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The journey of Turkish: Master poets and writers evaluated by academics
In Anadolu Agency's dossier titled 'The Journey of Turkish in Seven Climates and Four Corners,' figures who shaped Turkish literature from Yunus Emre to Orhan Kemal are examined through the views of academics, critics, and literary figures.
Poets and writers who have become part of Turkish literature have been re-examined through evaluations by academics, critics, and literary figures. In the dossier titled 'The Journey of Turkish in Seven Climates and Four Corners' by Anadolu Agency, many master figures, from Yunus Emre to Orhan Kemal, were examined through their traces in language and literature.
Yunus Emre
Associate Professor Dr. Ahmet Murat, a faculty member at the Faculty of Islamic Sciences of Medeniyet University, stated that the simplicity and plainness in Yunus Emre's poetry are based on two fundamental characteristics. Murat said, 'Sehl-i mümteni means the impossible. In Yunus, it is expressed with an ease that seems impossible. In this sense, one of the two issues in question is plainness. Plainness describes an comprehensibility that emerges from the use of all possibilities of a non-bookish Turkish spoken in his era.' Murat, expressing that Yunus had a simple language, concluded his words by saying, 'He wrote at the beginning of the 14th century, but I understand what he wrote today.'
Karacaoğlan
Associate Professor Dr. Ebru Şenocak, a faculty member at the Department of Turkish Language and Literature of Fırat University, said that Karacaoğlan contributed to the development of the language by using the possibilities of Turkish. Şenocak said, 'While describing the beauty and love of the beloved with the expressive richness of Turkish, Karacaoğlan did not neglect the regional dialect and Turkified Turkish when necessary.' She also noted that folk poets have brought nearly forgotten words to the present day.
Niyazi Mısri
Dr. Mustafa Tatçı, a faculty member at the Faculty of Literature of Gazi University, stated that Niyazi Mısri had an 'innately melancholic' temperament. Describing Mısri, Tatçı said, 'The house where he was born is, so to speak, like a 'bayt al-hazan' (house of sorrow). His inner world is also a house of sorrow,' expressing that the poet's inner fire made him a child of Malatya who followed his love.
Nasrettin Hoca
Professor Dr. Dursun Ali Tokel, a faculty member at Fatih Sultan Mehmet University, said that Nasrettin Hoca and similar sages continue to be the spokesperson for the feelings and thoughts of the masses. Tokel said, 'They have been, and continue to be, the spokespersons of people's deep feelings, dreams, loves and hates, expectations and desires. Nasrettin Hoca and similar great sages are carried in hearts and on tongues for centuries.'
Mehmet Akif Ersoy
Poet and writer Celal Fedai stated that Mehmet Akif Ersoy was intensely active both poetically and politically. Fedai said, 'Akif's opposition to Abdulhamid was based on different reasons than those of his contemporaries. His closeness to the Committee of Union and Progress was similar. His concern was what the existence of the nation would be in the lived time. For this cause, he went to Berlin, set out on the road to Hejaz. Not even those closest to him felt the Çanakkale War as deeply as he did.' He emphasized that Akif had a sensitive temperament, but the conditions his nation was subjected to forced him to adopt a political stance.
Nazım Hikmet
Poet and writer Ali Ayçil evaluated Nazım Hikmet as a successful offensive of Turkish's ability to understand the transformation of the world. Ayçil said, 'Just as we see the Second New poetry as a successful offensive of Turkish sensing new times, we can evaluate Nazım Hikmet's poetry as a successful offensive of our language's ability to understand and interpret the transformation of the world. In this context, a Yesevi-Yunus-Nazım line can be mentioned.'
Necip Fazıl Kısakürek
Writer Ahmet Demirhan stated that Necip Fazıl Kısakürek's poetry is evaluated in the category of metaphysical poetry in Turkish literature, but he noted that this definition is controversial. Demirhan commented, 'Metaphysical poetry implicitly encompasses a political claim, but by its contradiction, it is presented as the representative of a worldview that comes from behind in a positivist era. I think the said political claim is as meaningless as positivism itself.'
Kemal Tahir
Professor Dr. Kurtuluş Kayalı expressed that Kemal Tahir positioned himself outside of narrowing political and intellectual focuses. Kayalı said, 'Tahir saw the left as a branch of Westernization and stated that he thought within a system. He addressed the issue of Westernization and nativity from a broad perspective, without reducing it to certain elements.'
Sait Faik Abasıyanık
Writer Cemal Şakar, drawing attention to Sait Faik's understanding of reading, said he was against 'reading superficially.' Şakar, recalling Abasıyanık's words 'Unless our minds are indebted to these, a future generation will deny us as well,' said, 'What one reads should change a person. A person should be able to look at the world with different eyes. He thinks that without such a connection, it is impossible to last for future generations.'
Orhan Kemal
Writer Abdullah Harmancı described Orhan Kemal as 'a virtuoso of Turkish.' Harmancı said, 'It would be disrespectful if we said Orhan Kemal knew the public. He was already one of the people. He had immense life knowledge. He followed world literature in realism and naturalism and presented our native life within that narrative.'
Yahya Kemal
Writer Beşir Ayvazoğlu emphasized that Yahya Kemal was a poet integrated with Istanbul. Ayvazoğlu said, 'Until today, no poet has felt and loved Istanbul as much as he did. Yahya Kemal, who yearned for Istanbul even while living in Istanbul, thought that all Turkish culture, taste, and aesthetics were summarized in Istanbul.'
Ahmet Hamdi Tanpınar
Professor Dr. Mehmet Narlı, a faculty member at Balıkesir University, stated that Tanpınar's literary language has a 'free and intellectual' meaning. Narlı said, 'His language is a language that carries the burden of the conflict between past, present, and future and the search for meaning. Therefore, it is without complexes. The reason it is unrestricted and occasionally shakes the boundaries of grammar is also this.'
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