{"id":714,"date":"2009-04-26T17:29:52","date_gmt":"2009-04-26T14:29:52","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/04\/26\/trajik-olan-ve-komik-olan-m-kagan\/"},"modified":"2009-04-26T17:29:52","modified_gmt":"2009-04-26T14:29:52","slug":"trajik-olan-ve-komik-olan-m-kagan","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/trajik-olan-ve-komik-olan-m-kagan\/","title":{"rendered":"Trajik Olan ve Komik Olan | M. Kagan"},"content":{"rendered":"

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Trajik-olan ile komik-olan da, g\u00fczel-olan ile \u00e7irkin-olan, y\u00fcce-olan ile a\u015fa\u011f\u0131-olan gibi, estetiksel g\u00f6r\u00fcn\u00fc\u015flerdir. Yani, bunlar da, ya\u015fayan ger\u00e7eklik ile insansal idealler aras\u0131ndaki ilintiden do\u011fan o ayn\u0131 nesnel-\u00f6znel ikili \u00f6zellik\u2019i ta\u015f\u0131rlar. Ancak, \u015furadan da a\u00e7\u0131k\u00e7a g\u00f6r\u00fclece\u011fi gibi, bu ilintinin kendine \u00f6zg\u00fc bir yan\u0131 vard\u0131r: \u201cTrajik-olan\u201d ile \u201ckomik-olan\u201d kavramlar\u0131, nesnelerin de\u011fil, s\u00fcre\u00e7lerin de\u011fer-niteliklerini belirler. Hi\u00e7bir bitki ya da hayvan, insan ya da insan\u0131n yaratm\u0131\u015f oldu\u011fu bir nesne (yani bizim \u201cg\u00fczel\u201d ya da \u201cy\u00fcce\u201d diyebilece\u011fimiz hi\u00e7bir \u015fey), ne trajik, ne de komik olabilir. Ancak insan taraf\u0131ndan yerine getirilmi\u015f ya da sanatta canland\u0131r\u0131lm\u0131\u015f bir eylem, trajik ya da komik bir \u00f6zellik ta\u015f\u0131yabilir. O y\u00fczden, ya\u015famda olsun, sanatta olsun, trajik-olan ile komik-olan\u0131n alan\u0131, ilintili oldu\u011fu nesneler d\u00fcnyas\u0131 ile eylem d\u00fcnyas\u0131 bak\u0131m\u0131ndan, g\u00fczel-olan ile y\u00fcce-olan\u0131n alan\u0131ndan daha dard\u0131r.<\/div>\n
Burada \u015fu soru ortaya \u00e7\u0131k\u0131yor, bizim trajik olarak de\u011ferlendirdi\u011fimiz bir eylemin estetik kapsam\u0131n\u0131, estetik de\u011fer olarak, g\u00fczel-olan ile y\u00fcce-olandan ay\u0131ran \u015fey nedir. Varolman\u0131n tarihsel s\u00fcre\u00e7leri ile estetiksel bilincin geli\u015fme yasalar\u0131n\u0131 daha \u00f6nce k\u0131saca a\u00e7\u0131klarken, uyumlu bi\u00e7imde \u00f6rg\u00fctlenmi\u015f varl\u0131\u011f\u0131n alg\u0131lan\u0131\u015f\u0131ndan ortaya \u00e7\u0131kan g\u00fczel ve y\u00fcce olandan farkl\u0131 olmak \u00fczere, trajik ve komik olan\u0131n, d\u00fcnyan\u0131n ayr\u0131mla\u015fmam\u0131\u015f bi\u00e7imde dramatik olarak alg\u0131lan\u0131\u015f\u0131ndan do\u011fdu\u011funu s\u00f6ylemi\u015ftik. Trajik-olan ile komik-olan\u0131n, dramatik-olan ile ayn\u0131 ba\u011flam i\u00e7ine giri\u015fi \u015f\u00f6yle olmu\u015ftur. Trajik-olan ile komik-olan, ba\u015fl\u0131 ba\u015f\u0131na birer estetiksel de\u011fer niteli\u011fini kazand\u0131ktan sonra, en belirgin, en ar\u0131nm\u0131\u015f bi\u00e7imde, tragedya ile komedyada kendilerini belli etmi\u015flerdir; tragedya ve komedya, trajik-olan ile komik-olan\u0131n kendi dramatik yap\u0131lar\u0131 bak\u0131m\u0131ndan, t\u00fcm kar\u015f\u0131tl\u0131klar\u0131yla birlikte yanyana geldikleri dramatik sanat\u0131n iki t\u00fcr\u00fc olmu\u015flard\u0131r. Trajik-olan ile komik-olan\u0131n \u00f6z\u00fc, ya\u015famdaki belirli g\u00fc\u00e7lerin birbiriyle \u00e7at\u0131\u015fmas\u0131n\u0131n ve \u00e7arp\u0131\u015fmas\u0131n\u0131n imgesel \u00f6rneklerini olu\u015fturmalar\u0131nda, ger\u00e7eklik ile insansal idealler aras\u0131ndaki \u00e7at\u0131\u015fmal\u0131 ili\u015fkiler\u2019in ayd\u0131nl\u0131\u011fa \u00e7\u0131kmas\u0131n\u0131 zorunlu k\u0131lmalar\u0131nda yatar. Bunun nas\u0131l oldu\u011funu somut olarak inceleyelim \u015fimdi.<\/div>\n
TRAJ\u0130K OLANIN \u00d6Z\u00dc<\/div>\n
\u201cTrajik\u201d s\u00f6zc\u00fc\u011f\u00fc, genellikle bir kimsenin yokolup gidi\u015fini ya da bir kimsenin ac\u0131 \u00e7eki\u015fini bizde \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. Bunun nedeni, \u00fcz\u00fcnt\u00fc, s\u0131k\u0131nt\u0131, bir ba\u015fka deyi\u015fle, \u00f6l\u00fcm ya da ac\u0131 kar\u015f\u0131s\u0131nda bizlerce co\u015fkulsal tepkilere yak\u0131n duygusal uyand\u0131ran bir olay\u0131 bizim trajik olarak g\u00f6rmemizden gelir.<\/div>\n
Bu anlay\u0131\u015ftan yola \u00e7\u0131kan bir\u00e7ok kuramc\u0131, trajik-olan\u0131n \u00f6z\u00fcn\u00fc, her\u015feyden \u00f6nce insan\u0131n \u00f6l\u00fcm\u2019\u00fc olarak g\u00f6rm\u00fc\u015f ve hangi durumlarda \u00f6l\u00fcm\u00fcn trajik bir karakter ta\u015f\u0131yabilece\u011fi sorusunu sormu\u015ftur sonra. \u00c7erni\u015fevski, idealist estetikte, bu gibi durumlar i\u00e7in yap\u0131lan (\u00f6rne\u011fin, kaderle al\u0131nyaz\u0131sal, tarihsel zorunlulukla \u00e7arp\u0131\u015fma bi\u00e7imindeki) tan\u0131mlamalar\u0131 ele\u015ftirmi\u015f; insan ya\u015fam\u0131 mutlak bir de\u011fer ta\u015f\u0131d\u0131\u011f\u0131 i\u00e7in, insan\u0131n ac\u0131 \u00e7eki\u015finin, hele \u00f6l\u00fcm\u00fcn\u00fcn, ne olursa olsun, kesinlikle trajik oldu\u011funu, yani insan\u0131n ac\u0131 \u00e7eki\u015fi ile \u00f6mr\u00fcn\u00fcn sona eri\u015finin kendinden trajik oldu\u011funu \u00f6ne s\u00fcrm\u00fc\u015ft\u00fcr. \u201cTrajik\u201d s\u00f6zc\u00fc\u011f\u00fc ile \u201ckorkun\u00e7\u201d kavram\u0131n\u0131n \u00c7erni\u015fevski\u2019de e\u015fanlaml\u0131 olmas\u0131n\u0131n nedeni budur.<\/div>\n
Bu kuram, derininden insanc\u0131l olmakla birlikte, bu insanc\u0131l\u0131\u011f\u0131n soyut oldu\u011fu da bizler i\u00e7in \u00e7ok a\u00e7\u0131kt\u0131r. Buna \u015fa\u015fmamak gerekir, \u00e7\u00fcnk\u00fc \u00c7erni\u015fevski\u2019nin genel felsefi anlay\u0131\u015f\u0131ndaki antropolojik maddecilik soyuttur. Her insan\u0131n \u00f6l\u00fcm\u00fcn\u00fcn trajik diye tan\u0131mlanamayaca\u011f\u0131n\u0131 biliyoruz. Evet, Liebknecht ile Th\u00e4lmann\u2019\u0131n \u00f6l\u00fcmleri trajiktir, \u00e7\u00fcnk\u00fc bu insanlar, b\u00fct\u00fcn ya\u015famlar\u0131 boyunca, bizim idealimizi temsil ettikleri ve onun u\u011fruna sava\u015ft\u0131klar\u0131 i\u00e7in bizim sevgimizi, yak\u0131nl\u0131\u011f\u0131m\u0131z\u0131, ilgimizi kazanm\u0131\u015flard\u0131r. Yapt\u0131\u011f\u0131 hareketlerle bizim ya\u015fam idealimizle \u00e7eli\u015fen, onu zorlayarak \u00e7\u0131kmaza s\u00fcr\u00fckleyen bir insan\u0131n \u00f6l\u00fcm\u00fc ya da ac\u0131lar\u0131, bizler i\u00e7in hi\u00e7bir zaman bir tragedya de\u011fildir; tam tersine, biz bundan ancak esenlik, g\u00f6nenlik hatt\u00e2 sevin\u00e7 duyar\u0131z. Ya\u015famda oldu\u011fu kadar, sanatta da trajik-olan\u0131n temel kapsam\u0131 budur.<\/div>\n
Ger\u00e7ek-olan ile ideal-olan aras\u0131nda \u00f6zel bir ilinti oldu\u011fu i\u00e7in, t\u00fcm \u00f6b\u00fcr estetik kategorileri gibi, trajik-olanda, her zaman, tarihsel ve s\u0131n\u0131fsal \u00f6zellik ta\u015f\u0131r. H\u0131ristiyanl\u0131\u011f\u0131n egemen oldu\u011fu d\u00f6nemlerde, en b\u00fcy\u00fck tragedya g\u00f6z\u00fcyle bak\u0131lan \u015fey, \u0130sa\u2019n\u0131n ac\u0131 dolu ya\u015fam\u0131 ve \u0131st\u0131rap dolu \u00f6l\u00fcm\u00fc ile efsanevi \u0130ncil kahramanlar\u0131, yani d\u00f6rt havariler ile azizlerdi. Dinin yerini d\u00fcnyasal d\u00fc\u015f\u00fcnce almaya ba\u015flay\u0131nca, insano\u011flu da ger\u00e7ek tarihsel kahramanlar\u0131n trajik al\u0131nyaz\u0131lar\u0131n\u0131 estetiksel olarak g\u00f6rmeye, Spartak\u00fcs ile Jeanne d\u2019Arc\u2019\u0131n, Giordano Bruno ile Marat\u2019n\u0131n al\u0131nyaz\u0131lar\u0131n\u0131 sanatta canland\u0131rmaya ba\u015flam\u0131\u015ft\u0131. Romantizm ozanlar\u0131n\u0131n g\u00f6z\u00fcnde ise, kural olarak, fantastik ki\u015filer (\u00f6rne\u011fin, Byron\u2019\u0131n Kabil\u2019i, Wagner\u2019in U\u00e7an Hollandal\u0131\u2019s\u0131) ile ola\u011fan\u00fcst\u00fc ki\u015filer (s\u00f6z geli\u015fi, Hugo\u2019nun roman ve oyunlar\u0131 ile Pu\u015fkin\u2019in \u015fiirlerindeki trajik kahramanlar), trajik kahramanlard\u0131. Ger\u00e7ekli\u011fin romantizmin \u00fcstesinden geli\u015fi, her\u015feyden \u00f6nce sanat\u00e7\u0131lar\u0131n, trajik \u00e7at\u0131\u015fmalar\u0131, ola\u011fan g\u00fcnl\u00fck ya\u015fam\u0131n i\u00e7inde, toplumsal ger\u00e7eklikte yatan \u00e7eli\u015fmelerde aramaya ba\u015flamalar\u0131nda g\u00f6r\u00fcl\u00fcr. Trajik alanda, Eugen Onegin ile Boris Godunov\u2019un \u015eeytanlar ile Miziyri Petro\u015fin\u2019in, Kabil\u2019in yerini Julien Sorel ile Goriot Baba\u2019n\u0131n al\u0131\u015flar\u0131 b\u00f6yle olmu\u015ftur.<\/div>\n
Buna ba\u011fl\u0131 olarak, s\u0131n\u0131fsal idealler aras\u0131ndaki farklarda trajik insan anlay\u0131\u015f\u0131 bak\u0131m\u0131ndan de\u011fi\u015fime u\u011fram\u0131\u015ft\u0131r. 18. y\u00fczy\u0131l Frans\u0131z aristokrasisi i\u00e7in, burjuva devriminin ate\u015fleri i\u00e7inde feodalizmin \u00e7\u00f6k\u00fc\u015f\u00fc, XVI. Louis\u2019nin ba\u015f\u0131n\u0131n u\u00e7urulu\u015fu derinlemesine trajikti. Rus soylular\u0131 da toplumcu devrimi ayn\u0131 g\u00f6zle g\u00f6rm\u00fc\u015flerdir. \u0130lerici insanlar i\u00e7inse, tarihsel anlamda \u00e7eli\u015fkin olaylar trajiktir; \u00f6rne\u011fin, halk\u0131n kahramanca sava\u015f\u0131m\u0131n\u0131n meyvelerini Frans\u0131z burjuvazisinin toplay\u0131\u015f\u0131; Robespierre\u2019in, Byron\u2019\u0131n, Radi\u015f\u00e7ev\u2019in \u00f6l\u00fcm\u00fc; Parisli Kom\u00fcnc\u00fclerin kur\u015funa dizili\u015fi, Narodniklerin as\u0131l\u0131\u015f\u0131, Polonya ulusal kurtulu\u015f sava\u015f\u0131 kahramanlar\u0131n\u0131n \u00f6ld\u00fcr\u00fcl\u00fc\u015f\u00fc.<\/div>\n
Farkl\u0131 toplumsal kesimlerin g\u00fczel-olan ile y\u00fcce-olan anlay\u0131\u015flar\u0131 nas\u0131l birbirinden farkl\u0131ysa, trajik-olan tasar\u0131mlar\u0131 da ayn\u0131 bi\u00e7imde, birbirinden farkl\u0131 de\u011ferlerdedir. Burada, daha \u00f6nce de g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi, g\u00f6rece-olan ile mutlak-olan\u0131n diyalekti\u011fi vard\u0131r: trajik \u00e7at\u0131\u015fman\u0131n genel insansal anlam\u0131 ne denli uzant\u0131l\u0131ysa, ger\u00e7ek trajik kapsam\u0131 o denli yo\u011fundur. Bu genel insansal, mutlak an ile tragedyada temsil edilecek idealin ilerici \u00e7izgide olu\u015fu aras\u0131nda do\u011frudan bir ba\u011f vard\u0131r. Onun i\u00e7in, Marks ve Engels, Lasalle\u2019\u0131n Franz von Sickingen adl\u0131 oyununda, kahramanlar\u0131n al\u0131nyaz\u0131s\u0131nda yatan \u201cger\u00e7ek trajik \u00f6\u011fe\u201dyi (1) g\u00f6zden ka\u00e7\u0131rm\u0131\u015f oldu\u011funu \u00f6ne s\u00fcrerler. \u00c7\u00fcnk\u00fc, Lasalle, Sickingen\u2019in yapt\u0131\u011f\u0131 sava\u015f\u0131n ve \u00f6l\u00fcm\u00fcn\u00fcn toplumsal-tarihsel anlam\u0131n\u0131 g\u00f6sterememi\u015f, 16. y\u00fczy\u0131l Almanya\u2019s\u0131nda, derebeylerin ayaklan\u0131\u015f\u0131 ile kitlelerin devrimci sava\u015f\u0131m\u0131 aras\u0131ndaki ili\u015fkileri a\u00e7\u0131\u011fa \u00e7\u0131karamam\u0131\u015ft\u0131.<\/div>\n
Demek, trajik-olan\u0131n estetik i\u00e7eri\u011fi, somut-tarihsel toplumsal bir ideale yap\u0131lan y\u00f6nlendirmeyle belirlenmektedir. Ancak, bu y\u00f6nlendirmenin kendisi farkl\u0131 olabilir. Yukar\u0131daki \u00f6rnekte ya\u015famda oldu\u011fu kadar, sanatta da en yal\u0131n, en genel bir trajik \u00e7at\u0131\u015fma tipi, yani belirli bir ideali ger\u00e7ekle\u015ftirmek ve yerle\u015ftirmek i\u00e7in sava\u015fan bir insan\u0131n \u00f6l\u00fcm\u00fc ya da ac\u0131lar\u0131 verilmektedir. Ama, daha karma\u015f\u0131k bir durumu alal\u0131m; s\u00f6z geli\u015fi, Grigori Mele\u00e7ov, toplumcu bir ideal i\u00e7in de\u011fil, ama tam tersine, kar\u015f\u0131t bir ideal i\u00e7in sava\u015ft\u0131\u011f\u0131 halde Ve Durgun Akard\u0131 Don adl\u0131 roman\u0131n bu kahraman\u0131n al\u0131nyaz\u0131s\u0131n\u0131 ger\u00e7ekten trajik buluruz.<\/div>\n
Bunun nedeni, Mele\u00e7ov\u2019un bizim idealimizin kesin bir d\u00fc\u015fman\u0131, a\u015fa\u011f\u0131, bencil \u00e7\u0131karlar\u0131n adam\u0131 olmay\u0131\u015f\u0131ndan gelir. Mele\u00e7ov, bir halk \u00e7ocu\u011fudur, o d\u00f6nemdeki Kazaklar\u0131n t\u00fcm \u00e7eli\u015fmelerini kendisinde toplam\u0131\u015ft\u0131r, iyi nitelikleri de vard\u0131r, yan\u0131lg\u0131lar\u0131 da; ataerkil Rus k\u00f6yl\u00fcl\u00fc\u011f\u00fcn\u00fcn g\u00fc\u00e7l\u00fc yanlar\u0131n\u0131 da, g\u00fc\u00e7s\u00fcz yanlar\u0131n\u0131 da kendisinde ta\u015f\u0131r. Ve Durgun Akard\u0131 Don\u2019un kahraman\u0131, ki\u015fili\u011fiyle, ruhuyla, d\u00fcnya g\u00f6r\u00fc\u015f\u00fcyle, Kazak k\u00f6yl\u00fclerinin derin \u00e7eli\u015fmelerini bizlere yans\u0131tmaktad\u0131r: \u00f6zg\u00fcrl\u00fck ve \u00e7al\u0131\u015fma a\u015fklar\u0131n\u0131, hakseverliklerini, ak\u0131ll\u0131l\u0131klar\u0131n\u0131, s\u0131cakkanl\u0131 ki\u015filiklerini, \u00f6zel m\u00fclkiyet ideolojilerini, siyasal safl\u0131klar\u0131n\u0131, ba\u011f\u0131ms\u0131zl\u0131k geleneklerine s\u0131k\u0131 s\u0131k\u0131ya ba\u011fl\u0131l\u0131klar\u0131n\u0131. \u0130\u015fte b\u00fct\u00fcn bu nedenlerden dolay\u0131, daha ilk bak\u0131\u015fta Grigori Mele\u00e7ov\u2019u ba\u011fr\u0131m\u0131za basmakta, ona hayranl\u0131k duymakta, ac\u0131makta, hatalar\u0131n\u0131 ba\u011f\u0131\u015flamaktay\u0131z; \u00e7\u00fcnk\u00fc, Mele\u00e7ov\u2019un insan do\u011fas\u0131nda, asil olan \u015fey yokolmam\u0131\u015ft\u0131r, bunu biliyoruz. Mele\u00e7ov\u2019da, bizim kendi insansal idealimize uygun d\u00fc\u015fen bir\u00e7ok \u00f6nemli yanlar buldu\u011fumuz i\u00e7in, onun d\u00fc\u015ft\u00fc\u011f\u00fc yan\u0131lg\u0131lara ac\u0131yarak bakmakta yasl\u0131 sonunu, yaln\u0131z \u201csu\u00e7suz yere su\u00e7lu\u201d birinin, yan\u0131lg\u0131ya d\u00fc\u015fm\u00fc\u015f, b\u00fcy\u00fck ve iyi bir insan\u0131n tragedyas\u0131 olarak de\u011fil, ama ayn\u0131 zamanda devrim a\u015famas\u0131 i\u00e7inde k\u00f6yl\u00fcl\u00fc\u011f\u00fcn tarihsel tragedyas\u0131 olarak da almaktay\u0131z. Grigori Mele\u00e7ov\u2019un tragedyas\u0131n\u0131n toplumsal, estetik, sanatsal i\u00e7eri\u011fini derinle\u015ftiren \u015fey, Mele\u00e7ov\u2019un yan\u0131lg\u0131s\u0131n\u0131n ki\u015fisel yan\u0131lg\u0131 olmay\u0131p, t\u00fcm bir kesimin d\u00fcnyaca tarihsel yan\u0131lg\u0131s\u0131 olu\u015fudur.<\/div>\n
Bir ba\u015fka deyi\u015fle ya\u015famda oldu\u011fu kadar, sanatta da trajik \u00e7at\u0131\u015fman\u0131n temelinde yatan \u015fey, ideal\u2019i ger\u00e7ekli\u011fe d\u00f6n\u00fc\u015ft\u00fcrme sava\u015f\u0131\u2019d\u0131r. Bu sava\u015f\u0131n ba\u015fl\u0131ca alan\u0131 ise, toplumdur, bu toplumun geli\u015fmesi i\u00e7inde, farkl\u0131 kesimlerin \u00e7\u0131karlar\u0131 ile idealleri aras\u0131ndaki tramatik \u00e7eli\u015fmeler boy atar. Hi\u00e7 ku\u015fkusuz, y\u00fczy\u0131llar boyunca insanlar bu \u00e7eli\u015fmelerin ger\u00e7ek toplumsal i\u00e7eri\u011fini anlayamam\u0131\u015flar; trajik \u00e7at\u0131\u015fmay\u0131 insan\u0131n al\u0131nyaz\u0131s\u0131yla, kaderiyle ya da buna benzer gizemsi g\u00fc\u00e7lerle kar\u015f\u0131 kar\u015f\u0131ya kalmas\u0131n\u0131n (\u00e7arp\u0131\u015fmas\u0131n\u0131n) sonucu olarak g\u00f6rm\u00fc\u015flerdir. Ama ger\u00e7eklikte, ister antik tragedyada olsun; ister \u00c7aykovski\u2019nin senfonilerinde, o korkun\u00e7 \u201cal\u0131nyaz\u0131s\u0131\u201d, toplumsal-tarihsel zorunluluk\u2019un, toplumsal geli\u015fme yasalar\u0131n\u0131n sonsuz g\u00fcc\u00fcn\u00fcn fantastik bi\u00e7imde yans\u0131t\u0131lmas\u0131ndan ba\u015fka bir\u015fey de\u011fildir.<\/div>\n
Ancak, insansal idealin ger\u00e7ekle\u015ftirilmesi sava\u015f\u0131, yaln\u0131zca toplumsal kesimlerin, topluluklar\u0131n ya da tek tek ki\u015filerin bir sava\u015f\u0131 olmay\u0131p, ayn\u0131 zamanda insano\u011flunun do\u011fayla sava\u015f\u0131\u2019d\u0131r da. \u0130nsan\u0131, kendisine d\u00fc\u015fmanca vah\u015fi do\u011fa g\u00fc\u00e7lerinin bask\u0131s\u0131 alt\u0131ndan kurtar\u0131p, bu g\u00fc\u00e7leri insan\u0131n kendi iyili\u011fi i\u00e7in kullanma \u00e7abas\u0131, insano\u011flunun her zaman i\u00e7in en \u00f6nemli d\u00fc\u015f\u00fcnsel ama\u00e7lar\u2019\u0131ndan biri olmu\u015ftur. Ama, do\u011fa g\u00fc\u00e7lerine meydan okuyan birini b\u00fcy\u00fck tehlikeler, trajik sonlar bekler. Bu trajik \u00e7at\u0131\u015fman\u0131n ilk sanatsal tiplemelerinden biri, tanr\u0131lardan ate\u015fi \u00e7ald\u0131\u011f\u0131 i\u00e7in a\u011f\u0131r cezalara \u00e7arpt\u0131r\u0131lan Prometheus\u2019un mitolojinin fastastik t\u00fcllerine b\u00fcr\u00fcl\u00fc tragedyas\u0131d\u0131r. Buna bir ba\u015fka \u00f6rnek de, mitolojik e\u011fretilemelerden kurtulmu\u015f bir bi\u00e7imde, insan\u0131n do\u011fayla \u00e7arp\u0131\u015fmas\u0131n\u0131 veren, Br\u00fcllov\u2019un Pompei\u2019nin Son G\u00fcnleri adl\u0131 tablosudur.<\/div>\n
\u0130nsan\u0131n do\u011fayla trajik sava\u015f\u0131n\u0131n yans\u0131t\u0131l\u0131\u015f\u0131, sanat tarihinde \u00e7ok k\u00fc\u00e7\u00fck bir yer tutar. Buna \u015fa\u015fmamak gerekir, \u00e7\u00fcnk\u00fc uzla\u015fmaz kesimleri i\u00e7eren toplumda sanat, toplumsal ya\u015fam\u0131n kendi dramati\u011finden do\u011fan trajik durumlardan g\u00f6z\u00fcn\u00fc ay\u0131ram\u0131yordu. Shakespeare\u2019in b\u0131rakt\u0131\u011f\u0131 mirasa bakacak olursak, g\u00f6r\u00fcr\u00fcz ki yaln\u0131z siyasal ya\u015famda de\u011fil (\u00f6rne\u011fin, Macbeth ve Hamlet gibi tarih oyunlar\u0131nda de\u011fil), ama ayn\u0131 zamanda insanlar aras\u0131ndaki ki\u015fisel, yak\u0131n aile ili\u015fkilerinde de (\u00f6rne\u011fin, Othello, Romeo ve Juliet ve Kral Lear\u2019da da), trajik olarak bi\u00e7imlenen b\u00fct\u00fcn \u00e7at\u0131\u015fmalar, do\u011frudan do\u011fruya toplumsal \u00e7eli\u015fmelerce ko\u015fullanm\u0131\u015f olanlard\u0131r.<\/div>\n
Toplumcu sanat\u0131n odak noktas\u0131nda, \u015fimdiye de\u011fin hep toplumsal-tarihsel \u00e7at\u0131\u015fmalar ile bu \u00e7at\u0131\u015fmalardan do\u011fan trajik durumlar, yani emek\u00e7ilerin yapt\u0131klar\u0131 m\u00fccadelelerde, burjuva sava\u015f\u0131nda ve anavatan sava\u015f\u0131nda, daha sonra da kollektivle\u015fme d\u00f6neminde ortaya \u00e7\u0131kan trajik \u00e7arp\u0131\u015fmalar yer alm\u0131\u015ft\u0131r. Toplumcu d\u00fczenin kurulmas\u0131 s\u0131ras\u0131nda toplum kesimleri aras\u0131ndaki kar\u015f\u0131tl\u0131klar\u0131n ortadan kalkmas\u0131yla toplumsal k\u00f6kenli trajik durumlar, tarihsel t\u00fcre konu olmu\u015flard\u0131r. Hi\u00e7 ku\u015fkusuz, ileri bir toplumda da, yeni trajik \u00e7arp\u0131\u015fmalara yol a\u00e7acak yeni \u00e7eli\u015fmelerin ortaya \u00e7\u0131kabilece\u011fini tarih bizlere g\u00f6stermi\u015ftir. Ancak, toplumcu d\u00fczenin kuruldu\u011fu d\u00f6nemde, trajik \u00e7at\u0131\u015fmalar\u0131n ana kayna\u011f\u0131, insan ile do\u011fa aras\u0131ndaki ili\u015fkiler alan\u0131ndan insanlar aras\u0131ndaki ili\u015fkiler alan\u0131na kaym\u0131\u015ft\u0131r.<\/div>\n
Bu konuda, birbirinden farkl\u0131 ama ayn\u0131 derecede ilgin\u00e7 iki film an\u0131msanabilir burada; birincisi, M. Kalatosov\u2019un Yerine Ula\u015fmayan Mektup\u2019u, ikincisi M. Romm\u2019un Y\u0131lda Dokuz G\u00fcn\u2019\u00fc. \u0130nsan\u0131n trajik-olan kar\u015f\u0131s\u0131nda g\u00f6z\u00fcn\u00fc y\u0131ld\u0131rman\u0131n, sanat\u0131n e\u011fitsel etkinliklerinden biri oldu\u011fu yolundaki ilkelce d\u00fc\u015f\u00fcncenin ayn\u0131 \u00e7izgide daha da ileriye do\u011fru g\u00f6t\u00fcr\u00fclmesinin b\u00fcy\u00fck \u00f6l\u00e7\u00fcde \u00f6n\u00fc al\u0131nm\u0131\u015f olmakla birlikte, hi\u00e7 ku\u015fkusuz, toplumcu sanatta da bu tip trajik \u00e7at\u0131\u015fmalar benimsenmi\u015f; burjuva toplumun bir g\u00f6stergesi olan, \u00f6rne\u011fin Th. Dreiser\u2019in Amerikan Tragedyas\u0131, A. Miller\u2019in Sat\u0131c\u0131n\u0131n \u00d6l\u00fcm\u00fc ya da V. de Sica\u2019n\u0131n Bisiklet H\u0131rs\u0131zlar\u0131 gibi tragedyalar\u0131n kar\u015f\u0131s\u0131nda bunlara da yer verilmi\u015ftir.<\/div>\n
\u00d6l\u00fcm\u00fcn genellikle niye trajik bir\u015fey olarak g\u00f6r\u00fcld\u00fc\u011f\u00fcn\u00fc de yan\u0131tlayabiliriz burada. \u00d6l\u00fcm, insan\u0131n kar\u015f\u0131 koymaya \u00e7al\u0131\u015ft\u0131\u011f\u0131, ama ister istemez kar\u015f\u0131s\u0131nda yenik d\u00fc\u015ft\u00fc\u011f\u00fc temel do\u011fa g\u00fc\u00e7lerinden biridir. Burada, trajik-olan\u0131n salt biyoloji de\u011fil, estetik bir do\u011fas\u0131 oldu\u011fu a\u00e7\u0131k\u00e7a g\u00f6r\u00fclmektedir. \u00c7erni\u015fevski\u2019nin, Feuerbachc\u0131 antropolojik maddecili\u011fin etkisi alt\u0131nda kalarak d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc gibi, salt biyolojik a\u00e7\u0131dan ya\u015fam\u0131 s\u0131n\u0131rland\u0131rmas\u0131ndan \u00f6t\u00fcr\u00fc trajik bir \u00f6zellik ta\u015f\u0131maz \u00f6l\u00fcm. Ancak ya\u015fam insan idealinin odak noktas\u0131nda yer alm\u0131\u015fsa, \u00f6l\u00fcm trajiktir; bunu a\u00e7\u0131k se\u00e7ik anlayabilmek i\u00e7in, \u00f6l\u00fcme dinsel ve estetik olarak nas\u0131l yer verildi\u011fini kar\u015f\u0131la\u015ft\u0131rmak yetecektir. \u00d6l\u00fcm, ya\u015fam derdinden bir kurtulu\u015f olarak g\u00f6r\u00fcl\u00fcyorsa, \u201c\u00f6b\u00fcr d\u00fcnyadaki ya\u015fam\u201d\u0131n, sonsuz mutlu bir ya\u015fam\u0131n yerine ge\u00e7iyorsa, o zaman trajik bir \u00f6zellik ta\u015f\u0131maz art\u0131k. Bu a\u00e7\u0131dan al\u0131nd\u0131\u011f\u0131nda do\u011fa da, hayvan ve bitki d\u00fcnyas\u0131 da bize farkl\u0131 g\u00f6r\u00fcn\u00fcr. Do\u011fadaki g\u00fcz yapraklar\u0131, insan ya\u015fam\u0131yla bir \u00e7a\u011fr\u0131\u015f\u0131m yapt\u0131\u011f\u0131 zaman, trajik bir i\u00e7erik kazan\u0131r; ama g\u00fcz\u00fc, ba\u015fka \u00e7a\u011fr\u0131\u015f\u0131mlarla, s\u00f6z geli\u015fi tar\u0131mla ilgili tasar\u0131mlar\u0131m\u0131zla ayn\u0131 ba\u011flamda al\u0131rsak, o zaman, trajik-olan bir\u015fey g\u00f6remeyiz bunda. Yine, bir hayvan\u0131n \u00f6l\u00fcm\u00fcn\u00fc de farkl\u0131 olarak yans\u0131t\u0131r\u0131z. E\u011fer o hayvan insan d\u00fc\u015fman\u0131 bir hayvansa, \u00f6l\u00fcm\u00fc trajik bir kapsam ta\u015f\u0131maz. Ama bir hayvan\u0131n \u00f6l\u00fcm\u00fc mecazi olarak insan\u0131n \u00f6l\u00fcm\u00fcne benzetiliyorsa, o hayvan \u015fu ya da bu bi\u00e7imde bizim alg\u0131m\u0131z i\u00e7inde \u201cinsansalla\u015ft\u0131r\u0131lm\u0131\u015f\u201dsa, en az insan kadar b\u00fcy\u00fck bir trajik kahraman haline gelebilir. \u00d6rne\u011fin, Yuri Kasakov\u2019un K\u00f6r Av K\u00f6pe\u011fi \u00f6yk\u00fcs\u00fcnde ya da Fyodor Abramov\u2019un Bir Zamanlar Bir G\u00fcl\u00fcc\u00fckt\u00fc adl\u0131 trajik e\u011fretilemeli masal\u0131nda kurulan ilinti budur.<\/div>\n
Demek, ne biyolojik bir yasall\u0131k olarak \u00f6l\u00fcm, ne de psikolojik bir g\u00f6r\u00fc\u015f olarak ac\u0131, kendinden trajik de\u011fildir. Ancak \u015fu ya da bu bi\u00e7imde, ideal\u2019i canland\u0131rd\u0131\u011f\u0131, temsil etti\u011fi ve korudu\u011fu s\u00fcrece trajik anlam kazanabilir ger\u00e7ek bir varl\u0131\u011f\u0131n \u00f6l\u00fcm\u00fc ya da ac\u0131s\u0131. Bir ba\u015fka deyi\u015fle bir tragedya, idealin ger\u00e7ek d\u00fcnyaya g\u00f6\u00e7\u00fc\u015f\u00fc, ideal-olan\u0131n ger\u00e7ek-olana yenik d\u00fc\u015f\u00fc\u015f\u00fc\u2019d\u00fcr. Bu bak\u0131mdan, i\u00e7inde hi\u00e7bir \u00f6l\u00fcm, hi\u00e7bir ac\u0131, \u015fu ya da bu ideali ger\u00e7ekle\u015ftirmek i\u00e7in hi\u00e7bir sava\u015f\u0131m, hi\u00e7bir kavga, hi\u00e7bir kar\u015f\u0131 kar\u015f\u0131ya \u00e7at\u0131\u015fma, do\u011fa g\u00fc\u00e7leriyle hi\u00e7bir sava\u015f olu\u015fturmayan trajik durumlar da olabilir. Ya\u015fam\u0131n g\u00fcncel ola\u011fan ak\u0131\u015f\u0131 i\u00e7inde, bu arada, ya\u015famdaki komik anlarda bile, derinden i\u00e7li bir tragedya bulabiliriz. Frans\u0131z G\u00f6z\u00fcyle Amerika adl\u0131 Frans\u0131z filminin estetik anlam\u0131, \u00e7al\u0131\u015fmay\u0131 seven, becerikli bir halk\u0131n i\u00e7inde ya\u015fad\u0131\u011f\u0131 toplumsal d\u00fczenin, insansal, manevi ve d\u00fc\u015f\u00fcnsel olan her\u015feyi nas\u0131l \u00f6ld\u00fcrd\u00fc\u011f\u00fcn\u00fc, nas\u0131l zehirledi\u011fini, k\u00f6t\u00fcr\u00fcm b\u0131rakt\u0131\u011f\u0131n\u0131 g\u00f6stermesinden gelir. \u0130zleyici, \u201cortalama Amerikal\u0131\u201dn\u0131n ya\u015fad\u0131\u011f\u0131 o ne\u015fesi yerinde, maddi bak\u0131mdan g\u00fcvence alt\u0131na al\u0131nm\u0131\u015f gibi g\u00f6r\u00fcnen ya\u015fam tarz\u0131n\u0131n asl\u0131nda nas\u0131l trajik bir temele dayand\u0131\u011f\u0131n\u0131 birdenbire farkeder. \u0130\u015fte burada, trajik-olan duygusu, somut bir ki\u015finin bedence \u00f6l\u00fcm\u00fcnden ya da \u00e7ekti\u011fi manevi ac\u0131lardan de\u011fil, insansal ideal\u2019in yokolup gidi\u015finden do\u011fmaktad\u0131r.<\/div>\n
Ger\u00e7ek\u00e7i sanat, insan ya\u015fam\u0131ndaki bu trajik-olan\u0131n bi\u00e7imini belli bi\u00e7imlerde vermeye \u00e7ok\u00e7a \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Gogol\u2019\u00fcn Eski Zamanlar\u0131n Mal Sahibi\u2019ni, \u00c7ekhov\u2019un bir\u00e7ok \u00f6yk\u00fcs\u00fcn\u00fc, Chaplin\u2019in Modern Zamanlar\u0131\u2019\u0131n\u0131, Fellini\u2019nin Tatl\u0131 Hayat\u2019\u0131n\u0131 an\u0131msayal\u0131m. B\u00fct\u00fcn bu sanat\u00e7\u0131lar, anlatt\u0131klar\u0131 yal\u0131n, \u00e7o\u011fu zaman da keyifli hik\u00e2yelerde Gogol\u2019\u00fcn deyi\u015fiyle, d\u0131\u015flar\u0131ndan g\u00fclerken i\u00e7lerinde g\u00f6zya\u015flar\u0131n\u0131 saklam\u0131\u015flard\u0131r. Bu yap\u0131tlarda trajik havay\u0131 veren \u015fey, insanlar\u0131n \u00e7irkin ve k\u00fc\u00e7\u00fck ya\u015fam tarzlar\u0131n\u0131n t\u00fcm insansal olan \u015feyleri ayaklar alt\u0131na alarak ezi\u015finden, insan\u0131 bir \u0130van \u0130vanovi\u00e7, bir \u0130van Mikiforovi\u00e7, bir Afanasi \u0130vanovi\u00e7 ile bir Pul\u00e7eriya \u0130vanovna\u2019ya \u00e7eviri\u015finden ya da ak\u0131ll\u0131, uygar ve k\u00fclt\u00fcrl\u00fc insanlar\u0131 ahlak\u00e7a soysuzla\u015ft\u0131r\u0131\u015f\u0131ndan, onlar\u0131 art\u0131k hi\u00e7bir \u015feyden doygunluk alamayacaklar\u0131, \u00e7\u0131lg\u0131nca bir ahlak bozgununa do\u011fru s\u00fcr\u00fckleyi\u015finden gelmektedir (Tatl\u0131 Hayat).<\/div>\n
Rus resim tarihinden, P.Fedotov\u2019un \u201cBir daha, bir daha, bir daha!\u201d adl\u0131 tablosunu d\u00fc\u015f\u00fcnelim. Bu resimde, bir subay\u0131n k\u00f6pe\u011fiyle oynay\u0131\u015f\u0131nda bu denli trajik olan \u015fey nedir acaba? Resme daha yak\u0131ndan bak\u0131p i\u00e7ine girince, resmin derin trajik kapsam\u0131 iyice anla\u015f\u0131lmaktad\u0131r. Bu aptalca, anlams\u0131z, ama\u00e7s\u0131zca vakit \u00f6ld\u00fcrme olarak g\u00f6r\u00fclen \u015feyde, b\u00fcy\u00fck bir sanatsal yarat\u0131m sonucu, Rusya\u2019daki bir ta\u015fra subay\u0131n\u0131n bo\u015f, yapayaln\u0131z, umutsuz ya\u015fam\u0131 canland\u0131r\u0131lm\u0131\u015ft\u0131r. A\u015fa\u011f\u0131l\u0131k, \u00e7irkin, ger\u00e7eklikle \u00e7at\u0131\u015fan ideal insan ya\u015fam\u0131 tasar\u0131m\u0131 burada yenilgiye u\u011fram\u0131\u015ft\u0131r; tragedyay\u0131 yapan \u015fey, bu idealin yenilgiye u\u011fray\u0131\u015f\u0131\u2019d\u0131r i\u015fte.<\/div>\n","protected":false},"excerpt":{"rendered":"

Trajik-olan ile komik-olan da, g\u00fczel-olan ile \u00e7irkin-olan, y\u00fcce-olan ile a\u015fa\u011f\u0131-olan gibi, estetiksel g\u00f6r\u00fcn\u00fc\u015flerdir. Yani, bunlar da, ya\u015fayan ger\u00e7eklik ile insansal idealler aras\u0131ndaki ilintiden do\u011fan o ayn\u0131 nesnel-\u00f6znel ikili \u00f6zellik\u2019i ta\u015f\u0131rlar. Ancak, \u015furadan da a\u00e7\u0131k\u00e7a g\u00f6r\u00fclece\u011fi gibi, bu ilintinin kendine \u00f6zg\u00fc bir yan\u0131 vard\u0131r: \u201cTrajik-olan\u201d ile \u201ckomik-olan\u201d kavramlar\u0131, nesnelerin de\u011fil, s\u00fcre\u00e7lerin de\u011fer-niteliklerini belirler. Hi\u00e7bir bitki ya […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[64],"tags":[],"class_list":["post-714","post","type-post","status-publish","format-standard","category-tiyatro-uzerine"],"yoast_head":"\nTrajik Olan ve Komik Olan | M. Kagan - 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\/2009\/04\/26\/trajik-olan-ve-komik-olan-m-kagan\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Trajik Olan ve Komik Olan | M. Kagan\" \/>\n<meta property=\"og:description\" content=\"Trajik-olan ile komik-olan da, g\u00fczel-olan ile \u00e7irkin-olan, y\u00fcce-olan ile a\u015fa\u011f\u0131-olan gibi, estetiksel g\u00f6r\u00fcn\u00fc\u015flerdir. Yani, bunlar da, ya\u015fayan ger\u00e7eklik ile insansal idealler aras\u0131ndaki ilintiden do\u011fan o ayn\u0131 nesnel-\u00f6znel ikili \u00f6zellik\u2019i ta\u015f\u0131rlar. Ancak, \u015furadan da a\u00e7\u0131k\u00e7a g\u00f6r\u00fclece\u011fi gibi, bu ilintinin kendine \u00f6zg\u00fc bir yan\u0131 vard\u0131r: \u201cTrajik-olan\u201d ile \u201ckomik-olan\u201d kavramlar\u0131, nesnelerin de\u011fil, s\u00fcre\u00e7lerin de\u011fer-niteliklerini belirler. 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Ancak, \u015furadan da a\u00e7\u0131k\u00e7a g\u00f6r\u00fclece\u011fi gibi, bu ilintinin kendine \u00f6zg\u00fc bir yan\u0131 vard\u0131r: \u201cTrajik-olan\u201d ile \u201ckomik-olan\u201d kavramlar\u0131, nesnelerin de\u011fil, s\u00fcre\u00e7lerin de\u011fer-niteliklerini belirler. 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