{"id":4258,"date":"2010-02-24T11:02:33","date_gmt":"2010-02-24T08:02:33","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/"},"modified":"2010-02-24T11:02:33","modified_gmt":"2010-02-24T08:02:33","slug":"tanri-yazar-mi-yazar-tanri-mi-ahmet-umit","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/","title":{"rendered":"Tanr\u0131 Yazar m\u0131, Yazar Tanr\u0131 m\u0131? | Ahmet \u00dcmit"},"content":{"rendered":"

Klasik polisiyenin ba\u015flang\u0131c\u0131 olarak XIX. y\u00fczy\u0131l\u0131n ortalar\u0131 g\u00f6sterilir. Oysa, su\u00e7u ve cinayeti anlatan metinlerin tarihi \u00e7ok daha gerilere, tarihin ba\u015flad\u0131\u011f\u0131 g\u00fcnlere uzan\u0131r. Su\u00e7, insano\u011flunun bir varolu\u015f bi\u00e7imidir. Ger\u00e7ekten de cinayeti ya da sonu\u00e7lar\u0131n\u0131 anlatan ilk metinler, g\u00fcn\u00fcm\u00fczden binlerce y\u0131l \u00f6nce yaz\u0131lm\u0131\u015ft\u0131. Hitit saray cinayetlerinin sonu\u00e7lann\u0131 konu alan Telipinu Ferman\u0131 ya da Sophokles’in \u00fcnl\u00fc yap\u0131t\u0131 Kral Oidipus gibi. Bu metinlerin i\u00e7inde Eski Ahit’te Kabil ile Habil b\u00f6l\u00fcm\u00fcnde anlat\u0131lan cinayet \u00f6yk\u00fcs\u00fc en \u00e7arp\u0131c\u0131 olan\u0131d\u0131r. Bu hik\u00e2ye sadece \u00e7arp\u0131c\u0131 bir mesele olmaktan \u00e7\u0131km\u0131\u015f, su\u00e7u ya da cinayeti anlatan yazara kolay kolay de\u011fi\u015fmeyecek\/de\u011fi\u015ftirilemeyecek bir model olmu\u015ftur. S\u00f6z konusu \u00f6yk\u00fc Eski Ahit’te \u015f\u00f6yle anlat\u0131lmaktad\u0131r:<\/p>\n

Bir g\u00fcn Kabil topra\u011f\u0131n \u00fcr\u00fcnlerinden Rab’be sunu getirdi. Habil de s\u00fcr\u00fcs\u00fcnden ilk do\u011fan hayvanlardan baz\u0131lar\u0131n\u0131, \u00f6zellikle de ya\u011flar\u0131n\u0131 getirdi. Rab, Habil’i ve sunusunu kabul etti. Kabil’in sunusunu ise reddetti. Kabil \u00e7ok \u00f6fkelendi surat\u0131n\u0131 ast\u0131. Rab, Kabil’e “Ni\u00e7in \u00f6fkelendin?” diye sordu. “Ni\u00e7in surat\u0131n\u0131 ast\u0131n? Do\u011fru olan\u0131 yapsan seni kabul etmez miydim? Ancak do\u011fru olan\u0131 yapmazsan, g\u00fcnah kap\u0131da pusuya yatm\u0131\u015f seni bekliyor. Ona egemen olmal\u0131s\u0131n.” Kabil, karde\u015fi Habil’e “Haydi, tarlaya gidelim” dedi. Tarlada birlikteyken, karde\u015fine sald\u0131rd\u0131, onu \u00f6ld\u00fcrd\u00fc. Rab, Kabil’e, “Karde\u015fin Habil nerede?” diye sordu. Kabil, “Bilmiyorum, karde\u015fimin bek\u00e7isi miyim ben?” diye kar\u015f\u0131l\u0131k verdi. Rab, “Ne yapt\u0131n?” dedi. “Karde\u015finin kan\u0131 topraktan bana sesleniyor. A\u0131t\u0131k d\u00f6kt\u00fc\u011f\u00fcn karde\u015f kan\u0131n\u0131 i\u00e7mek i\u00e7in a\u011fz\u0131m a\u00e7an topra\u011f\u0131n laneti alt\u0131ndas\u0131n. \u0130\u015fledi\u011fin toprak bundan b\u00f6yle sana \u00fcr\u00fcn vermeyecek. Yery\u00fcz\u00fcnde aylak aylak dola\u015facaks\u0131n.” \u00d6ld\u00fcrmeyeceksin! Yukar\u0131daki kadim metin su\u00e7la insan aras\u0131ndaki ili\u015fkiye dair \u00d6nemli sorunsallar\u0131 i\u00e7ermektedir. Tanr\u0131sal yasay\u0131 \u00e7i\u011fneyen Kabil, k\u0131skan\u00e7l\u0131k gibi yedi \u00f6l\u00fcmc\u00fcl g\u00fcnah\u0131n en \u00fcst s\u0131ralar\u0131nda yer alan bir duyguya kap\u0131lm\u0131\u015f, bu duygu ona, On Kutsal Emir’den en \u00f6nemlisini “\u00d6ld\u00fcrmeyeceksin!” yasas\u0131n\u0131 \u00e7i\u011fnetmi\u015ftir. \u00dcstelik en yak\u0131n\u0131n\u0131, kendi kan\u0131ndan olan\u0131, \u00f6z karde\u015fi Habil’i \u00f6ld\u00fcrerek.<\/p>\n

Anla\u015f\u0131labilece\u011fi \u00fczere buradaki karde\u015f ayn\u0131 zamanda herhangi bir insan\u0131 da temsil etmektedir. \u00c7\u00fcnk\u00fc Kabil ile Habil, Adem ile Havva’n\u0131n \u00e7ocuklar\u0131d\u0131r. Yani, kutsal metine g\u00f6re ilk insanlard\u0131r. Onlar herkesin atas\u0131d\u0131r. Herkes onlardan do\u011facakt\u0131r. Eski Ahit’teki bu izlek, yani kendi kan\u0131ndan olan\u0131 \u00f6ld\u00fcrmek, Sophokles’in Kral Oidipus”unda, Shakespeare’in Hamlet’inde, Dostoyevski’nin Karamazov Karde\u015fler ‘inde de kullan\u0131lacakt\u0131r. Ama Eski Ahit’teki bu cinayet metnini kadim bir model haline getiren \u00f6zellik sadece kendi kan\u0131ndan birinin \u00f6ld\u00fcr\u00fclmesi de\u011fildir. Bu metinde yaz\u0131lanlar, ku\u015fkusuz tanr\u0131yazar taraf\u0131ndan kurgulanm\u0131\u015ft\u0131r. Yaz\u0131lanlar\u0131n ger\u00e7ekten ya\u015fanm\u0131\u015f oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fczde de ayn\u0131 olas\u0131l\u0131k kar\u015f\u0131m\u0131za \u00e7\u0131kacakt\u0131r; yazg\u0131y\u0131 belirleyen Tanr\u0131 oldu\u011funa g\u00f6re, Habil’e Kabil’i \u00f6ld\u00fcrten de Tanr\u0131* d\u0131r. Ger\u00e7ek ya\u015fam\u0131 da, metni de kurgulayan ayn\u0131 yarat\u0131c\u0131, ayn\u0131 g\u00fc\u00e7t\u00fcr. Bunu neden yapmaktad\u0131r? \u0130nsanlarla oynamay\u0131 sevdi\u011finden mi? Onlara ac\u0131 \u00e7ektirmek ho\u015funa gitti\u011finden mi? Yoksa onlara nas\u0131l ya\u015famalan gerekti\u011fini \u00f6\u011fretmek istedi\u011finden mi? Genellikle kabul g\u00f6ren sonuncu se\u00e7enektir. Tanr\u0131, iyilik ve k\u00f6t\u00fcl\u00fck, zek\u00e2 ve aptall\u0131k, yarat\u0131c\u0131l\u0131k ve y\u0131k\u0131c\u0131l\u0131kla var olmu\u015f insana yapmamas\u0131 gerekenleri bu ac\u0131 \u00f6rnekle g\u00f6stermek istemi\u015ftir. Ama bunu yaparken neler hissetmi\u015ftir, bunu kestirmek zor. Ancak su\u00e7u anlatan yazarlar\u0131n anlatt\u0131\u011f\u0131 cinayetlerde neler hissettiklerini biliyoruz. Agatha Christie’nin \u00e7ok e\u011flendi\u011fim s\u00f6yleyebiliriz. Shakespeare ve Dostoyevski’nin ise o kadar e\u011flendi\u011fini sanm\u0131yorum. \u00d6yle olsayd\u0131 Hamlet de, Raskolnikov da bu denli derin, bu denli karma\u015f\u0131k, bu denli trajik karakterler olmazlard\u0131. Ama iyi yazarlar\u0131n t\u00fcm\u00fc i\u00e7in s\u00f6yleyebilece\u011fimiz tek ger\u00e7ek, cinayet metinlerini kaleme al\u0131rken hepsinin de hem katil, hem kurban oldu\u011fudur. \u00d6ld\u00fcrme an\u0131\u00a0 ve \u00f6lme an\u0131n\u0131 hissetmeden iyi cinayet metni yaz\u0131lamayaca\u011f\u0131 gibi, bu insan yazg\u0131s\u0131n\u0131 de\u011fi\u015ftirebilecek g\u00fc\u00e7teki eylemin, katilin\/kurban\u0131n \u00fczerindeki etkisini anlamak da olanaks\u0131zd\u0131r. Kabil su\u00e7lu olarak ya\u015fayacakt\u0131… Yeniden Eski Ahit’teki metne d\u00f6necek olursak, kurban\u0131n, yani Habil’in rol\u00fcn\u00fcn olduk\u00e7a az oldu\u011funu g\u00f6r\u00fcr\u00fcz. Gen\u00e7 ya\u015fta \u00f6l\u00fcr ve ya\u015famdan da, metinden de \u00e7ekilir. Belki Tanr\u0131 onu cennetine alarak \u00f6d\u00fcllendirmi\u015ftir, bunu bilemeyiz. Bildi\u011fimiz Habil’in misyonunu tamamlayan bir karakter olarak art\u0131k Eski Ahit’teki metinde yer almayaca\u011f\u0131d\u0131r. Oysa katil, yani Kabil metinde bir su\u00e7lu olarak ya\u015famay\u0131 s\u00fcrd\u00fcrecek, korkacak, s\u00fcrg\u00fcne g\u00f6nderilecek, vicdan azab\u0131 duyacak ve ba\u011f\u0131\u015flanmak i\u00e7in u\u011fra\u015facakt\u0131r. Ve insanlar k\u00f6t\u00fc bir \u00f6rnek olarak birbirlerine onu g\u00f6stereceklerdir. Ayn\u0131 yazg\u0131 Oidipus, Macbeth, Raskolnikov i\u00e7in de ge\u00e7erli olacakt\u0131r. <\/p>\n

Tarihin farkl\u0131 d\u00f6nemlerinde, farkl\u0131 \u00fclkelerde, farkl\u0131 dillerde kaleme al\u0131nan \u00fc\u00e7 ayn yap\u0131t\u0131n \u00fc\u00e7 ayr\u0131 kahraman\u0131 da Kabil’le ayn\u0131 \u00e7ileyi \u00e7ekecektir. T\u0131pk\u0131, kutsal projeyi ger\u00e7ekle\u015ftirmek i\u00e7in \u0130sa Peygamber’! ihbar etmek g\u00f6revini \u00fcstlenerek hain ve k\u00f6t\u00fc damgas\u0131n\u0131 ta\u015f\u0131mak zorunda kalan Yahuda gibi. iyilikle k\u0131yasland\u0131\u011f\u0131nda, k\u00f6t\u00fcl\u00fck her zaman daha \u00e7ekicidir. Belki daha karma\u015f\u0131k oldu\u011fundan, belki insanlar\u0131n saklamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 bir \u00f6zellik oldu\u011fundan. \u00d6yle ya, kimse \u00e7\u0131k\u0131p da ben k\u00f6t\u00fcy\u00fcm demez; Marquis de Sade gibi birka\u00e7 “\u00e7atlak” yazardan ba\u015fka. Ama su\u00e7u ya da k\u00f6t\u00fcl\u00fc\u011f\u00fc yazanlar da ikiye ayr\u0131l\u0131r, ilk gruptakiler konunun \u00e7ekicili\u011finden dolay\u0131 bu izle\u011fe y\u00f6nelmi\u015flerdir. Bu yaz\u0131n\u0131n konusu onlarla ilgili de\u011fildir, ikinci gruptakiler ise, k\u00f6t\u00fcl\u00fck ya da su\u00e7, insan\u0131 ve toplumu anlatmada bir turnusol k\u00e2\u011f\u0131d\u0131 oldu\u011fu i\u00e7in bu se\u00e7imi yapanlard\u0131r ki, bu yaz\u0131n\u0131n konusu bu t\u00fcrden yarat\u0131c\u0131lard\u0131r. Ku\u015fkusuz k\u00f6t\u00fcl\u00fckle, su\u00e7la ilgilenenler yaln\u0131zca yazarlar de\u011fildir. Hukuk\u00e7ular, su\u00e7 uzmanlar\u0131, psikologlar, sosyologlar, polisler de su\u00e7la ilgilidirler. \u00dcstelik onlar, su\u00e7a ve su\u00e7luya yazarlardan daha yak\u0131nd\u0131rlar; kimi zaman dokunacak kadar yak\u0131n. Ancak su\u00e7a yazarlar\u0131n (sanat\u00e7\u0131lar\u0131n) bak\u0131\u015f a\u00e7\u0131s\u0131yla bilim adamlar\u0131n\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131 aras\u0131nda y\u00f6ntemsel bir fark vard\u0131r. Bilim ya\u015fam\u0131 par\u00e7alayarak inceler. Ya\u015fam\u0131n maddi ger\u00e7ekli\u011fini kavrayabilmek i\u00e7in b\u00f6yle bir y\u00f6nteme gereksinimi vard\u0131r. Edebiyat ise ya\u015fam\u0131 b\u00fct\u00fcnsel olarak de\u011ferlendirir. Iss\u0131z bir adada tek ba\u015f\u0131na kalm\u0131\u015f bir karakteri anlat\u0131rken bile, onu ya\u015fad\u0131\u011f\u0131 \u00e7a\u011fdan, ya\u015fam\u0131\u015f oldu\u011fu toplumdan, \u00e7evresinden ayn ele almaz. Dolay\u0131s\u0131yla romanlardaki, \u00f6yk\u00fclerdeki su\u00e7 ya da k\u00f6t\u00fcl\u00fck bir anlamda bize ya\u015fam\u0131 yeniden sunar. \u00d6yle oldu\u011fu i\u00e7in de yazar su\u00e7u anlat\u0131rken felsefeden krim\u0131nalistik bilimine, sosyolojiden tarihe kadar b\u00fct\u00fcn bilimsel disiplinleri kullanmak zorunda kal\u0131r. Daha \u00f6nemlisi edebiyat\u0131n temel malzemesi olan dili kullanarak yepyeni bir d\u00fcnya yarat\u0131r. Ki bu yaz\u0131nsal d\u00fcnya \u00e7o\u011fu zaman ger\u00e7ek ya\u015famla boy \u00f6l\u00e7\u00fc\u015fecek denli sahici bir bi\u00e7imde yarat\u0131lm\u0131\u015ft\u0131r. Bu yaz\u0131nsal d\u00fcnyan\u0131n tanr\u0131s\u0131 ise ku\u015fku yok ki yazar\u0131n kendisinden ba\u015fkas\u0131 olmayacakt\u0131r. Bu noktada Eski Ahit’teki cinayet metnine d\u00f6nmenin tam da s\u0131ras\u0131. Su\u00e7u yazan b\u00fct\u00fcn iyi yazarlar gibi, Eski Ahit’in yaz\u0131c\u0131s\u0131 da yaratt\u0131\u011f\u0131 kahraman\u0131 (Kabil) sevmektedir. B\u00fct\u00fcn eksikliklerine, kusurlar\u0131na, i\u00e7indeki k\u00f6t\u00fcl\u00fcklerine ra\u011fmen ondan sevgisini esirgemeyecektir. Nitekim, Kabil ile Habil hik\u00e2yesinin sonunu \u015f\u00f6yle tamamlayacakt\u0131r. Kabil, “Cezam kald\u0131ramayaca\u011f\u0131m kadar a\u011f\u0131r” diye kar\u015f\u0131l\u0131k verdi. “Bug\u00fcn beni bu topraklardan kovdun. Art\u0131k huzurundan uzak kalacak, yery\u00fcz\u00fcnde aylak aylak dola\u015faca\u011f\u0131m. Kim bulsa beni \u00f6ld\u00fcrecek.” Bunun \u00fczerine Rab, “Seni, kim \u00f6ld\u00fcr\u00fcrse, ondan yedi kez \u00f6\u00e7 al\u0131nacak” dedi. Kimse bulup \u00f6ld\u00fcrmesin diye Kabil’in \u00fczerine bir ni\u015fan koydu. Kabil, Rab’bin huzurundan ayr\u0131ld\u0131. Aden bah\u00e7esinin do\u011fusunda, Nod topraklar\u0131na yerle\u015fti. K\u00f6t\u00fcl\u00fckle y\u00fczle\u015fmek Kabil s\u00fcrg\u00fcn edildi\u011fi topraklarda ya\u015fayacak, \u00e7ocuklar\u0131 olacak, nesli s\u00fcrecektir. Bu arada Rab, \u00c2dem ile Havva’ya \u00f6len Hab\u00fc’in yerine yeni bir erkek \u00e7ocuk ba\u011f\u0131\u015flayacak, \u00e7ocu\u011fun ad\u0131 ise \u015eit, yani “ba\u011f\u0131\u015flamak” olacakt\u0131r. <\/p>\n

Eski Ahit’teki metin bu y\u00f6n\u00fcyle de yazarlar\u0131n, yaratt\u0131klar\u0131 kahramanlar\u0131 oldu\u011fu gibi benimsemeleri, onlan \u00e7ok y\u00f6nl\u00fc karakter \u00f6zellikleri i\u00e7inde sevmeleri anlam\u0131nda da bir model olu\u015fturmaktad\u0131r. Bir anlamda yazarlara, onu kendinizden ayn d\u00fc\u015f\u00fcnmeyin, \u00e7\u00fcnk\u00fc onu siz yaratt\u0131n\u0131z, ondaki iyilik de k\u00f6t\u00fcl\u00fck de, zek\u00e2 da, aptall\u0131k da sizdendir. Onlan yazarken, kendinizi yazarm\u0131\u015f\u00e7as\u0131na d\u00fcr\u00fcst olun, cesur olun, ho\u015fg\u00f6r\u00fcl\u00fc olun demektedir. Eski Ahit’teki metnin yazar\u0131 kendi metinlerinde bunu ba\u015farabilmi\u015f midir? Bilmek imk\u00e2ns\u0131z. Asl\u0131nda farkl\u0131 dinler, farkl\u0131 inan\u0131\u015flar bu soruya farkl\u0131 yan\u0131tlar vermi\u015flerdir. O nedenle en iyisi bunun yan\u0131t\u0131n\u0131 okurlara b\u0131rakmak. Ama \u00f6l\u00fcml\u00fc yazarlara bakt\u0131\u011f\u0131mda, rahatl\u0131kla \u015funu s\u00f6yleyebilirim, kendi ruhlar\u0131ndaki karanl\u0131\u011fa g\u00f6zlerini k\u0131rpmadan bakabilenler, i\u00e7lerindeki k\u00f6t\u00fcl\u00fckle y\u00fczle\u015febilenler, ak\u0131llar\u0131n\u0131n kuytusunda gizlenen katili anlatmaktan \u00e7ekinmeyenler, genellikle iyi yazarlard\u0131r. \u00c7\u00fcnk\u00fc onlar, t\u0131pk\u0131 Eski Ahit’in yazar\u0131 gibi, karakterlerini kendi suretlerinden yaratm\u0131\u015flard\u0131r. \u00c7\u00fcnk\u00fc onlar, yaratt\u0131klar\u0131 karakterlerin dudaklar\u0131na kendi nefeslerini \u00fcflemi\u015flerdir. Ayn\u0131 Kitab\u0131 Yaz\u0131yoruz Asl\u0131nda Kadim kitaplarla ilk tan\u0131\u015f\u0131kl\u0131\u011f\u0131m babam sayesinde olmu\u015ftu. Nur i\u00e7inde yats\u0131n babam, dindar bir adamd\u0131. \u0130nan\u00e7l\u0131 ama fanatik olmayan bir M\u00fcsl\u00fcman. Babam, o\u011flunu da kendisi gibi bir M\u00fcsl\u00fcman olarak yeti\u015ftirmek i\u00e7in ramazan aylar\u0131nda beni camiye g\u00f6t\u00fcr\u00fcrd\u00fc. Camideki ibadetin en sevdi\u011fim b\u00f6l\u00fcm\u00fc vaaz b\u00f6l\u00fcm\u00fcyd\u00fc; \u00f6zellikle de hik\u00e2ye anlat\u0131lan k\u0131s\u0131mlar. \u00c2dem’le Havva’n\u0131n cennetten kovulmas\u0131, Nuh Peygamber’in gemisi, Musa Peygamber’in K\u0131z\u0131ldeniz’i asas\u0131yla yarmas\u0131, Muhammed Peygamber’in hicret s\u0131ras\u0131nda bir ma\u011faraya s\u0131\u011f\u0131nmas\u0131, ma\u011faran\u0131n a\u011fz\u0131n\u0131n an\u0131nda bir \u00f6r\u00fcmcek a\u011f\u0131yla \u00f6r\u00fclmesi, daha y\u00fczlerce birbirinden ilgin\u00e7 ve \u00f6\u011fretici hik\u00e2ye. Hayat konusundaki ilk derslerim bunlar olmu\u015ftu. Ama tuhaf olan, bu hik\u00e2yelerin tam olarak hangi kitaplarda yer ald\u0131\u011f\u0131n\u0131 bile bilmememdi. Tevrat, Zebur, \u0130ncil, Kuran acaba hangisinde? Bilmezdim, ama bu hik\u00e2yelere bay\u0131l\u0131rd\u0131m. Sonra ilkokula ba\u015flad\u0131m, sonra ortaokul ve muhte\u015fem devrimcilik g\u00fcnleri. Gelsin politik, felsefi, tarihsel metinler. Hem de ne metinler… <\/p>\n

Platon’un Devlet’inden, Marx’in Kapital’ine, Makyavel’in Prens’inden, Thomas Moore’un \u00dctopya’s\u0131na, \u00e7o\u011funlukla bir \u015fey anlamad\u0131\u011f\u0131m ama okumakla \u00f6v\u00fcnd\u00fc\u011f\u00fcm kitaplar. Ve yeniyetme bir \u00e7al\u0131mla tak\u0131nd\u0131\u011f\u0131m, fiyakal\u0131 tanr\u0131tan\u0131mazc\u0131l\u0131k. Camilerdeki vaazlarda \u00f6\u011frendi\u011fim hik\u00e2yeleri sa\u00e7ma buldu\u011fum, hatta yeni bilgilerimle ele\u015ftirip \u00e7\u00f6pe att\u0131\u011f\u0131m bir okuma d\u00f6nemi; ola\u011fan\u00fcst\u00fc d\u00f6nemin, ola\u011fan\u00fcst\u00fc okuma program\u0131. S\u0131n\u0131rlanm\u0131\u015f, belirlenmi\u015f, y\u00f6nlendirilmi\u015f, sekter bir okuma d\u00f6nemi. Bu d\u00f6nemde sekter olmayan tek okuma alan\u0131m edebiyatt\u0131. Tabii her inanm\u0131\u015f devrimci gibi ben de “K\u0131z\u0131l Seri” diye adland\u0131rd\u0131\u011f\u0131m\u0131z Sovyet, Bulgar, Arnavut, Romen yazarlar taraf\u0131ndan kaleme al\u0131nan partizan romanlar\u0131n\u0131 sular seller gibi yutuyordum, ama bu arada Balzac’tan Stendhal’a, Diekens’tan Tolstoy’a edebiyat klasiklerinden de vazge\u00e7miyordum. Kadim kitaplarla yeniden tan\u0131\u015fmam i\u00e7in aradan otuz k\u00fcsur y\u0131l\u0131n ge\u00e7mesi gerekti. Hititlerle ilgili bir roman yazarken, konuyla ba\u011flant\u0131l\u0131 bir \u015feyler bulmak umuduyla Eski Ahit’i okumaya ba\u015flad\u0131m. Kar\u015f\u0131la\u015ft\u0131\u011f\u0131m metin ola\u011fan\u00fcst\u00fcyd\u00fc. \u015eiirsel bir dil, birbirinden renkli destanlar, masallar, anlat\u0131lar. \u00c7ocuklu\u011fumda dinledi\u011fim b\u00fct\u00fcn hik\u00e2yeler birdenbire kar\u015f\u0131ma \u00e7\u0131k\u0131vermi\u015fti. \u0130nsana dair ne varsa, b\u00fct\u00fcn konular hik\u00e2ye edilmi\u015fti. Binlerce y\u0131ll\u0131k s\u00f6zl\u00fc ve yaz\u0131l\u0131 k\u00fclt\u00fcr\u00fcn d\u00f6k\u00fcm\u00fc; tabu dinsel inanc\u0131n \u00e7er\u00e7evesi ve s\u0131n\u0131rlay\u0131c\u0131l\u0131\u011f\u0131 i\u00e7inde. <\/p>\n

Ancak okudu\u011fum metin, sadece bir din kitab\u0131 de\u011fildi, ayn\u0131 zamanda edebi bir nitelik ta\u015f\u0131yordu. Anlat\u0131mda soyutimgesel bir y\u00f6ntem kullan\u0131lm\u0131\u015ft\u0131. Yeni Ahit’te de, Kuran’da da y\u00f6ntem ayn\u0131yd\u0131. Bu niteliklerinden dolay\u0131, kutsal metinleri, dinsel i\u015flevlerinin yan\u0131 s\u0131ra, g\u00fc\u00e7l\u00fc birer edebi metin olarak da okumak m\u00fcmk\u00fcnd\u00fc. Ku\u015fkusuz sadece edebiyat de\u011fil, daha geni\u015f ba\u011flamda k\u00fclt\u00fcrel bir okuma. Kutsal metinlerde, insanl\u0131\u011f\u0131n kurtulu\u015fu i\u00e7in \u00f6nerilen Tanndin ba\u011flant\u0131l\u0131 \u00e7\u00f6z\u00fcmler bir yana, insan varl\u0131\u011f\u0131na dair \u00e7ok \u00f6nemli saptamalar, bireysel ve toplumsal psikolojiye dair derin belirlenimler, tarihin mant\u0131\u011f\u0131na dair \u00f6nemli ipu\u00e7lar\u0131 vard\u0131. Bir yazar i\u00e7in sonsuz olanaklar sunan bir malzeme. <\/p>\n

\u0130nsanl\u0131\u011f\u0131n Simgesi<\/p>\n

\u00a0<\/p>\n

Kadim Kitaplar Kutsal kitaplar, ayn\u0131 zamanda birer imge olmalar\u0131 nedeniyle \u00e7ok katmanl\u0131 metinlerdir. Bu nedenle de hem a\u00e7\u0131klamaya, hem de \u00e7ok y\u00f6nl\u00fc okumaya uygundur. \u00c7ok y\u00f6nl\u00fc okumalar, okura \u00e7ok y\u00f6nl\u00fc perspektifler sunar. Bu perspektiflerden benim ilgimi \u00e7ekenler ge\u00e7mi\u015fe d\u00f6n\u00fck olanlar. Ne yaz\u0131k ki insanl\u0131\u011f\u0131n yaz\u0131l\u0131 tarihi be\u015f bin, bilemedin yedi bin y\u0131ll\u0131k bir d\u00f6nemle s\u0131n\u0131rl\u0131. Kutsal kitaplar i\u015fte o yaz\u0131lmam\u0131\u015f d\u00f6nemin de izlerini, kodlar\u0131m, ipu\u00e7lar\u0131n\u0131 sat\u0131r aralar\u0131nda gizler. Kutsal metinlerin altyap\u0131s\u0131n\u0131 olu\u015fturan bir\u00e7ok hik\u00e2ye, \u015fiir, masal, insano\u011flunun varolu\u015fundan bu yana \u00fcretilen s\u00f6zl\u00fc anlat\u0131larda dile getirilen efsaneler, mitler ve destanlard\u0131r. Bu \u00f6zellikleri nedeniyle kutsal kitaplar, onlar\u0131n bir devam\u0131 niteli\u011fi de ta\u015f\u0131maktad\u0131r. Ancak, tarihin de\u011fi\u015fim ve geli\u015fiminde oldu\u011fu gibi, dinsel d\u00fc\u015f\u00fcncenin de\u011fi\u015fimi ve geli\u015fimi de olduk\u00e7a karma\u015f\u0131k bir seyir izler. Yeni bir inan\u00e7 sistemi kabul g\u00f6rd\u00fc\u011f\u00fcnde bile, eski inanc\u0131n pek \u00e7ok rit\u00fceli, inan\u0131\u015f, gelenek ve g\u00f6renekleri yeninin i\u00e7inde ya\u015famaya devam eder. \u00d6rne\u011fin, Hititlerin \u00fcnl\u00fc Kane\u015f Krali\u00e7esi destan\u0131nda, Kane\u015f krali\u00e7esinin bir defada otuz erkek \u00e7ocuk do\u011furmas\u0131ndan, sonra da tanr\u0131lar\u0131n gazab\u0131ndan korkup, o\u011fullar\u0131n\u0131 bir sand\u0131\u011fa koyup \u0131rma\u011fa b\u0131rakmas\u0131ndan s\u00f6z edilir. Benzeri bir olay Tevrat’ta da anlat\u0131l\u0131r. Musa Peygamber bebekken, firavunun zulm\u00fcnden korkan anne babas\u0131 onu bir sepete koyup \u0131rma\u011fa b\u0131rakm\u0131\u015flard\u0131r. Ba\u015fka bir \u00f6rnek Ayasofya’daki \u0130sa mozai\u011fidir. H\u0131ristiyanl\u0131ktan \u00f6nce Anadolu’daki \u00e7oktanr\u0131l\u0131 din k\u00fclt\u00fcr\u00fcnde Apollon \u0131\u015f\u0131\u011f\u0131n tanr\u0131s\u0131yd\u0131, yani d\u00fcnyay\u0131 onun ayd\u0131nlatt\u0131\u011f\u0131 s\u00f6ylenirdi. Bug\u00fcn Ayasofya’nm kap\u0131s\u0131n\u0131n \u00fczerindeki \u0130sa mozai\u011fine bakarsan\u0131z, \u0130sa’n\u0131n sol elinde bir \u0130ncil tuttu\u011funu g\u00f6r\u00fcrs\u00fcn\u00fcz. \u0130ncil’in \u00fczerinde “Ben d\u00fcnyan\u0131n \u0131\u015f\u0131\u011f\u0131y\u0131m” yazmaktad\u0131r. Her k\u00fclt\u00fcr bir \u00f6nceki k\u00fclt\u00fcr\u00fcn ba\u011fnnda do\u011fuyor, onu reddederken ayn\u0131 zamanda i\u00e7selle\u015ftiriyor. Yani kadim metinler, daha \u00f6nce s\u00f6ylenmi\u015f, kil tabletlere, papir\u00fcslere yaz\u0131lm\u0131\u015f, kayalara kaz\u0131lm\u0131\u015f b\u00fct\u00fcn o s\u00f6zc\u00fcklerin ar\u0131t\u0131lmas\u0131yla, dam\u0131t\u0131lmas\u0131, elenmesiyle olu\u015fmu\u015f metinlerden ba\u015fka bir \u015fey de\u011fildi. Peki, kutsal kitaplardan \u00f6nce s\u00f6ylenen s\u00f6z, yaz\u0131lan kelam neydi? Kaz\u0131 alan\u0131na dalan yeniyetme bir arkeologun hevesiyle bunu ara\u015ft\u0131rmaya ba\u015flad\u0131m. Kolayca ula\u015ft\u0131\u011f\u0131m ilk metin, G\u0131lgam\u0131\u015f Destan\u0131’yd\u0131.<\/p>\n

Daha ilk sayfalarda ay\u0131rd\u0131na vard\u0131m ki, Kral G\u0131lgam\u0131\u015f, asl\u0131nda ba\u015fka bir kahraman\u0131n esinleyicisiydi. Yunan mitolojisindeki en \u00f6nemli karakterlerden Zeus’un o\u011flu, yar\u0131 tanr\u0131 Herakles’in. Evet, Herakles’in ser\u00fcvenlerini kaz\u0131d\u0131\u011f\u0131n\u0131zda kar\u015f\u0131n\u0131za \u00e7\u0131kan karakter, Kral G\u0131lgam\u0131\u015f’tan ba\u015fkas\u0131 de\u011fildir. Ya \u0130brahim Peygamber, onun Tevrat’ta anlat\u0131lan birbirinden ilgin\u00e7 ser\u00fcvenleri, Don Ki\u015fot’u yaratan Cervantes’i esinleyen metinlerden biri olamaz m\u0131? Ayn\u0131 \u0130zle\u011fin Pe\u015finde S\u00fcmer efsaneleri, Hitit sark\u0131lan, a\u011f\u0131tlar\u0131, Yunan destanlar\u0131, M\u0131s\u0131r \u015fiirleri… Kadim olan ne kadar metin varsa beni ald\u0131, insanl\u0131\u011f\u0131n \u00e7ocukluk evresine g\u00f6t\u00fcrd\u00fc; ayn\u0131 zamanda h\u00e2l\u00e2 \u00e7ok da b\u00fcy\u00fcmedi\u011fimiz ger\u00e7e\u011fine. Evet, ilk yaz\u0131l\u0131 metin G\u0131lgam\u0131\u015f Destan\u0131’ndaki izlek insano\u011flu i\u00e7in h\u00e2l\u00e2 de\u011fi\u015fmemi\u015fti. H\u00e2l\u00e2 \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fc ar\u0131yorduk. G\u0131lgam\u0131\u015f ya\u015fad\u0131\u011f\u0131 d\u00f6nem i\u00e7in ger\u00e7ekle\u015ftirilmesi imk\u00e2ns\u0131zm\u0131\u015f gibi g\u00f6r\u00fcnen bir deniz yolculu\u011funa \u00e7\u0131k\u0131yordu, ba\u015fka d\u00fcnyalar\u0131 ke\u015ffetmek i\u00e7in. Ayn\u0131 ke\u015fif duygusu bug\u00fcn de s\u00fcr\u00fcyor, belki G\u0131lgam\u0131\u015f gibi sedir a\u011fac\u0131ndan yap\u0131lan bir salla de\u011fil ama geli\u015fmi\u015f mekiklerle uzaya a\u00e7\u0131l\u0131yoruz. Yeni d\u00fcnyalar ke\u015ffetmek, s\u0131n\u0131rlar\u0131m\u0131z\u0131 a\u015fmak, yetersizliklerimizden kurtulmak i\u00e7in. Bir ba\u015fka S\u00fcmer metnini, b\u00fcy\u00fck ozan Ludingirra’n\u0131n annesi i\u00e7in yazd\u0131\u011f\u0131 \u015fiiri okudu\u011fumda, ayn\u0131 duygulan kendi annem i\u00e7in hissetti\u011fimi anl\u0131yorum. Gurparanzah Efsanesi, Kumarbi Destan\u0131, Ke\u015f\u015fi, K\u00f6t\u00fc ve \u0130yi Destanlan’ru, G\u00f6kten D\u00fc\u015fen Ay Efsanesi’ni, Telipinu Efsanesi’nden, llyada’dan, Odisseia’dm par\u00e7alar okudu\u011fumda, eski M\u0131s\u0131r \u015fiirlerine g\u00f6z att\u0131\u011f\u0131mda, insano\u011flunun pek fazla de\u011fi\u015fmedi\u011fini anl\u0131yorum. H\u00e2l\u00e2 ayn\u0131 i\u00e7g\u00fcd\u00fcler, h\u00e2l\u00e2 ayn\u0131 toplumsal kurallar belirliyor ya\u015fam\u0131m\u0131z\u0131; var olma sevinci, yok olma kayg\u0131s\u0131, yaln\u0131z kalma endi\u015fesi, kendimizi g\u00f6sterme hevesi, \u00f6fkenin lezzeti, bilmenin onuru, \u00f6ld\u00fcrmenin y\u0131k\u0131c\u0131l\u0131\u011f\u0131, fedak\u00e2rl\u0131\u011f\u0131n k\u0131vanc\u0131… Bir t\u00fcrl\u00fc s\u00f6z ge\u00e7iremedi\u011fimiz isteklerimiz, doymak bilmeyen a\u00e7l\u0131\u011f\u0131m\u0131z, s\u0131n\u0131rlanamayan bencilli\u011fimiz, ak\u0131ldan yoksun ac\u0131mas\u0131zl\u0131\u011f\u0131m\u0131z. Hep ayn\u0131 konu, hep ayn\u0131 izlek, hep ayn\u0131 hik\u00e2ye. Belki de bu y\u00fczden kadim metinler beni b\u00f6ylesine etkiliyor, bu kadar eski, ama ayn\u0131 zamanda bu kadar g\u00fcncel olduklar\u0131 i\u00e7in. Belki de bu y\u00fczden kadim metinleri okurken, kendi yazd\u0131klar\u0131m\u0131, \u00e7a\u011fda\u015f yazarlar\u0131n metinlerini okur gibi oluyorum. Art\u0131k \u00e7o\u011funun ad\u0131m san\u0131m bile bilmedi\u011fimiz o kadim metinlerin yarat\u0131c\u0131lar\u0131n\u0131n yerine koyuyorum kendimi. Ve anl\u0131yorum ki b\u00fct\u00fcn yazarlar, hepimiz, insanl\u0131k yery\u00fcz\u00fcnde varolal\u0131 beri, asl\u0131nda hep ayn\u0131 hik\u00e2yeyi anlat\u0131yoruz, hep ayn\u0131 kitab\u0131 yaz\u0131yoruz. G\u00fcgam\u0131\u015f’\u0131n ard\u0131na d\u00fc\u015ft\u00fc\u011f\u00fc hi\u00e7bir zaman ger\u00e7ekle\u015fmeyecek o ama\u00e7 i\u00e7in, \u00f6l\u00fcms\u00fczl\u00fck i\u00e7in.<\/p>\n","protected":false},"excerpt":{"rendered":"

Klasik polisiyenin ba\u015flang\u0131c\u0131 olarak XIX. y\u00fczy\u0131l\u0131n ortalar\u0131 g\u00f6sterilir. Oysa, su\u00e7u ve cinayeti anlatan metinlerin tarihi \u00e7ok daha gerilere, tarihin ba\u015flad\u0131\u011f\u0131 g\u00fcnlere uzan\u0131r. Su\u00e7, insano\u011flunun bir varolu\u015f bi\u00e7imidir. Ger\u00e7ekten de cinayeti ya da sonu\u00e7lar\u0131n\u0131 anlatan ilk metinler, g\u00fcn\u00fcm\u00fczden binlerce y\u0131l \u00f6nce yaz\u0131lm\u0131\u015ft\u0131. Hitit saray cinayetlerinin sonu\u00e7lann\u0131 konu alan Telipinu Ferman\u0131 ya da Sophokles’in \u00fcnl\u00fc yap\u0131t\u0131 Kral […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[137],"tags":[],"class_list":{"0":"post-4258","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-edebiyat-turkiye"},"yoast_head":"\nTanr\u0131 Yazar m\u0131, Yazar Tanr\u0131 m\u0131? | Ahmet \u00dcmit - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tanr\u0131 Yazar m\u0131, Yazar Tanr\u0131 m\u0131? | Ahmet \u00dcmit\" \/>\n<meta property=\"og:description\" content=\"Klasik polisiyenin ba\u015flang\u0131c\u0131 olarak XIX. y\u00fczy\u0131l\u0131n ortalar\u0131 g\u00f6sterilir. Oysa, su\u00e7u ve cinayeti anlatan metinlerin tarihi \u00e7ok daha gerilere, tarihin ba\u015flad\u0131\u011f\u0131 g\u00fcnlere uzan\u0131r. Su\u00e7, insano\u011flunun bir varolu\u015f bi\u00e7imidir. Ger\u00e7ekten de cinayeti ya da sonu\u00e7lar\u0131n\u0131 anlatan ilk metinler, g\u00fcn\u00fcm\u00fczden binlerce y\u0131l \u00f6nce yaz\u0131lm\u0131\u015ft\u0131. 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| Ahmet \u00dcmit - narteks.net","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/narteks.net\/index.php\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/","og_locale":"tr_TR","og_type":"article","og_title":"Tanr\u0131 Yazar m\u0131, Yazar Tanr\u0131 m\u0131? | Ahmet \u00dcmit","og_description":"Klasik polisiyenin ba\u015flang\u0131c\u0131 olarak XIX. y\u00fczy\u0131l\u0131n ortalar\u0131 g\u00f6sterilir. Oysa, su\u00e7u ve cinayeti anlatan metinlerin tarihi \u00e7ok daha gerilere, tarihin ba\u015flad\u0131\u011f\u0131 g\u00fcnlere uzan\u0131r. Su\u00e7, insano\u011flunun bir varolu\u015f bi\u00e7imidir. Ger\u00e7ekten de cinayeti ya da sonu\u00e7lar\u0131n\u0131 anlatan ilk metinler, g\u00fcn\u00fcm\u00fczden binlerce y\u0131l \u00f6nce yaz\u0131lm\u0131\u015ft\u0131. Hitit saray cinayetlerinin sonu\u00e7lann\u0131 konu alan Telipinu Ferman\u0131 ya da Sophokles’in \u00fcnl\u00fc yap\u0131t\u0131 Kral […]","og_url":"https:\/\/narteks.net\/index.php\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/","og_site_name":"narteks.net","article_published_time":"2010-02-24T08:02:33+00:00","og_image":[{"url":"http:\/\/images.habervitrini.com\/haber_resim\/ahmet_umit11.jpg","type":"","width":"","height":""}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"16 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2010\/02\/24\/tanri-yazar-mi-yazar-tanri-mi-ahmet-umit\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Tanr\u0131 Yazar m\u0131, Yazar Tanr\u0131 m\u0131? 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