Publication: Ahmet Haşim’in şiirlerinde Japon Haiku estetiğinin tesirleri
Abstract
Bu tezde, Cumhuriyet dönemi Türk edebiyatının en önemli şairlerinden biri olan Ahmet Haşim’in (1887 – 1933) kısa şiirleri, Japon estetiği, özellikle haiku sanatına göre incelenmiştir. Öncelikle, gelişim süreci, özellikleri ve unsurlarıyla haikunun nasıl bir şiir tarzı olduğu ve estetiği açıklanmıştır. Ardından da, Japonya’nın Batılılaşma döneminde haikuyu oluşturan bir Japon şairi Masaoka Shiki’nin (1867 – 1902) çalışmaları ve sanat anlayışı incelenip haikunun modern bir şiir tarzı haline geldiği anlatılmıştır.Bunları kanıt sayarak Haşim ile Shiki’nin şiir anlayışı karşılaştırılmıştır. Ardından, kısa şiiri oluşturan ve haiku için de önemli olan dört unsur; “zaman, tabiata bakış, renk, ses”e göre Haşim’in şiir anlayışı incelenmiştir. Özellikle Haşim’in de bazı bölümlerini Türkçeye çevirdiği, Japon felsefesini anlatan Çay Name’de (1906) açıkça görülen Japon estetiğiyle Haşim’in eserlerinde görülen anlayış arasındaki ilişki incelenmiştir. Buradan Haşim’in, Shiki’ye ve genel olarak Japon estetiğiyle paralellik taşıyan yanları, örneğin eski şiirden ayrılarak tabiatı önemsemesi, sezgisel ve asimetrik güzelliğe yönelmesi ile saf ve yalın kısa şiir görüşü ortaya konulmuştur. Yapılan inceleme sonunda, Haşim’in haikuyu taklit etmediği, fakat Japon estetiğine çok yakın bir sanat anlayışına sahip olduğu ve anlayışın özgürlüğü ortaya çıkarılmıştır.
In this thesis, short poems by Ahmet Haşim (1887 – 1933), one of the most important poets of Turkish literature during the Republic era, are analyzed by the Japanese sense of beauty, especially in terms of haiku aesthetics. First, we explain what a haiku is, starting from the formation process, including its features and descriptions. We then follow with Masaoka Shiki (1867 – 1902) who established the best of westernization in Japanese haiku. While analyzing his work we, at the same time, frame art theory to detail the modern haiku. Based on all the above, art theories of Haşim’s and Shiki’s are compared. It must be noted that Haşim’s art theory is analyzed by significant components of haiku: time, view of nature, color and sound. The Japanese sense of beauty described, in particular, in The Book Of Tea (1906), where the Japanese philosophy is translated into Turkish by Haşim, the correlation between the two and Haşim’s aesthetics are analyzed. It could be revealed that Haşim’s characteristics are derived from these, and thus, his angle is similar to or often become parallel to that of Shiki’s as well as the Japanese sense of beauty; Escape from the traditional forms of poetry; Focus on Nature; Emphasis on asymmetric, implied, pure aesthetics and simple poems. At the end of research, it has been proved that Haşim did not mimic the haiku. However, he was the owner of a philosophy very similar to the Japanese aesthetics where he developed his own style that was specific to himself in a very liberal way of thinking.
In this thesis, short poems by Ahmet Haşim (1887 – 1933), one of the most important poets of Turkish literature during the Republic era, are analyzed by the Japanese sense of beauty, especially in terms of haiku aesthetics. First, we explain what a haiku is, starting from the formation process, including its features and descriptions. We then follow with Masaoka Shiki (1867 – 1902) who established the best of westernization in Japanese haiku. While analyzing his work we, at the same time, frame art theory to detail the modern haiku. Based on all the above, art theories of Haşim’s and Shiki’s are compared. It must be noted that Haşim’s art theory is analyzed by significant components of haiku: time, view of nature, color and sound. The Japanese sense of beauty described, in particular, in The Book Of Tea (1906), where the Japanese philosophy is translated into Turkish by Haşim, the correlation between the two and Haşim’s aesthetics are analyzed. It could be revealed that Haşim’s characteristics are derived from these, and thus, his angle is similar to or often become parallel to that of Shiki’s as well as the Japanese sense of beauty; Escape from the traditional forms of poetry; Focus on Nature; Emphasis on asymmetric, implied, pure aesthetics and simple poems. At the end of research, it has been proved that Haşim did not mimic the haiku. However, he was the owner of a philosophy very similar to the Japanese aesthetics where he developed his own style that was specific to himself in a very liberal way of thinking.