{"id":7152,"date":"2018-08-17T08:09:56","date_gmt":"2018-08-17T05:09:56","guid":{"rendered":"http:\/\/localhost\/wordpress\/2018\/08\/17\/charles-baudelaire-kapitalizmin-yukselis-caginda-bir-lirik-sair-walter-benjamin\/"},"modified":"2024-04-27T06:25:23","modified_gmt":"2024-04-27T03:25:23","slug":"charles-baudelaire-kapitalizmin-yukselis-caginda-bir-lirik-sair-walter-benjamin","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2018\/08\/17\/charles-baudelaire-kapitalizmin-yukselis-caginda-bir-lirik-sair-walter-benjamin\/","title":{"rendered":"Charles Baudelaire; Kapitalizmin Y\u00fckseli\u015f \u00c7a\u011f\u0131nda Bir Lirik \u015eair | Walter Benjamin"},"content":{"rendered":"

\"\"Boheme, a\u00e7\u0131klay\u0131c\u0131 bir ba\u011flamda olmak \u00fczere Marx\u2019ta vard\u0131r. Bu \u00e7evreye meslekten komplocular\u0131 sokan Marx, polis ajan\u0131 de la Hodde\u2019un an\u0131lar\u0131 \u00fczerine kaleme ald\u0131\u011f\u0131 ve 1850\u2019de Neue Rhei- nische Zeitung gazetesinde yay\u0131mlanan ayr\u0131nt\u0131l\u0131 tan\u0131tma yaz\u0131s\u0131nda bu komplocular\u0131 ele al\u0131r. Baudelaire\u2019in fizyonomisini somutla\u015f\u00adt\u0131rmak, onunla s\u00f6z\u00fc edilen politik tip aras\u0131ndaki benzerli\u011fi dile getirmek anlam\u0131n\u0131 ta\u015f\u0131r. Marx, \u015f\u00f6yle anlat\u0131r bu tipi: \u201ci\u015f\u00e7i s\u0131n\u0131f\u0131 i\u00e7ersinde komplocular\u0131n geli\u015ftirilmesiyle birlikte, i\u015fb\u00f6l\u00fcm\u00fcne gitme gereksinimi do\u011fdu; \u00fcyeler, f\u0131rsat d\u00fc\u015ft\u00fck\u00e7e komploculuk yapanlar, yani conspirateurs d\u2019occasion ve meslekleri komploculuk yapanlar olmak \u00fczere ikiye ayr\u0131ld\u0131lar. Birinciler, komploculu\u011fu yaln\u0131zca \u00f6teki i\u015flerinin yan\u0131 s\u0131ra y\u00fcr\u00fcten, toplant\u0131lara gel\u00admekle yetinen ve \u015fefin buyru\u011fu \u00fczerine toplant\u0131 alan\u0131na gitme\u00adye haz\u0131r olanlard\u0131; \u0130kinciler ise t\u00fcm \u00e7al\u0131\u015fmalar\u0131n\u0131 komploya ada\u00adm\u0131\u015f ve komployla ya\u015fayan i\u015f\u00e7ilerdi… Ya\u015famdaki konumu, bu s\u0131\u00adn\u0131f\u0131n karakterini daha en ba\u015ftan belirler… Bu s\u0131n\u0131ftan olanlar\u0131n hep sallant\u0131da, asl\u0131nda \u00e7al\u0131\u015fmalardan \u00e7ok, rastlant\u0131lara ba\u011f\u0131ml\u0131 varl\u0131klar\u0131, tek durak yerlerini \u015farap satanlar\u0131n, i\u00e7kievlerinin -ya\u00adni komplocular\u0131n randevu evleri say\u0131lan i\u00e7kievlerinin- olu\u015ftur\u00addu\u011fu doludizgin ya\u015famlar\u0131, her t\u00fcrden ne id\u00fc\u011f\u00fc belirsiz ki\u015filer\u00adle kurduklar\u0131 ili\u015fkileri, onlar\u0131 Paris\u2019te la Boheme diye adland\u0131r\u0131lan \u00e7evreye sokar.<\/p>\n

Bu arada III. Napoleon\u2019un da yukarda anlat\u0131lanla \u00f6rt\u00fc\u015fen bir ortamda y\u00fckselmeye ba\u015flad\u0131\u011f\u0131n\u0131 k\u0131saca belirtmek gerekir. Bilindi\u011fi gibi 10 Aral\u0131k Derne\u011fi, III. Napoleon\u2019un cumhurba\u015f\u00adkanl\u0131\u011f\u0131 d\u00f6neminde kullanm\u0131\u015f oldu\u011fu ara\u00e7lardan biridir; Marx\u2019a g\u00f6re bu derne\u011fin kadrolar\u0131n\u0131, \u201cFrans\u0131zlar\u2019\u0131n la Boheme diye ad\u00adland\u0131rd\u0131klar\u0131, o t\u00fcm\u00fcyle belirsiz, da\u011f\u0131n\u0131k ve oradan oraya s\u00fcr\u00fck\u00adlenen kitle\u201d olu\u015fturmu\u015ftur. Napoleon, imparatorlu\u011fu d\u00f6ne\u00adminde komploculuktan kaynaklanan al\u0131\u015fkanl\u0131klar\u0131 daha da ge\u00adli\u015ftirdi. \u015ea\u015f\u0131rt\u0131c\u0131 bildiriler ve gizli kapakl\u0131 i\u015fler, ani patlamalar ve nedenine hi\u00e7bir zaman inilemeyen alayl\u0131 tutum ve davran\u0131\u015flar, Second Empire\u2019in (ikinci imparatorlu\u011fun) hikmeti h\u00fck\u00fcmetin\u00adden say\u0131l\u0131r. Ayn\u0131 \u00f6zelliklerle Baudelaire\u2019in kuramsal yaz\u0131lar\u0131nda yeniden kar\u015f\u0131la\u015f\u0131l\u0131r. Baudelaire, g\u00f6r\u00fc\u015flerini \u00e7o\u011fu kez birer \u201czo\u00adrunlu \u00f6nerme gibi sergiler. Tart\u0131\u015fma, onun i\u015fi de\u011fildir. Art arda kendine mal etti\u011fi savlar aras\u0131ndaki sivri \u00e7eli\u015fkiler bir hesapla\u015f\u00admay\u0131 gerektirdi\u011fi zaman bile tart\u0131\u015fmadan ka\u00e7\u0131n\u0131r. \u201c1846 Salo- nu\u2019nu “burjuvaya\u201d adam\u0131\u015ft\u0131r; burjuvan\u0131n s\u00f6zc\u00fcs\u00fc olarak ortaya \u00e7\u0131kan Baudelaire\u2019in tutumu, \u015feytan\u0131n avukatl\u0131\u011f\u0131n\u0131 \u00fcstlenmi\u015f ol\u00adma anlam\u0131n\u0131 ta\u015f\u0131maz. Daha sonra, \u00f6rne\u011fin bon sense okuluna ili\u015f\u00adkin yergisinde, \u201cd\u00fcr\u00fcst burjuvazi\u201d ile bu s\u0131n\u0131f\u0131n sayg\u0131de\u011fer ki\u015fi\u00adsi olan noter i\u00e7in en \u00f6fkeli boheme a\u011f\u0131zlar\u0131n\u0131 kullan\u0131r.3 1850\u2019lerde, sanat\u0131n yararl\u0131l\u0131k d\u00fc\u015f\u00fcncesinden ayr\u0131lamayaca\u011f\u0131n\u0131 ilan eder; bir\u00adka\u00e7 y\u0131l sonra i\u015fe \u201csanat, sanat i\u00e7indir\u201din savunucusu olur. Nere\u00addeyse bir gecede ve Frans\u0131z parlamentosuna bir \u015fey s\u00f6ylemek- sizin koruyucu g\u00fcmr\u00fck d\u00fczenlemelerini bir yana at\u0131p serbest ti\u00adcaret rejimi uygulamas\u0131na gecen III. Napoleon gibi, Baudelaire de kendisini izleyen kitleye bilgi verme gere\u011fini duymaz. Bu noktalar g\u00f6z \u00f6n\u00fcnde tutuldu\u011funda, ba\u015fta Jules Lema\u00eetre olmak \u00fczere, resm\u00ee ele\u015ftirilerin Baudelaire\u2019in d\u00fczyaz\u0131lar\u0131n\u0131n i\u00e7erdi\u011fi gizilg\u00fcc\u00fc neden yeterince alg\u0131layamad\u0131klar\u0131 anla\u015f\u0131labilmektedir.<\/p>\n

Marx, conspirateurs de professions (meslekten komploculara) ili\u015fkin a\u00e7\u0131klamalar\u0131n\u0131 \u015f\u00f6yle s\u00fcrd\u00fcr\u00fcr: \u201cBu ki\u015filer i\u00e7in devrimin tek ko\u015fulu, komplolar\u0131n\u0131n yeterli d\u00fczeyde \u00f6rg\u00fctlendirilmesidir… Devrimci mucizeler yarataca\u011f\u0131 umulan bulu\u015flara sar\u0131l\u0131rlar; yang\u0131n bombalar\u0131, sihirli etkiye sahip y\u0131k\u0131m makineleri, ak\u0131lc\u0131 bir nedenden yoksun olduklar\u0131 \u00f6l\u00e7\u00fcde \u015fa\u015f\u0131rt\u0131c\u0131 etki yaratmalar\u0131 \u00f6ng\u00f6r\u00fclen ayaklanmalar gibi. Bu t\u00fcr projelerle u\u011fra\u015fan komplo\u00adcular\u0131n tek ama\u00e7lar\u0131, i\u015fba\u015f\u0131ndaki h\u00fck\u00fcmeti devirmeye y\u00f6nelik yeni bir giri\u015fimi ger\u00e7ekle\u015ftirmektir; en nefret ettikleri \u015fey ise, i\u015f\u00ad\u00e7ilerin kendi s\u0131n\u0131flar\u0131n\u0131n yararlar\u0131 konusunda kuramsal yan\u0131 a\u011f\u0131r basan bir d\u00fczeyde ayd\u0131nlat\u0131lmalar\u0131d\u0131r. Bundan \u00f6t\u00fcr\u00fc s\u00f6z\u00fc edilen komplocular, karac\u00fcbbelilere (habits noirs), ba\u015fka deyi\u015fle hare\u00adketin kuramsal yan\u0131n\u0131 temsil eden, az \u00e7ok k\u00fclt\u00fcrl\u00fc ki\u015filere kar\u015f\u0131 proleter k\u00f6kenli de\u011fil, pleb k\u00f6kenli bir \u00f6fke duyarlar; ancak bu ayd\u0131nlar\u0131n partinin resm\u00ee temsilcileri olmalar\u0131 nedeniyle, kendi\u00adlerini onlardan t\u00fcm\u00fcyle ba\u011f\u0131ms\u0131z da k\u0131lamazlar.\u201d Baudelaire\u2019in politik g\u00f6r\u00fc\u015fleri asl\u0131nda bu meslekten komplocular\u0131nkinden da\u00adha ileri bir d\u00fczeyde de\u011fildir. \u0130ster dinsel ba\u011fnazl\u0131\u011fa ko\u015fut geri\u00adlemeye, ister 1848 ayaklanmas\u0131na yak\u0131nl\u0131k duysun, bu yak\u0131nl\u0131\u00ad\u011f\u0131n dile getirili\u015f bi\u00e7imi havada, temeli de zay\u0131f kal\u0131r. Baudelaire\u2019in \u015eubat g\u00fcnlerinde sergiledi\u011fi g\u00f6r\u00fcn\u00fc\u015f -Paris caddelerinden birinin k\u00f6\u015fesinde: \u201cKahrolsun General Aupick!\u201d diye ba\u011f\u0131rarak elindeki t\u00fcfe\u011fi sallamas\u0131*- bir kan\u0131t niteli\u011findedir. Flaubert\u2019in: \u201cPolitikada anlad\u0131\u011f\u0131m tek \u015fey, ayaklanmad\u0131r\u201d s\u00f6z\u00fc, gerekti\u011fin\u00adde Baudelaire\u2019in de benimseyebilece\u011fi bir s\u00f6zd\u00fcr. O zaman bu, Baudelaire\u2019in Bel\u00e7ika \u00fczerine tasar\u0131lar\u0131na ili\u015fkin bir notun son b\u00f6l\u00fcm\u00fcndeki \u015fu sat\u0131rlarla bir ko\u015futluk olu\u015ftururdu: \u201c \u2018Ya\u015fas\u0131n devrim!\u2019, diyorum; t\u0131pk\u0131 \u2018Ya\u015fas\u0131n y\u0131k\u0131m! Ya\u015fas\u0131n kefaret! Ya\u015fas\u0131n yola getirme! Ya\u015fas\u0131n \u00f6l\u00fcm!\u2019 diyebilece\u011fim gibi! Mutlulu\u011fu\u00admun tek ko\u015fulu, kendimi kurban etmek de\u011fil; cellad\u0131n rol\u00fcn\u00fc \u00fcstlenmek de bana ters d\u00fc\u015fmezdi – b\u00f6ylece devrimi iki y\u00f6n\u00fcy\u00adle birden duyumsard\u0131m! Frengi nas\u0131l ili\u011fimize kemi\u011fimize i\u015fle\u00admi\u015fse, cumhuriyet ruhu da hepimizin kan\u0131nda; hepimiz demok\u00adrasi mikrobunu kapm\u0131\u015f, frengili ki\u015fileriz.<\/p>\n

Baudelaire\u2019in b\u00f6ylece dile getirdikleri, k\u0131\u015fk\u0131rt\u0131c\u0131n\u0131n (provo- cateur) metafizi\u011fi diye adland\u0131r\u0131labilir. Yukardaki notun kaleme al\u0131nd\u0131\u011f\u0131 Bel\u00e7ika\u2019da, Baudelaire\u2019e bir s\u00fcre Frans\u0131z polisinin casu\u00adsu g\u00f6z\u00fcyle bak\u0131lm\u0131\u015ft\u0131. Asl\u0131nda bu t\u00fcrden anla\u015fmalar \u015fa\u015f\u0131rt\u0131c\u0131 ol\u00admaktan o denli uzakt\u0131 ki, Baudelaire polisten burs alan edebiyat \u00f6\u011frencileri \u00fczerine 20 Aral\u0131k 1854 tarihinde annesine \u015funu yaz\u00adm\u0131\u015ft\u0131: \u201cAd\u0131m, hi\u00e7bir zaman onlar\u0131n utan\u00e7 kay\u0131tlar\u0131nda yer alma- yacak.\u201d Bel\u00e7ika\u2019da Baudelaire\u2019e casus g\u00f6z\u00fcyle bak\u0131lmas\u0131, yal\u00adn\u0131zca Bel\u00e7ika\u2019da s\u00fcrg\u00fcnde bulunan ve b\u00fcy\u00fck ilgi derleyen Hugo\u2019ya kar\u015f\u0131 belli etti\u011fi d\u00fc\u015fmanl\u0131ktan ileri gelemezdi. Bu s\u00f6ylen\u00adtinin do\u011fumuna, Baudelaire\u2019in o y\u0131k\u0131c\u0131 ironisi de katk\u0131da bulun\u00admu\u015ftur; \u015fairin bu s\u00f6ylentiyi yaymaktan zevk alm\u0131\u015f olmas\u0131, b\u00fc\u00ady\u00fck olas\u0131l\u0131kt\u0131r. Georges Sorel\u2019de de rastlan\u0131lan ve fa\u015fist propa\u00adgandan\u0131n onsuz olunamaz \u00f6\u011felerinden birine d\u00f6n\u00fc\u015fen culte de la blague (yalana tapma), Baudelaire\u2019de ilk filizlerini bulur. Celine\u2019in Bagatelles pour un massacre\u2019ma* egemen olan ruh ve kullan\u00add\u0131\u011f\u0131 ba\u015fl\u0131k, do\u011frudan Baudelaire\u2019in g\u00fcncesine yazd\u0131\u011f\u0131 bir c\u00fcm\u00adleden kaynaklan\u0131r: \u201cYahudi \u0131rk\u0131n\u0131n k\u00f6k\u00fcn\u00fc kurutmak i\u00e7in g\u00fczel bir komplo d\u00fczenlenebilirdi.\u201dKomploculuk mesle\u011fini Paris Kom\u00fcn\u00fc\u2019n\u00fcn emniyet m\u00fcd\u00fcr\u00fc olarak noktalayan Blanqui yanl\u0131\u00ads\u0131 Rigault da g\u00f6r\u00fcn\u00fc\u015fe bak\u0131l\u0131rsa Baudelaire\u2019e ili\u015fkin belgelerde \u00e7ok s\u00f6z\u00fc edilen i\u00e7 karart\u0131c\u0131 mizah duygusuna sahiptir. Ch. Proles\u2019nin Hommes de la revolution de 1871 (1871 Devriminin \u0130nsan\u00adlar\u0131) adl\u0131 incelemesinde \u015fu sat\u0131rlar vard\u0131r: \u201cRigault b\u00fct\u00fcn olay\u00adlarda b\u00fcy\u00fck bir so\u011fukkanl\u0131l\u0131\u011f\u0131n yan\u0131 s\u0131ra kabal\u0131\u011fa varan bir \u015faka\u00adc\u0131l\u0131\u011f\u0131 da sergilemi\u015ftir. Bu yan\u0131, ba\u011fnazl\u0131\u011f\u0131 i\u00e7ersinde bile Rigault\u2019nun ayr\u0131lmaz bir \u00f6zelli\u011fidir.\u201d Baudelaire\u2019de, Marx\u2019\u0131n komplocularda rastlad\u0131\u011f\u0131 ter\u00f6rist d\u00fc\u015flerin yans\u0131malar\u0131 da vard\u0131r. 23 Aral\u0131k 1865 tarihinde annesine \u015funlar\u0131 yazar: \u201cDaha \u00f6nce bir\u00adka\u00e7 kez sahip oldu\u011fum g\u00fcc\u00fc g\u00fcn\u00fcn birinde yeniden kazanabi\u00adlirsem, o zaman \u00f6fkemi deh\u015fet verici kitaplarla sergileyece\u011fim. B\u00fct\u00fcn insanl\u0131\u011f\u0131 kendime kar\u015f\u0131 k\u0131\u015fk\u0131rtmak istiyorum. B\u00f6yle bir \u015fey, bana t\u00fcm ac\u0131lar\u0131m\u0131 unutturacak bir \u015fehvet duygusu verir\u00addi.\u201d Barikat sava\u015flar\u0131yla dolu ge\u00e7en yar\u0131m y\u00fczy\u0131l boyunca Paris\u00adli meslekten komplocular\u0131n besin kayna\u011f\u0131, i\u015fte bu dinmek bil\u00admeyen \u00f6fke olmu\u015ftur.<\/p>\n

Marx bu komplocular i\u00e7in: \u201cilk barikatlar\u0131 kuran ve y\u00f6ne\u00adtenler, bunlard\u0131r\u201dder. Ger\u00e7ekten de barikat, komplocu hare\u00adketin odak noktas\u0131nda yer al\u0131r. Barikatlar\u0131n kendilerine \u00f6zg\u00fc bir devrimci gelene\u011fi vard\u0131r. Temmuz Devrimi\u2019nde kent boyunca uzanan barikatlar\u0131n say\u0131s\u0131 d\u00f6rt binin \u00fczerindedir. Fourier, travail non salarie mais passionne (\u00fccretsiz, ama co\u015fku dolu bir i\u015f) i\u00e7in \u00f6rnek arad\u0131\u011f\u0131nda, barikat yap\u0131m\u0131ndan daha uygununu bula\u00admaz. Victor Hugo Sefiller’de barikatlardan olu\u015fan \u015febekeyi, bari\u00adkatlar\u0131 dolduran ki\u015fileri g\u00f6lgede b\u0131rakacak kadar etkileyici bi\u00ad\u00e7imde betimlemi\u015ftir. \u201cAyaklanman\u0131n g\u00f6r\u00fcnmeyen polisi, her yerde n\u00f6betteydi. D\u00fczeni, ba\u015fka deyi\u015fle geceyi koruyan, bu po\u00adlisti… Bu \u00fcst \u00fcste y\u0131\u011f\u0131lm\u0131\u015f g\u00f6lgelere yukardan bakan bir g\u00f6z, belki orada burada, geli\u015fig\u00fczel ve k\u0131r\u0131k \u00e7izgilere, tuhaf yap\u0131lara vuran, belli belirsiz bir \u0131\u015f\u0131\u011f\u0131 alk\u0131\u015flayabilirdi. Bu y\u0131k\u0131nt\u0131lar\u0131n ara\u00ads\u0131nda \u0131\u015f\u0131klar\u0131 and\u0131ran bir \u015feyler k\u0131p\u0131rdamaktayd\u0131. Bu noktalarda barikatlar vard\u0131.\u201d Baudelaire, Fleurs du mal\u0131 noktalamas\u0131 \u00f6ng\u00f6\u00adr\u00fclen ve Paris\u2019e y\u00f6neltti\u011fi, ama tamamlanamadan kalan s\u00f6yle\u00advinde, kente veda ederken barikatlar\u0131 da anmay\u0131 unutmaz; bu barikatlar\u0131n \u201c\u00fcst \u00fcste y\u0131\u011f\u0131l\u0131p kaleler olu\u015fturan b\u00fcy\u00fcl\u00fc kald\u0131r\u0131m ta\u015flar\u0131n\u0131\u201d an\u0131msar. Gelgelelim bu ta\u015flar, Baudelaire\u2019in \u015fiiri on\u00adlar\u0131 harekete ge\u00e7irmi\u015f olan ellere yabanc\u0131 kald\u0131\u011f\u0131 i\u00e7in \u201cb\u00fcy\u00fcl\u00fc\u201dd\u00fcr. \u00d6te yandan bu co\u015fku, b\u00fcy\u00fck bir olas\u0131l\u0131kla Blanquizm- den kaynaklanmaktad\u0131r. \u00c7\u00fcnk\u00fc Blanqui yanl\u0131lar\u0131ndan Tridon da, benzer bi\u00e7imde \u015f\u00f6yle seslenir: \u201c\u00d6 force, reine des barricades, toi qui brille dans l’eclair et dans l’emeute… c\u2019est vers toi que les prison- niers tendent leurs mains enchainees\u201d (Ey g\u00fc\u00e7, barikatlar\u0131n krali\u00e7e\u00adsi, \u0131\u015f\u0131klar\u0131n ve ayaklanman\u0131n ortas\u0131nda parlayan sen… esirlerin zincire vurulmu\u015f ellerini uzatt\u0131klar\u0131, sensin). Kom\u00fcn\u2019\u00fcn so\u00adnunda i\u015f\u00e7i s\u0131n\u0131f\u0131, t\u0131pk\u0131 \u00f6ld\u00fcr\u00fcc\u00fc yara alm\u0131\u015f bir hayvan\u0131n inine \u00e7e\u00adkilmesi gibi, barikatlar\u0131n arkas\u0131na \u00e7ekilir. Barikat sava\u015flar\u0131nda e\u011fitilmi\u015f olan i\u015f\u00e7ilerin a\u00e7\u0131kta sava\u015fma bak\u0131m\u0131ndan -ki Thiers\u2019in b\u00f6yle bir sava\u015f\u0131n \u00f6n\u00fcn\u00fc kapatmas\u0131 gerekirdi- yetersiz kalmala\u00adr\u0131, yenilginin nedenlerinden birini olu\u015fturur. Kom\u00fcn\u2019\u00fcn en yeni tarih\u00e7ilerinden birinin yazd\u0131\u011f\u0131 gibi, bu i\u015f\u00e7iler \u201ckendi b\u00f6lgelerin\u00adde sava\u015fmay\u0131… ve daha olmazsa Paris sokaklar\u0131ndan birinin ta\u015f\u00adlar\u0131yla yap\u0131lm\u0131\u015f bir barikat\u0131n arkas\u0131ndaki \u00f6l\u00fcm\u00fc, meydan sava\u015f\u0131\u00adna ye\u011flemi\u015flerdir.\u201d<\/p>\n

Parisli barikat liderlerinin en \u00f6nemlisi olan Blanqui, o s\u0131ra\u00adlarda son hapishanesi olan Fort du Taureau\u2019da yatmaktayd\u0131. Marx, Temmuz Devrimi\u2019ni an\u0131msarken Blanqui\u2019yi ve arkada\u015f\u00adlar\u0131n\u0131 \u201ci\u015f\u00e7i partisinin ger\u00e7ek y\u00f6neticileri\u201d diye nitelendirir. Blanqui\u2019nin o s\u0131ralarda devrimci \u00e7evrelerde kazand\u0131\u011f\u0131, \u00f6l\u00fcm\u00fcne kadar da korudu\u011fu sayg\u0131nl\u0131\u011f\u0131n ne denli b\u00fcy\u00fck oldu\u011funu anlata\u00adbilmek, hemen hemen olanaks\u0131zd\u0131r. Lenin\u2019den \u00f6nce i\u015f\u00e7i s\u0131n\u0131f\u0131 i\u00e7ersinde Blanqui kadar belirgin \u00e7izgiler ta\u015f\u0131m\u0131\u015f birini daha bu\u00adlabilmek olanaks\u0131zd\u0131r. Bu \u00e7izgiler, Baudelaire\u2019de de yer etmi\u015f\u00adtir. Baudelaire\u2019den kalma bir k\u00e2\u011f\u0131d\u0131n \u00fcst\u00fcnde ba\u015fkaca do\u011fa\u00e7la\u00adma resimlerin yan\u0131 s\u0131ra, Blanqui\u2019nin bir ba\u015f resmi de bulunmak\u00adtad\u0131r.<\/p>\n

Marx\u2019\u0131n, Paris\u2019in komplocu ortam\u0131n\u0131 betimlerken kulland\u0131\u00ad\u011f\u0131 kavramlar, Blanqui\u2019nin bu ortam i\u00e7erisindeki tart\u0131\u015fmal\u0131 konu\u00admunu \u00e7ok iyi dile getirir. Ger\u00e7i Blanqui\u2019nin bir darbeci olarak ta\u00adrihe ge\u00e7mesi, sa\u011flam nedenlere de dayanmaktad\u0131r. \u00c7\u00fcnk\u00fc Blan- qui. Marx\u2019\u0131n deyi\u015fiyle \u201cdevrimci geli\u015fme s\u00fcrecine el koymay\u0131, bu s\u00fcreci yapay bi\u00e7imde bunal\u0131ma itmeyi, devrimin ko\u015fullar\u0131n\u0131 ger\u00e7ekle\u015ftirmeksizin do\u011fa\u00e7tan bir devrim olu\u015fturmay\u0131\u201d g\u00f6rev sayan politikac\u0131 tipini temsil eder. Ama \u00f6te yandan Blanqui\u2019ye ili\u015fkin ba\u015fkaca anlat\u0131lanlara bak\u0131ld\u0131\u011f\u0131nda, g\u00f6r\u00fcn\u00fc\u015fte bu lider ile meslekten komplocular\u0131n kendilerine rakip sayarak nefret et\u00adtikleri kara c\u00fcbbeliler aras\u0131nda bir benzerlik ortaya \u00e7\u0131kmaktad\u0131r.<\/p>\n

Bir g\u00f6rg\u00fc tan\u0131\u011f\u0131, Blanqui\u2019nin Hal Kul\u00fcb\u00fc\u2019n\u00fc \u015f\u00f6yle anlat\u0131r: \u201cEge\u00admen d\u00fczenin partisinin o s\u0131ralarda… sahip bulundu\u011fu iki kul\u00fcp\u00adten farkl\u0131 olarak, Blanqui\u2019nin devrimci kul\u00fcb\u00fcne ili\u015fkin ilk izle\u00adnim konusunda bir fikir edinmek isteyenin, Racine ve Corneil- le\u2019in oynand\u0131\u011f\u0131 bir g\u00fcnde Comedie Fran\u00e7aise\u2019in izleyicilerinin yan\u0131 s\u0131ra, akrobatlar\u0131n son derece tehlikeli numaralar yapt\u0131klar\u0131 bir sirki dolduran kitleyi kafas\u0131nda canland\u0131rmas\u0131 gerekir. Blan- qui\u2019nin kul\u00fcb\u00fcne girmek, komplonun ortodoks dinsel t\u00f6releri\u00adne adanm\u0131\u015f bir \u015fapelde olmak demekti. Kap\u0131lar herkese a\u00e7\u0131kt\u0131, ama tekrar gelebilmek, kabul edilmi\u015f olma ko\u015fuluna ba\u011fl\u0131yd\u0131. Ezilenlerin can s\u0131k\u0131c\u0131 defilesinin ard\u0131ndan, …bu mek\u00e2n\u0131n rahibi aya\u011fa kalkard\u0131. Onun bahanesi, m\u00fc\u015fterilerinin, yani biraz \u00f6nce konu\u015fmu\u015f olan yar\u0131m d\u00fczine kendini be\u011fenmi\u015f ve sinirli danga\u00adlak taraf\u0131ndan temsil edilen halk\u0131n yak\u0131nmalar\u0131n\u0131 \u00f6zetlemekti. Ger\u00e7ekte ise durumu a\u00e7\u0131klard\u0131. D\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fc soylu, giyini\u015fi ku\u00adsursuzdu. \u00c7ok g\u00fczel bir ba\u015f\u0131 vard\u0131; ifadesi huzurluydu; yaln\u0131zca g\u00f6zlerinde kimi zaman tehlike habercisi olan \u00fcrpertici bir \u015fim\u00ad\u015fek \u00e7akard\u0131. K\u00fc\u00e7\u00fck ve bak\u0131\u015flar\u0131yla kar\u015f\u0131s\u0131ndakini delen bak\u0131\u015flar\u00add\u0131 bunlar; genelde sert olmaktan \u00e7ok, iyi niyetli. Konu\u015fmas\u0131 \u00f6l\u00ad\u00e7\u00fcl\u00fc, sevecen ve kolay anla\u015f\u0131l\u0131r t\u00fcrdendi; Thiers\u2019inkinin yan\u0131 s\u0131\u00adra en g\u00f6steri\u015ften uzak konu\u015fma bi\u00e7imiydi.\u201d Bu ba\u011flamda Blanqui, bir doktrinci ki\u015fili\u011fiyle belirginle\u015fir. Habit noir\u2019\u0131n sin\u00adyalleri, burada en ufak ayr\u0131nt\u0131lar\u0131na varana kadar do\u011frulanm\u0131\u015f ol\u00admaktad\u0131r. \u201c\u0130htiyar\u201d\u0131n elinde siyah eldivenlerle konu\u015fma al\u0131\u015f\u00adkanl\u0131\u011f\u0131, bilinen bir \u015feydi. Ne var ki Blanqui\u2019ye \u00f6zg\u00fc olan \u00f6l\u00e7\u00fcl\u00fc ciddiyet, ki\u015fili\u011fini elevermezlik, Marx\u2019\u0131n bir saptamas\u0131n\u0131n \u0131\u015f\u0131\u00ad\u011f\u0131nda farkl\u0131 bir g\u00f6r\u00fcn\u00fcm almaktad\u0131r. Marx, bu meslekten komploculara ili\u015fkin olarak:\u00a0\u00a0\u00a0 \u201cBunlar, devrimin simyac\u0131lar\u0131d\u0131r\u201d,der, \u201cve eski simyac\u0131lar\u0131n d\u00fc\u015f\u00fcnce da\u011f\u0131n\u0131kl\u0131klar\u0131yla, saplant\u0131la\u00adr\u0131ndan kaynaklanma tekyanl\u0131l\u0131klar\u0131n\u0131 t\u00fcm\u00fcyle payla\u015f\u0131rlar.\u201d B\u00f6ylece Baudelaire\u2019in imgesi, neredeyse kendili\u011finden ortaya \u00e7\u0131kmaktad\u0131r: Bir yanda alegorinin bilmece malzemesi, \u00f6te yanda da komplocunun gizlerden olu\u015fma da\u011farc\u0131\u011f\u0131.<\/p>\n

Marx, ba\u015fka t\u00fcrl\u00fcs\u00fc beklenemeyece\u011fi \u00fczere, k\u00fc\u00e7\u00fck komplocunun kendini evinde gibi duyumsad\u0131\u011f\u0131 i\u00e7kievlerin- den a\u015fa\u011f\u0131lay\u0131c\u0131 bir dille s\u00f6z eder. Buralar\u0131 kaplayan bulut Baudelaire\u2019in de yabanc\u0131s\u0131 de\u011fildir. Pa\u00e7avrac\u0131lar\u0131n \u015earab\u0131 (\u201cLevin des chiffonniers\u201d) ba\u015fl\u0131kl\u0131 \u015fiir, bu duman bulutlar\u0131 aras\u0131n\u00adda kaleme al\u0131nm\u0131\u015ft\u0131r. Bu \u015fiirin yaz\u0131l\u0131\u015f tarihi olarak y\u00fczy\u0131l orta\u00adlar\u0131 g\u00f6sterilebilir. O s\u0131ralarda bu \u015fiirde ezgileri duyulan motif\u00adler kamuoyunda tart\u0131\u015f\u0131lm\u0131\u015ft\u0131. Sorunlardan biri, \u015farap vergisiydi. Cumhuriyet\u2019in Kurucu Meclisi, 1830\u2019da da yap\u0131lm\u0131\u015f oldu\u00ad\u011fu gibi, bu vergiyi kald\u0131rmaya s\u00f6z vermi\u015fti. Marx, Fransa\u2019da S\u0131n\u0131f Sava\u015flar\u0131\u2019nda bu verginin kald\u0131r\u0131lmas\u0131 ba\u011flam\u0131 i\u00e7ersinde kentli emek\u00e7ilerin bir isteminin k\u00f6yl\u00fclerin istemleriyle nas\u0131l kar\u015f\u0131la\u015ft\u0131\u011f\u0131n\u0131 g\u00f6stermi\u015ftir. S\u0131radan \u015farapla en iyi kalite \u015farap\u00adtan ayn\u0131 oranda al\u0131nan vergi, \u201cn\u00fcfusu 4000\u2019i a\u015fan t\u00fcm kentle\u00adrin kap\u0131lar\u0131nda giri\u015f resmi koyup, her kenti Frans\u0131z \u015farab\u0131 kar\u00ad\u015f\u0131s\u0131nda koruyucu g\u00fcmr\u00fck duvarlar\u0131yla \u00e7evrili bir yabanc\u0131 \u00fclke\u00adye d\u00f6n\u00fc\u015ft\u00fcrerek\u201d t\u00fcketimi azaltm\u0131\u015ft\u0131. Marx, \u015f\u00f6yle yazar: \u201cK\u00f6yl\u00fcler \u015farap vergisi arac\u0131l\u0131\u011f\u0131yla y\u00f6netimin \u015farap kokusunu s\u0131namaktad\u0131rlar.\u201d Ancak bu vergi kentliye de zarar vermekte ve ucuz \u015farap bulabilmek i\u00e7in onu y\u00f6rekentlerdeki i\u00e7kievleri- ne\u00a0\u00a0\u00a0 gitmeye zorlamaktayd\u0131. Oralarda \u201cvin de la barriere\u201d(\u201cBa\u00adriyer \u015earab\u0131\u201d) diye adland\u0131r\u0131lan vergisiz \u015farap sat\u0131lmaktayd\u0131, i\u015f\u00e7i bu \u015faraptan ald\u0131\u011f\u0131 zevki, emniyet m\u00fcd\u00fcrl\u00fc\u011f\u00fcnde \u015fube ba\u015fkan\u0131 H.-A. Fregier\u2019ye inanmak gerekirse e\u011fer, tutmas\u0131na izin verilen tek zevk niteli\u011fiyle b\u00fcy\u00fck bir gururla ve nispet verircesine sergilemekteydi. \u201cArt\u0131k \u00e7al\u0131\u015fabilecek ya\u015ftaki \u00e7o\u00adcuklar\u0131yla, kocalar\u0131n\u0131n ard\u0131ndan barriere\u2019e gitmekte sak\u0131nca g\u00f6rmeyen kad\u0131nlar var… Gidenler daha sonra yar\u0131 sarho\u015f ola\u00adrak evlerine d\u00f6nmeye koyuluyorlar ve \u015f\u00f6yle b\u00f6yle de\u011fil, ama iyice i\u00e7tiklerini herkes a\u00e7\u0131k\u00e7a g\u00f6rebilsin diye kendilerini ol\u00adduklar\u0131ndan daha sarho\u015f g\u00f6steriyorlar. Kimi zaman \u00e7ocuklar da\u00a0\u00a0\u00a0 anneleriyle babalar\u0131n\u0131 taklit ediyorlar.\u201d O d\u00f6nemde\u00a0\u00a0\u00a0 ya\u015fa\u00adyan bir g\u00f6zlemci ise \u015f\u00f6yle yazm\u0131\u015ft\u0131r:\u00a0\u00a0\u00a0 \u201cBariyerlerin \u015farab\u0131n\u0131n, y\u00f6netimin iskeletine k\u00fc\u00e7\u00fcmsenmeyecek darbeler indirmi\u015f ol\u00addu\u011fu kesindir.\u201d \u015earap, mirastan yoksun k\u0131l\u0131nm\u0131\u015f olanlara, gelecekteki intikamlar\u0131n ve yine gelecekteki g\u00f6rkemin d\u00fc\u015fle\u00adrinin kap\u0131lar\u0131n\u0131 a\u00e7maktad\u0131r. Pa\u00e7avrac\u0131lar\u0131n \u015earab\u0131\u2019nda dile ge\u00adtirildi\u011fi gibi:<\/p>\n

Bir pa\u00e7avrac\u0131 g\u00f6r\u00fcn\u00fcr, gelir kafas\u0131n\u0131 sallayarak,
\n\u00c7arparak duvarlara bir \u015fair gibi ve yalpalayarak,
\nVe metelik vermeden muhbirlere, onlar\u0131n k\u00f6lelerine,
\nA\u00e7ar t\u00fcm y\u00fcre\u011fini g\u00f6rkemli bir gelece\u011fe.
\nB\u00fcy\u00fck antlar i\u00e7er, buyruklar y\u00fcce yaslan,
\nK\u00f6t\u00fcleri yere serer, aya\u011fa kald\u0131r\u0131r kurbanlar\u0131,
\nVe alt\u0131nda as\u0131l\u0131 bir g\u00f6lgelik gibi g\u00f6kkubbenin,
\nSarho\u015ftur g\u00f6rkemiyle kendi erdemlerinin.<\/p>\n

Yeni end\u00fcstri y\u00f6ntemleri sonucu at\u0131klar\u0131n belli bir de\u011fer ka\u00adzanmalar\u0131yla birlikte, pa\u00e7avrac\u0131lar kentlerde iyice \u00e7o\u011falmaya ba\u015fla\u00adm\u0131\u015flard\u0131. Bunlar arac\u0131 ustalar i\u00e7in \u00e7al\u0131\u015f\u0131yorlard\u0131 ve sokakta geli\u015fen bir t\u00fcr ev end\u00fcstrisinin temsilcileriydiler. Pa\u00e7avrac\u0131, \u00e7a\u011f\u0131n\u0131 b\u00fcy\u00fcle\u00admi\u015fti. Sefalet\u00e7ili\u011fin (Pauperizm) ilk ara\u015ft\u0131rmac\u0131lar\u0131n\u0131n bak\u0131\u015flar\u0131, in\u00adsan\u0131n sefaletinin son s\u0131n\u0131r\u0131n\u0131n nerede oldu\u011funa ili\u015fkin sessiz bir so\u00adruyla pa\u00e7avrac\u0131ya dikilmi\u015fti. Fregier, Des classes dangereuses de lapo- pulation adl\u0131 kitab\u0131nda pa\u00e7avrac\u0131ya alt\u0131 sayfa ay\u0131rm\u0131\u015ft\u0131. Le Play ise, 1849 ile 1850 aras\u0131ndaki d\u00f6neme, yani b\u00fcy\u00fck bir olas\u0131l\u0131kla Baude- laire\u2019in s\u00f6z\u00fc edilen \u015fiiri yazm\u0131\u015f oldu\u011fu d\u00f6neme ait olmak \u00fczere, Parisli bir pa\u00e7avrac\u0131yla ailesinin b\u00fct\u00e7elerini vermi\u015ftir.
\nPa\u00e7avrac\u0131 do\u011fal olarak boheme\u2019den biri de\u011fildir. Ama edebi\u00adyat\u00e7\u0131dan, meslekten komplocuya varana de\u011fin boheme\u201dden olan herkes, pa\u00e7avrac\u0131da kendinden bir par\u00e7a bulabiliyordu. Herkes, topluma y\u00f6nelik, \u015fu ya da bu \u00f6l\u00e7\u00fcde, ama hen\u00fcz bulan\u0131k bir kar\u00ad\u015f\u0131 \u00e7\u0131k\u0131\u015f atmosferini payla\u015fmaktayd\u0131 – ve nas\u0131l olaca\u011f\u0131 bilinmeyen bir yar\u0131nla kar\u015f\u0131 kar\u015f\u0131yayd\u0131. Kendi saati gelip \u00e7att\u0131\u011f\u0131nda, i\u00e7inde ya\u015fad\u0131\u011f\u0131 toplumun temellerini sarsmakta olanlarla ayn\u0131 duygula\u00adr\u0131 payla\u015fabilecekti. Pa\u00e7avrac\u0131, d\u00fc\u015flerinde yaln\u0131z de\u011fildir. Kendi\u00adsine e\u015flik eden yolda\u015flar\u0131 vard\u0131r; onlar\u0131n da \u00e7evresini f\u0131\u00e7\u0131lardan \u00e7\u0131kan koku sarm\u0131\u015ft\u0131r ve onlar\u0131n da sa\u00e7lar\u0131 nice kavgalarda a\u011far\u00adm\u0131\u015ft\u0131r. B\u0131y\u0131klar\u0131, eski bir bayrak gibi sark\u0131kt\u0131r. Dola\u015f\u0131rken pa\u00e7av\u00adrac\u0131n\u0131n yoluna muhbirler, casuslar \u00e7\u0131kar; o, bunlar \u00fczerinde d\u00fc\u015f\u00adleri arac\u0131l\u0131\u011f\u0131yla egemenlik kurmu\u015ftur. Paris\u2019in g\u00fcnl\u00fck ya\u015fam\u0131n\u00addan toplumsal motiflere daha Sainte-Beuve\u2019de rastlan\u0131r. Bu mo\u00adtifler, Sainte-Beuve\u2019de lirik \u015fiirin fetihleridir; ama bu durum he\u00adn\u00fcz anla\u015f\u0131lmalar\u0131n\u0131 da zorunlu k\u0131lmam\u0131\u015ft\u0131r. Sefalet ve alkol, k\u00fcl\u00adt\u00fcrl\u00fc bireyin tinsel d\u00fcnyas\u0131nda Baudelaire\u2019inkinden \u00f6nemli \u00f6l\u00ad\u00e7\u00fcde farkl\u0131 bir ba\u011flant\u0131 olu\u015fturacakt\u0131r.<\/p>\n

\u0130nceliyorum bu g\u00fczel kupa arabas\u0131nda
\nBeni g\u00f6t\u00fcren adam\u0131, hi\u00e7bir \u015fey de\u011fil bir makineden ba\u015fka,
\nBir ucube, g\u00fcr sakall\u0131, uzun ve yap\u0131\u015fkan sa\u00e7l\u0131;
\nK\u00f6t\u00fcl\u00fck, \u015farap ve uyku a\u011f\u0131rla\u015ft\u0131r\u0131yor sarho\u015f g\u00f6zkapaklar\u0131n\u0131.
\nD\u00fc\u015f\u00fcn\u00fcyorum insan nas\u0131l b\u00f6ylesine d\u00fc\u015f\u00fcnebilir diye,
\nGerileyerek koltu\u011fun \u00f6teki k\u00f6\u015fesine.<\/p>\n

Bu, \u015fiirin ba\u015flang\u0131\u00e7 b\u00f6l\u00fcm\u00fcd\u00fcr; arkadan gelenler e\u011fitici bir yorumdur. Sainte-Beuve, kendi ruhunun da arabac\u0131n\u0131nki gibi d\u00fc\u015fm\u00fc\u015f olup olmad\u0131\u011f\u0131n\u0131 sorgular.
\nBaudelaire\u2019in mirastan yoksun k\u0131l\u0131nanlara ili\u015fkin daha \u00f6zg\u00fcr ve daha anlay\u0131\u015fl\u0131 bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n hangi temele dayand\u0131\u011f\u0131n\u0131, \u201cHabil ve Kabil\u201d ba\u015fl\u0131kl\u0131 duas\u0131 g\u00f6stermektedir. Bu dua, Kutsal Ki- tap\u2019taki karde\u015f kavgas\u0131n\u0131, sonsuzlu\u011fa de\u011fin birbirlerine d\u00fc\u015fman kalacak iki \u0131rk\u0131n kavgas\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.<\/p>\n

Habil \u0131rk\u0131, ye, i\u00e7 ve uyu,
\nG\u00fcl\u00fcms\u00fcyor sana tanr\u0131n\u0131n ho\u015fnutlu\u011fu.
\nKabil \u0131rk\u0131, s\u00fcr\u00fcn \u00e7irkefte
\nVe \u00f6l sefalet i\u00e7inde.<\/p>\n

\u015eiir, her birinin ba\u015flang\u0131c\u0131, adlar\u0131n de\u011fi\u015fmesi ko\u015fuluyla, bir \u00f6n\u00adceki gibi olan on alt\u0131 beyitten olu\u015fur. Mirastan yoksun k\u0131l\u0131nanlar\u0131n atas\u0131 olan Kabil, bu \u015fiirde bir \u0131rk\u0131n kurucusu olarak ortaya \u00e7\u0131kar; bu \u0131rk da proleter s\u0131n\u0131f\u0131ndan ba\u015fkas\u0131 olamaz. 1838 y\u0131l\u0131nda Granier de Cassagnac, Histoire des classes ouvrieres et des classes bourgeoises adl\u0131 kitab\u0131n\u0131 yay\u0131mlad\u0131. Bu yap\u0131t, proleter s\u0131n\u0131f\u0131n\u0131n k\u00f6kenini a\u00e7\u0131klad\u0131\u011f\u0131 sav\u0131ndayd\u0131; bu sava g\u00f6re proleter s\u0131n\u0131f\u0131ndan gelenler, haydutlarla fahi\u015felerin birle\u015fmesinden ortaya \u00e7\u0131kma bir t\u00fcr alt s\u0131n\u0131f\u0131n insanla\u00adr\u0131n\u0131 olu\u015fturuyorlard\u0131. Baudelaire bu spek\u00fclasyonlar\u0131 biliyor muy\u00addu? Bu, kolayca olas\u0131d\u0131r. Kesin olan nokta, Granier de Cassagnac\u2019\u0131n ki\u015fili\u011finde Bonapart\u00e7\u0131 fraksiyonun \u201cd\u00fc\u015f\u00fcn\u00fcr\u201d\u00fcn\u00fc selamla\u00adyan Marx\u2019\u0131n, bu spek\u00fclasyonlarla kar\u015f\u0131la\u015fm\u0131\u015f oldu\u011fudur. Kapital, Cassagnac\u2019\u0131n \u0131rk kavram\u0131na, proletaryay\u0131 dile getiren \u201ckendine \u00f6z\u00adg\u00fc bir meta sahipleri \u0131rk\u0131\u201d anlay\u0131\u015f\u0131yla kar\u015f\u0131 \u00e7\u0131km\u0131\u015ft\u0131r. Baudelaire\u2019de Kabil\u2019den t\u00fcreyen \u0131rk da i\u015fte tam olarak bu anlamda \u0131rkt\u0131r. Baude- laire\u2019in bu konuda bir tan\u0131m vermesi, do\u011fal olarak d\u00fc\u015f\u00fcn\u00fclemez\u00addi. Burada, kendi \u00e7al\u0131\u015fma g\u00fc\u00e7lerinden, emeklerinden ba\u015fka bir metalar\u0131 bulunmayanlar\u0131n \u0131rk\u0131 s\u00f6z konusudur.<\/p>\n

Baudelaire\u2019in \u015fiiri, \u201cRevolte\u201d ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131yan dizi i\u00e7ersinde yer al\u0131r. Bu diziyi olu\u015fturan \u00fc\u00e7 \u015fiir, dine kar\u015f\u0131 bir s\u00f6vg\u00fc tonu ta\u00ad\u015f\u0131r. Baudelaire\u2019in \u015feytandan yanal\u0131\u011f\u0131, fazla ciddiye al\u0131nmamal\u0131\u00add\u0131r. Bu nokta, ancak Baudelaire\u2019in s\u00fcrekli konformizm d\u0131\u015f\u0131 bir tutumu yans\u0131tan tek tavr\u0131 olmas\u0131 bak\u0131m\u0131ndan \u00f6nem ta\u015f\u0131r. Dizi\u00adnin son \u015fiiri olan \u201cLes litanies de Satan\u201d (\u015eeytan\u0131n Dualar\u0131), te\u00adolojik i\u00e7eri\u011fi a\u00e7\u0131s\u0131ndan bir y\u0131lanatapma dininin kutsal t\u00f6ren ku\u00adrallar\u0131n\u0131n sefaletini sergiler. \u015eeytan, Lucifer\u2019in \u0131\u015f\u0131k demetleri i\u00e7ersinde ortaya \u00e7\u0131kar; burada \u015feytan, derin bilginin koruyucusu, Prometheusvari becerilerde bir yol g\u00f6sterici, tutuk insanlarla boyun e\u011fmezlerin kutsal savunucusu kimli\u011fini ta\u015f\u0131maktad\u0131r. Sa\u00adt\u0131rlar\u0131n aras\u0131ndan, Blanqui\u2019nin karanl\u0131k ba\u015f\u0131n\u0131n par\u0131lt\u0131lar\u0131 gelir.<\/p>\n

Sensin, giyotini sarm\u0131\u015f kalabal\u0131\u011f\u0131 lanetleyen
\nO so\u011fukkanl\u0131 ve y\u00fcrekten bakan havay\u0131 veren su\u00e7lular\u0131n y\u00fcz\u00fcne.<\/p>\n

Dualar zincirinde ayn\u0131 zamanda \u201csuikast\u00e7\u0131lar\u0131n… g\u00fcnah \u00e7\u0131\u00adkaran papaz\u0131\u201d olarak da tan\u0131nan bu \u015feytan, \u015fiirlerde Satan tris- megistos, yani iblis diye, d\u00fczyaz\u0131larda da Majesteleri diye an\u0131\u00adlan, yeralt\u0131ndaki evi bulvarlar\u0131n yak\u0131n\u0131nda bulunan entrikac\u0131dan farkl\u0131d\u0131r. Lema\u00eetre, burada \u015feytan\u0131 \u201ckimi zaman b\u00fct\u00fcn k\u00f6t\u00fcl\u00fck\u00adlerin yarat\u0131c\u0131s\u0131, kimi zaman da b\u00fcy\u00fck ma\u011flup, b\u00fcy\u00fck kurban\u201d diye anmaktan kaynaklanan \u00e7eli\u015fkiye dikkati \u00e7ekmi\u015ftir. Baude- laire\u2019i, egemen s\u0131n\u0131flara y\u00f6nelik yads\u0131maya k\u00f6ktenci-teolojik bir bi\u00e7im vermeye zorlayan\u0131n ne oldu\u011funu sormak, yaln\u0131zca soruna farkl\u0131 bir a\u00e7\u0131dan bakmak anlam\u0131n\u0131 ta\u015f\u0131r.<\/p>\n

D\u00fczen ve sayg\u0131nl\u0131k gibi burjuva kavramlar\u0131na y\u00f6neltilen protesto, proleter s\u0131n\u0131f\u0131n\u0131n Haziran \u00e7arp\u0131\u015fmalar\u0131nda u\u011frad\u0131\u011f\u0131 ye\u00adnilgiden sonra varl\u0131\u011f\u0131n\u0131 egemen s\u0131n\u0131fta, ezilenlerinkine oranla daha iyi korumu\u015ftu. \u00d6zg\u00fcrl\u00fckten ve hukuktan yana \u00e7\u0131kanlar, III. Napoleon\u2019a, amcas\u0131n\u0131n halefi kimli\u011fiyle olmak istedi\u011fi as\u00adker imparator g\u00f6z\u00fcyle de\u011fil, ama talihi yaver giden bir \u015farlatan g\u00f6z\u00fcyle bak\u0131yorlard\u0131. Ch\u00e2timents’ da (Cezalar) \u00e7izilen Napoleon fig\u00fcr\u00fc, b\u00f6yledir. Boheme doree ise, kendi bak\u0131\u015f a\u00e7\u0131s\u0131ndan impara\u00adtorun g\u00f6z kama\u015ft\u0131r\u0131c\u0131 e\u011flencelerinde, \u00e7evresine toplad\u0131\u011f\u0131 saray\u00adl\u0131larda, \u201c\u00f6zg\u00fcr\u201d bir ya\u015fama y\u00f6nelik d\u00fc\u015flerinin ger\u00e7ekle\u015fmesini g\u00f6r\u00fcyordu. Kont Viel-Castel\u2019in imparatorun \u00e7evresini anlatt\u0131\u011f\u0131 an\u0131lar\u0131nda, bir Mimi ve bir Schaunard, ger\u00e7ekten sayg\u0131n ve k\u00fc\u00ad\u00e7\u00fck burjuva tipine uyan ki\u015filer olarak belirginle\u015firler. Toplu\u00admun \u00fcst kesimlerinde kinizm, alt kesimlerinde ise ba\u015fkald\u0131r\u0131\u00addan yana bir mant\u0131k y\u00fcr\u00fctme bi\u00e7imi modayd\u0131. Vigny, Eloa\u2019s\u0131n- da d\u00fc\u015fm\u00fc\u015f melek Lucifer\u2019i, Byron\u2019\u0131n izinden giderek gnostik anlam\u0131nda y\u00fcceltmi\u015fti. \u00d6te yandan Barthelemy, Ne’mesis\u2019inde satanizmle (\u015feytanc\u0131l\u0131k) egemen s\u0131n\u0131flar aras\u0131nda ba\u011f kurmu\u015f\u00adtu; bir \u201cdes agios\u201d ayinine yer vermi\u015f, faizlere ili\u015fkin olarak da bir mezmur seslendirmi\u015fti. \u015eeytan\u0131n bu \u00e7ifte y\u00fcz\u00fc, Baudelai- re\u2019in \u00e7ok iyi tan\u0131d\u0131\u011f\u0131 bir nitelikti. Ona g\u00f6re \u015feytan, alt s\u0131n\u0131flar\u0131n oldu\u011fu kadar, \u00fcst s\u0131n\u0131flar\u0131n da s\u00f6zc\u00fcs\u00fcyd\u00fc. Marx, a\u015fa\u011f\u0131daki sa\u00adt\u0131rlar i\u00e7in Baudelaire\u2019den daha iyi bir okur d\u00fc\u015f\u00fcnemezdi; \u201cOn sekiz Brumaire\u201dde, \u015f\u00f6yle denmektedir: \u201cP\u00fcritenler, Konstanz Konsili\u2019nde papalar\u0131n g\u00fcnahk\u00e2r ya\u015famlar\u0131ndan yak\u0131nd\u0131klar\u0131n\u00adda…, Kardinal Pierre d\u2019Ailly \u015f\u00f6yle ba\u011f\u0131rm\u0131\u015ft\u0131: \u2018Art\u0131k Katolik Kilisesi\u2019ni yaln\u0131zca \u015feytan\u0131n kendisi kurtarabilir, sizler ise melek\u00adten yard\u0131m bekliyorsunuz.\u2019 Frans\u0131z burjuvazisi de h\u00fck\u00fcmet darbesinin ard\u0131ndan \u015f\u00f6yle ba\u011f\u0131rm\u0131\u015ft\u0131:\u00a0\u00a0\u00a0 Burjuva toplumunu an\u00adcak On Aral\u0131k Derne\u011fi\u2019nin ba\u015fkan\u0131 kurtarabilir! M\u00fclkiyeti yal\u00adn\u0131zca h\u0131rs\u0131zl\u0131k, dini yaln\u0131zca yalan yere yemin, aileyi yaln\u0131zca evlilik d\u0131\u015f\u0131 \u00e7ocuklar, d\u00fczeni de yaln\u0131zca d\u00fczensizlik kurtarabilir.\u201d Cizvitler\u2019in hayran\u0131 olan Baudelaire, ba\u015fkald\u0131r\u0131s\u0131n\u0131n en yo\u011funla\u015ft\u0131\u011f\u0131 anlarda bile bu kurtar\u0131c\u0131dan t\u00fcm\u00fcyle ve sonras\u0131z vazge\u00e7mek istememi\u015fti. D\u00fczyaz\u0131lar\u0131nda kendi kendine yasak\u00adlamad\u0131\u011f\u0131n\u0131, dizeleri sakl\u0131 tutuyordu. \u015eeytan\u0131n bu dizelerde be\u00adlirmesinin nedeni budur. S\u00f6z\u00fc edilen dizeler, insanl\u0131\u011f\u0131n ve mant\u0131\u011f\u0131n ba\u015fkald\u0131rd\u0131\u011f\u0131 \u015feyden en umars\u0131z \u00e7\u0131rp\u0131n\u0131\u015flar i\u00e7ersinde bile t\u00fcm\u00fcyle kopmamak i\u00e7in gerekli gizli g\u00fcc\u00fc \u015feytana bor\u00e7\u00adluydu. Dine ba\u011fl\u0131l\u0131k. Baudelaire\u2019in a\u011fz\u0131ndan hemen her zaman bir sava\u015f \u00e7\u0131\u011fl\u0131\u011f\u0131 gibi y\u00fckselir. O, \u015feytan\u0131n\u0131 yitirmek istemez.<\/p>\n

Baudelaire\u2019in kendi inan\u00e7s\u0131zl\u0131\u011f\u0131 ile olan \u00e7at\u0131\u015fmas\u0131nda ortaya s\u00fc\u00adr\u00fclen ger\u00e7ek pot, budur. Burada \u00f6nemli olan, ayinler ve dualar de\u011fil, insan\u0131n pen\u00e7elerine d\u00fc\u015ft\u00fc\u011f\u00fc \u015feytan\u0131 yads\u0131maya ili\u015fkin ve Lucifer\u2019e \u00f6zg\u00fc ayr\u0131cal\u0131kt\u0131r.<\/p>\n

Baudelaire, Pierre Dupont ile dostluk kurarak, toplumcu \u015fa\u00adirler saf\u0131na kat\u0131lmay\u0131 ama\u00e7lam\u0131\u015ft\u0131. D\u2019Aurevilly\u2019nin ele\u015ftiri yaz\u0131la\u00adr\u0131, bu yazara ili\u015fkin bir taslak sunmaktad\u0131r: \u201cBu yetene\u011fin ki\u015fili\u00ad\u011finde ve bu kafada, Kabil, yumu\u015fakba\u015fl\u0131 Habil\u2019e egemendir – yani kentlerde toplanan nefret mayas\u0131n\u0131 kar\u0131\u015ft\u0131rmak, yine kent\u00adlerdeki zaferlerini kutlayan yanl\u0131\u015f d\u00fc\u015f\u00fcnceleri payla\u015fmak i\u00e7in kentlere inmi\u015f olan kaba, a\u00e7l\u0131k \u00e7eken, i\u00e7i k\u0131skan\u00e7l\u0131kla dolu ve vah\u015fi Kabil.\u201d Bu belirleme, Baudelaire\u2019i Dupont ile dayan\u0131\u015f\u00admaya g\u00f6t\u00fcren \u015feyi tam olarak anlatmaktad\u0131r. Kabil gibi, Dupont da \u201ckentlere inmi\u015f\u201d ve cennete s\u0131rt\u0131n\u0131 d\u00f6nm\u00fc\u015ft\u00fcr. \u201cBabalar\u0131m\u0131z taraf\u0131ndan anla\u015f\u0131ld\u0131\u011f\u0131 bi\u00e7imiyle \u015fiir… dahas\u0131 yal\u0131n romans, ona t\u00fcm\u00fcyle yabanc\u0131d\u0131r.\u201d Dupont, kent ile kent d\u0131\u015f\u0131n\u0131n birbirin\u00adden gittik\u00e7e kopmas\u0131ndan, lirik \u015fiirin yakla\u015fmakta olan bunal\u0131\u00adm\u0131n\u0131 duyumsam\u0131\u015ft\u0131r. Dizelerinden biri, acemice olmakla birlik\u00adte, bunu itiraf eder; bu dizede \u015fairin \u201cbir ormanlara, bir kitleye kulak verdi\u011fi\u201d s\u00f6ylenmi\u015ftir. Kitleler, Dupont\u2019un kendilerine g\u00f6sterdi\u011fi ilgiyi kar\u015f\u0131l\u0131ks\u0131z b\u0131rakmad\u0131lar; 1848 dolaylar\u0131nda Du- pont ad\u0131, herkesin a\u011fz\u0131ndayd\u0131. Devrimin elde ettikleri birbiri ar\u00add\u0131na yitip gitti\u011finden, Dupont \u201cChant du vote\u201dunu kaleme al\u00add\u0131. O d\u00f6nemin politik \u015fiirinde, bu \u015fiirin nakarat\u0131yla boy \u00f6l\u00e7\u00fc\u015fe\u00adbilecek pek az \u00fcr\u00fcn vard\u0131. Bu nakarat, Karl Marx\u2019\u0131n o zamanlar Haziran sava\u015f\u00e7\u0131lar\u0131n\u0131n o \u201ckorku salacak kadar karanl\u0131k al\u0131nlar\u0131n\u0131\u201d s\u00fcslemek i\u00e7in istedi\u011fi defne tac\u0131n\u0131n yapraklar\u0131ndan biriydi.<\/p>\n

Fais voir, en dejoutant la ruse,
\nO Republique! a ces pervers,
\nTa grande face de Meduse Au milieu de rouges eclairz!34
\n(G\u00f6ster o b\u00fcy\u00fck Meduza y\u00fcz\u00fcn\u00fc,
\nEy Cumhuriyet, bu \u015feytanlara,
\nHilelerini ortaya \u00e7\u0131kararak,
\n\u00c7akan k\u0131z\u0131l \u015fim\u015feklerin ard\u0131ndan.)<\/p>\n

Baudelaire\u2019in 1851 y\u0131l\u0131nda Dupont\u2019un baz\u0131 \u015fiirleri i\u00e7in kale\u00adme ald\u0131\u011f\u0131 giri\u015f yaz\u0131s\u0131, edebiyat stratejisi ba\u011flam\u0131nda bir t\u00fcr eylem\u00addi. Bu giri\u015fte \u015f\u00f6yle tuhaf s\u00f6zlere rastlanmaktad\u0131r: \u201cSanat sanat i\u00e7indir ak\u0131m\u0131n\u0131n g\u00fcl\u00fcn\u00e7 kuram\u0131, ahl\u00e2k\u0131, dahas\u0131 \u00e7o\u011fu kez tutkuyu bile d\u0131\u015flad\u0131; bu nedenle de zorunlu olarak k\u0131s\u0131rla\u015ft\u0131.\u201d Ard\u0131ndan, herhalde Auguste Barbier\u2019ye at\u0131fta bulunularak, \u015f\u00f6yle denir: \u201cZa\u00adman zaman yapt\u0131\u011f\u0131 beceriksizliklere kar\u015f\u0131n, b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc her za\u00adman koruyan bir \u015fair ortaya \u00e7\u0131k\u0131p, Temmuz Devrimi\u2019nin kutsall\u0131\u00ad\u011f\u0131n\u0131 ilan etti\u011finde, sonra ayn\u0131 ate\u015fli dizelerle Ingiltere ve \u0130rlan\u00adda\u2019daki sefalet \u00fczerine \u015fiirler yazd\u0131\u011f\u0131nda… sorun art\u0131k kesin ola\u00adrak \u00e7\u00f6z\u00fcmlenmi\u015f, bundan b\u00f6yle sanat\u0131n gerek ahl\u00e2ktan, gerekse yararl\u0131l\u0131k d\u00fc\u015f\u00fcncesinden ayr\u0131labilmesi olanaks\u0131zla\u015fm\u0131\u015ft\u0131.\u201d Bu\u00adnun, Baudelaire\u2019in kendi \u015fiirleri i\u00e7in esin kayna\u011f\u0131 olan ikiy\u00f6nl\u00fcl\u00fckle hi\u00e7bir ilintisi yoktur. Baudelaire\u2019in \u015fiiri ezilenlere destek ve\u00adrir. ama bu arada davalar\u0131n\u0131 oldu\u011fu kadar, yan\u0131lsamalar\u0131n\u0131 da pay\u00adla\u015f\u0131r. Devrimin \u015fark\u0131lar\u0131na kulak kabart\u0131rken, idamlar s\u0131ras\u0131nda \u00e7a\u00adl\u0131nan trompetlerden yans\u0131yan \u201cy\u00fcksektekilerin seslerine\u201d kulak vermeyi de unutmaz. Bonaparte, bir darbeyle iktidara geldi\u011finde, Baudelaire bir an \u00f6fkeye kap\u0131l\u0131r. \u201cSonra olaylara \u2018kaderci bir bak\u0131\u015f a\u00e7\u0131s\u0131ndan\u2019 yakla\u015f\u0131r ve bir ke\u015fi\u015f gibi boyun e\u011fer.\u201d \u201cTeokrasi ve kom\u00fcnizm\u201d, Baudelaire i\u00e7in inan\u00e7lar de\u011fil, kula\u011f\u0131na gelen ve ay\u0131rd\u0131na belki de tam olarak varamad\u0131\u011f\u0131 f\u0131s\u0131lt\u0131lard\u0131; b\u00fcy\u00fck bir ola\u00ads\u0131l\u0131kla ne birincisi san\u0131ld\u0131\u011f\u0131 kadar melek safiyetindeydi, ne de \u0130kincisi, yine san\u0131ld\u0131\u011f\u0131 kadar, \u015feytan\u00eeydi. K\u0131sa bir s\u00fcre sonra dev\u00adrimci manifestosunu terk eden Baudelaire, y\u0131llar sonra \u015f\u00f6yle yaz\u00adm\u0131\u015ft\u0131r: \u201cDupont, ilk \u015fark\u0131lar\u0131n\u0131 zerafetine ve kad\u0131ns\u0131 duyarl\u0131\u011f\u0131na bor\u00e7ludur. O zamanlar hemen herkesi beraberinde s\u00fcr\u00fckleyen devrimci eylem, neyse ki onu do\u011fal yolundan t\u00fcm\u00fcyle sapt\u0131rma- m\u0131\u015ft\u0131r.\u201d38 Sanat sanat i\u00e7indir\u2019den radikal kopu\u015f, Baudelaire i\u00e7in salt bir tutum olarak de\u011fer ta\u015f\u0131yordu. Bu tutum, bir edebiyat\u00e7\u0131 s\u0131\u00adfat\u0131yla sahip bulundu\u011fu hareket alan\u0131n\u0131 ilan etmesine yard\u0131mc\u0131 ol\u00admu\u015ftu. Bu bak\u0131mdan Baudelaire, en b\u00fcy\u00fckleri de dahil olmak \u00fczere, zaman\u0131n\u0131n b\u00fct\u00fcn yazarlar\u0131ndan ilerdeydi. Baudelaire\u2019in, \u00e7evresini saran edebiyat etkinliklerinin ne bak\u0131mdan \u00fczerinde kald\u0131\u011f\u0131 da b\u00f6ylece belirginle\u015fmektedir.<\/p>\n

G\u00fcnl\u00fck edebiyat etkinli\u011fi, y\u00fcz elli y\u0131l boyunca dergilerde odakla\u015fm\u0131\u015ft\u0131. Bu durum, y\u00fczy\u0131l\u0131n ortalar\u0131nda de\u011fi\u015fmeye ba\u015flad\u0131.<\/p>\n

Edebiyat, tefrika arac\u0131l\u0131\u011f\u0131yla g\u00fcnl\u00fck gazetede yeni bir s\u00fcr\u00fcm yeri buldu. Tefrika t\u00fcr\u00fcn\u00fcn ba\u015flamas\u0131, Temmuz Devrimi\u2019nin basma getirdi\u011fi de\u011fi\u015fikliklerin \u00f6zeti niteli\u011findedir. Restorasyon D\u00f6nemi\u2019nde gazetelerin say\u0131lar\u0131 tek tek sat\u0131lamazd\u0131; gazete ala\u00adbilmek, abone olmak ko\u015fuluna ba\u011fl\u0131yd\u0131. Y\u0131ll\u0131k abonman i\u00e7in 80 frank gibi y\u00fcksek bir bedeli \u00f6deyemeyenin, cafe\u2019lere gitmekten ba\u015fka \u00e7aresi yoktu; buralarda ise \u00e7o\u011fu kez tek bir gazetenin ba\u00ad\u015f\u0131nda birka\u00e7 ki\u015fi toplan\u0131rd\u0131. 1824 y\u0131l\u0131nda Paris\u2019te 47.000 gazete al\u0131c\u0131s\u0131 vard\u0131; bu say\u0131 1836\u2019da 70 bine, 1846\u2019da ise 200 bine \u00e7\u0131kt\u0131. Girardin\u2019in gazetesi La Presse, bu t\u0131rman\u0131\u015fta \u00f6nemli bir rol oyna\u00adm\u0131\u015ft\u0131. La Presse, \u00fc\u00e7 \u00f6nemli yenilik getirmi\u015fti: Abonman bedeli\u00adnin 40 franga indirilmesi, ilan al\u0131nmas\u0131 ve tefrika roman\u0131n ba\u015fla\u00adt\u0131lmas\u0131. Bunlarla e\u015fzamanl\u0131 olarak k\u0131sa ve belli bir ba\u011flam i\u00e7er\u00adsinde yer almayan haber, ayr\u0131nt\u0131l\u0131 haberle rekabet etmeye ba\u015fla\u00add\u0131. K\u0131sa haber, ticari bak\u0131mdan de\u011ferlendirilebilir olu\u015fu nede\u00adniyle ra\u011fbet g\u00f6rd\u00fc. \u201cReclame\u201d diye adland\u0131r\u0131lan t\u00fcr ile k\u0131sa ha\u00adberlerin tarihini, bas\u0131n\u0131n yozla\u015fmas\u0131n\u0131n tarihinden ayr\u0131 olarak kaleme almak, \u00e7ok g\u00fc\u00e7t\u00fcr.<\/p>\n

K\u0131sa haber, az yer gereksiniyordu; gazetenin \u00e7ekicili\u011finin nedenlerinden birini olu\u015fturan, her g\u00fcnk\u00fc yeni ve de\u011fi\u015fiklikler\u00adden yana ak\u0131ll\u0131ca dengelenmi\u015f g\u00f6r\u00fcn\u00fcm\u00fc, siyas\u00ee ba\u015fyaz\u0131lardan ve tefrikalardan de\u011fil, k\u0131sa haberden kaynaklan\u0131yordu. Bu ha\u00adberlerin s\u00fcrekli yenilenmesi zorunluydu: Kentteki dedikodular, tiyatrodaki entrikalar, bunlar\u0131n yan\u0131 s\u0131ra da \u201cbilinmeye de\u011fer\u201d\u2019 \u015feyler, k\u0131sa haberlerin en sevilen kaynaklar\u0131yd\u0131. Tefrika t\u00fcr\u00fc\u00adn\u00fcn en belirleyici \u00f6zelliklerinden biri, yani ucuz \u00e7ekicilik, k\u0131sa haberde daha en ba\u015ftan belirgindi. Mme de Girardin, Paris Mektuplar\u0131\u2019nda. foto\u011fraf\u0131 \u015f\u00f6yle selamlar:\u00a0\u00a0\u00a0 \u201c\u015eu s\u0131ralarda herkes Bay Daguerre\u2019in bulu\u015fuyla \u00e7ok ilgileniyor ve yine \u015fu s\u0131ralarda salon bilginlerimizin s\u00f6zde ciddi a\u00e7\u0131klamalar\u0131ndan daha g\u00fcl\u00fcn\u00e7 bir \u015fe\u00adye rastlamak, olanaks\u0131z. Bay Daguerre, rahat edebilir, s\u0131rr\u0131n\u0131 kimse \u00e7almayacakt\u0131r… Bulu\u015fu ger\u00e7ekten ola\u011fan\u00fcst\u00fc, ama ne var ki bu bulu\u015ftan kimse bir \u015fey anlam\u0131yor, \u00e7\u00fcnk\u00fc bu bulu\u015fa ili\u015fkin pek \u00e7ok a\u00e7\u0131klama yap\u0131ld\u0131.\u201d Tefrika \u00fcslubu ise ne hemen, ne de her yerde benimsendi. 1860 ve 1868 y\u0131llar\u0131nda Marsilya ve Paris\u2019te, Baron Gaston de Flotte\u2019un Revues parisiennes\u2019inin iki cildi yay\u0131mland\u0131. Bu ciltlerde, \u00f6zellikle Paris bas\u0131n\u0131ndaki tefrika\u00ad larda tarihsel bilgilerin hi\u00e7 dikkat edilmeksizin verilmesiyle sa\u00adva\u015f\u0131lmas\u0131 g\u00f6rev edinilmi\u015fti. Bilgi da\u011farc\u0131klar\u0131 cafe\u2019lerde, aperitif kadehlerinin ba\u015f\u0131nda dolduruluyordu. \u201cAperitif alma al\u0131\u015fkanl\u0131\u00ad\u011f\u0131… bulvar gazetecili\u011finin geli\u015fmesiyle birlikte yerle\u015fti. Eski\u00adden, yaln\u0131zca b\u00fcy\u00fck ve ciddi gazeteler varken… aperitif saati di\u00adye bir \u015fey bilinmiyordu. Aperitif, \u2018Paris kroni\u011fi\u2019nin ve kent de\u00addikodular\u0131n\u0131n mant\u0131k\u00ee sonucudur.\u201d Cafe ya\u015fam\u0131, gazete y\u00f6net\u00admenlerinin haber hizmetinin ayg\u0131t\u0131 hen\u00fcz geli\u015ftirilmi\u015f de\u011fildi. \u0130kinci \u0130mparatorlu\u011fun sonuna do\u011fru, elektrikli telgraf\u0131n kulla\u00adn\u0131lmas\u0131yla birlikte bulvar, tekelini yitirdi. Kaza ve su\u00e7 haberleri, art\u0131k d\u00fcnyan\u0131n her yan\u0131ndan al\u0131nabiliyordu.<\/p>\n

Edebiyat\u00e7\u0131n\u0131n i\u00e7inde ya\u015fad\u0131\u011f\u0131 toplumla kayna\u015fmas\u0131, bul\u00advarda a\u015fa\u011f\u0131daki gibi ger\u00e7ekle\u015fmekteydi. Edebiyat\u00e7\u0131, kar\u015f\u0131s\u0131na \u00e7\u0131kacak ilk olay, espri ya da s\u00f6ylenti i\u00e7in bulvarda haz\u0131r bek\u00adleniyordu. Meslekta\u015flar\u0131yla ve sokaktaki adamla ili\u015fkilerinin a\u011f\u0131m bulvarda \u00f6r\u00fcyordu ve r\u00fck\u00fc\u015f kad\u0131nlar giyinme sanat\u0131ndan ne \u00f6l\u00e7\u00fcde ba\u011f\u0131ml\u0131ysalar, edebiyat\u00e7\u0131 da bu ili\u015fkilerin sonu\u00e7lar\u0131\u00adn\u0131 o kadar gereksiniyordu. Ba\u015fkalar\u0131na \u00e7al\u0131\u015fma saatlerinin bir b\u00f6l\u00fcm\u00fc gibi g\u00f6sterdi\u011fi bo\u015f zamanlar\u0131n\u0131 bulvarda ge\u00e7iriyordu. Davran\u0131\u015f\u0131na bak\u0131l\u0131rsa, sanki Marx\u2019tan, her mal\u0131n de\u011ferinin, bu mal\u0131n \u00fcretimi i\u00e7in toplumsal bak\u0131mdan gerekli olan \u00e7al\u0131\u015fma zaman\u0131nca belirlendi\u011fini \u00f6\u011frenmi\u015f gibiydi. B\u00f6ylece halk\u0131n g\u00f6\u00adz\u00fcnde \u00e7al\u0131\u015fmas\u0131n\u0131n yetkinle\u015fmesi i\u00e7in zorunlu say\u0131lan yayg\u0131n tembellik, i\u015f g\u00fcc\u00fcn\u00fcn de\u011ferini fantastik bir d\u00fczeye \u00e7\u0131kar\u0131yor\u00addu. Ama izler\u00e7evre, bu de\u011ferlendirmesinde yaln\u0131z de\u011fildi. O zamanlar k\u00fclt\u00fcr, sanat ve edebiyat a\u011f\u0131rl\u0131kl\u0131 makalelere \u00f6de\u00adnen \u00fccretin y\u00fcksekli\u011fi, bu de\u011ferlendirmenin gerek\u00e7esini top\u00adlumsal ko\u015fullarda buldu\u011funu g\u00f6stermektedir. Ger\u00e7ekten de, abonman \u00fccretlerinin d\u00fc\u015fmesi, k\u00fc\u00e7\u00fck ilanlardaki art\u0131\u015f ve tef\u00adrikan\u0131n gittik\u00e7e artan \u00f6nemi birbiriyle yak\u0131ndan ilintiliydi. \u201cYeni d\u00fczenleme -abonman \u00fccretlerinin d\u00fc\u015f\u00fcr\u00fclmesi- nede\u00adniyle gazete, ilanla ya\u015famak zorundayd\u0131… ; \u00e7ok say\u0131da ilan al\u0131\u00adnabilmesi i\u00e7in, afi\u015f haline gelmi\u015f olan d\u00f6rtte bir sayfan\u0131n ola\u00ad bildi\u011fince kabar\u0131k say\u0131da abonenin eline ge\u00e7mesi gerekiyor\u00addu. Bu durumda \u00f6zl\u00fc d\u00fc\u015f\u00fcncelerini g\u00f6z \u00f6n\u00fcnde bulundur- maks\u0131z\u0131n herkese seslenebilecek ve politikan\u0131n yerine merak\u0131 ge\u00e7irebildi\u011fi i\u00e7in de\u011fer ta\u015f\u0131yan bir yemin bulunmas\u0131 zorun\u00adluydu… \u00c7\u0131k\u0131\u015f noktas\u0131, yani 40 frankl\u0131k abonman \u00fccreti bir kez olu\u015fturulduktan sonra, yolun ilanlardan tefrika romana uzan\u00admas\u0131 hemen hemen bir zorunluluktu.\u201d Bu anlat\u0131lanlar, s\u00f6z\u00fc edilen yaz\u0131lara b\u00f6ylesine y\u00fcksek \u00fccret \u00f6denmesinin a\u00e7\u0131klan\u00admas\u0131n\u0131 olu\u015fturmaktad\u0131r. 1845 y\u0131l\u0131nda Dumas\u2019n\u0131n Constitu- tionelle ve Presse ile yapt\u0131\u011f\u0131 s\u00f6zle\u015fme, kendisine y\u0131lda en az on sekiz ciltlik bir \u00fcretim kar\u015f\u0131l\u0131\u011f\u0131nda be\u015f y\u0131l s\u00fcreyle en az 63.000 frankl\u0131k bir y\u0131ll\u0131k geliri \u00f6ng\u00f6rm\u00fc\u015ft\u00fc. Eugene Sue\u2019ye Mysteres de Paris i\u00e7in 100.000 frankl\u0131k bir avans \u00f6denmi\u015fti. Lamartine\u2019in 1838-1851 y\u0131llar\u0131 aras\u0131nda ald\u0131\u011f\u0131 \u00fccretler, toplam 5 mil\u00adyon frank olarak hesaplanm\u0131\u015ft\u0131r. \u00d6nce tefrika olarak yay\u0131mla\u00adnan Histoire des Girondins i\u00e7in ise, kendisine 600.000 frankl\u0131k, \u00f6deme yap\u0131lm\u0131\u015ft\u0131. Edebiyat alan\u0131ndaki g\u00fcnl\u00fck \u00fcretime a\u015f\u0131r\u0131 y\u00fcksek \u00fccretlerin \u00f6denmesi, ka\u00e7\u0131n\u0131lmaz\u00a0\u00a0\u00a0 \u00a0olarak kimi ho\u015f olma\u00adyan durumlara yol a\u00e7m\u0131\u015ft\u0131. \u00d6rne\u011fin yay\u0131nc\u0131lar\u0131n metinleri al\u0131r\u00adken, bu metinlere kendi se\u00e7ecekleri bir yazar\u0131n \u00e7izimlerini ekleme hakk\u0131n\u0131 sakl\u0131 tuttuklar\u0131 oluyordu. Elbet bu durum, baz\u0131 romanc\u0131lar\u0131n imzalar\u0131n\u0131 vermekte pek eli s\u0131k\u0131 davranma\u00admalar\u0131n\u0131 ko\u015ful k\u0131l\u0131yordu. \u201cFabrique de romans, Maison Alexandre Dumas\u00a0\u00a0\u00a0 et Cie\u201d\u00a0\u00a0\u00a0 ba\u015fl\u0131kl\u0131 bir ta\u015flamada bu konuda daha \u00e7ok ayr\u0131nt\u0131 vard\u0131r. Revue des deux mondes, o s\u0131ralarda \u015f\u00f6y\u00adle yazm\u0131\u015ft\u0131: \u201cBay Dumas\u2019n\u0131n imzas\u0131n\u0131 att\u0131\u011f\u0131 t\u00fcm kitaplar\u0131 bi\u00adlen var m\u0131d\u0131r? Kendisi bunu bilir mi acaba? \u2018Bor\u00e7\u2019 ve \u2018alacak\u2019 s\u00fctunlar\u0131 bulunan bir defter tutmuyorsa e\u011fer… yasal veya do\u00ad\u011fal babas\u0131 oldu\u011fu evlatlar\u0131ndan ve evlatl\u0131klar\u0131ndan bir b\u00f6l\u00fc\u00adm\u00fcn\u00fcn adlar\u0131n\u0131 unutmu\u015f oldu\u011fu kesindir.\u201d45 Dumas\u2019n\u0131n evi\u00adnin bodrum kat\u0131nda bir s\u00fcr\u00fc yoksul yazar\u0131 \u00e7al\u0131\u015ft\u0131rd\u0131\u011f\u0131 s\u00f6ylen\u00adtisi, epey yayg\u0131nd\u0131. Revue’n\u00fcn bu saptamalar\u0131ndan on y\u0131l son\u00adra -1855- bile, Boheme\u201din k\u00fc\u00e7\u00fck bir yay\u0131n organ\u0131nda, yazar\u0131n de Santis diye adland\u0131rd\u0131\u011f\u0131 ba\u015far\u0131l\u0131 bir romanc\u0131n\u0131n ya\u015fam\u0131na ili\u015fkin \u015fu renkli sat\u0131rlara rastlanmaktad\u0131r: \u201cBay de Santis, evi\u00adne d\u00f6nd\u00fckten sonra kap\u0131s\u0131n\u0131 dikkatle kilitler… ve kitapl\u0131\u011f\u0131n\u0131n arkas\u0131nda bulunan k\u00fc\u00e7\u00fck bir gizli kap\u0131y\u0131 a\u00e7ar. – Buradan k\u00f6t\u00fc ayd\u0131nlat\u0131lm\u0131\u015f ve epey kirli bir odaya girer. Bu odada, elinde kaz t\u00fcy\u00fcnden uzun bir kalemle, sa\u00e7lar\u0131 darmada\u011f\u0131n\u0131k, karan\u00adl\u0131k, ama uysal bak\u0131\u015fl\u0131 bir adam oturmaktad\u0131r. Balzac\u2019\u0131n sanat\u0131\u00adn\u0131 Corstitutionelle’i okuyarak \u00f6\u011frenmi\u015f eski bir bakanl\u0131k me\u00admuru olmas\u0131na\u00a0\u00a0\u00a0 kar\u015f\u0131n, bu adam\u0131n do\u011fu\u015ftan romanc\u0131 oldu\u011funu, bir mil \u00f6teden bakan bile anlar. Kafatas\u0131 Odas\u0131’n\u0131n as\u0131l ya\u00adzar\u0131, odur; as\u0131l romanc\u0131, odur.\u201d ikinci Cumhuriyet d\u00f6nemin\u00adde parlamento,\u00a0\u00a0\u00a0 tefrika romanlar\u0131n artmas\u0131n\u0131 \u00f6nlemeye \u00e7al\u0131\u015ft\u0131.<\/p>\n

G\u00fcnl\u00fck tefrika ba\u015f\u0131na bir santimlik vergi kondu. Ama d\u00fc\u015f\u00fcn\u00adce \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc k\u0131s\u0131tlayarak tefrika\u00a0\u00a0\u00a0 roman\u0131n de\u011ferinin artma\u00ads\u0131na yol a\u00e7an gerici bas\u0131n yasalar\u0131 nedeniyle bu d\u00fczenleme, k\u0131\u00adsa s\u00fcre sonra y\u00fcr\u00fcrl\u00fckten kalkt\u0131.<\/p>\n

Tefrika romanlara y\u00fcksek \u00fccret \u00f6denmesi ve s\u00fcr\u00fcmlerinin de y\u00fcksek olmas\u0131, bu romanlar\u0131n yazarlar\u0131n\u0131n halk aras\u0131nda b\u00fc\u00ady\u00fck \u00fcn kazanmalar\u0131na yol a\u00e7t\u0131. \u00dcn\u00fcn\u00fc parasal kaynaklar\u0131yla birle\u015ftirerek seferber etmek, birey i\u00e7in ak\u0131ld\u0131\u015f\u0131 bir tutum de\u00ad\u011fildi; b\u00f6yle yapt\u0131\u011f\u0131nda, siyas\u00ee kariyeri, kar\u015f\u0131s\u0131nda kendili\u011fin\u00adden a\u00e7\u0131l\u0131yordu. B\u00f6ylece ortaya yozla\u015fman\u0131n yeni bi\u00e7imleri \u00e7\u0131k\u00adt\u0131 ve bunlar, tan\u0131nm\u0131\u015f yazar adlar\u0131n\u0131n k\u00f6t\u00fcye kullan\u0131lmas\u0131ndan daha a\u011f\u0131r sonu\u00e7lara yol a\u00e7t\u0131. Edebiyat\u00e7\u0131n\u0131n siyas\u00ee ihtiras\u0131 bir kez uyand\u0131ktan sonra, ak\u0131ll\u0131 bir y\u00f6netime d\u00fc\u015fen, ona do\u011fru yo\u00adlu g\u00f6stermekti. 1846 y\u0131l\u0131nda Koloniler Bakan\u0131 Salvandy, Alexander Dumas\u2019ya, giderleri h\u00fck\u00fcmet\u00e7e kar\u015f\u0131lanmak \u00fczere -bu giri\u015fim i\u00e7in 10.000 frank ayr\u0131lm\u0131\u015ft\u0131- kolonilerde propagan\u00adda yapmak amac\u0131yla Tunus\u2019a bir yolculuk \u00f6nerdi. Yolculuk ba\u00ad\u015far\u0131s\u0131z oldu, \u00e7ok para yuttu ve mecliste bir soru \u00f6nergesiyle noktaland\u0131. Sue ise bu bak\u0131mdan daha \u015fansl\u0131 \u00e7\u0131kt\u0131; Mysteres de Paris\u2019inin ba\u015far\u0131s\u0131yla, Conslilulionelle’ in abone say\u0131s\u0131n\u0131 3.600\u2019den 20.000\u2019e y\u00fckseltmekle kalmay\u0131p, 1850 y\u0131l\u0131nda Pa\u00adris\u2019teki i\u015f\u00e7ilerin 130.000 oyuyla milletvekili se\u00e7ildi. Ama emek\u00e7i se\u00e7menler, b\u00f6ylece pek bir \u015fey kazanm\u0131\u015f olmad\u0131lar; Marx, bu se\u00e7imi daha \u00f6nce kazan\u0131lm\u0131\u015f olan koltuklar\u0131n (Man- date) \u201cduygusal a\u00e7\u0131dan hafifletici nitelikte bir yorumu\u201d diye adland\u0131r\u0131r. Edebiyat, ayr\u0131cal\u0131kl\u0131 olanlara bir yandan siyas\u00ee kari\u00adyerin yolunu a\u00e7maktad\u0131r, \u00f6te yandan bu kariyer, bu ki\u015filerin yaz\u0131lar\u0131na ili\u015fkin ele\u015ftirel bir g\u00f6zlem i\u00e7in de\u011ferlendirilebilir ni\u00adteliktedir. Lamartine, buna bir \u00f6rnektir.<\/p>\n

Lamartine\u2019in kendisi i\u00e7in d\u00f6n\u00fcm noktas\u0131 olu\u015fturan ba\u015far\u0131la\u00adr\u0131, yani Meditations ve Harmonies, Frans\u0131z k\u00f6yl\u00fc s\u0131n\u0131f\u0131n\u0131n hen\u00fcz i\u015fledi\u011fi tarlan\u0131n semerelerinden yararland\u0131\u011f\u0131 d\u00f6neme kadar uza\u00adn\u0131r. \u015eair, Alphonse Karr\u2019a seslendi\u011fi naif bir \u015fiirinde, yarat\u0131s\u0131n\u0131 bir ba\u011fc\u0131n\u0131n \u00e7abas\u0131yla bir tutar:<\/p>\n

Tout homme avec fierte peut vendre sa sueur!
\nJe vends ma grappe en fruit comme tu vends ta fleur,
\nHeureux quand son nectar, sous mon pied qui la foule,
\nDans mes tonneaux nombreux en ruisseaux d\u2019ambre coule, Produisant a son ma\u00eetre, ivre de sa cherte,
\nBeaucoup d\u2019Or pour payer beaucoup de liberte!
\n(Herkes satabilir gururla terini!
\nMeyve y\u00fckl\u00fc salk\u0131m\u0131m\u0131 satar\u0131m ben, sen \u00e7i\u00e7e\u011fini,
\nMutlu, nektar\u0131 ayaklar\u0131m\u0131n alt\u0131nda ezildi\u011finde,
\nSay\u0131s\u0131z f\u0131\u00e7\u0131lar\u0131mda akar amber derelerle,
\nGetirerek erdemiyle sarho\u015f efendisine,
\nPek \u00e7ok alt\u0131n, pek \u00e7ok \u00f6zg\u00fcrl\u00fc\u011f\u00fcn bedelini \u00f6demeye!)<\/p>\n

Lamartine\u2019in, ba\u015far\u0131lar\u0131n\u0131 birer k\u00f6yl\u00fc eme\u011fi diye \u00f6vd\u00fc\u011f\u00fc ve \u00fcr\u00fcnlerinin kendisine pazarda kazand\u0131rd\u0131\u011f\u0131 \u00fccretlerle \u00f6v\u00fcnd\u00fc\u011f\u00fc bu dizeler, ahl\u00e2k\u00ee y\u00f6nden ele al\u0131nmaktan \u00e7ok, Lamartine\u2019in s\u0131\u00adn\u0131f duygusu a\u00e7\u0131s\u0131ndan incelendi\u011finde, a\u00e7\u0131klay\u0131c\u0131d\u0131r. Bu, belli bir parsele sahip k\u00f6yl\u00fcn\u00fcn duygusudur. Ve yine bu, Lamartine\u2019in \u015fiirinin tarihinin bir par\u00e7as\u0131d\u0131r. Parsel sahibi k\u00f6yl\u00fcn\u00fcn durumu,, 1840\u2019larda kritikle\u015fmi\u015fti. K\u00f6yl\u00fc bor\u00e7 i\u00e7indeydi. Parselinin yeri \u201cart\u0131k vatan topra\u011f\u0131nda de\u011fil, ama tapudaki ipotekler s\u00fctunundayd\u0131.\u201d Do\u011faya ili\u015fkin \u00e7arp\u0131t\u0131c\u0131 g\u00f6r\u00fc\u015f\u00fcn temeli olan ve Lamartine\u2019in \u015fiirine \u00f6zg\u00fc k\u00f6yl\u00fc iyimserli\u011fi, b\u00f6ylece \u00e7\u00f6km\u00fc\u015ft\u00fc. \u201cYeni ortaya \u00e7\u0131kan parsel, toplumla uyumu, do\u011fa g\u00fc\u00e7lerinden ba\u011f\u0131ml\u0131\u00adl\u0131\u011f\u0131 ve onu yukardan koruyan otoriteye boyun e\u011fi\u015fi i\u00e7ersinde, do\u011fal olarak dine ba\u011fl\u0131 nitelik al\u0131nca, bor\u00e7lar alt\u0131nda ezilen, top\u00adlumla ve otoriteyle aras\u0131 a\u00e7\u0131k, kendi dar s\u0131n\u0131rlar\u0131n\u0131n d\u0131\u015f\u0131na zorla itilmi\u015f parselin dinden uzak d\u00fc\u015fmesi ka\u00e7\u0131n\u0131lmazd\u0131. G\u00f6ky\u00fcz\u00fc, \u00f6zellikle havan\u0131n nas\u0131l olaca\u011f\u0131n\u0131 belirledi\u011finden, hen\u00fcz kazan\u0131l\u00adm\u0131\u015f olan bir avu\u00e7 topra\u011f\u0131n g\u00fczel bir tamamlay\u0131c\u0131s\u0131yd\u0131; ama par\u00adselin yerini tutacak bir \u015fey diye benimsetilmeye kalk\u0131\u015f\u0131l\u0131nca, ha\u00adrekete d\u00f6n\u00fc\u015ft\u00fc.\u201d i\u015fte bu g\u00f6ky\u00fcz\u00fcnde Lamartine\u2019in \u015fiirleri, “bulutlar gibiydi; t\u0131pk\u0131 Sainte-Beuve\u2019\u00fcn daha 1830\u2019da yazm\u0131\u015f ol\u00addu\u011fu gibi:\u00a0\u00a0\u00a0 \u201cAndre Chenier\u2019nin \u015fiiri… bir anlamda Lamartine\u2019in, \u00fczerine g\u00f6ky\u00fcz\u00fcn\u00fc gerdi\u011fi manzarad\u0131r.\u201d Frans\u0131z k\u00f6y\u00adl\u00fcleri 1849\u2019da Bonaparte\u2019\u0131n cumhurba\u015fkan\u0131 olmas\u0131ndan yana oy kulland\u0131klar\u0131nda, bu g\u00f6ky\u00fcz\u00fc de kesinlikle \u00e7\u00f6kt\u00fc. Bu olaylar\u0131n haz\u0131rlay\u0131c\u0131lar\u0131 aras\u0131nda Lamartine de vard\u0131.* Sainte-Beuve, La- martine\u2019in rol\u00fc konusunda \u015f\u00f6yle yazar: \u201cAlt\u0131n yay\u0131yla barbarla\u00adr\u0131n sald\u0131r\u0131s\u0131n\u0131 y\u00f6netecek ve yat\u0131\u015ft\u0131racak Orpheus rol\u00fc i\u00e7in \u00f6ng\u00f6\u00adr\u00fcld\u00fc\u011f\u00fcn\u00fc herhalde d\u00fc\u015f\u00fcnmemi\u015fti.\u201d Baudelaire ise kuru bir ifadeyle onu, \u201cbiraz orospuca\u201d diye nitelendirir. Bu parlak ki\u00ad\u015fili\u011fin sorunlu yanlar\u0131n\u0131 Baudelaire\u2019den daha iyi g\u00f6rebilecek bi\u00adrini bulmak g\u00fc\u00e7t\u00fcr. Bu durum, Baudelaire\u2019in daha ba\u015flang\u0131\u00e7tan itibaren pek parlak bir halde olmad\u0131\u011f\u0131n\u0131 hissetmesiyle ba\u011f\u0131nt\u0131l\u0131 olabilir. Porche\u2019ye g\u00f6re Baudelaire, elyaz\u0131lar\u0131n\u0131 nereye verece\u011fi konusunda bir se\u00e7me hakk\u0131na sahip olamam\u0131\u015ft\u0131r. Ernest Raynaud, \u015f\u00f6yle yazar: \u201cBaudelaire\u2019in kar\u015f\u0131s\u0131nda bir s\u00fcr\u00fc \u00fc\u00e7k\u00e2\u011f\u0131t\u00e7\u0131 vard\u0131; \u00e7okbilmi\u015f ki\u015filerin kendilerini be\u011fenmi\u015fliklerine, amat\u00f6r\u00adlere ve acemilere oynayan, ancak yaz\u0131 kabul eden yay\u0131nc\u0131larla u\u011fra\u015fmak zorundayd\u0131.\u201d Baudelaire\u2019in kendi tutumu da bu du\u00adruma uyar. Ayn\u0131 metni ayn\u0131 zamanda \u00e7e\u015fitli gazetelere verir, da\u00adha \u00f6nce bas\u0131lm\u0131\u015f olanlar\u0131, \u00f6nceki bas\u0131mdan s\u00f6z etmeksizin yeni\u00adden bast\u0131ran Edebiyat pazar\u0131n\u0131 erken bir d\u00f6nemden ba\u015flayarak, kendini yan\u0131lsamalara hi\u00e7 kapt\u0131rmaks\u0131z\u0131n izlemi\u015ftir. 1846\u2019da \u015f\u00f6yle yazar: \u201cBir ev ne kadar g\u00fczel olursa olsun, bu g\u00fczellikten \u00f6nce, \u015fu kadar metne y\u00fckseklik ve \u015fu kadar metre geni\u015flik gibi bir ger\u00e7ekli\u011fi vard\u0131r. Bunun gibi, en de\u011ferli \u00f6z\u00fcn betimleyicisi olan edebiyat da, her \u015feyden \u00f6nce bir sat\u0131r doldurma olay\u0131d\u0131r; ad\u0131 tek ba\u015f\u0131na bir kazan\u00e7 vaad etmeyen edebiyat mimar\u0131 da, ne fiyata olursa olsun satmak zorundad\u0131r.\u201dBaudelaire\u2019in edebiyat piyasas\u0131ndaki durumu, ya\u015fam\u0131n\u0131n sonuna kadar parlak olmad\u0131. B\u00fct\u00fcn eserleriyle, 15.000 franktan fazla kazanamam\u0131\u015f oldu\u011fu hesaplanm\u0131\u015ft\u0131r.<\/p>\n

\u201cBalzac, kendini kahveyle harc\u0131yor, Musset duygular\u0131n\u0131 absinthe’le k\u00f6reltiyor… Murger, t\u0131pk\u0131 \u015fimdi Baudelaire gibi, bir sanatoryumda \u00f6l\u00fcm\u00fc beklemekte. Ve bu yazarlar\u0131n biri bile sosyalist de\u011fildi!\u201d diye yazar Sainte-Beuve\u2019\u00fcn \u00f6zel sekreteri olan Jules Troubat. Baudelaire, son c\u00fcmledeki \u00f6v\u00adg\u00fcy\u00fc hi\u00e7 ku\u015fkusuz hak etmi\u015fti. Ama bu, edebiyat\u00e7\u0131n\u0131n ger\u00ad\u00e7ek durumunu g\u00f6remedi\u011fi anlam\u0131n\u0131 ta\u015f\u0131maz. Edebiyat\u00e7\u0131y\u0131 -ve edebiyat\u00e7\u0131lar aras\u0131nda da \u00f6nce kendisini- orospularla kar\u00ad\u015f\u0131la\u015ft\u0131rmak, Baudelaire\u2019in s\u0131k yapageldi\u011fi bir \u015feydi. Sat\u0131l\u0131k m\u00fcz\u2019e yazd\u0131\u011f\u0131 sonede -\u201cLa muse venale\u201d- bundan s\u00f6z edilir. \u201cAu lecteur\u201d ba\u015fl\u0131kl\u0131 b\u00fcy\u00fck giri\u015f \u015fiirinde ise \u015fair, itiraflar\u0131 kar\u015f\u0131l\u0131\u011f\u0131nda pe\u015fin para alan birinin hi\u00e7 de \u00f6v\u00fcn\u00fclmeye de\u011fer olmayan konumundad\u0131r. Fleurs du mal’e al\u0131nmam\u0131\u015f olan en erken \u015fiirlerden biri, bir sokak k\u0131z\u0131na seslenir. \u015eiirin ikinci d\u00f6rtl\u00fc\u011f\u00fc \u015f\u00f6yledir:<\/p>\n

Pour avoir des souliers, elle a vendu son \u00e2me;
\nMais le bon Dieu rirait si, pres de cette inf\u00e2me,
\nJe tranchais du tartufe et singeais la hauteur,
\nMoi qui vends ma pensee et qui veux etre auteur.58
\n(Satt\u0131 k\u0131zca\u011f\u0131z ruhunu, bir \u00e7ift ayakkab\u0131 i\u00e7in;
\nAma g\u00fcler bana Tanr\u0131, e\u011fer yan\u0131nda bu rezilin,
\nAtarsam y\u00fcksekten, d\u00fczmece bir erdemle,
\nD\u00fc\u015f\u00fcncesini pazarlayan ve yazar olmaya soyunan ben.)<\/p>\n

Son d\u00f6rtl\u00fck olan \u201cCette boheme-l\u00e2, c\u2019est mon tout\u201d, bu\u00a0\u00a0\u00a0 \u00a0ya\u00adrat\u0131\u011f\u0131, ne oldu\u011funu hi\u00e7 umursamaks\u0131z\u0131n Boheme’in karde\u015flik \u00e7emberine al\u0131r. Baudelaire, edebiyat\u00e7\u0131n\u0131n ger\u00e7ek durumunu, bi\u00adlir: Bir Fl\u00e2neur olarak \u00e7\u0131kar piyasaya; kendince amac\u0131, bu piyasa\u00ady\u0131 \u015f\u00f6yle bir kola\u00e7an etmektir; oysa ger\u00e7ekten bir al\u0131c\u0131 bulmaya \u00e7oktan kararl\u0131d\u0131r.<\/p>\n

Charles Baudelaire; Kapitalizmin Y\u00fckseli\u015f \u00c7a\u011f\u0131nda Bir Lirik \u015eair | Walter Benjamin<\/strong><\/p>\n

Pasajlar (1.B\u00f6l\u00fcm)<\/p>\n","protected":false},"excerpt":{"rendered":"

Boheme, a\u00e7\u0131klay\u0131c\u0131 bir ba\u011flamda olmak \u00fczere Marx\u2019ta vard\u0131r. Bu \u00e7evreye meslekten komplocular\u0131 sokan Marx, polis ajan\u0131 de la Hodde\u2019un an\u0131lar\u0131 \u00fczerine kaleme ald\u0131\u011f\u0131 ve 1850\u2019de Neue Rhei- nische Zeitung gazetesinde yay\u0131mlanan ayr\u0131nt\u0131l\u0131 tan\u0131tma yaz\u0131s\u0131nda bu komplocular\u0131 ele al\u0131r. Baudelaire\u2019in fizyonomisini somutla\u015f\u00adt\u0131rmak, onunla s\u00f6z\u00fc edilen politik tip aras\u0131ndaki benzerli\u011fi dile getirmek anlam\u0131n\u0131 ta\u015f\u0131r. Marx, \u015f\u00f6yle anlat\u0131r […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[74],"tags":[],"class_list":["post-7152","post","type-post","status-publish","format-standard","category-walter-benjamin"],"yoast_head":"\nCharles Baudelaire; Kapitalizmin Y\u00fckseli\u015f \u00c7a\u011f\u0131nda Bir Lirik \u015eair | Walter Benjamin - 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\/2018\/08\/17\/charles-baudelaire-kapitalizmin-yukselis-caginda-bir-lirik-sair-walter-benjamin\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Charles Baudelaire; Kapitalizmin Y\u00fckseli\u015f \u00c7a\u011f\u0131nda Bir Lirik \u015eair | Walter Benjamin\" \/>\n<meta property=\"og:description\" content=\"Boheme, a\u00e7\u0131klay\u0131c\u0131 bir ba\u011flamda olmak \u00fczere Marx\u2019ta vard\u0131r. Bu \u00e7evreye meslekten komplocular\u0131 sokan Marx, polis ajan\u0131 de la Hodde\u2019un an\u0131lar\u0131 \u00fczerine kaleme ald\u0131\u011f\u0131 ve 1850\u2019de Neue Rhei- nische Zeitung gazetesinde yay\u0131mlanan ayr\u0131nt\u0131l\u0131 tan\u0131tma yaz\u0131s\u0131nda bu komplocular\u0131 ele al\u0131r. Baudelaire\u2019in fizyonomisini somutla\u015f\u00adt\u0131rmak, onunla s\u00f6z\u00fc edilen politik tip aras\u0131ndaki benzerli\u011fi dile getirmek anlam\u0131n\u0131 ta\u015f\u0131r. 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