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Disiplinlerarası Çalışmalar Dergisi Journal of Interdisciplinary Studies

Relance or the Torn in Poetic Solemnity: An Assesment on the Poem “Berdücesi-1962” through the Concept of Secular Poetry

In this paper, I try to examine Cahit Zarifoğlu’s poem, titled “Berdücesi-1962,” in terms of the context in which it was written and its poetical reflex as well as the entire text, through the concept of “secular poetry.” I first embark on a subjective consideration of poetry in light of Harold Boolum’s concept of “misreading”; I then try to understand the poem “Berdücesi-1962” by comparing it with the subjects of Sezai Karakoç’s “Mona Rosa” and with the auro created by Cemal Süreya’s “Üvercinka” in a ‘one-sided’ manner –without going into details of the latter poems at the level of lines. I argue that Zarifoğlu’s poetical reflex and the way he constructs lines have an affinity with the Second New poetry, and that his articulation is quite close to these poets’ view of poetry. I will also try to explain, through the metaphor of ‘torn’, how the tension or even contrast between Zarifoğlu’s poetical affinity with the Second New and his political stance transformed into an “experience of self-creation” thereby turning into a victorious demeanor in the poetical solemnity of the 1960’s. This way I will demonstrate how he constructed a parallel poetical universe by integrating his stance between an Islamic political identity and a modernist poetic identity into the poetry of the Second New. Secondly, I will try to explain Zarifoğlu’s political and poetical concerns through the argument on “poetical ransom” by discussing why his political interest in the two important names, to whom he thought he was indebted poetically and intellectually, Necip Fazıl Kısakürek and Sezai Karakoç, did not turn into a poetical interest, and how he paid this ransom poetically in the eyes of the reader. Finally, I will argue that the dominant intellectual universe in the Turkish poetry (as well as the Turkish literature in general) was built upon the morality of the Secular Poetry until the 1970’s, and thus Zarifoğlu’s (and Sezai Karakoç’s) early poems were also related to the Secular Poetry. Metin KAYGALAK
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