Tanzimat'tan Cumhuriyet'e değişen paradigmada metafizik farklılık: Abdülhak Hâmid Tarhan
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Date
2010
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Sosyal Bilimler Enstitüsü
Abstract
For the Ottoman Empire, the nineteenth century is a critical period in which it had to alter the perceptions of life, belief, and literature due to the change of political tradition. The statesmen of the Empire, who aimed at properly acting toward the nature of transition, were Eastern in terms of their existences and traditions. Thus, they already set a duality of social and cultural life. In the political process since the Tanzimat to the Republican Era, the relationship between social life and literature changed. While secular perspective became dominant in the understanding of material world; the perception of spiritual world changed toward an ethic perception deposing prayers but idealizing good individual.Since the nineteenth century, the spiritual concepts rapidly began to be considered suspiciously and symbolically. Now, the concepts were understood as problematic, not doctrine. Even it can be interpreted as transgression that Şinasi?s calling ?the Prophet of the Civilization? for describing Mustafa Resit Pasha; the poet Abdulhak Hamid Tarhan, by calling Tifl-Ekber (Child Giant) ascribing to Allah, makes a description of a dwarf dressed with the most supreme?s characteristic. Here the nominal venture should not be confused with divine transcendence. One is a natural result of reluctance-supplication relation, other one is the reduction of divine concepts into human level. In the context of Hamid?s intellectual or art perception, one may trace the marks of extreme Romanticism, and also Positivism suspiciously criticizing the spiritual world. Between these two approaches, there is a foggy third path; however, Hamid does not invent a new methodology but just follows the path where it goes. Thus, the third path is not real, but only a flu line resembling a path. My actual purpose by understanding this path is to understand not only a person, but moreover to make clear the perception iconizing the new concepts in a way of human-centric.The desire of love of a man, who has no fear of death and no time to lose, comes clear in the metaphysic world built in this foggy map. The ideas and faces waves, but the intensive power of love and specifically of death is always felt in deep.
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Tanzimat, Abdülhak Hâmid Tarhan