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Ziya G\u00f6kalp, Yusuf Ak\u00e7ura, \u00d6mer Seyfettin<\/strong> gibi fikir adamlar\u0131nca temsil edilen Me\u015frutiyet d\u00f6nemi T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fc yenilik\u00e7i bir hareket olarak do\u011fmu\u015ftur. G\u00f6kalp T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn Esaslar\u0131<\/em><\/strong> kitab\u0131ndaki \u201cGarba Do\u011fru\u201d b\u00f6l\u00fcm\u00fcn\u00fc \u201cT\u00fcrk milletindenim, \u0130slam \u00fcmmetindenim, Garp<\/strong> medeniyetindenim.\u201d <\/strong>c\u00fcmlesiyle bitirir. T\u00fcrk ve M\u00fcsl\u00fcman olmak mevcut durumu ifade eder; as\u0131l hedef Bat\u0131 medeniyetine girmektir. G\u00f6kalp, mill\u00ee olan hars\u0131n halkta oldu\u011funu, se\u00e7kinlerin halka do\u011fru giderek halktan mill\u00ee hars\u0131 \u00f6\u011frenmeleri gerekti\u011fini; buna kar\u015f\u0131l\u0131k medeniyetin de se\u00e7kinlerde bulundu\u011funu, se\u00e7kinlerin halka do\u011fru giderek onlara bat\u0131 medeniyetini g\u00f6t\u00fcrmeleri gerekti\u011fini anlat\u0131r.<\/p>\n Yukar\u0131daki basit ifadeler G\u00f6kalp\u2019\u0131 tam olarak anlatmaya yetmez. Bu sebeple bu iki hedefi de onun c\u00fcmleleriyle vermek istiyorum:<\/p>\n \u201cMilletimizin g\u00fczideleri (se\u00e7kinleri) mill\u00ee harstan mahrum olarak yeti\u015ftiler. \u015eimdi bu eksikli\u011fi tamamlamak istiyorlar. Ne yapmal\u0131d\u0131rlar? Bir taraftan halk\u0131n i\u00e7ine girmek, halkla beraber ya\u015famak, halk\u0131n kulland\u0131\u011f\u0131 kelimelere, c\u00fcmlelere dikkat etmek. S\u00f6yledi\u011fi darb-\u0131 meselleri (atas\u00f6zlerini), an\u2019anevi hikmetleri i\u015fitmek. D\u00fc\u015f\u00fcn\u00fc\u015f\u00fcndeki tarz\u0131, duyu\u015fundaki \u00fcsl\u00fbbu zaptetmek. \u015eiirini, musikisini dinleyerek, raks\u0131n\u0131, oyunlar\u0131n\u0131 seyretmek. Din\u00ee hayat\u0131na, ahl\u00e2k\u00ee duygular\u0131na n\u00fcfuz etmek. Giyini\u015finde, evinin mimarisinde, mobilyalar\u0131n\u0131n sadeli\u011findeki g\u00fczellikleri tadabilmek\u2026 Halk\u0131n sanat eserlerini toplayarak mill\u00ee m\u00fczeler meydana getirmek l\u00e2z\u0131m. \u0130\u015fte, T\u00fcrk milletinin g\u00fczideleri, ancak uzun m\u00fcddet halk\u0131n bu mill\u00ee hars m\u00fczeleri ve mektepleri i\u00e7inde ya\u015fad\u0131ktan ve ruhlar\u0131 tamam\u0131yla T\u00fcrk hars\u0131yla me\u015fb\u00fb (dolmu\u015f) olduktan sonrad\u0131r ki, mill\u00eele\u015fmek imk\u00e2n\u0131na nail olabilirler\u201d (s. 63-64)[1]<\/a>.<\/p>\n \u00dc\u00e7 nokta koydu\u011fum yerde G\u00f6kalp halkta bulunan hars unsurlar\u0131n\u0131n daha pek \u00e7o\u011funu sayar. Se\u00e7kinler bunlarla yo\u011frulmal\u0131 ve fakat bunlarla yetinmemelidirler. \u0130kinci g\u00f6revleri halka bat\u0131 medeniyetini g\u00f6t\u00fcrmektir:<\/p>\n \u201c\u0130limlerde, sanayide, asker\u00ee ve hukuk\u00ee te\u015fkil\u00e2tlarda Avrupal\u0131lar kadar ilerlemek(tir), yani medeniyette onlara m\u00fcs\u00e2vi olmak(t\u0131r). Bunun i\u00e7in de tek bir \u00e7are vard\u0131r: Avrupa medeniyetine tam bir<\/strong> surette girmek<\/strong>\u201d (s. 79).<\/p>\n \u201cMill\u00ee zevki bulmak i\u00e7in halka do\u011fru gitmek, halk sanatlar\u0131ndan uzun uzad\u0131ya bedi\u00ee bir terbiye almak l\u00e2z\u0131m oldu\u011funu anlad\u0131k. Fakat hakik\u00ee sanatk\u00e2r olabilmek i\u00e7in, g\u00fczel sanatlar\u0131n beynelmilel ustalar\u0131 olan sanat d\u00e2hilerinden zevk dersi, zevk terbiyesi almak da l\u00e2z\u0131md\u0131r. Beynelmilel dehalardan al\u0131nan bu feyizli terbiyeye tehz\u00eeb (i\u015fleme) nam\u0131 verilir\u201d (s. 164).<\/p>\n T\u00fcrk milliyet\u00e7ileri olarak uzun zaman G\u00f6kalp\u2019\u0131n Osmanl\u0131\u2019y\u0131, divan edebiyat\u0131n\u0131 ve klasik m\u00fczi\u011fimizi tenkidine tak\u0131ld\u0131k ve onun g\u00f6sterdi\u011fi hedefi unuttuk. Onun tehzib <\/em><\/strong>dedi\u011fi \u201ci\u015fleme\u201d hedefini unuttuk. T\u00fcrk ve \u0130slam dedik, as\u0131l hedef olan bat\u0131 medeniyetine \u201ctam bir surette girmek\u201d hedefini unuttuk. Milletler aras\u0131 sanat d\u00e2hilerinden zevk dersi ve terbiyesi al\u0131rsak mill\u00eeli\u011fimizi kaybedece\u011fimizi sand\u0131k ve i\u00e7imize kapand\u0131k. Kendi i\u00e7ine kapanm\u0131\u015f bir milliyet\u00e7ilik i\u00e7inde debelenip durduk.<\/p>\n Atat\u00fcrk devrindeki T\u00fcrk Ocaklar\u0131 ve sonra onlar\u0131n yerine kurulmu\u015f bulunan Halk Evleri tam da G\u00f6kalp\u2019\u0131n ayd\u0131nlar i\u00e7in g\u00f6sterdi\u011fi hedef do\u011frultusunda \u00e7al\u0131\u015fmaktayd\u0131. Halk\u0131n i\u00e7ine girerek, \u00fclkenin her taraf\u0131nda Halk Evi dergileri \u00e7\u0131kararak halk k\u00fclt\u00fcr\u00fcn\u00fc topluyorlard\u0131. 1920\u2019lerin T\u00fcrk Yurdu dergisi, 1930\u2019lar\u0131n \u00dclk\u00fc dergisi ve \u00e7e\u015fitli \u015fehirlerde \u00e7\u0131kan Halk Evi dergileri, Anadolu\u2019dan toplanm\u0131\u015f bulunan atas\u00f6zleri, masallar, halk \u015fiirleri vb. halk \u00fcr\u00fcnleriyle dolu muazzam bir k\u00fclliyat te\u015fkil eder. Halk Evleri ayn\u0131 zamanda Anadolu \u015fehir ve kasabalar\u0131na tiyatrolar ve konserler g\u00f6t\u00fcrerek, \u015fubelerini okuma salonlar\u0131 ve k\u00fclt\u00fcr merkezleri h\u00e2line sokarak ikili al\u0131\u015f veri\u015fi sa\u011flamaya \u00e7al\u0131\u015f\u0131yorlard\u0131.<\/p>\n Elden kay\u0131yor endi\u015fesiyle klasik T\u00fcrk musikisine sar\u0131lan milliyet\u00e7i ve muhafazak\u00e2r sanat\u00e7\u0131 ve ayd\u0131nlar\u0131m\u0131z, asl\u0131nda bir oda m\u00fczi\u011fi olan \u015fark\u0131 repertuarlar\u0131n\u0131, seslerini hi\u00e7 y\u00fckseltmeden kocaman salonlara ta\u015f\u0131d\u0131lar. Bat\u0131ya ait olan keman ve piyanoyu klasik musiki korolar\u0131na sokmada sak\u0131nca g\u00f6rmeyenler, korolar\u0131n sesini nas\u0131l y\u00fckseltip salona h\u00e2kim olabiliriz diye tefekk\u00fcr etmediler. Levn\u00ee\u2019nin minyat\u00fcrlerine bak\u0131p klasik musikimizin y\u00fcksek sesli \u00e7alg\u0131lar\u0131n\u0131, davul, surnay ve zilleri fark etmediler. Taksim\u2019deki AKM\u2019nin \u00f6n s\u0131ralar\u0131nda yerlerini alan \u0130stanbul beyefendisi hocalar\u0131m\u0131z birbirleriyle bulu\u015fman\u0131n heyecan\u0131n\u0131 ya\u015fad\u0131lar. Gen\u00e7lere acaba nas\u0131l bir musikiyle ula\u015fabiliriz diye hi\u00e7 d\u00fc\u015f\u00fcnmediler. Bir m\u00fczik gettosu h\u00e2linde ya\u015famay\u0131 yeterli g\u00f6rd\u00fcler.<\/p>\n Levn\u00ee’nin Mehter Minyat\u00fcr\u00fc<\/p><\/div>\n Klasik musiki korosunu \u015ean sinemas\u0131 salonuna \u00e7\u0131karan M\u00fcnir Nurettin<\/strong> hem bestelerine yerle\u015ftirdi\u011fi y\u00fcksek vol\u00fcmle hem de tenor sesiyle salona belli bir \u00f6l\u00e7\u00fcde h\u00e2kim olmay\u0131 ba\u015farabilmi\u015fti. Nesrin Sipahi, Recep Birgit<\/strong> gibi birka\u00e7 istisna d\u0131\u015f\u0131nda hanendelerimizin hi\u00e7birinde opera sesi yoktu. Hanendelerimize opera terbiyesi ald\u0131rmay\u0131 d\u00fc\u015f\u00fcnmedik bile. B\u00f6yle bir \u015fey zinhar milliyet\u00e7ilikten sapma olurdu. Azerbaycan\u2019\u0131n opera e\u011fitimi alm\u0131\u015f B\u00fclb\u00fcl <\/strong>gibi Re\u015fit<\/strong> gibi sanat\u00e7\u0131lar\u0131n\u0131 dinleyince i\u015fin fark\u0131na vard\u0131k, bizim musikimiz de g\u00fcr ve salonlar\u0131 dolduracak bir sese sahipmi\u015f. \u00dczeyir Hac\u0131beyli<\/strong>\u2019nin Leyla Mecnun ve K\u00f6ro\u011flu operalar\u0131n\u0131 izleyince anlad\u0131k ki opera eserleri de mill\u00ee olabiliyormu\u015f.<\/p>\n Cinu\u00e7en<\/strong> Bey, T\u00fcrk musikisi mikrofonla icra edilmez deyip b\u00fcy\u00fck salonlar\u0131n sadece \u00f6n s\u0131ralar\u0131n\u0131n duyabilece\u011fi konserler vermekte \u0131srar etti. Hakl\u0131yd\u0131 belki ama salon tercihi do\u011fru de\u011fildi; k\u00fc\u00e7\u00fck mek\u00e2nlar\u0131 tercih etmeliydi.<\/p>\n G\u00fcr sese hasret kalan insan\u0131m\u0131z ne yapt\u0131 peki? Milliyet\u00e7i gen\u00e7lerin bir k\u0131sm\u0131 mehter m\u00fczi\u011finde arad\u0131klar\u0131n\u0131 buldu. \u00c7ok sonralar\u0131 T\u00fcrk D\u00fcnyas\u0131 m\u00fcziklerinde biraz i\u00e7imize su serpildi. Halk\u0131n b\u00fcy\u00fck k\u0131sm\u0131 g\u00fcr ses ihtiyac\u0131n\u0131 arabesk ile kar\u015f\u0131lad\u0131. Gen\u00e7ler b\u00fcy\u00fck \u00e7o\u011funlukla hafif bat\u0131 m\u00fczi\u011fine y\u00f6neldiler. Baz\u0131 saz sanat\u00e7\u0131lar\u0131 da saz\u0131n teknesine mikrofon sokarak beyinlerimizi par\u00e7alad\u0131lar.<\/p>\n Asl\u0131nda klasik T\u00fcrk musikisi olarak bug\u00fcne kalan eserlerin b\u00fcy\u00fck \u00e7o\u011funlu\u011fu 19. y\u00fczy\u0131ldan geriye gitmez. 17-18. y\u00fczy\u0131lda ya\u015fam\u0131\u015f olan Itr\u00ee\u2019<\/strong>nin Tekbir<\/em><\/strong>\u2019i ve Sal\u00e2t-\u0131 \u00dcmmiye\u2019<\/em><\/strong>sini dinleyince 19. ve 20. y\u00fczy\u0131l besteleri bana \u00e7ok hafif geliyor. Fuzuli, Baki, Naili<\/strong> gibi b\u00fcy\u00fck \u015fairlerden sonra 19. y\u00fczy\u0131l\u0131n Enderunlu<\/strong> V\u00e2s\u0131f<\/strong>\u2019\u0131 gibi. \u0130hti\u015faml\u0131 devirlerimizin ihti\u015faml\u0131 bestelerinin notas\u0131zl\u0131k ve belki de me\u015fk eksikli\u011fi y\u00fcz\u00fcnden bize ula\u015fmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcr\u00fcm. \u00a0Minyat\u00fcrlerdeki davullar\u0131, kud\u00fcmleri, surnaylar\u0131, zilleri g\u00f6rd\u00fck\u00e7e musikimizden pek \u00e7ok \u015feyin eksildi\u011fini hissederim. 19. y\u00fczy\u0131l\u0131n \u015fark\u0131lar\u0131n\u0131 Baki<\/strong>\u2019nin gazellerindeki, Sinan\u2019<\/strong>\u0131n camilerindeki ihti\u015fama denk bulmam.<\/p>\n Benim 75 y\u0131ll\u0131k \u00f6mr\u00fcm\u00fcn i\u00e7inde bile klasik T\u00fcrk musikisi \u015fark\u0131<\/em><\/strong> denilen tek bir form i\u00e7ine hapsedildi. Gazel <\/em><\/strong>formu g\u00f6zlerimizin \u00f6n\u00fcnde kayboldu. K\u00e2ni Karaca\u2019<\/strong>n\u0131n uzun icralar\u0131ndan eser kalmad\u0131. Tarikatlar\u0131n \u00e7eri \u00e7\u00f6p\u00fc bug\u00fcne kald\u0131 ama insan\u0131 sar\u0131p sarmalayan m\u00fczikleri yok olup gitti. Daha eskilerden neler kayboldu\u011funu tahmin edemiyorum.<\/p>\n \u015eimdi T\u00fcrk D\u00fcnyas\u0131 ile \u00f6n\u00fcm\u00fczde yeni bir ufuk a\u00e7\u0131ld\u0131. Hi\u00e7 olmazsa bu f\u0131rsat\u0131 de\u011ferlendirerek m\u00fczikteki i\u00e7e kapan\u0131kl\u0131\u011f\u0131 giderebiliriz. Kazaklar\u0131n Er Turan<\/strong> grubunun T\u00fcrk Kan\u0131<\/em><\/strong> veya Ringo[3]<\/a><\/strong> grubunun G\u00f6k B\u00f6r\u00fc<\/em><\/strong> par\u00e7alar\u0131 gen\u00e7lere hitap edebilir. Altay T\u00fcrklerinin veya T\u00fcrkmenistan sanat\u00e7\u0131lar\u0131n\u0131n g\u0131rtlak m\u00fczikleri gen\u00e7lerimize ilgi \u00e7ekici gelebilir. Uygurlar\u0131n Dolan Me\u015frep\u2019<\/em><\/strong>i muhte\u015fem bir m\u00fczik ve sahne eseridir. Youtube\u2019dan \u00d6zbeklerin Nevruz kutlamalar\u0131n\u0131 izlerseniz meydanlar\u0131 dolduran reng\u00e2renk oyun tak\u0131mlar\u0131na e\u015flik eden surnay ve kernay seslerini duyabilirsiniz. Irak T\u00fcrklerinin de\u011ferli sanat\u00e7\u0131s\u0131 Abdurrahman<\/strong> K\u0131z\u0131lay<\/strong>\u2019\u0131 kaybettik ama youtube\u2019dan t\u0131klayarak Alt\u0131n H\u0131zma M\u00fcl\u00e2yim\u2019<\/em><\/strong>i onun sesinden dinleyebilirsiniz. K\u0131z\u0131lay<\/strong> ve Mehmet \u00d6zbek<\/strong> ikilisinin Baba beni<\/em><\/strong> diye ba\u015flayan hoyratlar\u0131 da \u015fahanedir.<\/p>\n Anadolu\u2019da bir \u015fey yok mu? \u00c7ok \u015fey var. Se\u00e7mesini bilmek gerekir. Sabahat Akkiraz<\/strong>\u2019\u0131n Samah Tevhid<\/em><\/strong>\u2019inden ba\u015flayabiliriz. Yine dertli dertli iniliyorsun<\/em><\/strong> diye ba\u015flayan samah\u0131 Neriman Alt\u0131nda\u011f\u2019<\/strong>dan dinlemek gerekir. Bu par\u00e7a tek ba\u015f\u0131na bir orkestrasyondur. Mill\u00ee harsla \u201cme\u015fb\u00fb\u201d ve \u201cbeynelmilel dehalardan zevk terbiyesi alm\u0131\u015f\u201d bir opera bestecisinin elinde d\u00fcnyaya sunabilece\u011fimiz harika bir eser h\u00e2line getirilebilir. Huma Ku\u015fu<\/em><\/strong>\u2026 M\u00fckerrem Kemerta\u015f\u2019<\/strong>tan dinlenmelidir. Ali Beyim ta\u015f ba\u015f\u0131nda<\/em><\/strong> oturur<\/em><\/strong>\u2026\u00a0 Sipsi e\u015fli\u011finde Hale G\u00fcr\u2019<\/strong>den dinlenmelidir. Bu t\u00fcrk\u00fcler ve daha niceleri i\u015flenmemi\u015f, G\u00f6kalp\u2019\u0131n ifadesiyle tehzib <\/em><\/strong>edilmemi\u015f h\u00e2lleriyle bile \u00e7ok g\u00fczeldir.<\/p>\n Tehzib<\/em><\/strong>. \u0130nsanl\u0131k tarihinin en b\u00fcy\u00fck ba\u015far\u0131lar\u0131ndan biri olan klasik bat\u0131 m\u00fczi\u011finin teknikleriyle T\u00fcrk m\u00fczi\u011finin i\u015flenmesi. E\u011fer sadece son devir tarih\u00ee m\u00fczi\u011fimizle ve sadece folklor m\u00fczi\u011fimizle ya\u015famak istemiyorsak, atalar\u0131m\u0131z\u0131n kendi \u00e7a\u011flar\u0131 i\u00e7in yaratt\u0131klar\u0131 sanat eserleri gibi biz de 21. y\u00fczy\u0131l\u0131n T\u00fcrk m\u00fczi\u011fini yaratmak istiyorsak bat\u0131n\u0131n dehalar\u0131ndan yararlanmaktan ba\u015fka \u00e7aremiz yoktur.<\/p>\n Edebiyatta o kadar i\u00e7imize kapanmad\u0131k. Hi\u00e7 olmazsa ba\u015flang\u0131\u00e7ta. Bat\u0131ya aittir diye klasik bat\u0131 m\u00fczi\u011fine ve operaya itiraz eden milliyet\u00e7iler yine bat\u0131dan gelen tiyatroya ve romana itiraz etmediler. \u0130yi ki etmediler. \u015eimdi b\u00fcy\u00fck bir roman k\u00fclliyat\u0131na sahibiz. Bence milletler aras\u0131 \u00fcn\u00fc hak eden romanc\u0131lar\u0131m\u0131z var ama eserlerin T\u00fcrk\u00e7e olmas\u0131, hak ettikleri \u00fcn\u00fc kazanmalar\u0131na engel oluyor.<\/p>\n T\u00fcrk roman\u0131 bir ara, a\u011fa \u2013 \u0131rgat \u00e7at\u0131\u015fmas\u0131na hapsedilmi\u015fse de Yaratan\u2019a \u015f\u00fck\u00fcrler olsun ki o cendereden \u00e7abuk kurtuldu. Tarihe, polisiyeye, biyografiye, hatta bilim kurguya a\u00e7\u0131ld\u0131. Egzotik romana da s\u0131ra gelir \u00fcmidindeyim.<\/p>\n T\u00fcrk milliyet\u00e7ileri, tarihimizin ve T\u00fcrk D\u00fcnyas\u0131\u2019n\u0131n muhte\u015fem romanlar i\u00e7in ne b\u00fcy\u00fck bir hazine oldu\u011funu erken fark ettiler. Ats\u0131z<\/strong>\u2019\u0131n Bozkurtlar<\/em><\/strong>\u2019\u0131 d\u00fcnya \u00e7ap\u0131nda bir destand\u0131r. Mustafa Necati<\/strong> Sepet\u00e7io\u011flu <\/strong>tarihimizi, Emine I\u015f\u0131nsu<\/strong> T\u00fcrk D\u00fcnyas\u0131\u2019n\u0131 romana ta\u015f\u0131d\u0131. Her ikisi de unutulmayacak romanlar yazd\u0131lar. Bug\u00fcn tarih\u00ee roman yazarlar\u0131m\u0131z \u00e7o\u011fald\u0131. Fakat yine bir \u015feyin i\u00e7ine t\u0131k\u0131l\u0131p kald\u0131k gibi geliyor bana. Hep ayn\u0131 \u00fcslupla bir hamasettir gidiyor. Bir \u015feyleri k\u0131rmal\u0131y\u0131z ama ne? Do\u011frusu benim zihnimde de belirsiz fikirler u\u00e7u\u015fup duruyor. Belki de burada yine G\u00f6kalp\u2019\u0131n \u201cbeynelmilel deha\u201dlar\u0131na ba\u015fvurmal\u0131y\u0131z.<\/p>\n Hasan \u00c2li Y\u00fccel<\/strong> devrindeki bat\u0131 klasiklerinin \u00e7eviri i\u015fini \u00e7ok \u00f6nce ba\u015flatan ki\u015finin G\u00f6kalp <\/strong>oldu\u011funu biliyor muydunuz? Kendi kaleminden okuyal\u0131m:<\/p>\n \u201c\u0130\u015fte asr\u00ee c\u00e2miam\u0131z olan bu garp medeniyetiyle, ona mensup b\u00fct\u00fcn harslardan nasibimizi almak i\u00e7indir ki, Telif ve Terc\u00fcme Enc\u00fcmeni<\/em>, garp medeniyetinin beynelmilel mahiyeti h\u00e2iz b\u00fct\u00fcn ana kitaplar\u0131n\u0131 (otorite tan\u0131nan monografileri) ve mill\u00ee harslar\u0131n \u00e7i\u00e7ekleri h\u00fckm\u00fcnde bulunan umum muhalledeleri (\u015faheserleri) terc\u00fcme ettirme\u011fe karar verdi.\u201d (s. 120-121).<\/p>\n Evet, bat\u0131 klasiklerini \u00e7evirtmeye karar veren Telif ve Terc\u00fcme Enc\u00fcmeni, 1923 y\u0131l\u0131nda G\u00f6kalp<\/strong>\u2019\u0131n ba\u015f\u0131nda bulundu\u011fu enc\u00fcmendir ve karar\u0131 veren de do\u011frudan do\u011fruya G\u00f6kalp<\/strong>\u2019t\u0131r. Bu enc\u00fcmen, daha sonraki Talim ve Terbiye Kurulu Ba\u015fkanl\u0131\u011f\u0131\u2019n\u0131n Cumhuriyet\u2019in ilk y\u0131llar\u0131ndaki n\u00fcvesidir.<\/p>\n Peki bu \u015faheserler hangileridir? Romanc\u0131lar\u0131 saym\u0131yor ama baz\u0131 \u015fairlerin isimlerini veriyor G\u00f6kalp: Pu\u015fkin, Dante, Petrarca, Goethe, Schiller, D\u2019Annunzio<\/strong> (s. 64).<\/p>\n \u0130lahi Komedi,<\/em><\/strong> \u0130talyancay\u0131 ve \u0130talyan milletini yaratt\u0131 denilebilir. Don Ki\u015fot,<\/em><\/strong> \u0130spanya\u2019n\u0131n \u015faheseridir. Sadece \u015eekspir<\/strong>\u2019in eserleri \u0130ngiltere halk\u0131n\u0131 \u0130ngiliz yapmaya yeter. Bizde b\u00f6yle eser(ler) var m\u0131? Sadece bir eserin ad\u0131n\u0131 verece\u011fim: Dede Korkut Kitab\u0131.<\/em><\/strong> Dilimizdeki b\u00fct\u00fcn eserler kaybolsa, elimizde sadece Dede Korkut Kitab\u0131<\/em><\/strong> kalsa T\u00fcrk\u00e7eyi ve T\u00fcrk milletini yeniden in\u015fa etmeye yeter. Elimizde b\u00f6yle bir \u015faheser var. Gelin hem kendi edebiyat\u0131m\u0131zdan hem beynelmilel dehalar\u0131n eserlerinden beslenelim ve k\u0131ramad\u0131\u011f\u0131m\u0131z\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm zincirleri k\u0131ral\u0131m.<\/p>\n \u015eiirde g\u00fcr seslerden mahrumuz. \u015eiirin manadan \u00e7ok musiki oldu\u011funu Ahmet Ha\u015fim<\/strong> s\u00f6yleyeli \u00e7ok oldu ama ahenkten yoksun \u015fiir modas\u0131 h\u00e2l\u00e2 ge\u00e7mi\u015f de\u011fil. Aruza da heceye de serbest vezne de eyvallah ama ille de ahenk. \u015eiirin olmazsa olmaz \u015fart\u0131d\u0131r ahenk. Veya \u015eerif Akta\u015f\u2019<\/strong>\u0131n deyi\u015fiyle ses ak\u0131\u015f\u0131. T\u00fcrk\u00e7enin hangi seslerinin bir ak\u0131\u015f sa\u011flad\u0131\u011f\u0131n\u0131 \u015fair, sezgisiyle bulmal\u0131d\u0131r. Bu sezgi de kendi kendine olu\u015fmaz. E\u011fer \u015fiir yazan ki\u015fi s\u00fcrekli olarak bir edebiyat \u00e7evresinde ya\u015f\u0131yorsa kula\u011f\u0131, ahengi sa\u011flayan ses ak\u0131\u015flar\u0131n\u0131 yakalar. \u015eairin beyninin sesleri depolayan b\u00f6l\u00fcm\u00fcne sesler yerle\u015fir ve \u015fair bunun fark\u0131na bile varmaz. Bir edebiyat \u00e7evresinde ya\u015famak da \u015fart de\u011fildir. Dilin en g\u00fczel par\u00e7alar\u0131n\u0131 s\u00fcrekli okuyan adam\u0131n beyni de ses ak\u0131\u015f\u0131n\u0131 yakalar.<\/p>\n Cumhuriyetin ilk y\u0131llar\u0131ndaki Anadolu romantizmi iyi gidiyordu. Me\u015frutiyet y\u0131llar\u0131ndan gelen Yahya Kemal<\/strong> ve Faruk Nafiz<\/strong> T\u00fcrk\u00e7enin ahengini yakalam\u0131\u015ft\u0131. Ahmet Kutsi, Ahmet Muhip, Ahmet<\/strong> Hamdi , Cahit S\u0131tk\u0131<\/strong>, hatta Orhan Veli<\/strong> ahenk par\u00e7ac\u0131klar\u0131n\u0131 alt alta diziyorlard\u0131. Fakat \u015fiirimizin b\u00fcy\u00fck orkestrasyonlara ihtiyac\u0131 vard\u0131. \u0130ki adam bunu yapabilirdi; ikisi de sanatlar\u0131n\u0131 feda ettiler. Biri \u201cYirmi<\/em> d\u00f6rt saat Marks, yirmi d\u00f6rt saat Lenin\u201d<\/em> dedi; di\u011feri egosuna ve \u0130deolocya \u00d6rg\u00fcs\u00fc\u2019<\/em>ne \u015fiirini feda etti. Ah Naz\u0131m,<\/strong> Ankara\u2019ya giderken o Spartakist a\u011fabeylerle kar\u015f\u0131la\u015fmasayd\u0131n olmaz m\u0131yd\u0131?<\/p>\n Erzurum\u2019un k\u0131\u015f\u0131 zorludur balam \/ tand\u0131r\u0131nda tezek yakar Erzurum \/ buz tutar yi\u011fitlerinin b\u0131y\u0131\u011f\u0131 \/ ve geceleyin karl\u0131 ovada \/ kaskat\u0131 kat\u0131la\u015fm\u0131\u015f, donmu\u015f g\u00f6r\u00fcrs\u00fcn karanl\u0131\u011f\u0131. \u00a0\u00a0<\/em><\/p>\n \u015eiirimizin bu g\u00fcr sesi bir\u00e7ok nesli b\u00fcy\u00fcledi. Fakat heyhat, o bir ideolojinin kurban\u0131 oldu.<\/p>\n Asl\u0131nda Nam\u0131k Kemal\u2019<\/strong>den, Tevfik Fikret\u2019<\/strong>ten beri gelen bir g\u00fcr ses vard\u0131 \u015fiirimizde. \u00c7anakkale,<\/em><\/strong> B\u00fclb\u00fcl, \u0130stiklal Mar\u015f\u0131<\/em><\/strong> ile T\u00fcrk \u015fiirinde m\u00fcstesna bir yere oturan Akif<\/strong>, T\u00fcrk\u2019\u00fcn destan\u0131n\u0131 yazabilirdi. G\u00fcre\u015f\u00e7ileri tasvir eden \u015fu m\u0131sralar\u0131n sahibi destan\u0131m\u0131z\u0131 da yazmal\u0131yd\u0131:<\/p>\n \u015eimdi sa\u011f kolda g\u00fcm\u00fc\u015f kapl\u0131 birer b\u00e2z\u00fbbent, Merak edenler, Safahat<\/em><\/strong>\u2019\u0131n alt\u0131nc\u0131 kitab\u0131 \u00c2s\u0131m\u2019<\/em><\/strong>dan bu par\u00e7alar\u0131 bulup okumal\u0131d\u0131rlar.<\/p>\n \u0130ri kavuklarda iri dilimler \/ A\u011f\u0131r ve \u015f\u00e2h\u00e2ne ge\u00e7ti Selimler<\/em> diyen Arif Nihat<\/strong> da elbette destan\u0131m\u0131z\u0131 yazabilirdi. Belki de onun \u015fiirini destan niyetine yeni ba\u015ftan okumal\u0131y\u0131z. Ama Niyazi Y\u0131ld\u0131r\u0131m Gencosmano\u011flu<\/strong> destan\u0131m\u0131z\u0131n bir par\u00e7as\u0131n\u0131 yazmay\u0131 ba\u015fard\u0131.<\/p>\n Sizlere \u015fimdi Azerbaycan\u2019\u0131n g\u00fcneyinden iki, kuzeyinden iki \u015fair s\u00f6yleyece\u011fim: \u015eehriyar <\/strong>ile Sehend <\/strong>ve Bahtiyar Vahabzade<\/strong> ile R\u00fcstem Behrudi<\/strong>. \u015eehriyar<\/strong>\u2019\u0131n b\u00fct\u00fcn \u015fiirlerini Yusuf Gedikli<\/strong> toplad\u0131 ve san\u0131r\u0131m yeniden bast\u0131rd\u0131. Sehend\u2019<\/strong>in Saz\u0131m\u0131n S\u00f6z\u00fc<\/em><\/strong> ve Garda\u015f And\u0131<\/em><\/strong> adl\u0131 \u015fiir kitaplar\u0131n\u0131 Dursun Y\u0131ld\u0131r\u0131m<\/strong> haz\u0131rlad\u0131. Bask\u0131lar\u0131 h\u00e2l\u00e2 T\u00fcrk Dil Kurumu ma\u011fazalar\u0131nda olmal\u0131. Vahabzade<\/strong>\u2019nin Mu\u011fam <\/em><\/strong>\u015fiiri musikimizin destan\u0131d\u0131r. Behrudi<\/strong>\u2019nin \u015fiirleri ger\u00e7ek bir \u015faman a\u011fz\u0131ndan s\u00f6ylenmi\u015f gibidir; sanki o bin y\u0131llar \u00f6tesinden gelip Bak\u00fc\u2019ye postunu sermi\u015f olan bir \u015famand\u0131r; belki de kurt donuna girmi\u015f bir kam.<\/p>\n G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi edebiyat\u0131m\u0131zda da T\u00fcrk D\u00fcnyas\u0131 bir f\u0131rsat olarak \u00f6n\u00fcm\u00fczde durmaktad\u0131r.<\/p>\n Unutmamal\u0131y\u0131z ki \u0130smail Gasp\u0131ral\u0131<\/strong> ve izleyicilerinin ad\u0131 cedit\u00e7i,<\/strong> yani yenilik\u00e7i idi. \u0130dil Ural\u2019\u0131n, Kafkaslar\u0131n, Kazak bozk\u0131rlar\u0131n\u0131n ve T\u00fcrkistan\u2019\u0131n b\u00fct\u00fcn cedit\u00e7ileri Rus zindanlar\u0131nda yok edildiler. Onlar\u0131n miras\u0131 T\u00fcrk co\u011frafyas\u0131nda yeniden canland\u0131r\u0131l\u0131yor. Bu b\u00fcy\u00fck bir mirast\u0131r ve anam\u0131z\u0131n ak s\u00fct\u00fc gibi bize de helaldir. \u0130ki Cengiz, Cengiz Da\u011fc\u0131<\/strong> ve Cengiz Aytmatov<\/strong> T\u00fcrk semalar\u0131nda g\u00fcne\u015f gibi parlamaktad\u0131r. Her ikisi de mucizedir. Her ikisi de hem mill\u00eenin hem beynelmilelin s\u00fct\u00fcn\u00fc emmi\u015flerdir.<\/p>\n T\u00fcrk milliyet\u00e7ilerinin tavr\u0131 ezik olmamal\u0131d\u0131r. \u00dclk\u00fcc\u00fcl\u00fck eziklik duygusu ta\u015f\u0131may\u0131 gerektirmez, \u00fclk\u00fcc\u00fc ba\u015f\u0131 dik ve ma\u011frur adamd\u0131r, yi\u011fit adamd\u0131r; bilgili ve k\u00fclt\u00fcrl\u00fc adamd\u0131r; \u00f6yle olmal\u0131d\u0131r. Bilge Ka\u011fan <\/strong>atalar\u0131n\u0131n alp ve bilge olmalar\u0131yla \u00f6v\u00fcn\u00fcr. Bir T\u00fcrk milliyet\u00e7isi k\u0131r\u0131k havas\u0131yla, bozla\u011f\u0131yla, minyat\u00fcr\u00fcyle, ebrusuyla \u00f6v\u00fcn\u00fcr ama orada kalmaz. \u201cMill\u00ee ve yerli\u201d deyip yer sofras\u0131na oturmaz; milletine en m\u00fckellef masalar\u0131 lay\u0131k g\u00f6r\u00fcr. G\u00f6rg\u00fcs\u00fcz saray \u015fatafat\u0131na ise g\u00fcl\u00fcp ge\u00e7er. Tarihinin \u015fanl\u0131 yapraklar\u0131ndan ba\u015f\u0131n\u0131 kald\u0131r\u0131p b\u00fct\u00fcn d\u00fcnyaya bakar. On y\u0131l\u0131n, yirmi y\u0131l\u0131n, elli y\u0131l\u0131n i\u015fi de\u011fildir T\u00fcrk\u00e7\u00fcl\u00fck. \u00dclk\u00fc k\u0131z\u0131l elmad\u0131r diye \u00f6\u011frendik biz. K\u0131z\u0131l elma, yakla\u015ft\u0131k\u00e7a uzakla\u015fan bir nazl\u0131 gelindir diye \u00f6\u011frendik biz. Tarihimize bakt\u0131\u011f\u0131m\u0131z gibi ba\u015f\u0131m\u0131z\u0131 kald\u0131r\u0131p gelece\u011fe de bakmal\u0131y\u0131z. O\u011fuz Ka\u011fan\u2019<\/strong>\u0131n dedi\u011fini unutmayal\u0131m: G\u00f6k \u00e7ad\u0131r, g\u00fcne\u015f m\u0131zrak!<\/em><\/strong><\/p>\n [1]<\/a> Al\u0131nt\u0131lar \u015fu yay\u0131ndand\u0131r: Ziya G\u00f6kalp, T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn Esaslar\u0131<\/em> (Haz\u0131rlayan: Salim \u00c7ono\u011flu), \u0130stanbul, Eyl\u00fcl 2014, \u00d6t\u00fcken Ne\u015friyat.<\/p>\nSesi K\u0131s\u0131lan Musikimiz[2]<\/a><\/strong><\/h2>\n
![\"\"](\"https:\/\/millidusunce.com\/misak\/wp-content\/uploads\/2019\/02\/Levnimehter.jpg\")
Ya edebiyat?<\/strong><\/h2>\n
\nBoynu m\u0131skayla donanm\u0131\u015f, o yar\u0131m deste levent,
\n\u00d6nce pe\u015frev yaparak sonra tutu\u015fmazlar m\u0131,
\nG\u00fcre\u015f art\u0131k k\u0131z\u0131\u015f\u0131r, hasm\u0131n\u0131 tartar hasm\u0131.
\nUzan\u0131r \u015fimdi g\u00f6\u011f\u00fcsler, kavu\u015fur; \u015fimdi yine
\nDalga \u00e7arpar gibi \u00e7arpar gerilip birbirine.
\nKimi tek \u00e7apraza girmi\u015f, m\u00fctem\u00e2d\u00ee s\u00fcr\u00fcyor;
\nKimi \u015f\u00eer\u00e2zeyi tart\u0131p al\u0131vermi\u015f, y\u00fcr\u00fcyor.
\nKimi sarmayla \u00e7evirsem diye sard\u0131k\u00e7a sarar;
\nKimi k\u0131l\u00e7\u0131k d\u00fc\u015f\u00fcn\u00fcr, atmak i\u00e7in f\u0131rsat arar. <\/em><\/p>\nSonu\u00e7 yerine\u2026<\/strong><\/h2>\n