romanlar\u0131na en \u00e7ok benzeyen t\u00fcrler halk destanlar\u0131d\u0131r (s\u00eere<\/em>): S\u00eeret\u00fc Antere<\/em>, S\u00eeret\u00fc Z\u00e2ti’l-Himme<\/em> (T\u00fcrk halk edebiyat\u0131nda Battal Gazi<\/em> ve Delhemme<\/em> olarak da bilinir), S\u00eeret\u00fc Seyf b. Z\u00ee Yezen<\/em> ve Kuzey Afrika’da \u00e7ok yayg\u0131n olan S\u00eeret\u00fc Ben\u00ee Hil\u00e2l<\/em>. Bu destanlarda maceradan maceraya ko\u015fan g\u00f6z\u00fc pek bir kahraman, ona hizmet eden sad\u0131k bir yolda\u015f ve u\u011fruna her \u015feye katlan\u0131lan bir sevgili vard\u0131r. Antere’nin Able’ye a\u015fk\u0131 ve onun i\u00e7in yerine getirdi\u011fi imk\u00e2ns\u0131z g\u00f6revler, Amad\u00eds’in Oriana’ya a\u015fk\u0131na benzer.<\/p>\n

                    Beni Hilal destan\u0131n\u0131n Cervantes d\u00f6neminde Ma\u011frip’te meydanlarda anlat\u0131ld\u0131\u011f\u0131n\u0131 biliyoruz. End\u00fcl\u00fcsl\u00fcler ve Moriskolar aras\u0131nda Hz. Ali’nin kahramanl\u0131klar\u0131n\u0131 anlatan aljamiado<\/em> metinler (sonradan Libro de las batallas<\/em> ad\u0131yla toplanan anlat\u0131lar) \u015f\u00f6valyelik romanlar\u0131n\u0131n \u0130slam\u00ee bir kar\u015f\u0131l\u0131\u011f\u0131 gibi okunuyordu.<\/p>\n

                    Bu da hipotez a\u00e7\u0131s\u0131ndan ilgin\u00e7 bir ihtimal do\u011furur: Cervantes’in parodi etti\u011fi \u015f\u00f6valyelik d\u00fcnyas\u0131 yaln\u0131zca Hristiyan Avrupa’ya ait de\u011fildi; Akdeniz’in \u00f6b\u00fcr yakas\u0131nda da ayn\u0131 ideallerle beslenen bir destan k\u00fclt\u00fcr\u00fc vard\u0131. Don Ki\u015fot’un Arap tarih\u00e7i taraf\u0131ndan yaz\u0131lm\u0131\u015f olmas\u0131, belki de bu ortak Akdeniz \u015f\u00f6valyelik k\u00fclt\u00fcr\u00fcne yap\u0131lm\u0131\u015f bir g\u00f6z k\u0131rpmad\u0131r. Fakat bu destanlar ciddi kahramanl\u0131k anlat\u0131lar\u0131d\u0131r; kendileriyle alay eden bir “deli \u015f\u00f6valye” parodisi i\u00e7ermezler. Dolay\u0131s\u0131yla Don Ki\u015fot’un de\u011fil, Don Ki\u015fot’un okudu\u011fu kitaplar\u0131n Do\u011fu’daki akrabalar\u0131d\u0131r.<\/p>\n

                      \n
                    1. Cuha ve Sancho Panza<\/strong><\/li>\n<\/ol>\n

                      Sancho Panza’n\u0131n saf ama kurnaz, cahil ama sa\u011fduyulu, atas\u00f6zlerine d\u00fc\u015fk\u00fcn k\u00f6yl\u00fc tipi, Arap d\u00fcnyas\u0131nda Cuha (T\u00fcrk d\u00fcnyas\u0131nda Nasreddin Hoca) etraf\u0131nda toplanan f\u0131kra gelene\u011fiyle dikkat \u00e7ekici bir benzerlik ta\u015f\u0131r. Cuha f\u0131kralar\u0131 Ma\u011frip’te son derece yayg\u0131nd\u0131 ve \u0130spanya’dan s\u00fcr\u00fclen Yahudilerin Ladino folklorunda “Djoh\u00e1” ad\u0131yla ya\u015famaya devam etmi\u015ftir; bu da gelene\u011fin \u0130ber yar\u0131madas\u0131nda da bilindi\u011fini g\u00f6sterir.<\/p>\n

                      Sancho’nun Barataria’da verdi\u011fi h\u00fck\u00fcmler, \u00f6zellikle i\u00e7ine bor\u00e7 paras\u0131n\u0131 gizleyen bastonla ilgili \u00fcnl\u00fc dava (II\/45), Do\u011fu hik\u00e2ye gelene\u011finde ve Orta \u00c7a\u011f Avrupa anlat\u0131lar\u0131nda (Legenda Aurea<\/em>‘da) \u00e7e\u015fitli versiyonlar\u0131 bulunan bilge yarg\u0131\u00e7 hik\u00e2yelerine dayan\u0131r. Sancho’nun a\u011fz\u0131ndan d\u00f6k\u00fclen say\u0131s\u0131z atas\u00f6z\u00fc ise Cuha\/Nasreddin f\u0131kralar\u0131n\u0131n sa\u011fduyusunu \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r.<\/p>\n

                      Yine ihtiyatl\u0131 olmak gerekir: \u0130spanyol k\u00f6yl\u00fcs\u00fcn\u00fcn kendi atas\u00f6z\u00fc ve f\u0131kra hazinesi zaten zengindi ve Sancho her \u015feyden \u00f6nce Kastilya k\u00f6yl\u00fc k\u00fclt\u00fcr\u00fcn\u00fcn \u00fcr\u00fcn\u00fcd\u00fcr. Fakat bu k\u00fclt\u00fcr\u00fcn kendisinin de y\u00fczy\u0131ll\u0131k End\u00fcl\u00fcs birlikteli\u011finden beslendi\u011fi unutulmamal\u0131d\u0131r.<\/p>\n

                        \n
                      1. Mak\u00e2m\u00e2t: Yolda gezen ikili ve kurmaca r\u00e2vi<\/strong><\/li>\n<\/ol>\n

                        Hemed\u00e2n\u00ee ve Har\u00eer\u00ee’nin Mak\u00e2m\u00e2t<\/em>‘\u0131, \u015fehir \u015fehir dola\u015fan kurnaz bir kahraman\u0131n (Har\u00eer\u00ee’de Eb\u00fb Zeyd es-Ser\u00fbc\u00ee) maceralar\u0131n\u0131 ona her seferinde tesad\u00fcfen rastlayan bir r\u00e2vinin (H\u00e2ris b. Hemm\u00e2m) a\u011fz\u0131ndan anlat\u0131r. Kurmaca bir r\u00e2vi, yolda ge\u00e7en ve birbirinden ba\u011f\u0131ms\u0131z epizotlardan olu\u015fan bir yap\u0131, kahraman\u0131n maskeleri ve k\u0131l\u0131k de\u011fi\u015ftirmeleri: Bu unsurlar ara\u015ft\u0131rmac\u0131lar\u0131n bir k\u0131sm\u0131n\u0131n \u0130spanyol pikaresk roman\u0131n\u0131n ve dolayl\u0131 olarak Don Ki\u015fot<\/em>‘un yap\u0131s\u0131yla ili\u015fkilendirdi\u011fi \u00f6zelliklerdir.<\/p>\n

                        Mak\u00e2me gelene\u011finin Toledo ile \u00f6zel bir ba\u011f\u0131 da vard\u0131r: Toledolu Yahudi \u015fair Yehuda el-Har\u00eez\u00ee (12.-13. y\u00fczy\u0131l), Har\u00eer\u00ee’nin Mak\u00e2m\u00e2t<\/em>‘\u0131n\u0131 \u0130braniceye \u00e7evirmi\u015f ve ayn\u0131 t\u00fcrde Tahkemoni<\/em> adl\u0131 \u00f6zg\u00fcn bir eser yazm\u0131\u015ft\u0131r. Yani Toledo, Arap anlat\u0131 tekniklerinin ba\u015fka dillere aktar\u0131ld\u0131\u011f\u0131 bir \u015fehir olarak Cervantes’ten as\u0131rlar \u00f6nce bu rol\u00fc oynam\u0131\u015ft\u0131r.<\/p>\n

                        III. Yak\u0131n Paralel: \u0130spanya’da “Arap\u00e7adan Terc\u00fcme” Edilmi\u015f Kitaplar<\/strong><\/p>\n

                        Hipotezimizi destekleyen \u00f6nemli bir veri, Cervantes’in hemen \u00f6ncesinde \u0130spanya’da Arap tarih\u00e7ilere atfedilen ve End\u00fcl\u00fcs konulu eserlerin \u00e7ok pop\u00fcler olmas\u0131d\u0131r. Gin\u00e9s P\u00e9rez de Hita’n\u0131n Guerras civiles de Granada<\/em>‘s\u0131 (1595), eserin Aben Hamin adl\u0131 bir Arap tarih\u00e7inin kitab\u0131ndan \u00e7evrildi\u011fini iddia eder. Miguel de Luna’n\u0131n Verdadera historia del rey don Rodrigo<\/em>‘su (1592) da Abulc\u00e1cim T\u00e1rif Abent\u00e1rique adl\u0131 bir Arap tarih\u00e7inin kroni\u011fi olarak sunulur. El Abencerraje<\/em> (1561) gibi “Ma\u011fripli romanlar\u0131” ise M\u00fcsl\u00fcman \u015f\u00f6valyeleri soylu ve centilmen kahramanlar olarak i\u015fler.<\/p>\n

                        “Aben Hamin” ile “Cide Hamete” aras\u0131ndaki ses benzerli\u011fi g\u00f6zden ka\u00e7mamal\u0131d\u0131r. Bu, Cervantes’in okuyucusunun “bir Arap tarih\u00e7inin yazd\u0131\u011f\u0131 ve Kastilyacaya \u00e7evrilmi\u015f \u015f\u00f6valye tarihi” kal\u0131b\u0131n\u0131 \u00e7ok iyi tan\u0131d\u0131\u011f\u0131n\u0131 g\u00f6sterir. Bu kitaplar\u0131n bir k\u0131sm\u0131 ger\u00e7ekten Arap anlat\u0131 gelene\u011finden malzeme ta\u015f\u0131yordu, bir k\u0131sm\u0131 ise bu gelene\u011fi taklit ediyordu. Cervantes’in Cide Hamete’yi yarat\u0131rken bu kitaplar\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc neredeyse kesindir.<\/p>\n

                        Bu durum hipotezimize iki y\u00f6nl\u00fc bir sonu\u00e7 verir. Bir yandan, Cide Hamete’nin belirli bir ger\u00e7ek Arap\u00e7a kitab\u0131 de\u011fil, bu moda t\u00fcr\u00fc i\u015faret ediyor olmas\u0131 ihtimalini g\u00fc\u00e7lendirir. Di\u011fer yandan, bu t\u00fcr\u00fcn kendisinin Arap tarih\u00e7ilik ve anlat\u0131c\u0131l\u0131k gelene\u011fiyle beslendi\u011fini ve Cervantes’in i\u00e7inde ya\u015fad\u0131\u011f\u0131 edeb\u00ee ortam\u0131n Arap\u00e7a kaynaklara (ger\u00e7ek veya hayal\u00ee) s\u00fcrekli at\u0131f yapt\u0131\u011f\u0131n\u0131 g\u00f6sterir.<\/p>\n

                        Kar\u015f\u0131 Deliller ve Rakip A\u00e7\u0131klamalar<\/strong><\/p>\n

                        \"\"<\/p>\n

                        D\u00fcr\u00fcst bir ara\u015ft\u0131rma, hipotezi zay\u0131flatan verileri de ortaya koymal\u0131d\u0131r.<\/p>\n

                        Bilinen \u0130spanyol kaynaklar\u0131.<\/strong> Don Ki\u015fot<\/em>‘un en yak\u0131n kaynaklar\u0131ndan biri olarak anonim Entrem\u00e9s de los romances<\/em> g\u00f6sterilir. Bu k\u0131sa oyunda Bartolo ad\u0131nda bir k\u00f6yl\u00fc halk baladlar\u0131n\u0131 (romances<\/em>) okuya okuya akl\u0131n\u0131 yitirir, kendini balad kahraman\u0131 san\u0131p maceraya at\u0131l\u0131r ve dayak yer. Don Ki\u015fot’un ilk b\u00f6l\u00fcmleriyle benzerlik \u00e7ok belirgindir. Oyunun Don Ki\u015fot<\/em>‘tan \u00f6nce mi sonra m\u0131 yaz\u0131ld\u0131\u011f\u0131 tart\u0131\u015fmal\u0131d\u0131r, fakat bir\u00e7ok ara\u015ft\u0131rmac\u0131 Cervantes’in ba\u015flang\u0131\u00e7 noktas\u0131 olarak bu oyunu g\u00f6r\u00fcr.<\/p>\n

                        Cervantes’in kendi beyanlar\u0131.<\/strong> Cervantes roman\u0131n amac\u0131n\u0131 a\u00e7\u0131k\u00e7a \u015f\u00f6valye romanlar\u0131n\u0131 g\u00f6zden d\u00fc\u015f\u00fcrmek olarak ilan eder ve Don Ki\u015fot’un taklit etti\u011fi modelleri (Amad\u00eds, Orlando, Palmer\u00edn, Belian\u00eds) ad\u0131yla sayar. Arap bir kaynaktan bahsetmez; Cide Hamete d\u0131\u015f\u0131nda.<\/p>\n

                        Evrensel tipler.<\/strong> Deli bilge, saf k\u00f6yl\u00fc, \u00e2\u015f\u0131k mecnun gibi tipler pek \u00e7ok k\u00fclt\u00fcrde ba\u011f\u0131ms\u0131z olarak ortaya \u00e7\u0131kar. Benzerlik, zorunlu olarak aktar\u0131m anlam\u0131na gelmez.<\/p>\n

                        Dolayl\u0131 aktar\u0131m.<\/strong> Yukar\u0131da g\u00f6sterilen paralellerin \u00f6nemli bir k\u0131sm\u0131nda (uyuyan adam\u0131n uyan\u0131\u015f\u0131, a\u015fktan delirme, bilge yarg\u0131\u00e7 hik\u00e2yeleri) motif Cervantes’e Arap\u00e7a bir metinden de\u011fil, \u00e7oktan Avrupa edebiyat\u0131na yerle\u015fmi\u015f versiyonlar arac\u0131l\u0131\u011f\u0131yla ula\u015fm\u0131\u015f olabilir. Bu durumda ilham Arap kaynakl\u0131d\u0131r, ama “Cervantes bir Arap\u00e7a kitap g\u00f6rd\u00fc” ifadesi yanl\u0131\u015f olur.<\/p>\n

                        Belgenin yoklu\u011fu.<\/strong> Don Ki\u015fot’a benzeyen, yani kitaplardan etkilenip \u015f\u00f6valyelik maceralar\u0131na at\u0131lan bir deliyi anlatan m\u00fcstakil bir Arap\u00e7a eser bug\u00fcne kadar tespit edilmemi\u015ftir.<\/p>\n

                         <\/p>\n

                        De\u011ferlendirme<\/strong><\/p>\n

                        Bu tablonun g\u00f6sterdi\u011fi sonu\u00e7 \u015fudur: Don Ki\u015fot’un tek bir Arap\u00e7a kitaptan ilham al\u0131nd\u0131\u011f\u0131n\u0131 g\u00f6steren bir delil yoktur. Fakat roman\u0131n pek \u00e7ok temel unsurunun, yani kurgulanm\u0131\u015f ger\u00e7ekli\u011fe yerle\u015ftirilen saf insan\u0131n, zihnindeki bir ideale \u00e2\u015f\u0131k olup ger\u00e7e\u011fi reddeden \u00e2\u015f\u0131\u011f\u0131n, deli san\u0131lan bilgenin, saf ama hikmetli yolda\u015f\u0131n ve “Arap tarih\u00e7inin yazd\u0131\u011f\u0131 ger\u00e7ek tarih” kal\u0131b\u0131n\u0131n Arap-\u0130slam anlat\u0131 gelene\u011finde g\u00fc\u00e7l\u00fc kar\u015f\u0131l\u0131klar\u0131 vard\u0131r. Bunlar\u0131n bir k\u0131sm\u0131 Cervantes’e do\u011frudan (Cezayir, Moriskolar), bir k\u0131sm\u0131 dolayl\u0131 olarak (Orta \u00c7a\u011f’da \u0130spanyolcaya ve Avrupa dillerine ge\u00e7mi\u015f hik\u00e2yeler) ula\u015fm\u0131\u015f olabilir.<\/p>\n

                        Bu a\u00e7\u0131dan Cide Hamete kurgusu yeni bir anlam kazan\u0131r. Cervantes roman\u0131n\u0131 bir Arap tarih\u00e7iye atfederken belki yaln\u0131zca \u015f\u00f6valye romanlar\u0131n\u0131n “bulunmu\u015f yazma” kli\u015fesiyle alay etmiyordu. Belki de kendi hik\u00e2yesinin Akdeniz’in \u00f6b\u00fcr yakas\u0131yla, Cezayir’de dinledi\u011fi hik\u00e2yelerle, Moriskolar\u0131n anlatt\u0131klar\u0131yla ve End\u00fcl\u00fcs’ten miras kalan anlat\u0131 hazinesiyle olan akrabal\u0131\u011f\u0131n\u0131, \u00e7a\u011f\u0131n\u0131n s\u00f6ylenemez k\u0131ld\u0131\u011f\u0131 bir \u015feyi, kurmacan\u0131n diliyle ima ediyordu. Bu, kan\u0131tlanm\u0131\u015f bir iddia de\u011fil, fakat metnin ve tarih\u00ee ba\u011flam\u0131n destekledi\u011fi me\u015fru bir yorumdur.<\/p>\n

                        \"\"<\/p>\n

                        Sonu\u00e7<\/strong><\/p>\n

                        Bu ara\u015ft\u0131rman\u0131n vard\u0131\u011f\u0131 sonucu \u015f\u00f6yle form\u00fcle edebiliriz:<\/p>\n

                        “Don Ki\u015fot<\/em>‘un belirli bir Arap\u00e7a eserden terc\u00fcme edildi\u011fine veya do\u011frudan ondan uyarland\u0131\u011f\u0131na dair bir belge yoktur. Ancak Cervantes’in Cezayir’de ge\u00e7irdi\u011fi be\u015f y\u0131l, Moriskolarla temas\u0131 ve Orta \u00c7a\u011f’dan beri \u0130spanyolcaya ge\u00e7mi\u015f Do\u011fu kaynakl\u0131 hik\u00e2yeler, onun Arap-\u0130slam anlat\u0131 gelene\u011fine hem s\u00f6zl\u00fc hem yaz\u0131l\u0131 yoldan eri\u015febildi\u011fini g\u00f6stermektedir. Roman\u0131n temel tipleri (zihnindeki ideale \u00e2\u015f\u0131k olan deli, ak\u0131ll\u0131 deli, kurgulanm\u0131\u015f bir ger\u00e7ekli\u011fe yerle\u015ftirilen saf insan, sa\u011fduyulu k\u00f6yl\u00fc yolda\u015f) bu gelenekte g\u00fc\u00e7l\u00fc kar\u015f\u0131l\u0131klara sahiptir. Cervantes’in roman\u0131n as\u0131l m\u00fcellifini bir Arap tarih\u00e7i olarak kurgulamas\u0131, bu akrabal\u0131\u011f\u0131n edeb\u00ee bir ifadesi olarak okunabilir. Dolay\u0131s\u0131yla Don Ki\u015fot’un yaln\u0131zca Avrupa \u015f\u00f6valye edebiyat\u0131n\u0131n de\u011fil, Akdeniz’in iki yakas\u0131n\u0131n ortak anlat\u0131 hazinesinin de \u00e7ocu\u011fu oldu\u011funu s\u00f6ylemek, eldeki verilerle savunulabilir bir yorumdur.”<\/p>\n

                        Bu ifade, hipotezin en g\u00fc\u00e7l\u00fc taraf\u0131n\u0131 korurken kan\u0131tlanmam\u0131\u015f bir iddiaya d\u00f6n\u00fc\u015fmesini engeller. ihe<\/p>\n","protected":false},"excerpt":{"rendered":"

                         Cervantes Arap-\u0130slam Anlat\u0131 Gelene\u011findeki Bir Karakterden \u0130lham Alm\u0131\u015f Olabilir mi? \u00d6nceki de\u011ferlendirmede, Don Ki\u015fot‘un roman\u0131n…<\/p>\n

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                        <\/div><\/div>","protected":false},"author":2,"featured_media":5483,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"om_disable_all_campaigns":false,"_uag_custom_page_level_css":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[179,22,148],"tags":[],"ppma_author":[93],"class_list":["post-5482","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arastirmalar","category-elestiri","category-er"],"yoast_head":"\nDon Ki\u015fot ll - SimurgEdebiyat<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Don Ki\u015fot ll - SimurgEdebiyat\" \/>\n<meta property=\"og:description\" content=\" Cervantes Arap-\u0130slam Anlat\u0131 Gelene\u011findeki Bir Karakterden \u0130lham Alm\u0131\u015f Olabilir mi? \u00d6nceki de\u011ferlendirmede, Don Ki\u015fot‘un roman\u0131n...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/\" \/>\n<meta property=\"og:site_name\" content=\"SimurgEdebiyat\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-04T13:53:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-04T14:21:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"651\" \/>\n\t<meta property=\"og:image:height\" content=\"869\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"\u0130brahim Halil ER\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"\u0130brahim Halil ER\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/\",\"url\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/\",\"name\":\"Don Ki\u015fot ll - SimurgEdebiyat\",\"isPartOf\":{\"@id\":\"https:\/\/simurgedebiyat.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg\",\"datePublished\":\"2026-10-04T13:53:44+00:00\",\"dateModified\":\"2026-10-04T14:21:24+00:00\",\"author\":{\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/person\/1570b50b70af881938ac058e2a7f0f91\"},\"breadcrumb\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#breadcrumb\"},\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#primaryimage\",\"url\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg\",\"contentUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg\",\"width\":651,\"height\":869},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Anasayfa\",\"item\":\"https:\/\/simurgedebiyat.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Don Ki\u015fot ll\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/simurgedebiyat.com\/#website\",\"url\":\"https:\/\/simurgedebiyat.com\/\",\"name\":\"SimurgEdebiyat\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/simurgedebiyat.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"tr\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/person\/1570b50b70af881938ac058e2a7f0f91\",\"name\":\"\u0130brahim Halil ER\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/person\/image\/6918472b40c59ce81865c142db5bedaf\",\"url\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg\",\"contentUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg\",\"caption\":\"\u0130brahim Halil ER\"},\"description\":\"Ara\u015ft\u0131rmac\u0131-yazar. 31 Aral\u0131k 1968 tarihinde Gaziantep\u2019in Nizip il\u00e7esinde do\u011fdu. Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\\\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\\\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu. \u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir. ESERLER\u0130: Cennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015), KAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018).\",\"url\":\"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Don Ki\u015fot ll - SimurgEdebiyat","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/","og_locale":"tr_TR","og_type":"article","og_title":"Don Ki\u015fot ll - SimurgEdebiyat","og_description":" Cervantes Arap-\u0130slam Anlat\u0131 Gelene\u011findeki Bir Karakterden \u0130lham Alm\u0131\u015f Olabilir mi? \u00d6nceki de\u011ferlendirmede, Don Ki\u015fot‘un roman\u0131n...","og_url":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/","og_site_name":"SimurgEdebiyat","article_published_time":"2026-10-04T13:53:44+00:00","article_modified_time":"2026-10-04T14:21:24+00:00","og_image":[{"width":651,"height":869,"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg","type":"image\/jpeg"}],"author":"\u0130brahim Halil ER","twitter_card":"summary_large_image","twitter_misc":{"Yazan:":"\u0130brahim Halil ER","Tahmini okuma s\u00fcresi":"16 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/","url":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/","name":"Don Ki\u015fot ll - SimurgEdebiyat","isPartOf":{"@id":"https:\/\/simurgedebiyat.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#primaryimage"},"image":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#primaryimage"},"thumbnailUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg","datePublished":"2026-10-04T13:53:44+00:00","dateModified":"2026-10-04T14:21:24+00:00","author":{"@id":"https:\/\/simurgedebiyat.com\/#\/schema\/person\/1570b50b70af881938ac058e2a7f0f91"},"breadcrumb":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#breadcrumb"},"inLanguage":"tr","potentialAction":[{"@type":"ReadAction","target":["https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/"]}]},{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#primaryimage","url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg","contentUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg","width":651,"height":869},{"@type":"BreadcrumbList","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/10\/04\/don-kisot-ll\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Anasayfa","item":"https:\/\/simurgedebiyat.com\/"},{"@type":"ListItem","position":2,"name":"Don Ki\u015fot ll"}]},{"@type":"WebSite","@id":"https:\/\/simurgedebiyat.com\/#website","url":"https:\/\/simurgedebiyat.com\/","name":"SimurgEdebiyat","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/simurgedebiyat.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"tr"},{"@type":"Person","@id":"https:\/\/simurgedebiyat.com\/#\/schema\/person\/1570b50b70af881938ac058e2a7f0f91","name":"\u0130brahim Halil ER","image":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/simurgedebiyat.com\/#\/schema\/person\/image\/6918472b40c59ce81865c142db5bedaf","url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg","contentUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg","caption":"\u0130brahim Halil ER"},"description":"Ara\u015ft\u0131rmac\u0131-yazar. 31 Aral\u0131k 1968 tarihinde Gaziantep\u2019in Nizip il\u00e7esinde do\u011fdu. Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu. \u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir. ESERLER\u0130: Cennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015), KAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018).","url":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"}]}},"featured_image_urls":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",640,854,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",640,854,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x715.jpg",651,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x500.jpg",651,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x480.jpg",651,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x630.jpg",651,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-216x216.jpg",216,216,true]},"author_info":{"display_name":"\u0130brahim Halil ER","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"},"category_info":"<a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/arastirmalar\/\" rel=\"category tag\">Ara\u015ft\u0131rmalar<\/a> <a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/elestiri\/\" rel=\"category tag\">Ele\u015ftiri\/Tahlil<\/a> <a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/yaz\/er\/\" rel=\"category tag\">\u0130brahim Halil ER<\/a>","tag_info":"\u0130brahim Halil ER","comment_count":"0","jetpack_featured_media_url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg","uagb_featured_image_src":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",640,854,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",640,854,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x715.jpg",651,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x500.jpg",651,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740.jpg",651,869,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x480.jpg",651,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-651x630.jpg",651,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/10\/MVIMG_20260528_110740-216x216.jpg",216,216,true]},"uagb_author_info":{"display_name":"\u0130brahim Halil ER","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"},"uagb_comment_info":0,"uagb_excerpt":" Cervantes Arap-\u0130slam Anlat\u0131 Gelene\u011findeki Bir Karakterden \u0130lham Alm\u0131\u015f Olabilir mi? \u00d6nceki de\u011ferlendirmede, Don Ki\u015fot‘un roman\u0131n...","authors":[{"term_id":93,"user_id":2,"is_guest":0,"slug":"ibrahim-halil-er","display_name":"\u0130brahim Halil ER","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":"Ara\u015ft\u0131rmac\u0131-yazar. 31 Aral\u0131k 1968 tarihinde Gaziantep\u2019in Nizip il\u00e7esinde do\u011fdu. Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu.\r\n\r\n\u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131.\r\n\r\nT\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir.\r\n\r\n \r\n\r\nESERLER\u0130:\r\n\r\n \r\n\r\nCennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015),\r\n\r\n \r\n\r\n\r\nKAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018)."}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/5482","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=5482"}],"version-history":[{"count":3,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/5482\/revisions"}],"predecessor-version":[{"id":5490,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/5482\/revisions\/5490"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/5483"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=5482"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=5482"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=5482"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=5482"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}