Shakespeare\u2019in 154 Sonesinin genel konusu, sevgidir; \u00f6yk\u00fcs\u00fc ise bir sevgi ser\u00fcveni. Bu \u00f6yk\u00fcn\u00fcn d\u00f6rt ki\u015fisi var: Ozan (belki Shakespeare\u2019in kendisi, belki bir anlat\u0131m arac\u0131 olarak yaratt\u0131\u011f\u0131 bir ozan), sar\u0131\u015f\u0131n erkek sevgili, esmer kad\u0131n ve rakip ozan.<\/p>\n
\u0130lk Sonelerde ozan kendisine ihsan ve yard\u0131mlarda bulunan bir gen\u00e7 aristokrata g\u00fc\u00e7l\u00fc ve heyecanl\u0131 bir sevgiyle ba\u011fl\u0131d\u0131r. Sonralar\u0131, bir rakip ozan\u0131n g\u00f6ze girmesi ve ba\u015fka sadakatsizlikler y\u00fcz\u00fcnden ac\u0131kl\u0131 durumlara d\u00fc\u015fer. Son Sone, bir esmer kad\u0131na duyulan cinsel sevgiyi anlat\u0131r. Bu k\u0131sa \u00f6zetten anla\u015f\u0131laca\u011f\u0131 gibi, 154 Sone ozan\u0131n soyut sevgiden cinsel ba\u011f\u0131nt\u0131lara kadar ge\u00e7irdi\u011fi t\u00fcrl\u00fc t\u00fcrl\u00fc ruh olaylar\u0131n\u0131n \u00f6yk\u00fcs\u00fc gibidir.<\/p>\n
Genel konunun geli\u015fmesi bak\u0131m\u0131ndan, Soneler \u00e7e\u015fitli s\u0131ra ve s\u0131n\u0131flara konulabilir, ama en belirli b\u00f6lme \u015fudur:<\/p>\n
1. Sone l\u2019 den Sone 126\u2019ya kadar soylu gence yaz\u0131lm\u0131\u015f olanlar,<\/p>\n
2. Sone 127\u2019den Sone 152\u2019ye kadar esmer kad\u0131na yaz\u0131lm\u0131\u015f olanlar,<\/p>\n
(Sone 153 ve 154, dizinin b\u00fct\u00fcnl\u00fc\u011f\u00fcnden ayr\u0131 d\u00fc\u015fmektedir.<\/p>\n
Bunlar, iki eski Yunan \u015fiirinden \u00e7ok serbest ve aksak olarak \u0130ngilizceye aktar\u0131lm\u0131\u015ft\u0131r.<\/p>\n
SONELERDE SHAKESPEARE\u2019\u0130N K\u0130\u015e\u0130L\u0130\u011e\u0130:<\/p>\n
Tan\u0131nm\u0131\u015f \u00e7a\u011fda\u015f ozan ele\u015ftirici Stephen Spender, Sonelerin d\u00fczensiz olarak tutulmu\u015f bir \u015fiir g\u00fcnl\u00fc\u011f\u00fc ya da bir kar\u015f\u0131l\u0131kl\u0131 konu\u015fman\u0131n yar\u0131s\u0131 gibi oldu\u011funu s\u00f6yl\u00fcyor. Sonelerde Shakespeare\u2019in kendi ya\u015fant\u0131lar\u0131n\u0131 ve i\u00e7 d\u00fcnyas\u0131n\u0131 ne dereceye kadar yans\u0131tt\u0131\u011f\u0131 \u00fczerindeki tart\u0131\u015fmalar Ondokuzuncu y\u00fczy\u0131l ba\u015flar\u0131ndan beri s\u00fcr\u00fcp gelmektedir. \u0130ngiliz Romantiklerine g\u00f6re, Shakespeare Sonelerde varl\u0131\u011f\u0131n\u0131n en gizli y\u00f6nlerini bile \u00e7\u0131r\u0131l\u00e7\u0131plak ortaya d\u00f6km\u00fc\u015ft\u00fcr.<\/p>\n
Yirminci y\u00fczy\u0131l\u0131n – hele son k\u0131rk elli y\u0131l\u0131n – belliba\u015fl\u0131 Shakespeare uzmanlar\u0131n\u0131n \u00e7o\u011fu, Romantiklerin g\u00f6r\u00fc\u015f\u00fcne taban tabana z\u0131t bir d\u00fc\u015f\u00fcnceyi ileri s\u00fcr\u00fcyorlar. Onlara g\u00f6re, Soneler bir otobiyografi de\u011fildir, bir g\u00f6n\u00fcl ser\u00fcveninin \u00f6yk\u00fcs\u00fc olarak yaz\u0131lmam\u0131\u015ft\u0131r. Shakespeare Sonelerde kendinden \u00f6nceki ve \u00e7a\u011f\u0131ndaki ozanlar\u0131n ba\u015fl\u0131ca sevgi konular\u0131n\u0131 kullanm\u0131\u015f, gerek sone bi\u00e7imi, gerek estetik anlay\u0131\u015f ve ruhsal duyarl\u0131k bak\u0131m\u0131ndan bir gelene\u011fe uymu\u015f, g\u00fcn\u00fcn\u00fcn modas\u0131n\u0131 kabullenmi\u015ftir. Peter Quennell ve Northrop Frye gibi iki bilgin ele\u015ftiriciye g\u00f6re, Sonelerin temalar\u0131 R\u00f6nesanstan beri belirli bir s\u00f6yleyi\u015f gelene\u011finin \u00e7er\u00e7evesi i\u00e7inde s\u00fcr\u00fcp gelmekteydi; Shakespeare kendi g\u00f6nl\u00fcn\u00fcn de\u011fil, bu estetik anlay\u0131\u015f\u0131n \u015fiirini yazm\u0131\u015ft\u0131r. Hemen hemen b\u00fct\u00fcn trajedi ve komedilerinde oldu\u011fu gibi, kendi a\u011fz\u0131ndan konu\u015fmam\u0131\u015f, \u00abbir azam\u00bb (kendisinden ba\u015fka bir ozan) yaratarak onu bir ara\u00e7 diye kullanm\u0131\u015ft\u0131r.<\/p>\n
Bu iki g\u00f6r\u00fc\u015ften hangisinin a\u011f\u0131r bast\u0131\u011f\u0131n\u0131 kesinlikle s\u00f6ylemek m\u00fcmk\u00fcn de\u011fil. Belki de bu konudaki tart\u0131\u015fma hi\u00e7bir sonu\u00e7 vermeden s\u00fcr\u00fcp gidecek. \u0130kisi ortas\u0131 bir de\u011ferlendirme, akla yak\u0131n g\u00f6r\u00fcn\u00fcyor: Soneler, ger\u00e7ek anlamda otobiyografik olmasa bile Shakespeare\u2019in ruhunun ve ya\u015fant\u0131lar\u0131n\u0131n baz\u0131 y\u00f6nlerini apa\u00e7\u0131k ya da \u00fcst\u00fc kapal\u0131 olarak yans\u0131tsa gerektir. Soneler herhalde bir itiraflar dizisi, bir g\u00fcnl\u00fck, bir soyunma de\u011fildir ama, Shakespeare\u2019in bu \u015fiirlere ki\u015fisel ya\u015fant\u0131lar\u0131n\u0131 s\u0131k s\u0131k koymu\u015f olmamas\u0131 havsalaya s\u0131\u011fmaz. Bu bak\u0131mdan, Sonelerin Shakespeare\u2019in ki\u015fili\u011fine yer yer \u0131\u015f\u0131k tuttu\u011fu yarg\u0131s\u0131na varmak yanl\u0131\u015f olmaz.<\/p>\n
SONELERDE D\u0130L VE S\u00d6YLEY\u0130\u015e:<\/p>\n
Shakespeare, Sonelerinde genellikle piyeslerinin \u00e7o\u011fundan daha a\u00e7\u0131k ve duru bir dil kullanm\u0131\u015ft\u0131r. Gerek duygular\u0131n\u0131n a\u00e7\u0131k\u00e7a bildirilmesi, gerek k\u0131vrak bir ritm sa\u011flanmas\u0131 i\u00e7in, Shakespeare bol say\u0131da k\u0131sa kelimeden yararlanmak yoluna gitmi\u015f. \u00dcstelik, Sonelerde piyeslerinin bir\u00e7ok yerini zorla\u015ft\u0131ran mitolojik ve tarihi adlar\u0131 kullanmaktan ve yo\u011fun benzetmeler yapmaktan ka\u00e7\u0131nm\u0131\u015ft\u0131r.<\/p>\n
Yine de baz\u0131 Sonelerde bulan\u0131k ve kar\u0131\u015f\u0131k sat\u0131rlar var. Shakespeare, yer yer benzetmelerini birle\u015ftirerek okuyucuya \u00e7etrefil anlamlar veriyor. Belki Shakespeare\u2019in aras\u0131ra titiz davranmam\u0131\u015f olmas\u0131 y\u00fcz\u00fcnden, belki de eski bask\u0131 yanl\u0131\u015flar\u0131 y\u00fcz\u00fcnden, i\u00e7inden \u00e7\u0131k\u0131lmaz duruma girmi\u015f sat\u0131rlarla da kar\u015f\u0131la\u015f\u0131yoruz. Vakit vakit ozan\u0131n birtak\u0131m s\u00f6yleyi\u015fleri zorlad\u0131\u011f\u0131n\u0131 ve \u00e7irkin e\u011fretilemeler yapt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. Ama Sonelerin en b\u00fcy\u00fck zorlu\u011fu, s\u00f6z oyununda. Baz\u0131 sat\u0131rlarda anla\u015f\u0131lmas\u0131 g\u00fc\u00e7, iki \u00fc\u00e7 anlaml\u0131 kelimeler ve s\u00f6yleyi\u015fler var. Hemen hepsi bile bile yap\u0131lm\u0131\u015f olan bu s\u00f6z oyunlar\u0131 \u00fczerinde Shakespeare uzmanlar\u0131 uzun zamand\u0131r \u00e7al\u0131\u015f\u0131p tart\u0131\u015fm\u0131\u015flard\u0131r. S\u00f6z oyununun ba\u015ftan sona s\u00fcrd\u00fc\u011f\u00fc 135 say\u0131l\u0131 Sonede \u00abWill\u00bb de\u011fi\u015fik sat\u0131rlarda ayr\u0131 anlamlara geliyor ve s\u0131k s\u0131k ayn\u0131 yerde birka\u00e7 anlam birden veriyor: \u00abWill\u00bb hem Shakespeare\u2019in ilk ad\u0131 olan William\u2019\u0131n k\u0131sa \u015fekli, hem de baz\u0131 uzmanlara g\u00f6re Shakespeare\u2019in sevgilisinin ad\u0131; ayr\u0131ca \u00abwill\u00bb \u0130ngilizcede \u00abirade\u00bb, \u00abvasiyetname\u00bb, \u00abistek\u00bb, \u00abbilerek yapmak\u00bb gibi anlamlara geliyor.<\/p>\n
Shakespeare, ayn\u0131 Sone i\u00e7inde b\u00fct\u00fcn bu anlamlar\u0131 kullanm\u0131\u015f; baz\u0131 sat\u0131rlarda \u00abwill\u00bb yukardaki anlamlar\u0131n iki ya da \u00fc\u00e7 tanesini birden veriyor. B\u00f6yle s\u00f6z oyunlar\u0131n\u0131n ba\u015fka dillere aktar\u0131lmas\u0131, de\u011fme \u00e7eviricileri ba\u015far\u0131s\u0131zl\u0131\u011fa u\u011fratm\u0131\u015ft\u0131r. Denebilir ki, Sonelerdeki s\u00f6z oyunlar\u0131n\u0131n hepsini tam olarak \u00e7evirmek, hi\u00e7bir babayi\u011fitin harc\u0131 de\u011fildir.<\/p>\n
ESMER KADININ K\u0130ML\u0130\u011e\u0130:<\/p>\n
Bu konu \u00fczerinde uzun ara\u015ft\u0131rmalar sonu\u00e7 vermemi\u015ftir. Yeni belgeler ortaya \u00e7\u0131kmad\u0131k\u00e7a esmer kad\u0131n\u0131n kimli\u011fi gizli kalaca\u011fa benzer.<\/p>\n
Onsekizinci y\u00fczy\u0131l\u0131n sonunda George Chalmers, esmer kad\u0131n\u0131n Krali\u00e7e I. Elizabeth (1533 – 1603) oldu\u011funu ileri s\u00fcrd\u00fc. Sonralar\u0131, Shakespeare\u2019in kar\u0131s\u0131 Anne Hathaway, Penelope Rich, Shakespeare\u2019in metresi oldu\u011fu san\u0131lan Davenant gibi adlar ortaya at\u0131ld\u0131. Elizabeth Vernon ile Mary Pitton, baz\u0131 bak\u0131mlardan esmer kad\u0131n\u0131n niteliklerine uymaktad\u0131r.<\/p>\n
Elizabeth\u2019in nedimelerinden biri olan Vernon, 1598 May\u0131s\u0131nda Southampton\u2019la evlenmi\u015f ayn\u0131 y\u0131l\u0131n Kas\u0131m\u0131nda \u00e7ocuk do\u011furmu\u015ftu. Bu nedenle, Southampton kontu Henry Wriothesley bir s\u00fcre hapis yatt\u0131. Mary Fitton da Elizabeth\u2019in nedimelerindendi; 1601 Mart\u0131nda Pembroke Kontu William Herbert\u2019ten bir \u00e7ocuk do\u011furunca Herbert hapse girdi. Bu bak\u0131mdan, Shakespeare\u2019in son Sonelerinde birka\u00e7 kere a\u00e7\u0131k\u00e7a s\u00f6zkonusu etti\u011fi utan\u00e7, rezalet, y\u00fczkaras\u0131 gibi olaylar ya Southampton-Vernon, ya da Pembroke-Fitton skandal\u0131 ile ilgili olabilir.<\/p>\n
George Bernard Shaw, \u00abSonelerin Kara Kad\u0131n\u0131\u00bb adl\u0131 piyesinde Mary Fitton\u2019\u0131 kabul ediyor. Bununla birlikte, esmer kad\u0131n\u0131n kimli\u011fi kesinlikle bilinmemektedir.<\/p>\n
SARI\u015eIN GENC\u0130N K\u0130ML\u0130\u011e\u0130:<\/p>\n
Shakespeare 154 Sonesinin ilk 126\u2019 s\u0131n\u0131 g\u00fczel, sar\u0131\u015f\u0131n ve soylu bir gence yazm\u0131\u015ft\u0131r. 1609\u2019da \u00e7\u0131kan ilk Sone kitab\u0131, W. H. harfleriyle tan\u0131t\u0131lan birisine arma\u011fan edilmi\u015f oldu\u011fu i\u00e7in, ad\u0131 bu harflerle ba\u015flayan soylu ki\u015finin kimli\u011fi bug\u00fcne kadar aranm\u0131\u015f ve tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r. \u00dc\u00e7\u00fcnc\u00fc Southampton Kontu Henry Wriothesley (1573-1624), birka\u00e7 bak\u0131mdan akla yak\u0131n g\u00f6r\u00fcn\u00fcyor ama, onun ad\u0131n\u0131n ilk harfleri W. H. de\u011fil, H. W. -Ba\u015fka adaylar aras\u0131nda Pembroke Kontu William Herbert (1580-1630), Southampton Kontunun \u00fcvey babas\u0131 William Harvey (Hervey), bas\u0131mevi sahibi Thomas Thorpe\u2019un arkada\u015f\u0131 William Hall, William Hathaway, William Holgate, Shakespeare\u2019in ye\u011feni William Harte var. W.H. harflerinin \u00abWilliam Himself\u00bb yani \u00abShakespeare Kendisi\u00bb anlam\u0131na geldi\u011fi ileri s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Oscar Wilde, Will Hughes ad\u0131nda bir gen\u00e7 akt\u00f6r uydurmu\u015f ve Shakespeare\u2019in ona tutkun oldu\u011fu g\u00f6r\u00fc\u015f\u00fcn\u00fc savunmu\u015ftur. Bir yorumcu ise gen\u00e7 adam\u0131n Shakespeare\u2019in kendi o\u011flu oldu\u011funu \u00f6ne s\u00fcrm\u00fc\u015f ve b\u00fct\u00fcn Soneleri buna g\u00f6re s\u0131ralay\u0131p yorumlam\u0131\u015ft\u0131r.<\/p>\n
\u015eimdiye kadar bulunan belgeler, sar\u0131\u015f\u0131n g\u00fczel gencin kim oldu\u011funu kesin olarak \u00f6\u011frenmemiz i\u00e7in yeterli de\u011fildir. Bu bak\u0131mdan, ger\u00e7ek kimli\u011fini de\u011fil, Sonelerdeki \u015fiirsel kimli\u011fini g\u00f6z\u00f6n\u00fcnde tutmam\u0131z uygun olur.<\/p>\n
SONELER\u0130N GENEL \u00d6NEM\u0130:<\/p>\n
Shakespeare\u2019in sanat\u0131nda Sonelerin \u00f6nemli bir yeri oldu\u011fu, belirli ve bilinen bir ger\u00e7ek. Belli ba\u015fl\u0131 trajedi ve komedileriyle birlikte Sonelerinin de titizlikle okunup de\u011ferlendirilmesi, Shakespeare\u2019in yarat\u0131c\u0131l\u0131\u011f\u0131n\u0131 b\u00fct\u00fcn y\u00f6nleriyle g\u00f6r\u00fcp anlamak bak\u0131m\u0131ndan bir zorunluluk olmu\u015ftur.<\/p>\n
Soneler, salt \u015fiir olarak, Shakespeare\u2019in lirik dehas\u0131n\u0131, dramatik eserlerinde sezinledi\u011fimizden \u00e7ok daha yo\u011fun bir g\u00fc\u00e7le kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. \u00dcstelik, Shakespeare\u2019in bir\u00e7ok ki\u015fisel ya\u015fant\u0131lar\u0131 -hatta yer yer i\u00e7 d\u00fcnyas\u0131n\u0131n gizli k\u00f6\u015feleri o Sonelerde g\u00f6zler \u00f6n\u00fcne seriliyor.<\/p>\n
Bu iki y\u00f6nden, bilginler ve ele\u015ftirmenler Soneleri g\u00f6zden ge\u00e7irmi\u015fler, yorumlay\u0131p tart\u0131\u015fm\u0131\u015flard\u0131r. Sonelerle ilgili birtak\u0131m muammalar da Shakespeare uzmanlar\u0131n\u0131 \u00f6teden beri u\u011fra\u015ft\u0131r\u0131yor. Bu cevaps\u0131z sorular, Sonelerin yaz\u0131ld\u0131\u011f\u0131 y\u0131llardan Shakespeare\u2019in kendisini Sonelerinde ne denli a\u00e7\u0131klad\u0131\u011f\u0131na kadar de\u011fi\u015fiyor.<\/p>\n
SONELER\u0130N B\u0130\u00c7\u0130M VE \u00d6ZELL\u0130KLER\u0130:<\/p>\n
R\u00f6nesans \u0130talyas\u0131nda ba\u015flayan sone t\u00fcr\u00fc, Shakespeare\u2019den \u00f6nce \u0130ngiliz \u015fiirinde geni\u015f \u00f6l\u00e7\u00fcde kullan\u0131lm\u0131\u015f ve geli\u015ftirilmi\u015fti. Shakespeare, soneyi olgun bir lirik \u015fiir arac\u0131 olarak k\u0131vama erdirmi\u015f, bu t\u00fcr\u00fcn en sa\u011flam ve canl\u0131 \u00f6rneklerini vermeyi ba\u015farm\u0131\u015ft\u0131r. Bilginlerin yapt\u0131\u011f\u0131 incelemelerden Shakespeare\u2019in Petrarch (1304-1374), Pierre de Ronsard (1524-1585) ve Torquato Tasso (1544-1595) gibi yabanc\u0131 ve<\/p>\n
Sir Philip Sidney (1554-1586) ile Samuel Daniel (1562-1619) gibi \u0130ngiliz ozanlar\u0131n\u0131n sonelerini okuyup etkilendi\u011fini \u00f6\u011freniyoruz.<\/p>\n
Shakespeare, \u0130talyan ve Frans\u0131z sonesinden bi\u00e7im bak\u0131m\u0131ndan de\u011fi\u015fik olan \u0130ngiliz sonesini kullanm\u0131\u015ft\u0131r:<\/p>\n
_______ a
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\u2026\u2026 ______ g
\u2026\u2026 ______ g<\/p>\n
Uyak d\u00fczeninde g\u00f6r\u00fclece\u011fi gibi, \u0130ngiliz sonesi \u00fc\u00e7 d\u00f6rtl\u00fckle bir beyitten meydana gelmi\u015fe benzer. Genellikle birinci d\u00f6rtl\u00fck, konuyu sunar; ikinci d\u00f6rtl\u00fck konuyu geni\u015fletir; \u00fc\u00e7\u00fcnc\u00fc d\u00f6rtl\u00fck geli\u015ftirip doru\u011fa g\u00f6t\u00fcr\u00fcr; son iki sat\u0131r ise \u015fiirin \u00f6z\u00fcn\u00fc ve \u00f6zetini verir. Shakespeare, Sonelerini her zaman bu s\u0131raya g\u00f6re yazm\u0131\u015f de\u011fildir elbette. Bi\u00e7im bak\u0131m\u0131ndansa fazla de\u011fi\u015fiklik yapmam\u0131\u015ft\u0131r.<\/p>\n
Sone 126\u2019da 14 de\u011fil, 12 sat\u0131r vard\u0131r; Sone 135 apayr\u0131 bir uyak d\u00fczeniyle yaz\u0131lm\u0131\u015ft\u0131r (abab\/bcbc\/adad\/aa).
Shakespeare, Sonelerinde, piyeslerinde oldu\u011fu gibi, \u00e7o\u011funlukla \u00abiambic pentameten> \u00f6l\u00e7\u00fcs\u00fcn\u00fc kullanm\u0131\u015ft\u0131r. Bu \u00f6l\u00e7\u00fcde, sat\u0131r s\u0131rayla biri vurgusuz, biri vurgulu olmak \u00fczere on heceden meydana gelir. Vurgusu\u2019z heceler yerine bir (.), vurgulu yerine de bir k\u0131sa \u00e7izgi (-) koyarsak sat\u0131r\u0131n \u00f6l\u00e7\u00fcs\u00fcn\u00fc \u015f\u00f6yle g\u00f6sterebiliriz:<\/p>\n
. _ . _ . _ . _ . _.<\/p>\n
Bu \u00f6l\u00e7\u00fcn\u00fcn \u0130ngiliz \u015fiirinde ve Shakespeare\u2019de uygulan\u0131\u015f\u0131 kesin bir kurala ba\u011fl\u0131 kalmaz: Vurgular yer de\u011fi\u015ftirebilir, bir iki hece eklenebilir, sat\u0131rlara \u00e7e\u015fitli ritmler konulabilir. B\u00f6yle de\u011fi\u015fiklikler olsa da olmasa da, bu \u00f6l\u00e7\u00fc ses ve anlam vurgular\u0131ndaki belirli ayr\u0131mlar dolay\u0131s\u0131yla ini\u015f \u00e7\u0131k\u0131\u015fl\u0131 ve k\u0131vrak bir ahenk sa\u011flar.<\/p>\n
Shakespeare yery\u00fcz\u00fcn\u00fc ba\u015ftan ba\u015fa sahne olarak g\u00f6rm\u00fc\u015f ve kendi sahnesine b\u00fct\u00fcn yery\u00fcz\u00fcn\u00fc sokma\u011fa \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Ama, hem oyun yazar\u0131, hem \u015fair olan Shakespeare\u2019in b\u00fct\u00fcn d\u00fcnyas\u0131 sahne de\u011fildi. Ya\u015fant\u0131lar\u0131n\u0131n bir\u00e7o\u011funu trajedilerindeki ve komedilerindeki ki\u015filerin s\u00f6zleriyle dile getirmekle yetinmedi, \u015fiirleriyle de a\u00e7\u0131klad\u0131.<\/p>\n
B\u00fcy\u00fck yazar\u0131n i\u00e7 d\u00fcnyas\u0131, Sonelerindedir. Bu \u00f6zl\u00fc \u015fiirlerde, dramatik ses de\u011fil, lirik ses egemendir. \u00c7o\u011fu, derin duygular\u0131, g\u00fc\u00e7l\u00fc heyecanlar\u0131, ac\u0131lar\u0131 ve sevin\u00e7leri anlat\u0131r. \u0130ngiliz \u015fairi William Wordsworth Soneler i\u00e7in diyor ki:<\/p>\n
\u00abBu anahtarla Shakespeare g\u00f6nl\u00fcn\u00fcn kilidini a\u00e7m\u0131\u015ft\u0131r.\u00bb<\/p>\n
Onalt\u0131nc\u0131 y\u00fczy\u0131l\u0131n sonlar\u0131nda yaz\u0131lm\u0131\u015f olan Sonelerde, Shakespeare insan ruhunun bir\u00e7ok boyutlar\u0131n\u0131 yans\u0131tm\u0131\u015f ve yaratm\u0131\u015ft\u0131r. Ba\u015ftan sona okunduklar\u0131nda incceik sevgilerden yaman cinsel i\u015ftahlara kadar de\u011fi\u015fen bir g\u00f6n\u00fcl ser\u00fcvenini anlatt\u0131klar\u0131 g\u00f6r\u00fcl\u00fcyor.<\/p>\n
Soneler, denebilir ki, \u0130ngilizcenin en \u00fcnl\u00fc \u015fiir dizisidir. Hem de d\u00fcnya a\u015fk edebiyat\u0131nin en g\u00fczel \u00f6rnekleri aras\u0131ndad\u0131r. \u0130ngilizce, bu \u015fiirlerde, gerek duygu ve d\u00fc\u015f\u00fcnce derinli\u011fi. gerek s\u00f6yleyi\u015f zenginli\u011fi bak\u0131m\u0131ndan, \u00f6l\u00fcms\u00fcz bir yere ula\u015fm\u0131\u015ft\u0131r.<\/p>\n
Sonelerin \u00f6nemi, \u00f6zellikle \u00fc\u00e7 y\u00f6nden b\u00fcy\u00fckt\u00fcr:<\/p>\n
1 – Salt \u015fiir olarak, Soneler\u2019in \u00e7o\u011fu, benzeri az bulunur g\u00fczelliktedir. \u00dcnl\u00fc Hayyam \u00e7evirmeni Edward FitzGerald \u015fu \u00f6vg\u00fcy\u00fc bo\u015funa yazm\u0131\u015f olmasa gerek: \u00abSoneleri titizlikle okudu\u011fum g\u00fcne kadar bana yar\u0131-tanr\u0131 gibi g\u00f6r\u00fcnd\u00fc\u011f\u00fc i\u00e7in Shakespeare\u2019i yar\u0131 tan\u0131d\u0131\u011f\u0131m\u0131 s\u00f6ylersem yarg\u0131m\u0131n a\u015f\u0131r\u0131 oldu\u011funu sanmam.\u00bb<\/p>\n
2 – Soneler, Shakespeare\u2019in i\u00e7 d\u00fcnyas\u0131n\u0131n bir\u00e7ok y\u00f6nlerine \u0131\u015f\u0131k tutmaktad\u0131r. B\u00fcy\u00fck \u0130ngiliz ozan ve ele\u015ftirmeni Samuel Taylor Coleridge\u2019in o\u011fluna Shakespeare\u2019in kafas\u0131n\u0131 anlamak i\u00e7in Sonelere ba\u015fvurmas\u0131n\u0131 sal\u0131k vermesi bunun i\u00e7indir.<\/p>\n
3 – Soneler, \u00fcnl\u00fc yazar\u0131n dramatik sanat\u00e7\u0131l\u0131\u011f\u0131 ile lirik sesi aras\u0131nda kesin ba\u011flar kurdu\u011fu i\u00e7in de ilgin\u00e7tir.<\/p>\n
Sonelerin t\u00fcm\u00fcn\u00fc ba\u015fka herhangi bir dile ayn\u0131 bi\u00e7imle, ayn\u0131 kafiye d\u00fczeniyle \u00e7evirmek, d\u00fc\u015f\u00fcn\u00fclebilecek en zor \u00e7eviri i\u015flerinden biridir. Nitekim, bir\u00e7ok dillerde, t\u00fcm Sonelerin \u00e7evirisi yoktur. En g\u00f6z\u00fcpek \u00e7evirmenler bile, bu mihnetli i\u015fi \u00fcstlenmekten \u00fcrkm\u00fc\u015f gibidirler .<\/p>\n
\u0130ngilizceden T\u00fcrk\u00e7eye sone \u00e7evirisi, iki dilin yap\u0131s\u0131 ve ses d\u00fczeni birbirine hi\u00e7 benzemedi\u011fi ve vakit vakit ters d\u00fc\u015ft\u00fc\u011f\u00fc i\u00e7in, b\u00fcy\u00fck zorluklar \u00e7\u0131karmaktad\u0131r. Belki de bu y\u00fczden, Shakespeare\u2019in oyunlar\u0131n\u0131n \u00fc\u00e7te ikisi-baz\u0131lar\u0131 alt\u0131 yedi kez,- dilimize \u00e7evrildi\u011fi halde, Soneler genellikle ihmale u\u011fram\u0131\u015ft\u0131. T\u00fcm Sonelerin ilk \u00e7evirisi 1979 y\u0131l\u0131nda Saadet Bozkurt ve B\u00fclent Bozkurt taraf\u0131ndan yay\u0131nland\u0131. Titizlikle haz\u0131rlanm\u0131\u015f olan ve orijinallere sad\u0131k kalan bu yararl\u0131 \u00e7al\u0131\u015fmada:, \u00e7eviriler vezinsiz, kafiyesiz, d\u00fczyaz\u0131 iledir, yer yer m\u0131sralar\u0131n a\u00e7\u0131klamas\u0131n\u0131 yap\u0131yor gibidir; \u015fiirsellikten \u00e7ok uzakt\u0131r. Bence, \u015fiirsellik y\u00f6n\u00fcnden,en ba\u015far\u0131l\u0131 \u00f6rnekler aras\u0131nda, Sabri Esat Siyavu\u015fgil\u2019in bir, Can Y\u00fccel\u2019in iki sone \u00e7evirisi vard\u0131r.<\/p>\n
T\u00dcM SONELER – Tal\u00e2t Sait Halman<\/p>\n","protected":false},"excerpt":{"rendered":"
Shakespeare\u2019in 154 Sonesinin genel konusu, sevgidir; \u00f6yk\u00fcs\u00fc ise bir sevgi ser\u00fcveni. Bu \u00f6yk\u00fcn\u00fcn d\u00f6rt ki\u015fisi var: Ozan (belki Shakespeare\u2019in kendisi, belki bir anlat\u0131m arac\u0131 olarak yaratt\u0131\u011f\u0131 bir ozan), sar\u0131\u015f\u0131n erkek sevgili, esmer kad\u0131n ve rakip ozan. \u0130lk Sonelerde ozan kendisine ihsan ve yard\u0131mlarda bulunan bir gen\u00e7 aristokrata g\u00fc\u00e7l\u00fc ve heyecanl\u0131 bir sevgiyle ba\u011fl\u0131d\u0131r. Sonralar\u0131, bir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[173],"tags":[],"class_list":{"0":"post-5608","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-william-shakespeare"},"yoast_head":"\n