{"id":715,"date":"2009-04-26T17:24:36","date_gmt":"2009-04-26T14:24:36","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/04\/26\/trajik-ile-komik-1bolum-avner-ziss\/"},"modified":"2009-04-26T17:24:36","modified_gmt":"2009-04-26T14:24:36","slug":"trajik-ile-komik-1bolum-avner-ziss","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/04\/26\/trajik-ile-komik-1bolum-avner-ziss\/","title":{"rendered":"Trajik ile Komik (1.B\u00f6l\u00fcm) | Avner Ziss"},"content":{"rendered":"
Estetikte trajik ile komi\u011fin \u00f6nemi ve kapsam\u0131, bu kategorileri geneldeki temel g\u00f6r\u00fcng\u00fclere ili\u015fkin estetik bir de\u011ferlendirmeyi dile getirmelerinden ve g\u00fczel kategorisiyle birlikte sanat\u0131n ba\u015fl\u0131ca konular\u0131yla ilgili olu\u015flar\u0131ndan kaynaklan\u0131r.<\/p>\n

Ger\u00e7ek d\u00fcnyada trajik ile komi\u011fin alan\u0131 g\u00fczelinkinden daha s\u0131n\u0131rl\u0131d\u0131r; salt toplumsal ya\u015famla ilgilidirler \u00e7\u00fcnk\u00fc; bu kategorilerin do\u011fayla bir al\u0131\u015f-veri\u015fleri yoktur. Do\u011fa, iyili\u011fe de k\u00f6t\u00fcl\u00fc\u011fe de nas\u0131l yabanc\u0131 ise, ac\u0131 g\u00f6z ya\u015flar\u0131n\u0131 da, komik g\u00fclmeyi de bilmez. Ta\u015f\u0131d\u0131klar\u0131 toplumsal i\u00e7eri\u011fe g\u00f6re ya\u015famdaki olaylar trajik ya da komik ay\u0131rt\u0131lar kazan\u0131rlar.<\/p>\n

Trajik ile komi\u011fin bu son derece \u00f6nemli \u00f6zg\u00fcll\u00fc\u011f\u00fc, kimi ara\u015ft\u0131rmac\u0131lar\u0131, bunlar\u0131 estetik de\u011fil de, etik kategoriler gibi g\u00f6rmeye s\u00fcr\u00fckler. Trajik ile komi\u011fin i\u00e7eri\u011fi, k\u0131smen de olsa, ahl\u00e2ksal bir de\u011ferlendirmeyi gerekli k\u0131lar ku\u015fkusuz; onun i\u00e7in etik ile esteti\u011fin birli\u011fi apayr\u0131 bir kuvvetle ortaya \u00e7\u0131kar; ancak \u015fu da var: Trajik ya da komik olaylar, karakterler ve \u00e7at\u0131\u015fmalar, en parlak ve en tam bir bi\u00e7imde ancak sanatta somutla\u015f\u0131rlar. Trajikle komi\u011fin \u00f6z\u00fc, ahl\u00e2ksal kavramlarda de\u011fil, tersine, sanat yap\u0131tlar\u0131nda, tek tek karakterlerin somut ve duyulur ya\u015fam\u0131nda, ger\u00e7ek olaylarda e\u015fsiz bir derinlikle d\u0131\u015fa vurur.<\/p>\n

Trajik ile komik, daha ilk ba\u015fta tiyatro ile dramaturji alan\u0131nda kendilerini g\u00f6stermi\u015f olan ve en yetkin bir bi\u00e7imde buralarda somutla\u015fan, tragedya ile komedya t\u00fcrlerine indirgenemez. Onlar\u0131n ger\u00e7ekte; \u00e7ok daha geni\u015f bir anlam\u0131 vard\u0131r; ya\u015famdaki olaylar\u0131n estetik de\u011ferlendirilmesinde kategorileri, bu kategorilerin sanatsal somutla\u015ft\u0131r\u0131lmas\u0131ndaki \u00f6l\u00e7\u00fctleri ve ilkeleri olu\u015ftururlar. Trajik \u00e7at\u0131\u015fmalar ve komik durumlar, tuhaf (dr\u00f6le) ya da dramatik karakterler, hemen hemen, sanat\u0131n b\u00fct\u00fcn dallar\u0131nda bulunurlar.<\/p>\n

Roman t\u00fcr\u00fc; tragedya t\u00fcr\u00fcnden b\u00fcy\u00fck \u00f6l\u00e7\u00fcde ayr\u0131l\u0131r ama, Victor Hugo\u2019nun Quatre-vingt-treize\u2019i ve \u015eolohov\u2019un Ve Durgun Akard\u0131 Don\u2019u b\u00fcy\u00fck devrimci d\u00f6nemlerin yol a\u00e7t\u0131\u011f\u0131, tragedyaya yara\u015f\u0131r \u00e7at\u0131\u015fmalar\u0131 ve karakterleri b\u00fcy\u00fck bir kuvvetle sahneye \u00e7\u0131kar\u0131rlar. \u00d6te yandan Tvardovski\u2019nin de\u011ferli yap\u0131t\u0131 Vassili Tiorkin de, asl\u0131nda bir uzun \u015fiir olmakla birlikte, komedyaya \u00f6zg\u00fc \u00e7izgilerle doludur. Edebiyatta ve sinemada, m\u00fczikte ve plastik sanatlarda de\u011fi\u015fik t\u00fcrler, ya\u015famdaki dramatik ve e\u011flendirici olaylar\u0131 yans\u0131t\u0131rlar, trajik ve komikle ilintili sanatsal y\u00f6ntemleri rahat\u00e7a kullan\u0131rlar.<\/p>\n

\u0130lk bak\u0131\u015fta birbirine kar\u015f\u0131tm\u0131\u015f, hatta birbirini d\u0131\u015fta b\u0131rak\u0131yormu\u015f gibi g\u00f6r\u00fcnebilir bu iki kategori. \u00d6zel estetik bilgisi olmad\u0131 m\u0131, her insan traji\u011fi ac\u0131 ve \u00fcz\u00fcnt\u00fcye, komi\u011fi de sevince ve g\u00fclmeye ba\u011flar ge\u00e7er. Sanatta ise trajik, ruhun soylu at\u0131l\u0131mlar\u0131na ve derin felsef\u00ee fikirlere ba\u011fl\u0131 olurken, komik de g\u00fcnl\u00fck ya\u015famla, \u201cg\u00fcndelik olan\u201dla, \u201chafif t\u00fcrler\u201dle ilgili g\u00f6r\u00fcl\u00fcr. Bu durumda, birbiriyle ba\u011fda\u015fmaz, salt\u0131k kar\u015f\u0131tl\u0131klar varm\u0131\u015f gibi gelir insana. Ne var ki, trajik ile komik, sevin\u00e7 ile ac\u0131, g\u00fclme ile \u00fcz\u00fcnt\u00fc, baya\u011f\u0131 ile y\u00fcce, ya\u015famda \u00e7o\u011fun birbirine kar\u0131\u015f\u0131r, birlikte bulunur. Sanatta ve ya\u015famda komik ile trajik kimi zaman \u00f6ylesine birbirine girer ki, \u015fu ya da bu g\u00f6r\u00fcng\u00fcde ikisinden hangisinin daha bask\u0131n oldu\u011funu s\u00f6ylemek g\u00fc\u00e7le\u015fir. \u0130\u015fte bu y\u00fczden, ne denli birbirine kar\u015f\u0131t olsalar da, estetik fenomenler olarak i\u00e7lerinde, genel ge\u00e7er de\u011ferde toplumsal bir i\u00e7erik ta\u015f\u0131d\u0131klar\u0131 s\u00fcrece yine de birbiriyle s\u0131ms\u0131k\u0131 ba\u011fl\u0131d\u0131rlar.<\/p>\n

Ya\u015fam \u00e7ok karma\u015f\u0131kt\u0131r, kimi ko\u015fullar alt\u0131nda trajik komi\u011fe d\u00f6n\u00fc\u015febilir; ama tersi de olur bunun. Ger\u00e7ek ya\u015famda trajik ile komi\u011fi kat\u0131ks\u0131z bir durumda bulmak \u00f6yle pek s\u0131k rastlan\u0131r bir \u015fey de\u011fildir; \u00e7o\u011fu kez bir bak\u0131ma birbirini tamamlar bunlar ve belirli bile\u015fimler olu\u015ftururlar: \u00d6z\u00fcnde trajik olan bir olay, komik bir n\u00fcans da g\u00f6sterebilir; ayr\u0131ca g\u00fcl\u00fcn\u00e7 (burlesque) olan bir \u015fey de s\u0131k s\u0131k trajikten bir iz ta\u015f\u0131r. Bu gibi durumlarda do\u011fan z\u0131tl\u0131k, trajik ile komi\u011fin farkl\u0131 yanlar\u0131n\u0131 g\u00fcn y\u00fcz\u00fcne \u00e7\u0131karmaya ve g\u00fc\u00e7lendirmeye yard\u0131mc\u0131 olur \u00e7o\u011fun. Etkili dramatik durumlarda, g\u00fcnl\u00fck ve s\u0131radan olaylarda bunlar\u0131n birbirine kar\u0131\u015ft\u0131klar\u0131 da g\u00f6r\u00fclebilir ayr\u0131ca. Pu\u015fkin \u015f\u00f6yle yaz\u0131yordu: \u201c\u015eu noktaya dikkati \u00e7ekece\u011fiz: Y\u00fcksek (nitelikli) komedya yaln\u0131z g\u00fclmeye dayanmaz ve \u00e7o\u011fun tragedyaya yakla\u015f\u0131r\u201d. A\u011flarken g\u00fclme; bir\u00e7ok sanatsal t\u00fcr\u00fc belirginle\u015ftiren ve dramaturji ile tiyatroya, epik edebiyat ile sinematografik kimi t\u00fcrlere damgas\u0131n\u0131 vuran \u015fey de budur i\u015fte.<\/p>\n

Shakespeare, tragedyalar\u0131nda genellikle soytar\u0131lar\u0131 da oyuna kar\u0131\u015ft\u0131r\u0131r ve komi\u011fin y\u00f6ntemlerine ba\u015fvururdu. Charlie Chaplin\u2019in filmleri komedyad\u0131r ama, kapitalist toplumdaki k\u00fc\u00e7\u00fck adamlar\u0131n tragedyas\u0131n\u0131 e\u015fsiz bir g\u00fc\u00e7le ve a\u00e7\u0131kl\u0131kla g\u00f6zler \u00f6n\u00fcne serer. Modern sineman\u0131n en b\u00fcy\u00fck komedya yazar\u0131 (com\u00e9diographe) Chaplin, sanatta, g\u00fclmenin g\u00fcc\u00fcne de, g\u00f6zya\u015flar\u0131n\u0131n g\u00fcc\u00fcne de ayn\u0131 de\u011feri verir.<\/p>\n

Ge\u00e7en y\u00fczy\u0131l\u0131n b\u00fcy\u00fck Rus ele\u015ftirmeni Nikolai Dobroliubov\u2019un \u00e7ok g\u00fczel belirtmi\u015f oldu\u011fu gibi, sanatta trajik ile komi\u011fin bir ortak yan\u0131 vard\u0131r: Bir ve ayn\u0131 s\u00fcrecin \u00e7e\u015fitli yanlar\u0131n\u0131 de\u011fi\u015fik tarzda dile getirirler ve birbiri ile kutupla\u015fm\u0131\u015f olmalar\u0131na kar\u015f\u0131n, benze\u015f k\u00f6klerden do\u011farlar. \u201cTragedya ile komedya \u015fu olguyla birbirine yakla\u015f\u0131r: Her ikisi de i\u00e7eriklerini olup-bitenlerin anormal bir durumundan al\u0131r ve burada bir \u00e7\u0131k\u0131\u015f yolu bulmay\u0131 ama\u00e7lar. Ancak tragedya \u015fu noktada farkl\u0131la\u015f\u0131r: D\u0131\u015fsal durumlara, (d\u0131\u015f ko\u015fullara) yani eskilerin Fatum ad\u0131n\u0131 verdikleri \u015feye ba\u011fl\u0131d\u0131r ve bizim istencimizle hi\u00e7bir ilgisi yoktur; buna kar\u015f\u0131l\u0131k komedya da tersine, kendi budalal\u0131\u011f\u0131 y\u00fcz\u00fcnden ortaya \u00e7\u0131kan ve s\u00fcr\u00fcp giden engellerden sak\u0131nmak i\u00e7in, insano\u011flunun i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc kayg\u0131lar\u0131 alaya al\u0131r.\u201d \u015eu sonu\u00e7 \u00e7\u0131kar buradan: Dobroliubov\u2019un g\u00f6r\u00fc\u015f\u00fcne g\u00f6re -ki biz de kat\u0131l\u0131yoruz buna- trajik ile komik, insan\u0131n sonu gelmeyen \u00f6zlemleri ile insan\u00ee olanaklar\u0131n tarihsel s\u0131n\u0131rl\u0131l\u0131\u011f\u0131 aras\u0131ndaki \u00e7eli\u015fkiden do\u011far. [\u0130\u015fte bu \u00e7eli\u015fki, hem bir trajik \u00e7at\u0131\u015fmay\u0131, hem de komik bir durumu kesenkes i\u00e7inde saklar.]<\/p>\n

Demek ki ya\u015famda trajik ile komi\u011fe saf durumda rastlamak pek kolay olamamakta; ama, sanatta durum b\u00f6yle de\u011fildir. S\u00f6zgelimi ne Euripides\u2019in tragedyalar\u0131, ne Rembrandt\u2019\u0131n Savruk \u00c7ocu\u011fun D\u00f6n\u00fc\u015f\u00fc tablosu, ne Beethoven\u2019in Kahramanl\u0131k Senfonisi komik \u00f6\u011fe i\u00e7erir. Ne var, ger\u00e7eklik ve toplumsal ili\u015fkiler ne denli \u00e7e\u015fitli y\u00fczler g\u00f6sterirse, toplumsal s\u0131n\u0131f ve gruplar toplumsal geli\u015fim yolunda ne denli etkin bir m\u00fccadele s\u00fcrd\u00fcr\u00fcrlerse; ger\u00e7e\u011fi, tragedya ve komedya gibi, kesenkes birbirinden ayr\u0131lm\u0131\u015f t\u00fcrlerde yans\u0131tmak o denli g\u00fc\u00e7le\u015fir. \u00c7a\u011fda\u015f sanat\u0131n trajik ile komi\u011fi birbirine gitgide daha \u00e7ok kar\u0131\u015ft\u0131rmak do\u011frultusundaki e\u011filimi de buradan gelir. Ya\u015famdaki derinden derine trajik olaylar\u0131n \u00f6rt\u00fcs\u00fcn\u00fc a\u00e7mak i\u00e7in, gitgide artan bir s\u0131kl\u0131kla komedyan\u0131n y\u00f6ntemlerine ve \u00e7izgilerine ba\u015fvurulmaktad\u0131r. Buna kar\u015f\u0131l\u0131k komik de \u00e7o\u011fun ger\u00e7ek bir trajik anlay\u0131\u015f\u0131n izlerini ta\u015f\u0131maktad\u0131r. Nitekim, Stanley Kramer\u2019in \u00fcnl\u00fc filmi Deliler Teknesi yo\u011fun bir bi\u00e7imde dramatik olaylar yans\u0131t\u0131r, ama, ayn\u0131 zamanda hem g\u00fclmeyi ve hem g\u00f6z ya\u015flar\u0131n\u0131, yani hem komik hem de trajik yanlar\u0131 da i\u00e7erir.<\/p>\n

Herhangi bir estetik kategoride oldu\u011fu gibi trajik ve komik kategorilerinde de nesnel ile \u00f6znelin pay\u0131n\u0131 ay\u0131rmak gerekir. Ger\u00e7eklikte nesnel olarak vard\u0131r bunlar, toplumsal \u00e7at\u0131\u015fman\u0131n belli bir karakterinden temellenirler. \u00d6te yandan bir olay kimilerince bir tragedya gibi alg\u0131lanabilirken, ba\u015fka kimselerde g\u00fclmeye yol a\u00e7abilmektedir. Sebebi \u015fudur bunun: \u0130nsanlar, ya\u015famdaki olaylar\u0131, kendi toplumsal konumlar\u0131yla, d\u00fcnya g\u00f6r\u00fc\u015fleriyle, d\u00fc\u015f\u00fcnme tarzlar\u0131yla belirlenen ve somut bir tarihsel taban \u00fczerinde geli\u015fen, a\u00e7\u0131k-kesin ideallerle uygunluk i\u00e7inde alg\u0131larlar.<\/p>\n

Ger\u00e7e\u011fin estetik \u00f6z\u00fcmsenmesi, trajik ile komi\u011fin ne oldu\u011funu a\u00e7\u0131kl\u0131\u011fa kavu\u015fturmay\u0131, trajik \u00e7at\u0131\u015fmalar\u0131n ve komik durumlar\u0131n, g\u00fcl\u00fcn\u00e7 ve dramatik karakterlerin \u00f6z\u00fcn\u00fc g\u00fcn y\u00fcz\u00fcne \u00e7\u0131karmay\u0131 gerektirir.<\/p>\n

Demek \u015fimdi, anlad\u0131\u011f\u0131m\u0131za g\u00f6re, trajik ile komi\u011fin benzer \u00f6zellikleri vard\u0131r ve bunlar birbirini etkileyebilirler. Ama \u015fu da var, aralar\u0131ndaki temelli ayr\u0131mlar\u0131 ortadan kald\u0131rmaz bu; diyece\u011fim, bu kategoriler sanatta ve ya\u015famda farkl\u0131 olaylar\u0131 ele al\u0131p i\u015flerler, d\u00fcnyan\u0131n estetik zenginli\u011finin \u00e7ok \u00e7e\u015fitli yanlar\u0131n\u0131 yans\u0131t\u0131rlar. Trajik ile komik farkl\u0131 estetik kategorilerdir, son \u00e7\u00f6z\u00fcmlemede, her birini ayr\u0131 ayr\u0131 incelemekte yarar vard\u0131r.<\/p>\n

A. TRAJ\u0130K<\/p>\n

Trajik kavram\u0131 genellikle, insano\u011flunun kar\u015f\u0131la\u015ft\u0131\u011f\u0131 felaketlerle, derin \u00fczg\u00fcnl\u00fcklerle, kanl\u0131 ve yasl\u0131 olaylarla, insan\u0131n \u00f6l\u00fcm\u00fcyle birle\u015ftirilmi\u015ftir. Ne ki traji\u011fin as\u0131l \u00f6z\u00fc dosdo\u011fru bunlara indirgenecek olursa, bu felaketleri bir de sahnede g\u00f6stererek \u00e7o\u011faltmak yersiz ve yanl\u0131\u015f bir \u015fey olurdu. Platon\u2019un trajik t\u00fcre kar\u015f\u0131 \u00e7\u0131kard\u0131\u011f\u0131 kan\u0131tlama da son \u00e7\u00f6z\u00fcmlemede budur. Ne var ki, insano\u011flu \u00fcnl\u00fc filozofa hi\u00e7 de kulak asmam\u0131\u015ft\u0131r ve Antikitenin klasik tragedyalar\u0131nda oldu\u011fu kadar Shakespeare\u2019in, Corneille\u2019in, Racine\u2019in, Byron\u2019un, Pu\u015fkin\u2019in ve daha bir\u00e7ok b\u00fcy\u00fck yazar\u0131n tragedyalar\u0131nda, ya\u015fam\u0131 sert ve trajik \u00e7at\u0131\u015fmalar i\u00e7inde seyretmekten geri kalmam\u0131\u015ft\u0131r.<\/p>\n

\u00d6yleyse anla\u015f\u0131lan \u015fudur: Traji\u011fin \u00f6z\u00fc, s\u0131k s\u0131k rastland\u0131\u011f\u0131 gibi, insan ya\u015fam\u0131ndaki felaketle bir benzerli\u011fe indirgenemez. Trajik, toplumdaki \u00f6nemli ve k\u00f6kl\u00fc \u00e7at\u0131\u015fmalar\u0131 ortaya koyar; trajik t\u00fcr\u00fcn\u00fcn \u00f6zellikle toplumsal y\u0131k\u0131mlar ve devrimci patlamalar d\u00f6neminde, toplumu par\u00e7alayan \u00e7eli\u015fkilerin apayr\u0131 bir a\u00e7\u0131kl\u0131kla ortaya \u00e7\u0131kt\u0131klar\u0131 s\u0131ralarda geli\u015fme g\u00f6stermesi de bu y\u00fczdendir.<\/p>\n

\u201c… Tragedya,\u201d diyordu Aristoteles, \u201c\u00f6yk\u00fcnmedir (taklittir) ama, insanlar\u0131n de\u011fil, eylemlerin, ya\u015fam\u0131n, mutlulu\u011fun ve mutsuzlu\u011fun \u00f6yk\u00fcnmesidir.\u201d(1) Bu s\u00f6zlerin anlam\u0131 \u015fudur: Tragedyan\u0131n g\u00f6revi, d\u00f6nemin can al\u0131c\u0131 sorunlar\u0131 d\u0131\u015f\u0131nda, tek tek ya\u015fayan insanlar\u0131n \u00f6zel ya\u015fam\u0131n\u0131 tasar\u0131mlamak de\u011fildir; b\u00fcy\u00fck bir toplumsal kapsam\u0131 olan ger\u00e7ek \u00e7at\u0131\u015fmalar\u0131, genelle\u015ftirilmi\u015f anlam\u0131 i\u00e7inde \u201cmutluluk\u201d ile \u201cmutsuzluk\u201d aras\u0131ndaki \u00e7arp\u0131\u015fmalar\u0131 yeniden-\u00fcretmektir.<\/p>\n

\u0130ki sevgilinin ac\u0131kl\u0131 sevi \u00f6yk\u00fcs\u00fc de\u011fi\u015fik t\u00fcrlerdeki edebi bir\u00e7ok yap\u0131t\u0131n temeli olmu\u015ftur; ama, sadece birka\u00e7\u0131 tragedya d\u00fczeyine \u00e7\u0131kabilmi\u015ftir bunlar\u0131n. Ni\u00e7in b\u00f6yle olmu\u015ftur? S\u00f6zgelimi Tristan ile \u0130se\u00fct\u2019\u00fcn yazg\u0131s\u0131n\u0131 Romeo ile Juliette\u2019inkiyle kar\u015f\u0131la\u015ft\u0131ral\u0131m. Bir Orta\u00e7a\u011f ozan\u0131nca anlat\u0131lan, t\u00fcm\u00fcyle lirik t\u00fcrdeki birinci \u00f6yk\u00fcn\u00fcn, d\u00f6nemin toplumsal devinimiyle hi\u00e7bir ilintisi yoktur. Buna kar\u015f\u0131l\u0131k, R\u00f6nesans\u0131n b\u00fcy\u00fck oyun yazar\u0131, Romeo ile Juliette\u2019in sevisini, Montaigu\u2019ler ile Capulet\u2019lerin feodal \u00e7eki\u015fmeleri \u00e7er\u00e7evesi i\u00e7inde g\u00f6sterir. \u0130ki gencin ate\u015fli sevisi ile Orta\u00e7a\u011f\u0131n kat\u0131 \u00f6nyarg\u0131lar\u0131 aras\u0131ndaki \u00e7\u00f6z\u00fclmez \u00e7eli\u015fki, oyun kahramanlar\u0131n\u0131 \u00f6l\u00fcme s\u00fcr\u00fckleyen trajik \u00e7at\u0131\u015fman\u0131n temelini kurar. \u00d6l\u00fcm, rastlant\u0131sal bir olay olmak \u015f\u00f6yle dursun, Shakespeare\u2019in tasar\u0131mlad\u0131\u011f\u0131 d\u00f6nemin antih\u00fcmanist \u00f6z\u00fcnden mant\u0131ki olarak \u00e7\u0131kar.<\/p>\n

Tragedya, b\u00fct\u00fcn bir d\u00f6nemin temel \u00f6zelliklerini, b\u00fcy\u00fck toplumsal gruplar\u0131n ve nice nice topluluklar\u0131n temel \u00f6zelliklerini son derece \u00f6zet ve yo\u011fun bir genelle\u015ftirmeyle ortaya koyar. Pu\u015fkin\u2019in \u00fcnl\u00fc sav\u0131na g\u00f6re, tragedyan\u0131n ere\u011fi, insano\u011flunun ba\u015f\u0131na gelenleri, halk\u0131n yazg\u0131s\u0131n\u0131 yans\u0131tmakt\u0131r; son \u00e7\u00f6z\u00fcmlemede \u015fu demektir bu: \u0130nsano\u011flunun ba\u015f\u0131na gelenler, tragedyada halk\u0131n yazg\u0131s\u0131n\u0131 dile getirir; hem de ya\u015famdaki her t\u00fcrl\u00fc \u00e7at\u0131\u015fma orada tek tek ki\u015filerin trajik yazg\u0131s\u0131yla g\u00f6sterilmi\u015f olsa da. \u0130\u015fte bunun i\u00e7in tragedya, i\u00e7erik ve bi\u00e7imini tarih boyunca temelinden de\u011fi\u015ftirmekle birlikte, en iyi \u00f6rneklerinde, d\u00f6nemlerinden sonra da ya\u015fayabilecek ve gelecekteki ku\u015faklar i\u00e7in \u00f6lmez bir de\u011feri koruyabilecek, her zaman evrensel bir kapsam\u0131 olan fikirlere dayan\u0131r. Halk \u00f6l\u00fcms\u00fczd\u00fcr, onun ba\u015f\u0131na gelenlerin sanat\u0131 da \u00f6l\u00fcms\u00fcz olacakt\u0131r.<\/p>\n

Tragedya ger\u00e7ekten filozofik, b\u00fcy\u00fck ve derin bir sanatt\u0131r. Varl\u0131k\u0131n \u00f6z\u00fcne, ya\u015fam\u0131n anlam\u0131na ve insan\u0131n y\u00fcksek yetene\u011fine ili\u015fkin d\u00fc\u015f\u00fcnceler orada bir araya gelip toplan\u0131r.<\/p>\n

Franz von Sickingen adl\u0131 tragedyas\u0131 dolay\u0131s\u0131yla Lassalle\u2019a yazm\u0131\u015f olduklar\u0131 mektuplarda, Marks ve Engels\u2019in traji\u011fin ne oldu\u011fu \u00fczerine \u00f6zl\u00fc bir a\u00e7\u0131klamalar\u0131 vard\u0131r. \u015eu olgudan yola \u00e7\u0131kar onlar: Her trajik olay, hakl\u0131 ve yerinde tarihsel ve toplumsal \u00e7at\u0131\u015fmalara dayan\u0131r, uzla\u015fmaz kar\u015f\u0131t g\u00fc\u00e7lerin \u00e7arp\u0131\u015fmas\u0131 bu \u00e7at\u0131\u015fmalarda yans\u0131r. Tragedyan\u0131n anlam\u0131n\u0131 Engels \u015f\u00f6yle tan\u0131mlar: \u201cTarih a\u00e7\u0131s\u0131ndan zorunlu konum (postulat) ile bunun ger\u00e7ekle\u015fmesinin olanaks\u0131zl\u0131\u011f\u0131\u201d(2) aras\u0131ndaki bir \u00e7at\u0131\u015fmad\u0131r tragedya; bu tan\u0131m belli bir tipteki tarihsel dramlar\u0131 ilgilendirdi\u011fi i\u00e7in genel ge\u00e7er bir nitelik ta\u015f\u0131maz; ama, geneldeki tragedyan\u0131n anlam\u0131n\u0131 kavramakta yard\u0131mc\u0131 olur gene de. Rusya\u2019daki k\u00f6yl\u00fc ayaklanmalar\u0131n\u0131n eleba\u015flar\u0131 olan Razin ile Puga\u00e7ef bu gibi \u00e7at\u0131\u015fmalar sonunda, ger\u00e7ek ya\u015fam i\u00e7inde canlar\u0131n\u0131 verdiler, t\u0131pk\u0131 Shakespeare\u2019in tragedyas\u0131ndaki Danimarka kral\u0131 gibi; \u00f6te yandan, 1905\u2019te Karadeniz\u2019deki Rus denizcilerinin destans\u0131 ba\u015fkald\u0131r\u0131s\u0131n\u0131n ba\u015far\u0131s\u0131zl\u0131kla sonu\u00e7lanan, Potemkin Z\u0131rhl\u0131s\u0131 filminin temelinde buldu\u011fumuz \u00e7arp\u0131\u015fma da yine bu t\u00fcrdendir; Var\u015fova ayaklanmas\u0131ndaki ve Andrej Wajda\u2019n\u0131n Kanal filmindeki kahramanlar i\u00e7in de ayn\u0131 \u015fey s\u00f6ylenebilir. Sanattaki trajik \u00e7at\u0131\u015fmalar, ya\u015fam\u0131n kendisindeki trajik \u00e7arp\u0131\u015fmalar\u0131n belirgin niteli\u011fini ta\u015f\u0131r.<\/p>\n

Trajik \u00e7at\u0131\u015fman\u0131n \u00f6zyap\u0131s\u0131 tarihsel bir kategoridir do\u011fal olarak. Tragedyan\u0131n nesnel temeli ve somut i\u00e7eri\u011fi, sanatsal somutla\u015ft\u0131r\u0131lmas\u0131n\u0131n dayand\u0131\u011f\u0131 y\u00f6ntemler, \u00e7at\u0131\u015fman\u0131n \u00e7\u00f6z\u00fcm bi\u00e7imi ve tragedyan\u0131n \u00f6z\u00fcne dair yorumlar, ayr\u0131 ayr\u0131 d\u00f6nemlerde hep kendi zamanlar\u0131n\u0131n damgas\u0131n\u0131 ta\u015f\u0131r. Ayr\u0131ca, Antik tragedyalar ile Shakespeare\u2019inkiler aras\u0131ndaki, Corneille\u2019in ya da Racine\u2019in oyunlar\u0131 ile \u00e7a\u011fda\u015f tragedya aras\u0131ndaki k\u00f6kl\u00fc g\u00f6r\u00fc\u015f ayr\u0131l\u0131klar\u0131ndan ba\u015fka; k\u0131sa bir zaman s\u00fcresinde de, hatta bir tek ve ayn\u0131 d\u00f6nemde, sanatta de\u011fi\u015fik bir tarzda somutla\u015fan farkl\u0131 tragedya tipleri de bulunabilmektedir. Ama ne olursa olsun, traji\u011fin genel yasalar\u0131 gene de vard\u0131r; bunlar, her d\u00f6nemde, \u00f6zel bir bi\u00e7im alt\u0131nda etkilerini g\u00f6sterirler.<\/p>\n

Eshylos\u2019un, Sophokles\u2019in ve Aristoteles\u2019e g\u00f6re ozanlar\u0131n en traji\u011fi Euripides\u2019in b\u00fcy\u00fck trajik yap\u0131tlar\u0131, o harikulade sanatsal g\u00fc\u00e7lerinden bug\u00fcn bile bir \u015fey yitirmi\u015f de\u011fildirler; hem de yaln\u0131z tarihsel de\u011ferleri ve sa\u011flad\u0131klar\u0131 bilgi g\u00f6z \u00f6n\u00fcnde tutulmaks\u0131z\u0131n bu b\u00f6yledir. Nitekim Sovyet Rusya\u2019da ve daha ba\u015fka \u00fclkelerde, \u015fu son y\u0131llarda bu yazarlar\u0131n oyunlar\u0131n\u0131n sahneye konmalar\u0131, onlar\u0131n kahramanlar\u0131n\u0131 g\u00fcn\u00fcm\u00fcz seyircisine yeniden yak\u0131nla\u015ft\u0131rm\u0131\u015f ve ilgin\u00e7le\u015ftirmi\u015ftir; bunun nedeni, yazg\u0131n\u0131n bu oyunlarda hep \u00fcst\u00fcn gelmesi de\u011fil, Sophokles\u2019in Oeidipus\u2019unun, bug\u00fcn\u00fcn sahnesinde onu yeniden ortaya \u00e7\u0131karan \u00e7a\u011fda\u015f sanat\u00e7\u0131lar\u0131n da Oeidipus\u2019u olmas\u0131d\u0131r. Ama \u015fu da tart\u0131\u015fma g\u00f6t\u00fcrmeyecek bir noktad\u0131r ki, e\u011fer bu b\u00fcy\u00fck tragedya ozanlar\u0131na esin kayna\u011f\u0131 olan sorunlar kendi ba\u015flar\u0131na buna olanak vermeselerdi, antik tragedyan\u0131n \u00e7a\u011fda\u015f yorumu da yap\u0131lamazd\u0131. S\u00f6zgeli\u015fi Eshylos\u2019un Zincire Vurulmu\u015f Promet\u00e9 tragedyas\u0131n\u0131 an\u0131msayal\u0131m. Her s\u00f6z\u00fcnde tanr\u0131lara kar\u015f\u0131 s\u00fcrd\u00fcr\u00fclen sava\u015f\u0131m\u0131n heyecan\u0131 bulunan bu tragedya, d\u00fcnyan\u0131n sahiplerine korkusuzca meydan okuyan ve insanl\u0131\u011f\u0131n mutlulu\u011fu u\u011fruna fiziksel \u00f6l\u00fcm\u00fc g\u00f6ze alan kahraman\u0131n, titanlara (devlere) yara\u015f\u0131r kudretini ve \u00f6l\u00fcms\u00fcz moral g\u00fcc\u00fcn\u00fc y\u00fcceltir. Marks, Yunan tanr\u0131lar\u0131n\u0131n bu yap\u0131tta trajikle \u00f6ld\u00fcr\u00fcc\u00fc bir yara alm\u0131\u015f olduklar\u0131 kan\u0131s\u0131ndad\u0131r.<\/p>\n

Yunan tragedyas\u0131n\u0131n, binlerce y\u0131l\u0131n bizi ay\u0131rd\u0131\u011f\u0131 antik toplumdaki ya\u015famla ortaya \u00e7\u0131km\u0131\u015f oldu\u011fundan kimsenin \u015f\u00fcphesi olamaz elbet. O, zaman\u0131n trajik \u00e7at\u0131\u015fmalar\u0131n\u0131 kendisine \u00f6zg\u00fc bi\u00e7imlerde ve bir d\u00fc\u015f\u00fcnce kipinde yans\u0131tm\u0131\u015ft\u0131r. Oreste\u2019deki kahramanlar\u0131n ba\u015f\u0131na gelen trajik olaylarda; babas\u0131n\u0131n \u00f6c\u00fcn\u00fc almak i\u00e7in anas\u0131n\u0131 \u00f6ld\u00fcren Oreste ile bu cinayet y\u00fcz\u00fcnden pe\u015finen tak\u0131lan Erenny\u2019ler aras\u0131ndaki \u00e7at\u0131\u015fmada, Engels anaerkil d\u00fczenin babaerkil d\u00fczene yerini b\u0131rakt\u0131\u011f\u0131 s\u0131rada toplum d\u00fczeninde ya\u015fanan derin karga\u015fan\u0131n yans\u0131mas\u0131n\u0131 g\u00f6r\u00fcyordu. Nitekim, ona g\u00f6re trajik \u00e7at\u0131\u015fman\u0131n \u00e7\u00f6z\u00fcm\u00fcnde, Erenny\u2019lerin bozgununda ve Oreste\u2019in aklanmas\u0131nda, o d\u00f6nemin toplumundaki baba hukukunun ana hukuku kar\u015f\u0131s\u0131ndaki zaferini g\u00f6rmek gerekir. Yunan tragedyas\u0131 \u00fczerine bu tespitleri bu tragedyaya yol a\u00e7an ger\u00e7ek \u00e7at\u0131\u015fmalar\u0131 g\u00fcn y\u00fcz\u00fcne \u00e7\u0131karmak amac\u0131yla onun ya\u015famla kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131 \u00fczerine yap\u0131lm\u0131\u015f olan derin bir \u00e7\u00f6z\u00fcmlemenin sonucudurlar. Bu \u00e7\u00f6z\u00fcmlemeyi yaparken Engels, Oreste\u2019i g\u00f6z \u00f6n\u00fcnde tutuyordu; ama, bu de\u011ferlendirmelerin daha geni\u015f bir kapsam\u0131, y\u00f6ntembilimsel bir niteli\u011fi de vard\u0131r, ayr\u0131ca tragedyadaki \u00e7arp\u0131\u015fmalar\u0131n temellendi\u011fi ya\u015fam \u00e7at\u0131\u015fmalar\u0131n\u0131n nas\u0131l g\u00fcn y\u00fcz\u00fcne \u00e7\u0131kar\u0131lmas\u0131 gerekti\u011fini de g\u00f6sterirler.<\/p>\n

Kald\u0131 ki bu ger\u00e7ek \u00e7at\u0131\u015fmalar ve \u00e7eli\u015fkiler, bug\u00fcn bizim i\u00e7in bilinen \u015feylerse de, antik toplumun insanlar\u0131 i\u00e7in pek a\u00e7\u0131k \u015feyler de\u011fildi. Marks bunu \u015f\u00f6yle belirtir: \u201cBilgisizlik k\u00f6t\u00fc bir cindir, korkar\u0131m, daha kimbilir nice tragedyalara yol a\u00e7acakt\u0131r. En b\u00fcy\u00fck Yunan ozanlar\u0131 onu, Mikenlerin ve Teblilerin kral ailelere dair korkun\u00e7 dramlarda, trajik bir yazg\u0131 imi\u015f gibi g\u00f6stermi\u015flerdir hakl\u0131 olarak.\u201d(3)<\/p>\n

Ger\u00e7ekten, antikite insanlar\u0131n\u0131n tasar\u0131mlar\u0131nda tragedya, insan ile her\u015feye-g\u00fcc\u00fc-yeten yazg\u0131n\u0131n kar\u015f\u0131 durulmaz bildirileri aras\u0131ndaki \u00e7at\u0131\u015fmadan do\u011fuyordu. \u0130nsansal varl\u0131k, onun elinde bir ara\u00e7t\u0131 sadece. Kral Oeidipus\u2019ta Sophokles, daha do\u011fu\u015fundan d\u00fcnyada en korkun\u00e7 cinayeti i\u015flemeye mahk\u00fbm edilen bir adam\u0131n ya\u015fam\u0131n\u0131 sergiler: Babas\u0131n\u0131 \u00f6ld\u00fcrmek ve \u00f6z anas\u0131yla evlenmek. Oeidipus daha d\u00fcnyaya gelmeden, babas\u0131n\u0131n yapt\u0131\u011f\u0131 bir haks\u0131zl\u0131\u011f\u0131n \u00f6c\u00fcn\u00fc almak i\u00e7in, Tanr\u0131lar onun bu cinayeti i\u015flemesine karar vermi\u015flerdi. Oeidipus bu yazg\u0131dan kendisini sak\u0131nam\u0131yacakt\u0131, \u00e7\u00fcnk\u00fc, tanr\u0131lar\u0131n istenci b\u00f6yleydi.<\/p>\n

Klasik bir tragedya tipidir bu. Ama Eurepides\u2019in kahramanlar\u0131n\u0131n art\u0131k (\u00e7oktan) ba\u015fka yerlerde kendilerini kurtarmaya ba\u015flad\u0131klar\u0131 o yazg\u0131dan s\u00f6z edilemez elbette; tersine, de\u011fi\u015fik d\u00f6nemlerde, t\u00fcm\u00fcyle farkl\u0131 bi\u00e7imlerde ve de\u011fi\u015fik bir sanatsal yorum i\u00e7inde, klasik tragedyan\u0131n, insan istenciyle ba\u011fl\u0131 olmayan, ya\u015famdaki de\u011fi\u015fmez yasalar\u0131n etkisini g\u00f6sterdi\u011fi s\u00f6ylenebilir.<\/p>\n

Sophokles Oeidipus\u2019u 2500 y\u0131l \u00f6nce yazm\u0131\u015ft\u0131. \u015eu i\u015fe bak\u0131n ki, XX. yy\u2019da yay\u0131nlanan Jean Anouilh\u2019un Antigon\u2019u i\u015fte kar\u015f\u0131m\u0131zda. O g\u00fcn bu g\u00fcnd\u00fcr tragedya t\u00fcr\u00fc uzun bir tarihsel yol alm\u0131\u015ft\u0131r; \u00f6zellikleri, trajik karakter anlay\u0131\u015flar\u0131, oyunu sonu\u00e7land\u0131rma y\u00f6ntemleri vb. hep de\u011fi\u015fmi\u015ftir, gelgelelim Anouilh\u2019un oyunu belli s\u0131n\u0131rlar\u0131n d\u0131\u015f\u0131na yine de \u00e7\u0131kamaz: Rastlant\u0131sal (accidental) bir \u015feyin bulunmamas\u0131, eylemin geriye d\u00f6n\u00fc\u015fs\u00fczl\u00fc\u011f\u00fc; trajik bir yan\u0131lg\u0131 ya da hatay\u0131 (fature) izleyen kanl\u0131 bir sonu\u00e7, yan\u0131lg\u0131ya d\u00fc\u015fenin sorumsuzlu\u011fu gibi \u00f6\u011feler yine vard\u0131r. Demek, sanattaki traji\u011fin kimi temel \u00e7izgileri ve \u00f6zg\u00fcl\u00fckleri her d\u00f6nemde ge\u00e7erli kalmakta.<\/p>\n

Hemen hemen b\u00fct\u00fcn estetik kuramlar\u0131, traji\u011fi belirleyen, ya\u015famdaki derin yasalar\u0131 ortaya koyar; ama, her biri onlar\u0131n \u00f6z\u00fcn\u00fc kendine \u00f6zg\u00fc bir tarzda a\u00e7\u0131klar elbette. D\u00f6nemin trajik \u00e7al\u0131\u015fmalar\u0131n\u0131n niteli\u011finden ve tragedya t\u00fcr\u00fcn\u00fcn i\u00e7inde bulundu\u011fu durumlardan kaynaklan\u0131r bu. Nitekim Shakespear\u2019den romantiklere var\u0131ncaya de\u011fin modern d\u00f6nemin tragedya deneyinin genelle\u015ftirilmi\u015f oldu\u011fu Hegel\u2019ci esteti\u011fe g\u00f6re, trajik duygusu, nesnel durumlar ile insan ki\u015fili\u011fi aras\u0131ndaki amans\u0131z \u00e7at\u0131\u015fmadan do\u011far; Hegel\u2019e g\u00f6re birbiriyle kap\u0131\u015fan g\u00fc\u00e7ler bir uzla\u015fmaya varabilselerdi, trajik durum diye bir \u015fey kalmazd\u0131 ortada. \u015e\u00f6yle yaz\u0131yordu Hegel: \u201c\u00c7\u0131karlar ger\u00e7ekten kendileri u\u011fruna bireyleri kurban etmeye de\u011fmez nitelikte olsalar, bu bireyler, kendilerini yads\u0131maks\u0131z\u0131n, ama\u00e7lar\u0131ndan vazge\u00e7ebilirler ya da bir anla\u015fmaya varabilirler; o zaman da, sonu\u00e7, zorunlu olarak, trajik olmaz.\u201d(4)<\/p>\n

\u0130nsan\u0131n ba\u011fland\u0131\u011f\u0131 ilkelere ihanet etmesi d\u0131\u015f\u0131nda, kendisiyle kar\u015f\u0131 kar\u015f\u0131ya kald\u0131\u011f\u0131 has\u0131m durumlar\u0131n uzla\u015fmas\u0131 yoluyla trajik \u00e7at\u0131\u015fma \u00e7\u00f6z\u00fclemez. Birey, kendisine ba\u011fl\u0131 kald\u0131\u011f\u0131ndan, d\u00f6\u011f\u00fc\u015fmek zorunda oldu\u011fu has\u0131m durumlar\u0131n \u00fcstesinden gelemedi\u011fi i\u00e7indir ki, trajik kahraman\u0131n \u00f6l\u00fcm\u00fc ve \u00e7ekileri ka\u00e7\u0131n\u0131lmaz olur. Trajik hata sav\u0131 da buradan kaynaklan\u0131r; bu hatan\u0131n k\u00f6keni, insan\u0131n \u00f6znel niteliklerinde de\u011fil, \u00e7at\u0131\u015fman\u0131n nesnel \u00f6z\u00fcnde, trajik kahraman\u0131n kendindedir. Daha \u00e7ok bir felaket olan bu hata, kahraman\u0131n i\u00e7inde ya\u015fad\u0131\u011f\u0131, ba\u015fkald\u0131r\u0131dan kendini alamad\u0131\u011f\u0131 d\u00fcnya durumundan ileri gelir. Kurbanlar, \u00e7ekiler, hatta trajik kahraman\u0131n \u00f6l\u00fcm\u00fc, tarihsel zorunlulu\u011fun anlat\u0131m\u0131d\u0131r hep. \u0130ster istemez su\u00e7ludur o kahraman.<\/p>\n

Traji\u011fin \u00f6z\u00fc \u00fczerine Hegel\u2019in derin de\u011ferlendirmeleri, traji\u011fe ili\u015fkin idealist yorumlar\u0131n ve kendi felsef\u00ee g\u00f6r\u00fc\u015flerinin toplumsal ve s\u0131n\u0131fsal s\u0131n\u0131rlar\u0131n\u0131 a\u015famaz. Trajik \u00e7at\u0131\u015fmalar\u0131n yasa niteli\u011fi konusundaki \u00f6nemli fikir, sonunda, i\u00e7inde bulunulan durumlar kar\u015f\u0131s\u0131nda yazg\u0131c\u0131 bir tavra gelir dayan\u0131r. De\u011fi\u015fmez yasalar ve bunlar\u0131n yol a\u00e7t\u0131klar\u0131 ger\u00e7ek durumlar Hegel\u2019e g\u00f6re, salt\u0131k id\u00e9e\u2019nin \u00f6z\u00fcnden kaynakland\u0131klar\u0131, onun i\u00e7sel olu\u015fumunu dile getirdikleri i\u00e7in, bu durumlar\u0131 de\u011fi\u015ftirmek do\u011frultusunda insan\u0131n yapt\u0131\u011f\u0131 her giri\u015fim ba\u015far\u0131s\u0131z kal\u0131r ve ka\u00e7\u0131n\u0131lmaz bir \u015fekilde tragedyaya yol a\u00e7ar. Trajikle ilgili Hegel\u2019ci kuram\u0131n s\u0131n\u0131fsal s\u0131n\u0131rlamalar\u0131; halk adamlar\u0131n\u0131n, \u201ca\u015fa\u011f\u0131\u201d tabaka insanlar\u0131n\u0131n trajik ya\u015fam\u0131nda estetik bir de\u011fer g\u00f6rmemekten yans\u0131rlar. Bu y\u00fczden Hegel, Schiller\u2019in Entrika ve Sevi adl\u0131 tragedyas\u0131ndaki Miller\u2019i trajik bir ki\u015fi saymaz. Schiller\u2019in bir ba\u015fka oyunu, Haydutlar\u2019\u0131n kahraman\u0131 Karl Moor\u2019a da bu nitelemeyi yak\u0131\u015ft\u0131ramaz o; \u00e7\u00fcnk\u00fc bu kahraman, halktan gelmemi\u015f olsa da, i\u00e7inden \u00e7\u0131km\u0131\u015f oldu\u011fu \u00e7evreyle ili\u015fkilerini b\u00fcsb\u00fct\u00fcn kesmi\u015ftir. Miller ya da Karl Moor gibi ki\u015filerin edimlerinde trajik bir hata g\u00f6remez Hegel; yaln\u0131zca, \u00f6znel nedenlerden ileri gelen trajik bir yan\u0131lg\u0131 vard\u0131r bunlarda. Halk adamlar\u0131n\u0131n y\u00fcce tragedyada yeri olamaz, komedyad\u0131r onlar\u0131n yeri… \u0130\u015fte b\u00f6ylece, idealist filozoflar\u0131n bu en b\u00fcy\u00fc\u011f\u00fc traji\u011fin yasalar\u0131n\u0131 saptad\u0131ktan sonra, tragedyan\u0131n ba\u015f kahraman\u0131 olan halk\u0131, tragedyan\u0131n d\u0131\u015f\u0131nda b\u0131rak\u0131r.<\/p>\n

Trajikle ilintili bu idealist kuram, ge\u00e7en y\u00fczy\u0131l\u0131n Rus devrimci demokratlar\u0131n\u0131n esteti\u011finde, en ba\u015fta da \u00c7erni\u015fevski\u2019nin esteti\u011finde ele\u015ftiriden ge\u00e7irilmi\u015ftir. Hegel\u2019in tersine \u00c7erni\u015fevski \u015f\u00f6yle d\u00fc\u015f\u00fcn\u00fcr: Tragedyan\u0131n konusu \u201csade\u201d insanlar\u0131n ya\u015fam\u0131, \u201ck\u00fc\u00e7\u00fck\u201d adam\u0131n \u00fcz\u00fcnt\u00fcleri, halk\u0131n ya\u015fam\u0131ndaki k\u00f6kl\u00fc dramd\u0131r. O, \u00e7at\u0131\u015fmalar\u0131n k\u00f6kenini, toplumsal ya\u015fam\u0131n \u00fcz\u00fcc\u00fc ko\u015fullar\u0131nda, olup bitenlerin pek \u201cdo\u011fal olmayan\u201d bozuk d\u00fczeninde g\u00f6r\u00fcr. Ona g\u00f6re Rus ya\u015fam\u0131n\u0131n trajik niteli\u011fi, toplumun \u201cyapay\u201d durumundan, \u201czifiri karanl\u0131klar diyar\u0131\u201dnda aristokratlar\u0131n ve t\u00fcccarlar\u0131n kurduklar\u0131 egemenlikten do\u011far.<\/p>\n

Belli bir antropolojik de\u011ferlendirme i\u00e7ermesine kar\u015f\u0131n, \u00c7erni\u015fevski\u2019nin anlay\u0131\u015f\u0131 traji\u011fin k\u00f6kenini toplumsal ko\u015fullarda aramaktayd\u0131. Bu Rus filozofu, \u201chata\u201d sav\u0131n\u0131 kesinlikle reddeder, trajik kahraman\u0131n su\u00e7lulu\u011fu fikrini \u201cinsafs\u0131z\u201d bulur. \u201c\u0130nsan\u0131 su\u00e7luyorsunuz ama, hatal\u0131 buldu\u011funuz \u015feyden onun su\u00e7lu olup olmad\u0131\u011f\u0131n\u0131, ya da hatan\u0131n toplumun g\u00f6renek ve ko\u015fullar\u0131nda olup olmad\u0131\u011f\u0131n\u0131 inceleyin ilkin; dikkatle inceleyin bunu, g\u00f6receksiniz, bu onun hatas\u0131 de\u011fil, sadece ba\u015f\u0131na gelen felakettir\u201d.(5) Hegel\u2019de hata daha \u00e7ok bir felaketti, ama \u00c7erni\u015fevski Alman d\u00fc\u015f\u00fcn\u00fcr\u00fcnden farkl\u0131 olarak, bu felaketin nedenlerini toplumsal ya\u015fam\u0131n \u00f6z\u00fcnde buluyordu ve daha \u00f6nemli olarak da, bu trajik ya\u015fama yol a\u00e7m\u0131\u015f olan toplumsal ko\u015fullar\u0131 hi\u00e7 de \u00f6l\u00fcmc\u00fcl, ka\u00e7\u0131n\u0131lmaz saym\u0131yordu. \u015e\u00f6yle yaz\u0131yordu: \u201cBurada, \u015fu ya da bu ki\u015fiyi cezaland\u0131rmak s\u00f6z konusu de\u011fildir; \u00f6nemli olan, bir toplumsal katman\u0131n t\u00fcm\u00fcn\u00fcn ya\u015fam ko\u015fullar\u0131nda aramaktayd\u0131\u201d. Bu Rus filozofu, \u201chata\u201d sav\u0131n\u0131 kenatla ele\u015ftirel ger\u00e7ek\u00e7ili\u011fin prati\u011finden, onun, basit insanlar\u0131n mutlulu\u011fu u\u011fruna giri\u015fti\u011fi tutkulu sava\u015f\u0131m\u0131ndan temelleniyordu. \u00c7erni\u015fevski\u2019nin trajik anlay\u0131\u015f\u0131n\u0131n g\u00fc\u00e7l\u00fc ve onu Hegel\u2019in \u00fcst\u00fcne \u00e7\u0131karan yan\u0131 da budur; gelgelelim, trajik \u00e7at\u0131\u015fmalar\u0131 ve durumlar\u0131 rastlant\u0131sal bir \u015feymi\u015f gibi, olup bitenlerin do\u011fal ak\u0131\u015f\u0131ndan bir sapmaym\u0131\u015f gibi ele al\u0131\u015f\u0131 da, bu g\u00f6r\u00fc\u015f\u00fcn Hegel\u2019ci kuram kar\u015f\u0131s\u0131nda de\u011ferini d\u00fc\u015f\u00fcr\u00fcyor.<\/p>\n

Burada bir daha antropolojinin etkisiyle kar\u015f\u0131la\u015f\u0131yoruz. \u0130nsan ve \u201cgenelde\u201d insan do\u011fas\u0131 kavramlar\u0131ndan yola \u00e7\u0131karak, \u00c7erni\u015fevski, sanattaki traji\u011fin belli yasalar\u0131n d\u0131\u015fa-vurumu oldu\u011funu s\u00f6yl\u00fcyor. \u015e\u00f6yle diyor: \u201c\u00c7o\u011fun ka\u00e7\u0131n\u0131lmaz olmad\u0131klar\u0131, tersine t\u00fcm\u00fcyle rastlant\u0131sal olduklar\u0131 halde, bu korkun\u00e7 olaylar\u0131, ger\u00e7eklikte, hemen her zaman kar\u015f\u0131 konulmaz bir \u015fey gibi g\u00f6stermede, sanat\u0131n ne derece hakl\u0131 olabilece\u011fini d\u00fc\u015f\u00fcn\u00fcyorum kendi kendime…\u201d(6)<\/p>\n

Hegel\u2019in ve \u00c7erni\u015fevski\u2019nin anlay\u0131\u015flar\u0131n\u0131n incelenmesi, ne idealist esteti\u011fin, ne de Marks-\u00f6ncesi esteti\u011fin, tarihsel ve s\u0131n\u0131fsal s\u0131n\u0131rlanmalar y\u00fcz\u00fcnden, traji\u011fin \u00f6z\u00fc konusunda ger\u00e7ek bir bilimsel a\u00e7\u0131klama verecek durumda olmad\u0131klar\u0131n\u0131 g\u00f6sterir. Marks\u2019tan \u00f6nce estetik\u00e7iler bir\u00e7ok g\u00f6zlem ve derine inen genelleme yapm\u0131\u015flard\u0131; traji\u011fin temel yasalar\u0131n\u0131 vurgulam\u0131\u015flard\u0131; ama, traji\u011fin \u00f6z\u00fcne ili\u015fkin tam ve tutarl\u0131 bir anlay\u0131\u015f\u0131 yaln\u0131z bilimsel \u00f6\u011fretinin do\u011fru esteti\u011fi sa\u011flayabilmi\u015f ve gizli trajik \u00e7at\u0131\u015fmalar\u0131 g\u00fcn y\u00fcz\u00fcne \u00e7\u0131karabilmi\u015ftir.<\/p>\n

Marks-\u00f6ncesi estetik d\u00fc\u015f\u00fcnce \u015fu temel olguyu art\u0131k saptam\u0131\u015ft\u0131: Trajik karakterlerin, \u00e7at\u0131\u015fmalar\u0131n ve durumlar\u0131n k\u00f6keni, ya\u015fam\u0131n ortaya koydu\u011fu durumlardad\u0131r; ama bu d\u00fc\u015f\u00fcnce, ya\u015fam\u0131n trajik karakterinin kayna\u011f\u0131nda bulunan toplumsal ko\u015fullar\u0131n ve durumlar\u0131n \u00f6z\u00fcn\u00fc derinli\u011fine anlayabilecek g\u00fc\u00e7te de\u011fildir. Marksizmin klasik yap\u0131tlar\u0131n\u0131 beklemek gerekiyordu bunun i\u00e7in; \u00e7\u00fcnk\u00fc, uzla\u015fmaz s\u0131n\u0131flar aras\u0131ndaki \u00e7eli\u015fkilerin, trajik \u00e7at\u0131\u015fmalar\u0131n ba\u015fl\u0131ca nedeni oldu\u011funu g\u00f6sterenler onlard\u0131.<\/p>\n

S\u0131n\u0131fsal \u00f6zlerini ve s\u0131n\u0131flararas\u0131 sava\u015f\u0131mda oynad\u0131klar\u0131 rol\u00fc dikkate alarak, somut trajik olaylar\u0131n ne oldu\u011funun a\u00e7\u0131kl\u0131\u011fa kavu\u015fturulmas\u0131, trajik konusunda marksist anlay\u0131\u015f\u0131n \u00f6nemli bir yan\u0131n\u0131 olu\u015fturur. Bilindi\u011fi gibi, korkun\u00e7 olaylar\u0131n ve \u00f6l\u00fcm\u00fcn her zaman trajik bir niteli\u011fi yoktur. B\u00f6yle bir nitelik yaln\u0131z, toplumun ilerici geli\u015fmesinde, yeni bir d\u00fcnyan\u0131n do\u011fu\u015funda etkin bir rol oynayan zorlu \u00e7al\u0131\u015fmalarda ve \u00f6zg\u00fcnl\u00fcklerde, ya\u015fam\u0131n \u0131\u015f\u0131yan ilkelerinin zaferini m\u00fcjdeleyen insanlar\u0131n \u00f6l\u00fcm\u00fcnde ve fenomenlerin y\u0131k\u0131m\u0131nda g\u00f6r\u00fcl\u00fcr. \u0130\u015fte bu y\u00fczden, Marks ve Engels, hamasi devrimci tragedyan\u0131n, en y\u00fcce tragedik anlat\u0131m oldu\u011fu g\u00f6r\u00fc\u015f\u00fcn\u00fc ta\u015f\u0131maktayd\u0131lar.<\/p>\n

E\u011fer hen\u00fcz t\u00fcm olumlu niteliklerini yitirmemi\u015flerse, son demlerini ya\u015fayan g\u00fc\u00e7lerin \u00e7\u0131rp\u0131nmalar\u0131nda yine de trajik \u00f6\u011feler vard\u0131r. Hegel\u2019in Hukuk Felsefesinin Ele\u015ftirisine Giri\u015f\u2019inde \u015f\u00f6yle der Marks: \u201c\u00d6zg\u00fcrl\u00fck ki\u015fisel bir fikir oldu\u011fu halde, bu d\u00fcnyan\u0131n daha \u00f6nce yerle\u015fik iktidar\u0131 oldu\u011fu, k\u0131saca, varolu\u015f nedenine kendisi inand\u0131\u011f\u0131 ve inanmak zorunda kald\u0131\u011f\u0131 s\u00fcrece, onun (Eski Rejim\u2019in) tarihi de trajik olmu\u015ftur. D\u00fcnyan\u0131n o anda varolan d\u00fczeni olarak Eski Rejim,(7) hen\u00fcz olu\u015fum halinde bulunan bir d\u00fcnyaya kar\u015f\u0131 bayrak a\u00e7t\u0131k\u00e7a, kendi ba\u015f\u0131na tarihsel evrensel bir yan\u0131lg\u0131yd\u0131 o; asla ki\u015fisel bir yan\u0131lg\u0131 de\u011fildi. Bu y\u00fczden d\u00fc\u015f\u00fc\u015f\u00fc de trajik oldu.\u201d(8)<\/p>\n

Evrensel bir tarihi yan\u0131lg\u0131 ya da ba\u015fka bir deyi\u015fle, nesnel tarihsel durumlardan ka\u00e7\u0131n\u0131lmaz bir bi\u00e7imde kaynaklanan ve i\u00e7inde toplumsal bilincin tarihsel geli\u015fiminin bir evresi yans\u0131yan bir sapma (\u00e9garement), trajik bir karaktere b\u00fcr\u00fcn\u00fcr. Marks\u2019\u0131n bu sav\u0131 bir tarih\u00e7ilik (historicis me) \u00f6rne\u011fidir. \u00c7\u00fcnk\u00fc bize, bir olay\u0131, varl\u0131\u011f\u0131n\u0131n ve geli\u015fiminin tarihsel somut ko\u015fullarla de\u011ferlendirmesini \u00f6\u011fretir. Traji\u011fin \u00f6z\u00fc, s\u0131n\u0131flar a\u00e7\u0131s\u0131ndan oldu\u011fu kadar, tarihsel d\u00fczlem \u00fczerinde de belirlenmi\u015ftir.<\/p>\n

XVI. yy\u2019da Alman soylu s\u0131n\u0131f\u0131n\u0131n giri\u015fti\u011fi hareket \u00fczerine Engels\u2019in de\u011ferlendirmesi de yine bunu g\u00f6sterir. Bilindi\u011fi gibi, Alman soylular\u0131, Almanya\u2019n\u0131n ulusal birli\u011fi fikrini savunuyorlard\u0131; buna kar\u015f\u0131l\u0131k, o d\u00f6nemde ilerici olan kentsoylular da bunun kar\u015f\u0131s\u0131ndayd\u0131lar kesinlikle. \u00c7\u00f6kmekte olan bir s\u0131n\u0131f\u0131n, \u00fclkede ulusal birli\u011fi kurmak gibi tarihsel bir g\u00f6revi ger\u00e7ekten yerine getirme \u00e7abas\u0131na bakarak, onun ba\u015far\u0131s\u0131zl\u0131\u011f\u0131nda Engels, trajik bir durum g\u00f6r\u00fcyordu. \u00d6yle ya, gerici bir s\u0131n\u0131f\u0131n temsilcileri olan soylular, kalkm\u0131\u015flar, belli bir ilerici fikrin savunucusu kesilmi\u015flerdi; i\u015fte bunun i\u00e7in Lassale da, hakl\u0131 ve yerinde olarak, Franz von Sickingen\u2019i tragedyas\u0131n\u0131n kahraman\u0131 olarak g\u00f6rmek hevesine kap\u0131lm\u0131\u015ft\u0131 [neyse ki o da bir ba\u015far\u0131s\u0131zl\u0131kla sona erdi].<\/p>\n

Ya\u015famdaki ger\u00e7ek tragedyalar\u0131n de\u011ferlendirilmesinde izlenen tarih\u00e7ilik anlay\u0131\u015f\u0131, tarihteki de\u011fi\u015fik tipteki tragedyalar\u0131 daha iyi anlama f\u0131rsat\u0131n\u0131 verir. Tarih\u00e7ilik anlay\u0131\u015f\u0131 bir yana b\u0131rak\u0131ld\u0131 m\u0131, s\u00f6zgelimi Hamlet gibi, Kral Lear gibi birbirinden \u00e7ok farkl\u0131 ki\u015filerin trajik niteli\u011finin nereden geldi\u011fini anlamak da g\u00fc\u00e7le\u015fir.<\/p>\n

Toplumsal ve tarihsel \u00e7\u00f6z\u00fcmleme y\u00f6ntemleri burada trajik \u00e7at\u0131\u015fmalar\u0131n ayr\u0131 ayr\u0131 tiplerini ortaya koyma olana\u011f\u0131n\u0131 sa\u011flar. Birinci \u00e7al\u0131\u015fmada (toplumsal), \u201ctarihsel olarak zorunlu konum ile (bu konumun) ger\u00e7ekle\u015fmesinin pratik olanaks\u0131zl\u0131\u011f\u0131 aras\u0131nda\u201d bir \u00e7arp\u0131\u015fma s\u00f6z konusudur; oysa ikinci \u00e7al\u0131\u015fmada, \u00e7at\u0131\u015fma, oyun ki\u015filerinin ya\u015fam\u0131nda \u201cevrensel bir tarihi yan\u0131lg\u0131\u201dya dayan\u0131r. Bu tipten bir \u00e7at\u0131\u015fma da trajiktir; \u00e7\u00fcnk\u00fc, ya\u015fam \u00fczerine, \u201cebedi\u201d temel sorunlar \u00fczerine yo\u011fun ve k\u00f6kl\u00fc bir felsef\u00ee d\u00fc\u015f\u00fcnceyi i\u00e7erir. Ayr\u0131ca Lear\u2019in tinsel a\u00e7\u0131dan yenilenmesi (r\u00e9g\u00e9n\u00e9ration) de bize zaman\u0131m\u0131z\u0131n tragedyalar\u0131n\u0131 g\u00f6rebilme [anlayabilme-(voir)] olana\u011f\u0131n\u0131 verir; bunlarda, ac\u0131mas\u0131z ve insanl\u0131k d\u0131\u015f\u0131 bir d\u00fcnya ile amans\u0131z bir \u00e7at\u0131\u015fma i\u00e7inde bulunan insan, milyonlarca ki\u015finin \u00f6zverisi, ac\u0131lar\u0131 ve kan\u0131 pahas\u0131na akl\u0131n\u0131 ba\u015f\u0131na dev\u015firmesini \u00f6\u011frenir.<\/p>\n

Her has tragedya, ya\u015fam\u0131 olumlamas\u0131yla belli olur; \u00e7o\u011fun yap\u0131ld\u0131\u011f\u0131 gibi, eski klasik tragedyan\u0131n k\u00f6keninden karamsar oldu\u011funu ve \u00e7\u0131k\u0131\u015f yolu g\u00f6stermedi\u011fini ileri s\u00fcrmek hi\u00e7 de do\u011fru bir \u015fey de\u011fildir.<\/p>\n

Burada \u00f6nemli olan nokta, tragedya tarihinin \u00e7e\u015fitli a\u015famalar\u0131nda ya\u015fam\u0131n bu olumlanmas\u0131n\u0131n \u00f6zg\u00fcll\u00fc\u011f\u00fcn\u00fc dikkate almakt\u0131r. Antik \u00e7a\u011f\u0131n trajik yap\u0131tlar\u0131, R\u00f6nesans yap\u0131tlar\u0131ndan nitelik\u00e7e ayr\u0131l\u0131rlar ve klasisizmin traji\u011fe getirdi\u011fi yorum da, bu alandaki romantik anlay\u0131\u015flara hi\u00e7 benzemez. Eskiler i\u00e7in \u00f6nemli olan, yazg\u0131d\u0131r; klasisizmin tragedyas\u0131 ise, duygu ile \u00f6dev aras\u0131ndaki, yani ki\u015fisel ile toplumsal aras\u0131ndaki \u00e7at\u0131\u015fma \u00e7evresinde d\u00f6ner; romantik tragedya, y\u00fczy\u0131l\u0131n hastal\u0131\u011f\u0131n\u0131 (mal du siecle), zihin peri\u015fanl\u0131\u011f\u0131n\u0131, y\u00fcksek bir ideal ile baya\u011f\u0131 ger\u00e7eklik aras\u0131ndaki kopuklu\u011fu, idealin eri\u015filmezli\u011fi \u00e7er\u00e7evesinden g\u00f6r\u00fcr. Ne ki, her hakiki tragedya, insana has\u0131m olan bir ger\u00e7eklik kar\u015f\u0131s\u0131nda g\u00fc\u00e7l\u00fc bir hayk\u0131r\u0131\u015f de\u011fildir sadece; yi\u011fitli\u011fi her zaman y\u00fcceltir, insan\u0131n tinsel g\u00fc\u00e7lerine hamasi bir yank\u0131lanma katar; insan\u0131n \u00f6n\u00fcne \u00e7\u0131kar\u0131r d\u00f6nemin en k\u00f6kl\u00fc sorunlar\u0131n\u0131 ve onu bunlar\u0131 kar\u015f\u0131layabilecek yeterlikte olmaya \u00e7a\u011f\u0131r\u0131r.<\/p>\n

Yazg\u0131n\u0131n insanlar \u00fczerindeki egemenli\u011fini g\u00f6sterdi\u011fi hakl\u0131 olarak s\u00f6ylenebilecek antik \u00e7a\u011f tragedyas\u0131ndan eski \u00f6rnekler incelense de, ger\u00e7ekte bunlar\u0131n yazg\u0131c\u0131l\u0131\u011f\u0131, do\u011fan\u0131n k\u00f6r kuvvetleri kar\u015f\u0131s\u0131nda insan\u0131n g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fcn\u00fc de\u011fil, tersine insan\u0131n kendisini, i\u00e7 d\u00fcnyas\u0131n\u0131n bitip t\u00fckenmek bilmeyen zenginli\u011fini, ruhunun y\u00fcksek at\u0131l\u0131mlar\u0131n\u0131, devlere yara\u015f\u0131r olanaklar\u0131n\u0131 y\u00fccelttikleri g\u00f6r\u00fcl\u00fcr. Tragedya, insanl\u0131k d\u0131\u015f\u0131 ya\u015fam ko\u015fullar\u0131n\u0131 g\u00f6sterebilir, ama, her zaman, \u00f6l\u00fcm de\u011fil ya\u015fam\u0131 y\u00fcceltir ve olumlar. Trajik kahraman hep etkindir, do\u011fal hali \u00e7at\u0131\u015fmad\u0131r. Faust\u2019un ikinci b\u00f6l\u00fcm\u00fcndeki y\u00fcksek bilgelik dersi: \u201c\u00d6zg\u00fcrl\u00fck ve ya\u015fam, bunlar\u0131 her g\u00fcn kazanmak zorunda olan kimsenin hakk\u0131d\u0131r yaln\u0131z\u201d; tragedyan\u0131n verdi\u011fi esini en iyi bir bi\u00e7imde dile getirir.<\/p>\n

\u00c7a\u011fda\u015f modernist sanat, ya\u015famdaki i\u011fren\u00e7 \u015feylerin tasar\u0131mlanmas\u0131na b\u00fcy\u00fck bir yer ay\u0131r\u0131r: Adam \u00f6ld\u00fcrmeler, \u0131rza ge\u00e7meler, k\u00f6t\u00fc davran\u0131\u015flar, psikopatik olgular vb. Paris\u2019teki eski Kukla (Guignol) tiyatrosu ya da Amerikan ekranlar\u0131n\u0131 dolduran korku filimleri b\u00f6yle bir sanat\u0131n en bilinen \u00f6rnekleridir; ama daha ba\u015fkalar\u0131 da vard\u0131r ki, bunlarda g\u00f6sterilen felaketlerin ve y\u0131k\u0131mlar\u0131n tragedya ile hi\u00e7bir ilgisi yoktur.<\/p>\n

\u00c7ocuk d\u00fc\u015f\u00fcrmenin ger\u00e7ek do\u011fum yapma ile ne denli ilgisi varsa, bu d\u00f6k\u00fcnt\u00fc birikimleri de tragedya ile o denli ilgilidir. Burjuva sanat\u0131nda tragedya t\u00fcr\u00fcn\u00fcn y\u0131k\u0131m\u0131 rastgele bir olay de\u011fildir; toplumun kendi bunal\u0131m\u0131n\u0131, y\u00fcksek ideallerin varolmay\u0131\u015f\u0131n\u0131 yans\u0131t\u0131r bu olay. Ancak s\u0131ras\u0131 gelmi\u015fken \u015funu da belirtelim ki, biz \u00e7a\u011fda\u015f sanatta traji\u011fin temelli yok oldu\u011funu da ileri s\u00fcrm\u00fcyoruz. \u00c7a\u011fda\u015f insan\u0131n ger\u00e7ek tragedyalar\u0131n\u0131 g\u00fc\u00e7l\u00fc bir bi\u00e7imde dile getirmi\u015f olan, hayranl\u0131k uyand\u0131r\u0131c\u0131 bir\u00e7ok yap\u0131t vard\u0131r elbette. S\u00f6zgelimi, ya\u015fam\u0131n \u015fa\u015fk\u0131na \u00e7evirdi\u011fi, d\u00fc\u015f k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015f, idealsiz ve bo\u015f yere ya\u015famsal g\u00fc\u00e7lerini yitiren, bir \u201cyitik ku\u015fak\u201d\u0131n ba\u015f\u0131na gelen olaylar\u0131 g\u00f6z\u00f6n\u00fcne getirelim. Diyece\u011fim, iki b\u00fcy\u00fck sava\u015f aras\u0131ndaki ku\u015fa\u011f\u0131n; Hemingway\u2019in ve Aldington\u2019un romanlar\u0131nda somutla\u015ft\u0131r\u0131lm\u0131\u015f bi\u00e7imiyle bu ku\u015fa\u011f\u0131n ya\u015fad\u0131\u011f\u0131 tragedya, bizi h\u00e2l\u00e2 duyguland\u0131r\u0131r; burada \u00e7o\u011fun, ger\u00e7ek trajik boyuta eri\u015fen bir sanat vard\u0131r kar\u015f\u0131m\u0131zda.<\/p>\n

Guiseppe de Santis\u2019in Saat 11\u2019de Roma filmindeki ad\u0131 san\u0131 bilinmeyen, i\u015fsiz g\u00fc\u00e7s\u00fcz kad\u0131n kahramanlar\u0131n ba\u015flar\u0131na gelenleri ve \u00e7ekilerini, o saf umutlar\u0131n ve korkun\u00e7 felaketlerin kurbanlar\u0131n\u0131 g\u00f6r\u00fcnce; Be\u015f Ki\u015fiydiler adl\u0131 Frans\u0131z filminde, sava\u015ftan gururla yurtlar\u0131na d\u00f6nen askerlerin, yeni bir \u201cyitik ku\u015fak\u201d insanlar\u0131n\u0131n ac\u0131larla k\u0131vran\u0131p can verdiklerini g\u00f6r\u00fcnce; Fellini\u2019nin Kabiria Geceleri filmindeki, umutland\u0131r\u0131l\u0131p aldat\u0131lan ve sonra da kad\u0131nl\u0131k onuru g\u00f6zler \u00f6n\u00fcnde ayaklar alt\u0131na al\u0131nan kahramana i\u00e7iniz s\u0131zlay\u0131nca, nabz\u0131n\u0131z\u0131n trajik bir ya\u015famla att\u0131\u011f\u0131n\u0131 duymaman\u0131z\u0131n yolu yoktur… \u00c7ekov \u00e7ok anlaml\u0131 bir saptama yapar: \u201cYa\u015famda insan, beynine kur\u015fun s\u0131kmaz, kendini asmaz hi\u00e7 ve her an il\u00e2n\u0131 a\u015fk edip durmaz… Yeme\u011fini yer, hemen sadece yer insanlar, i\u015fte bu s\u00fcre i\u00e7inde ya mutluluklar\u0131 olu\u015fur, ya da ya\u015famlar\u0131 k\u0131r\u0131l\u0131p par\u00e7alan\u0131r.\u201d Kapitalist \u00fclkelerin en iyi sanat yap\u0131tlar\u0131, g\u00fcnl\u00fck ya\u015famdaki trajik niteli\u011fi, insan\u0131n b\u00fct\u00fcn \u00f6mr\u00fcne sinen o traji\u011fi, g\u00f6steri\u015fsiz ve par\u0131lt\u0131s\u0131z bir bi\u00e7imde g\u00f6sterir.<\/p>\n

Ama bu sanat\u0131n trajik derinlikten yoksun oldu\u011fu da olur. Remarque\u2019\u0131n Zafer Tak\u0131 roman\u0131ndaki doktor Ravic; yak\u0131n bir sava\u015f tehlikesini kavrayan tek ki\u015fidir, kendi kendine \u00fcz\u00fcl\u00fcp \u00e7\u0131rp\u0131n\u0131r. Ya\u015fam\u0131ndaki durumlar trajiktir, ama kendisini trajik bir kahraman diye niteleyemeyiz; \u00e7\u00fcnk\u00fc, bunun i\u00e7in gerekli temel \u00f6zellik yoktur onda: Eylem. Elinden bir \u015fey gelmedi\u011fi i\u00e7in, \u00e7evresindeki insanlar\u0131 harekete ge\u00e7iremez. Zafer Tak\u0131 insanc\u0131l bir yap\u0131tt\u0131r, ama, Aristoteles\u2019in ar\u0131tma ad\u0131n\u0131 verdi\u011fi, o \u0131\u015f\u0131yan, saf duyguyu insanda uyand\u0131ramaz.<\/p>\n

Bilindi\u011fi gibi bu filozof, \u201cac\u0131ma ve y\u0131ld\u0131r\u0131 duygular\u0131n\u0131 i\u00e7imizde ya\u015fatarak, bu heyecanlardan bir i\u00e7-temizlenme-yi\u201d(9) tragedyan\u0131n temelli \u00f6zelliklerinden biri say\u0131yordu. Ar\u0131tma (catharsis) dedi\u011fi de budur. Ne var, Aristoteles Poetika\u2019s\u0131nda, yeterli bir a\u00e7\u0131kl\u0131kla bunu tan\u0131mlamad\u0131\u011f\u0131 i\u00e7in, estetik kuramlar [en ba\u015fta da tragedya alan\u0131ndakiler] daha sonra ona de\u011fi\u015fik yorumlar getirdiler.<\/p>\n

Lessing\u2019in Dramaturgie de Hambourg\u2019da vermi\u015f oldu\u011fu yorumu hakikate en yak\u0131n say\u0131yoruz biz. Heyecanlar\u0131n i\u00e7ten temizlenmesinin ahl\u00e2ksal bir anlam\u0131 olmal\u0131d\u0131r ona g\u00f6re: Tragedya, duygu ortakl\u0131\u011f\u0131yla, seyirciyi kusurlar\u0131ndan kurtar\u0131r, ruhunu kirli tutkulardan ar\u0131t\u0131r ve onu y\u00fcksek duygulara yakla\u015ft\u0131r\u0131r. \u201cBu heyecanlar\u201dla, e\u015fdeyi\u015fle seyircide de bulunabileceklere benzer tutkularla, tragedya insan ruhuyla yak\u0131nl\u0131k kurar. Sanat\u0131n en g\u00fc\u00e7l\u00fc arac\u0131 tragedyad\u0131r, o insan\u0131n manevi d\u00fcnyas\u0131na \u00f6yle bir g\u00fc\u00e7le \u201cdalabilir\u201d ki, orada gereksiz ne varsa s\u00f6ker atar; ruhsal, manev\u00ee sa\u011fl\u0131\u011fa yard\u0131mc\u0131 olur. Tragedya ile duygulan\u0131p etkilenen seyirci, s\u0131k\u0131nt\u0131s\u0131ndan ar\u0131n\u0131r ve ya\u015fam\u0131 b\u00f6ylece y\u00fccelir.<\/p>\n

\u201c\u0130\u00e7in heyecanlardan temizlenmesi\u201d, sanat\u0131n her \u015feye g\u00fcc\u00fc yeten kudretiyle insan ruhunun sa\u011falt\u0131lmas\u0131d\u0131r (guerison). Yunan Uygarl\u0131\u011f\u0131\u2019nda Andr\u00e9 Bonnard\u2019\u0131n hakl\u0131 olarak belirtti\u011fi gibi, trajik g\u00f6z ya\u015flar\u0131 d\u00f6kmek, d\u00fc\u015f\u00fcnmek demektir. Ar\u0131tma kavram\u0131, tragedyan\u0131n etken (faal), toplumsal ve e\u011fitici rol\u00fcn\u00fc ortaya koyar; trajik kahraman\u0131n duygular\u0131na kar\u015f\u0131 bir yak\u0131nl\u0131\u011fa yol a\u00e7ar ve b\u00f6ylece seyircinin ruhsal durumunu da de\u011fi\u015fikli\u011fe u\u011frat\u0131r.<\/p>\n

Ger\u00e7eklikteki trajik \u00e7at\u0131\u015fmalar, ister istemez insan\u00ee ac\u0131lara, yasl\u0131 ve kanl\u0131 olaylara, insanlar\u0131n felaketine ve \u00f6l\u00fcmlerine yol a\u00e7ar. Ama \u015fu da var: Sanatta tragedyan\u0131n ere\u011fi, insan ac\u0131s\u0131n\u0131 estetikle\u015ftirmek de\u011fildir; toplumun \u0131\u015f\u0131yan ilerici g\u00fc\u00e7lerinin kesin zaferini y\u00fcceltmektir.<\/p>\n

Daha \u00f6nce de birka\u00e7 kez belirtmi\u015ftik: Trajik, her zaman, kahraman\u0131n \u00f6l\u00fcm\u00fcn\u00fc ya da b\u00fcy\u00fck \u00e7ilelerden ge\u00e7mesini gerektirir, diye; ama bu demek de\u011fildir ki, i\u00e7i kan a\u011flayan ya da ya\u015fam\u0131n\u0131 yitiren her kahraman trajiktir. Ho\u015flan\u0131lmayacak ki\u015filer de koyar ortaya sanat; bunlar\u0131n \u00f6l\u00fcm\u00fc hakl\u0131 bir ceza gibi g\u00f6r\u00fclebilir, trajik bir yan bulunmaz bu \u00f6l\u00fcmde. Shakespeare\u2019in oyunlar\u0131nda Othello ile \u0130ago, Hamlet ile Claudius sahnede can verirler ama, bunlar\u0131n aras\u0131nda sadece Othello ile Hamlet trajik kahramand\u0131r, \u0130ago ile Claudius\u2019un \u00f6l\u00fcm\u00fcnde dramatik bir \u015fey yoktur.<\/p>\n

Nedeni de \u015fu: Trajik kahraman, de\u011ferli bir toplumsal i\u00e7eri\u011fi somutla\u015ft\u0131r\u0131r, idealin ba\u015fl\u0131ca \u00f6zelliklerine kar\u015f\u0131l\u0131k verir; bu da onu, kimi durumlarda sevimsiz ve \u00e7eli\u015fkili olsa da, az ya da \u00e7ok, g\u00fczel ve y\u00fcce k\u0131lar.<\/p>\n

\u00d6len kahramanlar\u0131n hepsi de trajik de\u011fildir; g\u00fczel ve y\u00fcce bir kahraman\u0131n \u00f6l\u00fcm\u00fc de her zaman trajik bir de\u011fer ta\u015f\u0131mayabilir. Ya\u015fam\u0131n temel i\u00e7eri\u011fiyle ve kahraman\u0131 etkileyen \u00e7at\u0131\u015fmalar\u0131n evrimiyle hi\u00e7bir ilgisi olmayan, anlamdan yoksun, rastlant\u0131sal bir son da trajik diye nitelenemez. Trajikte her zaman zorunlulukla rastlant\u0131n\u0131n diyalekti\u011fi kendini g\u00f6sterir. Trajikte rastlant\u0131sal\u0131n da yeri vard\u0131r, ama, onun zorunlulu\u011funu ortaya koydu\u011fu ve ona yol a\u00e7t\u0131\u011f\u0131 zaman vard\u0131r. Trajik ac\u0131lar ve \u00f6l\u00fcm bir yasaya ba\u011fl\u0131d\u0131r ve ya\u015famdaki durumlar\u0131n zorunlulu\u011fuyla meydana gelirler. Ne var, bu zorunluluk ve bu yasa g\u00fcc\u00fc rastlant\u0131sal durumlar zincirlenmesinde d\u0131\u015ftan a\u00e7\u0131\u011fa vururlar kendilerini; bunun i\u00e7in trajik rastlant\u0131, her zaman, ya\u015fam\u0131n anlam\u0131n\u0131, \u00f6z\u00fcn\u00fc ortaya \u00e7\u0131kar\u0131r. Trajik sanat \u00e7al\u0131\u015fmalar\u0131; son \u00e7\u00f6z\u00fcmlemede, i\u015fte bu t\u00fcrden olaylar\u0131 ele al\u0131r.<\/p>\n

Toplumcu ger\u00e7ek\u00e7ili\u011fin sanat prati\u011fi, trajik sanat\u0131n zengin geleneklerini, kendilerine yenilik\u00e7i bir nitelik de katarak benimsemi\u015ftir. Bu nitelik, \u00f6zellikle devrimin yol a\u00e7t\u0131\u011f\u0131 trajik \u00e7at\u0131\u015fmalar\u0131n tasar\u0131m\u0131nda kendini g\u00f6sterir. Marks, hamasi devrimci tragedyay\u0131 bu t\u00fcr\u00fcn doru\u011fu sayar. Vicher\u2019in Estetik\u2019ini okurken \u015fu d\u00fc\u015f\u00fcncesini not eder: \u201cTragedyan\u0131n as\u0131l temas\u0131, devrimlerdir.\u201d<\/p>\n

Sovyet tragedya sanat\u0131 i\u015fte bu temaya belirleyici ve temelli bir rol y\u00fckler. Sovyet tragedyas\u0131 yeni trajik \u00e7at\u0131\u015fmalara g\u00f6sterdi\u011fi yakla\u015f\u0131mdan ba\u015fka, bunlar\u0131 \u00e7\u00f6z\u00fc\u015f tarz\u0131 ile de belli olur. Ya\u015fam\u0131n zaferini yeni bir g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131ndan kesinlemek yoluyla, traji\u011fin insanc\u0131l ve yi\u011fit yan\u0131n\u0131 y\u00fcceltir. Sovyet tragedyas\u0131 klasik tragedyadan farkl\u0131 olarak, \u0131\u015f\u0131yan g\u00fc\u00e7lerin kesin zaferini uzak bir tarihsel perspektivte ya da bir d\u00fczenden \u00f6tekine ge\u00e7i\u015f i\u00e7inde de\u011fil, sosyalist d\u00f6nemin ba\u011fr\u0131nda g\u00f6zler \u00f6n\u00fcne serer. Sovyet tragedyas\u0131n\u0131n y\u00fcceltti\u011fi ideal, ya\u015fam\u0131n ileriye d\u00f6n\u00fck devinimidir.<\/p>\n

Romm i1e Krabrovitski\u2019nin Bir Y\u0131l\u0131n Dokuz G\u00fcn\u00fc filminde ba\u015f kahraman yetenekli fizik\u00e7i Gusief, \u00e7al\u0131\u015fmalar\u0131n\u0131n ba\u015far\u0131ya ula\u015ft\u0131\u011f\u0131n\u0131 bile g\u00f6remeden, g\u00f6sterdi\u011fi \u00f6zverinin hi\u00e7 olmazsa bir bulguyla do\u011frulanm\u0131\u015f oldu\u011funu bile g\u00f6remeden can verir. Ama film yine de s\u00f6zc\u00fc\u011f\u00fcn en iyi anlam\u0131nda iyimserdir, seyirci, kahraman\u0131n umars\u0131z \u00f6l\u00fcm\u00fcn\u00fc bilse de, Pu\u015fkin\u2019in \u201cbenim \u0131\u015f\u0131yan h\u00fczn\u00fcm\u201d dedi\u011fi bir duygu ile ayr\u0131l\u0131r. Film, kahramanlar\u0131 ger\u00e7ek ve somut bir ba\u015far\u0131 kazand\u0131klar\u0131 i\u00e7in de\u011fil, seyirciye alabildi\u011fine zengin, saf ve insanc\u0131l bir tinsel evren g\u00f6sterdi\u011fi i\u00e7in iyimserdir. Kahraman\u0131n ya\u015fam\u0131ndaki bu hem trajik, hem de yi\u011fit\u00e7e ge\u00e7en dokuz g\u00fcn, derin bir felsefe ve \u0131\u015f\u0131yan bir insanc\u0131l\u0131k ile doludur ve, \u201cruhu alabora eden\u201d geleneksel bir mutlu sonla biten filmlerden kat kat \u00fcst\u00fcn olmakla ay\u0131rt edilir.<\/p>\n

Bir zamanlar eski toplumsal uzla\u015fmazl\u0131klar\u0131n yol a\u00e7m\u0131\u015f oldu\u011fu trajik \u00e7at\u0131\u015fmalar\u0131n t\u00fcm\u00fc de sosyalist toplumda do\u011fal olarak, yok olur. Ezilenlerin ezenlere kar\u015f\u0131 y\u00fcr\u00fctt\u00fc\u011f\u00fc sava\u015f\u0131m\u0131n sonucu do\u011fan tragedyalara art\u0131k rastlanmaz; dolay\u0131s\u0131yla bu t\u00fcrden bir tragedyan\u0131n toplumcu sanatta da yeri yoktur.<\/p>\n

\u00c7a\u011fda\u015f ger\u00e7eklikte, traji\u011fin \u00e7e\u015fitli kaynaklar\u0131 bulunmaktad\u0131r h\u00e2l\u00e2, hem de sadece sosyalizme yabanc\u0131 \u00fclkelerde de de\u011fil. Yeni toplum ya\u015fam\u0131, sanat\u00e7\u0131y\u0131, kimi ger\u00e7ek olaylar\u0131n trajik bir yorumuna y\u00f6neltir Aleksi Tolstoy, hatta \u015fu kan\u0131y\u0131 ta\u015f\u0131r: Yaln\u0131z gen\u00e7 ve g\u00fc\u00e7l\u00fc bir d\u00fcnya anlayabilir \u201ctragedyan\u0131n derinli\u011fini\u201d. Tragedyan\u0131n eski konular\u0131 ortadan \u00e7ekilirler, ama, t\u00fcr olarak tragedya; estetik yarg\u0131 kategorisi olarak trajik b\u00fct\u00fcn de\u011ferini korur. Yeni toplum i\u00e7inde, yi\u011fitli\u011fe ve y\u00fcceye ili\u015fkin k\u00f6kl\u00fc fenomen ve s\u00fcre\u00e7lerin alg\u0131lanma ve sanatsal \u00f6z\u00fcmsenmesinden ba\u015fka, trajik, sanat\u0131n genel ge\u00e7er bir anlam y\u00fckledi\u011fi, insan\u0131n do\u011fayla m\u00fccadelesi ve \u00f6zel ya\u015fant\u0131daki dramlar\u0131yla birlikte ortaya \u00e7\u0131kabilir.<\/p>\n

Ama \u015fu da var: Tragedya sanat\u0131n\u0131n konular\u0131 ne denli \u00e7e\u015fitli olursa olsun, \u0131\u015f\u0131yan g\u00fc\u00e7lerin ba\u015far\u0131s\u0131na sa\u011flam bir inan\u00e7 beslemeden ve iyimser bir d\u00fcnya tasar\u0131m\u0131 (vision) olmadan, bunlar\u0131n sanatsal \u00f6z\u00fcmsenmeleri, asla ger\u00e7ekle\u015fmez. Her t\u00fcrl\u00fc trajik sanat\u0131n ana \u00f6zelli\u011fi budur. \u00d6l\u00fcmle kesinlenir \u00f6l\u00fcms\u00fczl\u00fck, kahraman\u0131n sonuyla ortaya \u00e7\u0131kar ya\u015fam\u0131n anlam\u0131 ve, sava\u015f erinin yenilgisi \u00f6tesinde, y\u00fcceltilen toplumsal idealin utkusu do\u011far \u00f6n\u00fcm\u00fczde.<\/p>\n

Bilimsel \u00f6\u011fretide estetik, traji\u011fin zorunlulu\u011funu toplumcu ger\u00e7ek\u00e7i sanattan temellendirir ve onda bu sanat\u0131n olgunluk d\u00f6neminin bir kan\u0131t\u0131n\u0131 g\u00f6r\u00fcr. Ancak \u015fu da var: Tragedya, en \u00f6nemli t\u00fcrlerden biri olsa da, tek sanat t\u00fcr\u00fc de de\u011fildir ve sanat salt trajik renkler \u00f6rt\u00fcnemez. Tragedya da, akla gelebilecek b\u00fct\u00fcn felaketleri ve ac\u0131lar\u0131 tasar\u0131mlama yoluyla, insan\u0131 zay\u0131f d\u00fc\u015f\u00fcrmek gibi bir g\u00f6rev \u00fcstlenmemi\u015ftir; tersine, insan\u0131n y\u00fcreklili\u011fini ve yi\u011fitli\u011fini, g\u00fc\u00e7l\u00fc karakterini ve moral metanetini bi\u00e7imlendirmeyi ama\u00e7lar.<\/p>\n

B\u00f6ylece, toplumcu sanatta tragedya, \u00e7a\u011fda\u015f d\u00fcnyan\u0131n tarihsel evrimindeki temel \u00e7eli\u015fkileri dile getirmede, ya\u015fam\u0131n eylem ve anlam\u0131 olarak gelece\u011fin do\u011fru idealini y\u00fcceltmekde etkin bir olanak sa\u011flar.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Estetikte trajik ile komi\u011fin \u00f6nemi ve kapsam\u0131, bu kategorileri geneldeki temel g\u00f6r\u00fcng\u00fclere ili\u015fkin estetik bir de\u011ferlendirmeyi dile getirmelerinden ve g\u00fczel kategorisiyle birlikte sanat\u0131n ba\u015fl\u0131ca konular\u0131yla ilgili olu\u015flar\u0131ndan kaynaklan\u0131r. Ger\u00e7ek d\u00fcnyada trajik ile komi\u011fin alan\u0131 g\u00fczelinkinden daha s\u0131n\u0131rl\u0131d\u0131r; salt toplumsal ya\u015famla ilgilidirler \u00e7\u00fcnk\u00fc; bu kategorilerin do\u011fayla bir al\u0131\u015f-veri\u015fleri yoktur. Do\u011fa, iyili\u011fe de k\u00f6t\u00fcl\u00fc\u011fe de nas\u0131l yabanc\u0131 […]<\/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-715","post","type-post","status-publish","format-standard","category-tiyatro-uzerine"],"yoast_head":"\nTrajik ile Komik (1.B\u00f6l\u00fcm) | Avner Ziss - 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-ile-komik-1bolum-avner-ziss\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Trajik ile Komik (1.B\u00f6l\u00fcm) | Avner Ziss\" \/>\n<meta property=\"og:description\" content=\"Estetikte trajik ile komi\u011fin \u00f6nemi ve kapsam\u0131, bu kategorileri geneldeki temel g\u00f6r\u00fcng\u00fclere ili\u015fkin estetik bir de\u011ferlendirmeyi dile getirmelerinden ve g\u00fczel kategorisiyle birlikte sanat\u0131n ba\u015fl\u0131ca konular\u0131yla ilgili olu\u015flar\u0131ndan kaynaklan\u0131r. 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