Hilmi Yavuz şiirine metin-merkezli bakış

Abstract

The poems of Hilmi Yavuz (1936) -who is one of the leading poets and writers of Turkish Literature- are suitable for a text-centered study. This work is based on all of the poems of the poet included in the books, Hüzün ki En Çok Yakışandır Bize (Toplu Şiirler) (1969), Söylen Şiirleri (1989), Ayna Şiirleri (1992), Çöl Şiirleri (1996), Akşam Şiirleri (1998), and Yolculuk Şiirleri (2001). A close examination reveals they comprise of a well-built structure. This structure that is based on binary oppositions can be encountered in the language, image and sound properties of the poems. In the first part of the work, these binary oppositions are analysed. The dualism in language can be seen in the poetry-prose language, language-utterance and the meaning and sound aspects of language differentiations. According to Hilmi Yavuz’s own modern poetry concept, his poetry can be seen as the continuation of the tradition formed by poets like Yahya Kemal, Ahmet Haşim, Behçet Necatigil and Asaf Hâlet Çelebi. Hilmi Yavuz indicates that, the reason why these poets are modern is that they base their poetry on either image or sound. For example in Yahya Kemal’s poetry, sound; in Ahmet Haşim’s poetry image is more important. From this point of view it can be said that Hilmi Yavuz’s poetry depends on both image and sound and is modern. Another property of modern poetry is its relation to tradition. In his poems, Hilmi Yavuz does not repeat tradition, he re-creates it. In Hilmi Yavuz’s poems it is possible to see the traces of a relation established with both East and West sources. İn this part of the work, the intertextual referances in Hilmi Yavuz’s poetry are taken into consideration from Gérard Genette’s teory’s point of view. In the second and last part of the work, Hilmi Yavuz’s poetry is analysed in the frame of the “pure poetry” concept that is encountered in Paul Brémond and Yahya Kemal, and the purification process of Yavuz’s poetry is observed. This process can be considered to be a purificaition of poetry from “great concepts” as Hilmi Yavuz says, or from the prose language as Brémond indicates.