{"id":7165,"date":"2018-09-13T15:43:44","date_gmt":"2018-09-13T12:43:44","guid":{"rendered":"http:\/\/localhost\/wordpress\/2018\/09\/13\/sanatci-ve-cagi-albert-camus\/"},"modified":"2025-04-28T14:36:56","modified_gmt":"2025-04-28T11:36:56","slug":"sanatci-ve-cagi-albert-camus","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2018\/09\/13\/sanatci-ve-cagi-albert-camus\/","title":{"rendered":"Sanat\u00e7\u0131 ve \u00c7a\u011f\u0131 | Albert Camus"},"content":{"rendered":"

\"\"Do\u011fulu bir ermi\u015f, dualar\u0131nda, kaderin kendisini ilgi \u00e7ekici bir \u00e7a\u011f ya\u015famaktan al\u0131koymas\u0131n\u0131 dilermi\u015f (1). Ermi\u015f olmad\u0131\u011f\u0131m\u0131zdan, kader bizleri korumad\u0131; ilgi \u00e7ekici bir \u00e7a\u011f ya\u015f\u0131yoruz. ilgi \u00e7ekici, hi\u00e7 de\u011filse kendisi ile ilgilenmemizi isteyen bir \u00e7a\u011f. G\u00fcn\u00fcm\u00fcz yazarlar\u0131 da biliyorlar bunu. A\u011f\u0131zlar\u0131n\u0131 a\u00e7salar, h\u00fccuma u\u011fruyorlar, tenkit ediliyorlar. Al\u00e7ak g\u00f6n\u00fcll\u00fcl\u00fck g\u00f6sterip sussalar, ni\u00e7in sustuklar\u0131 soruluyor, en \u015fiddetli \u015fekilde azarlan\u0131yorlar.<\/p>\n

B\u00f6yle bir kar\u0131\u015f\u0131kl\u0131k ortas\u0131nda yazar, kendi d\u00fc\u015f\u00fcncelerini ve sevgili hayallerini izleyebilmek i\u00e7in, d\u0131\u015fta kalmay\u0131 \u00fcmit edemez. \u015eimdiye kadar, \u00e7ekimserlik tarih boyunca m\u00fcmk\u00fcn olmu\u015ftu, iyi ya da k\u00f6t\u00fc. Bir sorunu do\u011frulamayan susabilir, ya da ba\u015fka konudan s\u00f6z a\u00e7abilirdi. Bug\u00fcn, her \u015fey de\u011fi\u015fti; ses \u00e7\u0131karmaman\u0131n bile, \u015f\u00fcphe dolu bir anlam\u0131 var. \u00c7ekimserli\u011fin bile bir taraf tutma say\u0131ld\u0131\u011f\u0131 andan itibaren yazar -\u00f6v\u00fcls\u00fcn ya da yerilsin- ister istemez gemiye binmi\u015ftir. Gemiye binmi\u015ftir, demek, burada bana, g\u00fcd\u00fcmlenmi\u015ftir demekten daha do\u011fru geliyor. Ger\u00e7ekte de s\u00f6z konusu olan, iradeye ba\u011fl\u0131 bir g\u00fcd\u00fcml\u00fcl\u00fck de\u011fil, bir \u00e7e\u015fit zorlu askerlik \u00f6devidir. B\u00fct\u00fcn sanat\u00e7\u0131lar bug\u00fcn, zamanlar\u0131n\u0131n kalyonuna binmi\u015flerdir. Bu duruma boyun e\u011fmek zorundad\u0131rlar; ister o kalyon ringa koksun, ister muhaf\u0131zlar\u0131n\u0131n say\u0131s\u0131 pek \u00e7ok olsun, hatt\u00e2 isterse rota yanl\u0131\u015f olsun. Denizin ta ortas\u0131nday\u0131z. Sanat\u00e7\u0131 da, \u00f6tekiler gibi, s\u0131ras\u0131 gelince k\u00fcrek \u00e7ekmek zorundad\u0131r, \u00f6lmeden dayanmal\u0131d\u0131r buna; yani ya\u015famakta devam ederek, yaratarak.<\/p>\n

Do\u011frusu kolay de\u011fil bu; onlar\u0131n ge\u00e7mi\u015f zamandaki rahatlar\u0131n\u0131n \u00f6zlemini \u00e7ekmelerini anl\u0131yorum. De\u011fi\u015fme biraz sert oldu. \u015e\u00fcphe yok, tarihin sirkinde aslanla kurban her zaman vard\u0131lar. Kurban sonsuzlu\u011fun vaatleri ile kuvvet buluyordu, aslan tarihin kanl\u0131 g\u0131das\u0131 ile. Ama bu devirde sanat\u00e7\u0131, sirkin ortas\u0131nda de\u011fildi, seyirciler aras\u0131nda oturuyordu. \u015eark\u0131s\u0131n\u0131 kendisi i\u00e7in s\u00f6yl\u00fcyordu; ya da kurban\u0131 cesaretlendirmek, aslan\u0131n da i\u015ftihas\u0131n\u0131 a\u00e7mak i\u00e7in. \u015eimdi ise sanat\u00e7\u0131 sirktedir. Elbette sesi ayn\u0131 kalmam\u0131\u015ft\u0131r; daha az g\u00fcvenle \u00e7\u0131kmaktad\u0131r.<\/p>\n

Sanat\u0131n bu de\u011fi\u015fmez zorunluk y\u00fcz\u00fcnden neler yitirdi\u011fi g\u00f6r\u00fcl\u00fcyor. \u00d6nce rahatl\u0131k; ve Mozart\u2019\u0131n eserinde nefes alan o kutsal \u00f6zg\u00fcrl\u00fck. B\u00f6ylece sanat eserlerimizin, birdenbire u\u011frad\u0131klar\u0131\u2019 bozgun, \u00e7at\u0131lm\u0131\u015f \u00e7ehresi, \u015fa\u015fk\u0131n ve \u00f6ld\u00fcr\u00fclm\u00fc\u015f havas\u0131 daha iyi anla\u015f\u0131l\u0131yor. Ni\u00e7in ortal\u0131kta yazardan \u00e7ok gazetecinin, Cezanne\u2019dan \u00e7ok resim yama\u011f\u0131n\u0131n gezindi\u011fi, nas\u0131l olup da a\u015fk romanlar\u0131 ile polis romanlar\u0131n\u0131n Harp ve Sulh, ya da, Parma Manast\u0131r\u0131\u2019n\u0131n yerini ald\u0131\u011f\u0131, b\u00f6ylelikle a\u00e7\u0131klan\u0131yor. \u015e\u00fcphe yok, bunlara kar\u015f\u0131, insanc\u0131l yalvar\u0131p yakarmay\u0131 \u00e7\u0131karabiliriz; Ezilenler\u2019de Stephan Trophimotichin, b\u00fct\u00fcn kuvveti ile istedi\u011fini olabiliriz: \u00f6rnek bir sitem. Onun gibi uygar bir bedbinli\u011fe d\u00fc\u015ft\u00fc\u011f\u00fcm\u00fcz olabilir. Ama bu keder, ger\u00e7e\u011fi de\u011fi\u015ftirmez. Bence en iyi yol, \u2014mademki kendisi, kuvvetle istiyor bunu \u2014 \u00e7a\u011f\u0131m\u0131za hakk\u0131n\u0131 tan\u0131mak ve sevgili \u00fcstatlar, kamelyal\u0131 sanat\u00e7\u0131lar \u00e7a\u011f\u0131n\u0131n sona erdi\u011fini kabul etmektir. Bug\u00fcn yaratmak, tehlike i\u00e7inde yaratmakt\u0131r. Her yay\u0131m, bir harekette bulunmakt\u0131r; ve bu hareket hi\u00e7 bir \u015feyi affetmiyen \u00e7a\u011f\u0131n ihtiraslar\u0131 \u00f6n\u00fcne \u00e7\u0131km\u0131\u015ft\u0131r. Sorun, bu hareketin sanata zararl\u0131 olup olmad\u0131\u011f\u0131n\u0131 bilmekte de\u011fildir. Sanats\u0131z, sanat\u0131n anlam\u0131 olmadan ya\u015fayam\u0131yanlar i\u00e7in, bu kadar ideolojik k\u0131s\u0131tlama i\u00e7inde, (bu kadar inan\u0131\u015f i\u00e7inde, bu ne yaln\u0131zl\u0131k!) yarat\u0131c\u0131l\u0131\u011f\u0131n garip \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn m\u00fcmk\u00fcn olup olmad\u0131\u011f\u0131n\u0131 bilmektir.<\/p>\n

Sanat\u0131n devlet kuvvetleri ile tehdit edildi\u011fini s\u00f6ylemek yeti\u015fmez. Bu durumda sorun basittir: Sanat\u00e7\u0131 ya sava\u015f\u0131r, ya da sava\u015famayacak duruma getirilir. Sava\u015f\u0131n, sanat\u00e7\u0131n\u0131n i\u00e7inde kendisini g\u00f6sterdi\u011fi farkedildi\u011fi andan itibaren, sorun daha \u00f6l\u00fcml\u00fc, daha \u00e7apra\u015f\u0131kt\u0131r, i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z toplumun en g\u00fczel \u00f6rneklerini verdi\u011fi, sanata kar\u015f\u0131 kin, bu kadar \u015fiddetli ise, sebebi, bu kinin bizzat sanat\u00e7\u0131lar taraf\u0131ndan beslenmesidir. Bizden \u00f6nceki sanat\u00e7\u0131lar\u0131n b\u00fct\u00fcn endi\u015fesi kabiliyetleri \u00fczerinde toplan\u0131yordu. G\u00fcn\u00fcm\u00fcz sanat\u00e7\u0131lar\u0131n\u0131nki ise, sanatlar\u0131n\u0131n gereklili\u011fi \u00fczerine, ba\u015fka bir deyimle, do\u011frudan do\u011fruya varl\u0131klar\u0131 \u00fczerinedir, 1957 y\u0131l\u0131nda Racine, Edit de Nantes ile m\u00fccadele edecek yerde, Berenice\u2019i yazd\u0131\u011f\u0131 i\u00e7in, \u00f6z\u00fcr dileyecektir.<\/p>\n

Sanat\u00e7\u0131 taraf\u0131ndan sanat\u0131n b\u00f6yle sorun yap\u0131lmas\u0131n\u0131n bir \u00e7ok nedenleri vard\u0131r. Bu sorunlardan en \u00f6nemlilerini ele almak gerektir. Durum, \u00e7a\u011f\u0131m\u0131z sanat\u00e7\u0131s\u0131n\u0131n, tarihin k\u00f6t\u00fc g\u00fcnlerini hesaba katmad\u0131\u011f\u0131 takdirde, sesini \u00e7\u0131karmamak ya da yalan s\u00f6ylemek duygusu ile a\u00e7\u0131klanabilir. Ger\u00e7ekte de, \u00e7a\u011f\u0131m\u0131z\u0131 belirten, topluluklar\u0131n bu \u00e7abuk ta\u015fmalar\u0131 ve duygululuk kar\u015f\u0131s\u0131ndaki zavall\u0131 durumlar\u0131d\u0131r. Bu topluluklar, unutulmaya ba\u015flad\u0131klar\u0131 her anda kendilerini belli ederler. Varl\u0131klar\u0131n\u0131 duyurmalar\u0131n\u0131n sebebi, ayd\u0131nlar\u0131n, sanat\u00e7\u0131 olsun, olmas\u0131n, daha ileri olduklar\u0131ndan de\u011fil, -bundan emin olabiliriz- topluluklar\u0131n kuvvetlenmelerinden ve bizi kendilerini unutmaya b\u0131rakmamalar\u0131ndand\u0131r.old art ile ilgili g\u00f6rsel sonucu<\/p>\n

Sanat\u00e7\u0131y\u0131 \u00e7ekimserli\u011fe zorlayan, bir k\u0131sm\u0131 daha az soylu, ba\u015fka sebepler de vard\u0131r. Bu sebepler ne olursa olsun, ama\u00e7lar\u0131 birdir: \u00f6zg\u00fcr yaratman\u0131n esas ilkesi olan sanat\u00e7\u0131n\u0131n kendi kendine kar\u015f\u0131 g\u00fcvenine h\u00fccum ederek, cesaretini k\u0131rmak. Emerson, ola\u011fan\u00fcst\u00fc bir \u015fekilde, \u00abBir insan\u0131n kendi deh\u00e2s\u0131na olan g\u00fcveni, inan\u0131\u015f\u0131n ta kendisidir,\u00bb demi\u015fti. XIX. y\u00fczy\u0131l\u0131n bir ba\u015fka Amerikal\u0131 yazar\u0131 da, \u00abBir insan, kendi kendisine sad\u0131k kald\u0131k\u00e7a, her\u015fey onun taraf\u0131na do\u011fru yol al\u0131r; h\u00fck\u00fcmet, toplum, hatt\u00e2 g\u00fcne\u015f, ay ve y\u0131ld\u0131zlar\u00bb diye eklemi\u015fti. Bu b\u00fcy\u00fck iyimserlik, bug\u00fcn \u00f6lm\u00fc\u015f gibidir. Sanat\u00e7\u0131, \u00e7o\u011funlukla, kendi kendisinden ve varsa, ayr\u0131calar\u0131ndan utan\u00e7 duyar gibidir. Her \u015feyden \u00f6nce, kendi kendisine sordu\u011fu soruya cevap vermek zorundad\u0131r: Sanat sahte bir l\u00fcks m\u00fcd\u00fcr?<\/p>\n

I
\n\u0130lk verilebilecek namuslu kar\u015f\u0131l\u0131k \u015fu olacakt\u0131r; sanat\u0131n sahte bir l\u00fcks durumuna geldi\u011fi olur. Kalyonlar\u0131n k\u0131\u00e7\u0131ndan, her zaman ve her yerde, a\u015fa\u011f\u0131da esirler k\u00fcrek \u00e7eker ve bitkinlikten \u00f6l\u00fcrken, y\u0131ld\u0131zlara \u015fark\u0131 s\u00f6ylendi\u011fi olmu\u015ftur; biliyoruz bunu. Sirkin trib\u00fcnlerinde, kurban, aslan\u0131n di\u015fleri aras\u0131nda iken, \u00abkibar \u00e2lemi\u00bb konu\u015f malar\u0131 ge\u00e7mi\u015ftir. Gene de, ge\u00e7mi\u015fte b\u00fcy\u00fck ba\u011fanlar\u0131 olan bu sanat\u0131 ele\u015ftirmek g\u00fc\u00e7t\u00fcr. Ancak, denebilir ki, o zamandan beri de\u011fi\u015fen \u00e7ok \u015fey oldu; \u00f6zellikle yery\u00fcz\u00fcndeki tutsaklar\u0131n say\u0131s\u0131, kurbanlar\u0131n say\u0131s\u0131 akla hayale gelmiyecek \u015fekilde artt\u0131. Bu kadar sefalet i\u00e7inde, sanat bir l\u00fcks olmakta devam etmek istiyorsa, ayn\u0131 zamanda da yalanc\u0131 olmay\u0131 da kabul etmelidir.<\/p>\n

Neden s\u00f6z a\u00e7acakt\u0131r sanat? Toplumun istedi\u011fi ile yetinse, dar bir e\u011flence arac\u0131 olur \u00e7o\u011funlukla. Bunu yapmasa; sanat\u00e7\u0131, kendi d\u00fc\u015flerinin i\u00e7ine \u00e7ekilme karar\u0131m alsa, bir reddin deyimlenmesinden ba\u015fka bir \u015fey olmayacak. B\u00f6ylelikle e\u011flendiriciler, ya da gramer kuralc\u0131lar\u0131 edebiyat\u0131na d\u00fc\u015fece\u011fiz. Her iki halde de, ya\u015fayan ger\u00e7ekten kesilmi\u015f bir sanat olacak bu. A\u015fa\u011f\u0131 yukar\u0131 y\u00fczy\u0131ldanberi paray\u0131 bile d\u00fc\u015f\u00fcnmeyen bir toplumda ya\u015f\u0131yoruz (alt\u0131n ya da g\u00fcm\u00fc\u015f, cinsel tutkular ortaya \u00e7\u0131karabilir). Toplumumuz, para de\u011fil, fakat paran\u0131n soyut simgeleri toplumudur. Bir t\u00fcccarlar toplumu mallar\u0131n yerini; rakamlar\u0131n, i\u015faretlerin ald\u0131\u011f\u0131 bir toplum olarak deyimlenebilir.<\/p>\n

Y\u00f6netici s\u0131n\u0131f, servetini alt\u0131n k\u00fcl\u00e7elerine, ya da toprak par\u00e7alar\u0131na g\u00f6re de\u011fil de, de\u011fi\u015ftirme i\u015flemlerinin kar\u015f\u0131l\u0131\u011f\u0131 olan rakamlarla \u00f6l\u00e7erse, kendi deney ve evrenin ortas\u0131nda bir \u00e7e\u015fit doland\u0131r\u0131c\u0131l\u0131\u011f\u0131n bulunmas\u0131n\u0131 kabul ediyor demektir. Rakkamlar \u00fczerine kurulmu\u015f bir toplum, asl\u0131nda, insan\u0131n \u015fehvet ger\u00e7e\u011fi aldat\u0131lm\u0131\u015f sahte bir toplumdur. B\u00f6yle olunca bu toplumun, kendi inan\u0131\u015flar\u0131n\u0131 kurmak i\u00e7in, \u015fekli ilkelerden yap\u0131lm\u0131\u015f bir ahl\u00e2k se\u00e7mesini, \u00f6zg\u00fcrl\u00fck ve e\u015fitlik gibi kelimeleri yaln\u0131z ilkeler \u00fczerine de\u011fil, mali tapmaklar\u0131n \u00fczerine de yazmas\u0131n\u0131 hayretle kar\u015f\u0131lamamak gerekir. Gene de kelimeler, utanmazcas\u0131na, her \u00d6n\u00fcne gelen yerde kullan\u0131lamaz. G\u00fcn\u00fcm\u00fczde en \u00e7ok hakaret edilen de\u011fer, \u00f6zg\u00fcrl\u00fck de\u011feridir, iyi d\u00fc\u015f\u00fcnenler, (her zaman iki \u00e7e\u015fit zek\u00e2 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr\u00fcm zek\u00ee zek\u00e2 ve aptal zek\u00e2) \u00f6zg\u00fcrl\u00fc\u011f\u00fcn, ilerleme i\u00e7in bir engelden ba\u015fka bir \u015fey olmad\u0131\u011f\u0131n\u0131 yazm\u0131\u015flard\u0131r. Ama bu kadar b\u00fcy\u00fck sa\u00e7mal\u0131klar s\u00f6ylenebiliyorsa, t\u00fcccar d\u00fc\u015f\u00fcnceli bir toplumun \u00f6zg\u00fcrl\u00fc\u011f\u00fc, y\u00fcz y\u0131ldan beri, tek y\u00f6nl\u00fc olarak ve kendi mal\u0131 gibi kulland\u0131\u011f\u0131ndan, onu bir \u00f6dev gibi de\u011fil, daha \u00e7ok bir hak gibi g\u00f6rd\u00fc\u011f\u00fcnden ve ilke \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc, her f\u0131rsatta, b\u00fct\u00fcn i\u015flenen zul\u00fcmlerin yerine koymaktan \u00e7ekinmedi\u011findendir. B\u00f6yle olunca, bu toplumun sanattan \u00f6zg\u00fcrl\u00fckten \u00e7ok, sonu\u00e7suz bir deneme, basit bir e\u011flence olmas\u0131n\u0131 istemesinde \u015fa\u015f\u0131lacak ne var? Sadece para s\u0131k\u0131nt\u0131lar\u0131n\u0131n ve a\u015fk ac\u0131lar\u0131n\u0131n yer ald\u0131\u011f\u0131 bu s\u00fcsl\u00fc d\u00fcnya, Oscar Wilde\u2019in hapse girmeden \u00f6nce, kendi kendisine d\u00fc\u015f\u00fcn\u00fcrken s\u00f6yledi\u011fi gibi, en b\u00fcy\u00fck k\u00f6t\u00fcl\u00fc\u011f\u00fcn sath\u00eelikte oldu\u011fu bu d\u00fcnya, y\u0131llar boyu, zevk d\u00fc\u015fk\u00fcn\u00fc romanc\u0131lar\u0131n\u0131n yazd\u0131klar\u0131 ile ve\u2019 en de\u011fersiz bir sanatla yetindi.<\/p>\n

1900 y\u0131llar\u0131ndan \u00f6nce ve sonra burjuva Avrupa\u2019n\u0131n, sanat yap\u0131c\u0131lar\u0131 (sanat\u00e7\u0131lar\u0131 demiyorum) sorumsuzlu\u011fu kabul ettiler; \u00e7\u00fcnk\u00fc sorumlu olmak, toplumdan kopmay\u0131 gerektiriyordu. (Toplumdan ger\u00e7ekten kopmu\u015f olanlar Rimbaud, Nietzche, Strindberg gibi kimselerdi. Bu kopu\u015fu ne kadar a\u011f\u0131r \u00f6dediklerini herkes\u00e7e bilinir.) Sorumsuzluk i\u00e7in bir istihkak d\u00e2vas\u0131 olan sanat i\u00e7in sanat teorisi bu \u00e7a\u011fdan kalmad\u0131r. Sanat i\u00e7in sanat, yani bir sanat\u00e7\u0131n\u0131n yaln\u0131z, kendi kendisini e\u011flendirmesi, sahte ve soyut bir toplumun sanat\u0131d\u0131r. Mant\u0131k\u00ee sonucu, salon edebiyat\u0131d\u0131r bunun, ya da ger\u00e7e\u011fin y\u0131k\u0131l\u0131\u015f\u0131 demek olan g\u00fczel l\u00e2k\u0131rd\u0131lar ve soyut fikirlerdir. Birka\u00e7 eser, bir avu\u00e7 adam\u0131n, ho\u015funa gider, \u00f6te yandan kaba saba bir s\u00fcr\u00fc bulu\u015f, geri kalanlar\u0131 y\u0131kar. Sonu\u00e7ta, sanat toplumun d\u0131\u015f\u0131nda kurulmu\u015f olur ve ya\u015fayan k\u00f6klerinden kesilir. Yava\u015f yava\u015f, sanat\u00e7\u0131, isterse en \u00e7ok alk\u0131\u015flanan\u0131 olsun yaln\u0131z kal\u0131r, ya da, milleti taraf\u0131ndan, kendisi hakk\u0131nda basit ve uysal bir fikir veren radyo ve bas\u0131n\u0131n arac\u0131l\u0131\u011f\u0131 ile tan\u0131nm\u0131\u015f olur. Sanat ihtisas i\u015fi olduk\u00e7a, basitle\u015ftirme de o kadar gereklidir. Milyonlarca insan, devrimizin bir sanat\u00e7\u0131s\u0131n\u0131, onun gazetelerde kanarya yeti\u015ftirdi\u011finden, ya da yaln\u0131z alt\u0131 ay i\u00e7in evlendi\u011finden s\u00f6z a\u00e7\u0131ld\u0131\u011f\u0131 i\u00e7in, tan\u0131d\u0131klar\u0131 duygusuna kap\u0131lacakt\u0131r. G\u00fcn\u00fcm\u00fczde en b\u00fcy\u00fck \u00fcn, okunmadan sevilmek, ya da nefret edilmektir. Toplumumuzda tan\u0131nmak isteyen bir sanat\u00e7\u0131 bilmelidir ki, tan\u0131nacak olan kendisi de\u011fildir; kendi ad\u0131n\u0131 ta\u015f\u0131yan bir ba\u015fkas\u0131d\u0131r; o ba\u015fkas\u0131 kendi iradesinden kurtulacak ve belki de g\u00fcn\u00fcn birinde, i\u00e7indeki ger\u00e7ek sanat\u00e7\u0131y\u0131 \u00f6ld\u00fcrecektir.<\/p>\n

B\u00f6yle olunca, XIX ve XX. y\u00fczy\u0131l t\u00fcccar Avrupas\u0131 edebiyat\u0131nda yarat\u0131lm\u0131\u015f ger\u00e7ek de\u011ferlerin, \u00e7a\u011f\u0131n toplumuna kar\u015f\u0131 kurulmu\u015f olmas\u0131na neden \u015fa\u015fal\u0131m? Denebilir ki, Frans\u0131z ihtil\u00e2line kadar yap\u0131lan edebiyat, genellikle bir boyun e\u011fme edebiyat\u0131 idi. ihtil\u00e2lden do\u011fan bir burjuva toplum, yerini bulduktan sonrad\u0131r ki bir kar\u015f\u0131 gelme edebiyat\u0131 geli\u015fti. Resm\u00ee de\u011ferler ink\u00e2r edildi. \u00d6rne\u011fin bizde b\u00f6yle oldu bu: romantiklerden Rimbaud\u2019ya kadar ger\u00e7ekten ihtil\u00e2l fikri ta\u015f\u0131yanlarla, Vigny ve Balzac gibi asalet fikrinde \u0131srar edenler yapt\u0131lar bunu. Her iki halde de halk ve asiller -ki ikisi de ger\u00e7ek uygarl\u0131\u011f\u0131n kayna\u011f\u0131d\u0131rlar- \u00e7a\u011flar\u0131n\u0131n sahte toplumuna cephe ald\u0131lar.<\/p>\n

Ama uzun zamandanberi \u00fczerinde \u0131srar edilen ve sertle\u015fen red fikri de sahtele\u015fti ve ba\u015fka \u00e7e\u015fit bir k\u0131s\u0131rl\u0131\u011fa g\u00f6t\u00fcrd\u00fc: T\u00fcccar toplumundan do\u011fan l\u00e2netlenmi\u015f \u015fair mefhumu (Chatterton bunun en g\u00fczel \u00f6rne\u011fidir) kat\u0131la\u015ft\u0131 ve kendi \u00e7a\u011f\u0131n\u0131n toplumunda, o topluma kar\u015f\u0131 cephe al\u0131nmadan b\u00fcy\u00fck sanat\u00e7\u0131 olunam\u0131yaca\u011f\u0131 kan\u0131s\u0131n\u0131 meydana \u00e7\u0131kard\u0131. Ba\u015flang\u0131c\u0131nda, ger\u00e7ek sanat\u00e7\u0131, para fikri \u00fczerine kurulmu\u015f bir d\u00fcnya ile birle\u015femez derken hakl\u0131 olan ilke, gide gide, sanat\u00e7\u0131 genel olarak her\u015feye cephe almad\u0131k\u00e7a ifadesini bulamaz demeye getirildi\u011fi i\u00e7in yanl\u0131\u015f yola sapt\u0131. Bunun i\u00e7indir ki, sanat\u00e7\u0131lar\u0131m\u0131z\u0131n pek \u00e7o\u011fu l\u00e2netlenme\u011fi arzu ediyorlar ve lanetlenmezlerse rahats\u0131z oluyorlar, alk\u0131\u015f ve \u0131sl\u0131\u011f\u0131 birlikte istiyorlar. Toplumumuz da. bug\u00fcn yorgun ve kay\u0131ts\u0131z oldu\u011fundan tesad\u00fcfen alk\u0131\u015fl\u0131yor veya yuhal\u0131yor. G\u00fcn\u00fcm\u00fcz\u00fcn ayd\u0131n\u0131, bu ba\u015far\u0131y\u0131 sa\u011flama ba\u011flamak i\u00e7in, b\u00fcsb\u00fct\u00fcn kendisini a\u011f\u0131ra \u00e7ekiyor. Fakat, her\u015feyi, hatt\u00e2 sanat\u0131n\u0131n gelene\u011fini bile reddede reddede, \u00e7a\u011f\u0131m\u0131z\u0131n sanat\u00e7\u0131s\u0131 kendi \u00f6zel kurallar\u0131n\u0131 yaratt\u0131\u011f\u0131 hayaline kap\u0131l\u0131yor, gide gide Tanr\u0131 zannediyor kendisini. B\u00f6ylece, kendi ger\u00e7e\u011fini yaratabilece\u011fini zannediyor. Oysaki, toplumdan uzak, bi\u00e7ime dayanan, soyut, fakat \u00f6z\u00fc birlik olan ger\u00e7ek sanat verimlili\u011finden yoksun eserlerdir yarataca\u011f\u0131. Sonu\u00e7ta \u00e7a\u011fda\u015f soyutla\u015fma ve incelikle, Tolstoy ve Moliere\u2019in eserleri aras\u0131ndaki fark, bir bu\u011fday tanesi \u00fczerine \u00e7izilmi\u015f \u00e7izgi ile, kal\u0131n toprak \u00fczerindeki sapan izi aras\u0131ndaki fark kadar b\u00fcy\u00fck olacakt\u0131r.<\/p>\n

II
\nDemek sanat b\u00f6ylece bir sahte l\u00fcks olabiliyor. Bu durumda insanlar\u0131n ve sanat\u00e7\u0131lar\u0131n geriye, ger\u00e7e\u011fe d\u00f6nmek istemeleri kar\u015f\u0131s\u0131nda hayret etmemek gerekir. Art\u0131k, sanat\u00e7\u0131n\u0131n yaln\u0131zl\u0131\u011fa hakk\u0131 oldu\u011fu ink\u00e2r edilmi\u015f, ona konu olarak d\u00fc\u015fleri de\u011fil, herkes taraf\u0131ndan ya\u015fanm\u0131\u015f ve derdi \u00e7ekilmi\u015f ger\u00e7ek verilmi\u015ftir. \u015e\u00fcphe yok, sanat sanat i\u00e7indir g\u00f6r\u00fc\u015f\u00fc, \u00fcsl\u00fbbu ile de, konular\u0131 ile de b\u00fcy\u00fck kitlenin anlay\u0131\u015f\u0131n\u0131n d\u0131\u015f\u0131nda kalmakta, ya da onlar\u0131n ger\u00e7e\u011fini yans\u0131tmamaktad\u0131r. Oysa ki kitle \u00e7o\u011funluktan s\u00f6z a\u00e7s\u0131n ve \u00e7o\u011funluk i\u00e7in \u00e7al\u0131\u015fs\u0131n istiyor. Herkesin mutlulu\u011fu, herkesin s\u0131k\u0131nt\u0131lar\u0131, herkesin anlayaca\u011f\u0131 bir dille yaz\u0131ls\u0131n ve b\u00fct\u00fcn evren anlas\u0131n. Ger\u00e7e\u011fe olan bu ba\u011fl\u0131l\u0131\u011f\u0131n arma\u011fan\u0131, b\u00fct\u00fcn insanlar aras\u0131nda elde edece\u011fi ba\u011f olacakt\u0131r.<\/p>\n

Ger\u00e7ekte de bu evrensel ba\u011f, her b\u00fcy\u00fck sanat\u00e7\u0131n\u0131n amac\u0131d\u0131r. Zannedilenin aksine olarak, yery\u00fcz\u00fcnde yaln\u0131zl\u0131\u011fa hakk\u0131 olmayan tek kimse varsa, o da sanat\u00e7\u0131d\u0131r. Sanat, bir kendi kendine konu\u015fma olamaz. Olamay\u0131nca da, yaln\u0131z ve bilinmeyen sanat\u00e7\u0131, gelece\u011fe hitap etti\u011fi zaman bile gene kendi istidad\u0131n\u0131 ortaya koyacakt\u0131r. \u00c7a\u011fda\u015flar\u0131 ile bir kar\u015f\u0131l\u0131kl\u0131 konu\u015fma, anla\u015fma m\u00fcmk\u00fcn de\u011filse, \u00e7a\u011fda\u015flar\u0131, k\u00f6r ve sa\u011f\u0131rsalar, sanat\u00e7\u0131 konu\u015fmas\u0131n\u0131 gelecek ku\u015faklara yapacakt\u0131r; konu\u015faca\u011f\u0131 ki\u015filerin say\u0131s\u0131 daha \u00e7ok olacakt\u0131r o zaman.<\/p>\n

Herkesten herkes i\u00e7in s\u00f6z a\u00e7mak, herkesin bildi\u011fi ve beraber ya\u015fad\u0131\u011f\u0131m\u0131z ger\u00e7ekten s\u00f6z a\u00e7makla olur. Bizi birbirimize ba\u011flayan, deniz, ya\u011fmurlar, ihtiya\u00e7, istek, \u00f6l\u00fcme kar\u015f\u0131 sava\u015f gibi konulard\u0131r. Biz, birlikte g\u00f6rd\u00fcklerimiz, birlikte \u0131st\u0131rap \u00e7ektiklerimizle birbirimize benzeriz. D\u00fc\u015fler, insandan insana de\u011fi\u015fir ama, d\u00fcnya ger\u00e7e\u011fi, birlik vatanimizdir. Ger\u00e7ek tutkusu me\u015frudur, \u00e7\u00fcnk\u00fc derin \u015fekilde sanat maceras\u0131na ba\u011fl\u0131d\u0131r.<\/p>\n

\u00d6yleyse ger\u00e7ek\u00e7i olal\u0131m. Hi\u00e7 de\u011filse ger\u00e7ek\u00e7i olmaya gayret edelim, olmak m\u00fcmk\u00fcnse. M\u00fcmk\u00fcnse diyorum, \u00e7\u00fcnk\u00fc kelimenin bir anlam\u0131 oldu\u011fu belli de\u011fildir, ne kadar istersek isteyelim, ger\u00e7ek kesin bir \u015fekilde m\u00fcmk\u00fcn olamaz. Kendi kendimize, sanatta saf ger\u00e7e\u011fin m\u00fcmk\u00fcn olup olamayaca\u011f\u0131n\u0131 soral\u0131m \u00f6nce.<\/p>\n

Ge\u00e7en y\u00fczy\u0131l\u0131n nat\u00fcralistlerine g\u00f6re ger\u00e7ek, tabiat\u0131n oldu\u011fu gibi kopyas\u0131d\u0131r. Demek sanat i\u00e7in ger\u00e7ek, resim i\u00e7in foto\u011fraf gibidir. Birincisi kopya ederken, \u0130kincisi bir se\u00e7im yapar. Ama ne kopya eder ve ger\u00e7ek nedir? Foto\u011fraflar\u0131n en iyisi bile sadece bir kopya de\u011fildir, tam anlam\u0131 ile ger\u00e7ek de\u011fildir. \u00d6rne\u011fin, d\u00fcnyam\u0131zda bir insan hayat\u0131ndan daha ger\u00e7ek ne vard\u0131r, ve bu hayat en iyi \u015fekilde bir ger\u00e7ek\u00e7i filmden ba\u015fka nas\u0131l kopya edilebilir? Bu film hangi \u015fartlarla m\u00fcmk\u00fcn olacakt\u0131r? Ancak hayal kuvveti ile. \u00d6yle bir sinema makinesi d\u00fc\u015f\u00fcnmek gerek ki gece g\u00fcnd\u00fcz o ki\u015finin \u00fczerine \u00e7evrilmi\u015f olsun ve en k\u00fc\u00e7\u00fck hareketlerine kadar hayat\u0131n\u0131 filme \u00e7eksin. Sonu\u00e7, ancak bir ba\u015fkas\u0131n\u0131n hayat\u0131n\u0131n ayr\u0131nt\u0131s\u0131na kendilerini verecek seyirciler taraf\u0131ndan g\u00f6r\u00fclebilecek, oynat\u0131lmas\u0131 \u00f6m\u00fcr boyu s\u00fcren bir film olacakt\u0131r. Hatta bu \u015fartlarla bile film, gene de ger\u00e7e\u011fe uygun olmayacakt\u0131r. \u00c7\u00fcnk\u00fc insan hayat\u0131n\u0131n ger\u00e7e\u011fi, sadece o insan\u0131n ya\u015fad\u0131\u011f\u0131 yerlerde de\u011fildir. O hayata bi\u00e7im veren ba\u015fka hayatlardad\u0131r; \u00f6nce, \u00e7ekilmesi gereken sevilen insanlar\u0131n hayat\u0131ndad\u0131r, sonra, bilinmeyen, kuvvetli ya da zay\u0131f vada\u015f, polis memuru, \u00f6\u011fretmen, i\u015f arkada\u015f\u0131, diplomat, diktat\u00f6r, devrimci, din adamlar\u0131, basit temsilciler, ya\u015fay\u0131\u015f\u0131m\u0131z i\u00e7in efsaneler yaratan sanat\u00e7\u0131lar\u0131n hayat\u0131ndad\u0131r, nihayet en d\u00fczg\u00fcn hayat s\u00fcren varl\u0131klara bile egemen olan tesad\u00fcftedir. \u015eu halde, m\u00fcmk\u00fcn olabilecek tek bir ger\u00e7ek film vard\u0131r : D\u00fcnya perdesi \u00fczerinde, her zaman g\u00f6zlerimizin \u00f6n\u00fcnde seyretti\u011fimiz g\u00f6r\u00fcnmez bir makine taraf\u0131ndan bize oynat\u0131lan film. Varsa e\u011fer, en ger\u00e7ek\u00e7i sanat\u00e7\u0131 Tanr\u0131d\u0131r. \u00d6teki sanat\u00e7\u0131lar, ister istemez ger\u00e7e\u011fe sad\u0131k olamayacaklard\u0131r.<\/p>\n

B\u00f6ylece, burjuva toplumunu ve onun \u015fekl\u00ee sanat\u0131n\u0131 redderek, ger\u00e7ekten, sadece ger\u00e7ekten s\u00f6z a\u00e7mak isteyen sanat\u00e7\u0131lar, ac\u0131 bir \u00e7\u0131kmaza saplanm\u0131\u015flard\u0131r. Ger\u00e7ek\u00e7i olmak zorundad\u0131rlar, olamazlar. Sanatlar\u0131m ger\u00e7e\u011fin yoluna koymak isterler; ama ger\u00e7ekten, sanat\u0131n orijalli\u011fini g\u00f6sterecek bir se\u00e7im yapmadan s\u00f6z a\u00e7\u0131lamaz. Rus ihtil\u00e2li ilk y\u0131llar\u0131n\u0131n g\u00fczel ve ac\u0131 eserleri bu kar\u015f\u0131l\u0131kl\u0131\u011f\u0131n \u00f6rne\u011fidir. Blok ve b\u00fcy\u00fck Pastenak, Maiakovsky, Essenine, Einstein, beton ve \u00e7eli\u011fin ilk romanc\u0131lar\u0131n\u0131n bize verdi\u011fi, arama \u00e7\u0131lg\u0131nl\u0131\u011f\u0131 i\u00e7inde, verimli bir \u015f\u00fcphecilik, bi\u00e7imler ve konular laboratuar\u0131d\u0131r. Ama bir sonuca varmak, ger\u00e7ek\u00e7ili\u011fin m\u00fcmk\u00fcn olmad\u0131\u011f\u0131 yerde, nas\u0131l ger\u00e7ek\u00e7i olunabilece\u011fini g\u00f6stermek gerekti. Diktat\u00f6rl\u00fck ba\u015fka yerde oldu\u011fu gibi burada da meseleyi k\u00f6k\u00fcnden halletti. Onun i\u00e7in ger\u00e7ek\u00e7ilik \u00f6nce bir ihtiya\u00e7 ve ancak sosyalist olmak \u015fartiyle m\u00fcmk\u00fcnd\u00fc. Bu karar\u0131n anlam\u0131 nedir?<\/p>\n

\u00d6nce bir se\u00e7im yapmadan ger\u00e7ekten bahsolunmayaca\u011f\u0131n\u0131 kabul ediyor, sonrada XIX. y\u00fczy\u0131ldaki ger\u00e7ek\u00e7ilik teorisini reddediyor. O zaman, \u00e7evresinde d\u00fcnya kurulabilecek bir se\u00e7im ilkesi bulmak gere\u011fi do\u011fuyor. Onu da bizim bildi\u011fimiz ger\u00e7ekte de\u011fil, fakat olacak ger\u00e7ekte, yani gelecekte buluyor. \u015eimdiki ger\u00e7e\u011fi iyi g\u00f6stermek i\u00e7in, gelece\u011fin ger\u00e7e\u011finden s\u00f6z a\u00e7mak gerektir, diyor. Yani sosyalist ger\u00e7ek\u00e7ili\u011fin konusu, hen\u00fcz ger\u00e7ek olmayand\u0131r.<\/p>\n

Buradaki tenakuz muazzamd\u0131r. Hatt\u00e2 sosyalist ger\u00e7ek\u00e7ilik s\u00f6z\u00fc bile yanl\u0131\u015ft\u0131r. Nas\u0131l bir sosyalist ger\u00e7ek\u00e7ilikten s\u00f6z a\u00e7\u0131labilir, ger\u00e7ek tam anlam\u0131 ile sosyalist olmad\u0131ktan sonra? Ger\u00e7ek, ne ge\u00e7mi\u015fte sosyalistti, ne de \u015fimdi sosyalisttir. Buna verecekleri cevap basittir. Bug\u00fcn\u00fcn ya da d\u00fcn\u00fcn ger\u00e7e\u011finden, gelece\u011fin d\u00fcnyas\u0131n\u0131 kurmaya yarayan ve onu haz\u0131rlayan unsurlar se\u00e7ilecektir. B\u00f6ylece ger\u00e7e\u011fin i\u00e7inde, \u00f6nce sosyalist olmayan ne varsa hepsi reddedilecek, \u00f6te yandan sosyalist olanlar ve olaca\u011f\u0131 tahmin edilenler \u00f6v\u00fclecektir. Bu da bizi, iyileri ve k\u00f6t\u00fcleri ile propagandadan ibaret bir sanata, bir pembe d\u00fcnya edebiyat\u0131na, k\u0131sacas\u0131, \u015fekli sanat kadar ya\u015fayan ve \u00e7apra\u015f\u0131k ger\u00e7ekten uzak, kesilmi\u015f bir sanata g\u00f6t\u00fcrecektir. Sonu\u00e7ta da bu sanat ger\u00e7ekle ilgisi kesildi\u011fi oranda sosyalist olacakt\u0131r.<\/p>\n

Ger\u00e7ek\u00e7i olmak isteyen bu estetik, bir ger\u00e7ek sanat\u00e7\u0131 i\u00e7in, burjuva estetik kadar k\u0131s\u0131r yeni bir idealizme d\u00f6k\u00fclecektir. Ger\u00e7ek ortadan b\u00fcsb\u00fct\u00fcn kald\u0131r\u0131lmak i\u00e7in, egemenlik koltu\u011funa oturtulmu\u015f oluyor. Bir hi\u00e7e iniyor sanat. U\u015fak oluyor, u\u015fakl\u0131k ediyor ve kendisine u\u015fakl\u0131k ettiriyor. Sadece, ger\u00e7e\u011fi do\u011fru yazmamay\u0131 ama\u00e7 edinenler ger\u00e7ek\u00e7i say\u0131l\u0131yor ve alk\u0131\u015flan\u0131yorlar. \u00f6tekiler birincileri alk\u0131\u015fl\u0131yanlar taraf\u0131ndan sans\u00fcre u\u011fruyorlar. Burjuva top-lumunda okunulmadan, ya da k\u00f6t\u00fc okunularak elde edilen \u00fcn totaliter toplumda ger\u00e7ek sanat \u015feklini kaybediyor, d\u00f6v\u00fcl\u00fcyor ve evrensel ba\u011f, onu en \u00e7ok tutku ile isteyenler taraf\u0131ndan imk\u00e2ns\u0131z k\u0131l\u0131n\u0131yor.<\/p>\n

Bu ba\u015far\u0131s\u0131zl\u0131k kar\u015f\u0131s\u0131nda yap\u0131lacak \u015fey, sosyalist denilen ger\u00e7e\u011fin b\u00fcy\u00fck sanatla ilgisi olmad\u0131\u011f\u0131n\u0131, ihtil\u00e2lcilerin ihtil\u00e2li ya\u015fatmak istiyorlarsa, ona bir ba\u015fka estetik aramalar\u0131 gerekti\u011fini kabul etmektir. B\u00f6yle sanat\u0131 savunanlar\u0131n, bunun d\u0131\u015f\u0131nda sanat olmad\u0131\u011f\u0131n\u0131 bar bar ba\u011f\u0131rd\u0131klar\u0131 mal\u00fbmdur. Ger\u00e7ekten de bar bar ba\u011f\u0131rmaktad\u0131rlar. Ama \u00f6yle zannediyorum ki, s\u00f6ylediklerine kendileri de inanmamaktad\u0131rlar ve kendi kendilerince, sanat de\u011ferlerini, devrim hareketinin olanaklar\u0131na boyun e\u011fdirmeye karar vermi\u015flerdir. Bunu a\u00e7\u0131k\u00e7a s\u00f6yleseler, tart\u0131\u015fma daha kolayla\u015facak. \u00c7o\u011funlu\u011fun mutsuzlu\u011fu ile, bazen sanat\u00e7\u0131 kaderlerinin gerektirdi\u011fi imtiyazlar aras\u0131ndaki fark kar\u015f\u0131s\u0131nda ac\u0131 duyan insanlar\u0131n bu b\u00fcy\u00fck bo\u015f verme duygusuna sayg\u0131 duyulabilir.<\/p>\n

Sanat\u00e7\u0131, sefaletin k\u0131rba\u00e7lad\u0131klar\u0131 ile, \u00f6devi ger\u00e7e\u011fi deyimlendirmek olanlar aras\u0131ndaki mesafeyi reddedebilir. O zaman, bu kimseleri anlayabiliriz; onlarla kar\u015f\u0131l\u0131kl\u0131 konu\u015fabilir, ve \u00f6rne\u011fin, kullu\u011fun kald\u0131r\u0131lmas\u0131 i\u00e7in, yarat\u0131c\u0131 \u00f6zg\u00fcrl\u00fc\u011f\u00fcn \u00f6ld\u00fcr\u00fclmesinin, pek de iyi bir yol olmad\u0131\u011f\u0131n\u0131, herkesin s\u00f6z s\u00f6yleme hakk\u0131 olaca\u011f\u0131 g\u00fcne kadar, bir ka\u00e7 ki\u015finin bile olsa, s\u00f6z hakk\u0131n\u0131n al\u0131nmas\u0131n\u0131n yanl\u0131\u015f oldu\u011funu s\u00f6ylemeye \u00e7al\u0131\u015fabiliriz. Evet, sosyal realizm, siyas\u00ee ger\u00e7ek\u00e7ili\u011fin ikiz karde\u015fidir ve bunu itiraf etmelidir. Sanat\u0131, sanat d\u0131\u015f\u0131 bir sonuca feda etmektedir; bu sanat d\u0131\u015f\u0131 sonu\u00e7, de\u011ferler merdiveninde daha y\u00fcksek bir basamak gibi g\u00f6r\u00fcnebilir. Sanat\u0131, adaleti kurmak i\u00e7in \u015fimdilik ortadan kald\u0131rmaktad\u0131r. Adalet, yerine yerle\u015fti\u011fi zaman, belli olmayan bir gelecekte, sanat yeniden do\u011facakt\u0131r.<\/p>\n

B\u00f6ylelikle sanata, \u00e7a\u011fda\u015f zek\u00e2n\u0131n alt\u0131n kurallar\u0131ndan biri uygulanm\u0131\u015f oluyor: Yumurtay\u0131 k\u0131rmadan omlet yapman\u0131n imk\u00e2ns\u0131zl\u0131\u011f\u0131. Ama bu ezici iyi niyet bizi k\u00f6t\u00fc yola s\u00fcr\u00fcklememeli. Binlerce yumurta da k\u0131r\u0131lsa, iyi omlet yap\u0131lmayabilir ve bana \u00f6yle geliyor ki, a\u015f\u00e7\u0131n\u0131n de\u011feri de k\u0131r\u0131lan yumurtalar\u0131n say\u0131s\u0131 ile \u00f6l\u00e7\u00fclm\u00fcyor. \u00c7a\u011f\u0131m\u0131z\u0131n sanat a\u015f\u00e7\u0131lar\u0131 aksine, istediklerinden daha \u00e7ok yumurta sepeti devirmekten korkmamal\u0131d\u0131rlar, yoksa uygarl\u0131k omleti pi\u015fmeyebilir; sanat, bir daha hi\u00e7 do\u011fmayabilir. Barbarl\u0131k hi\u00e7 bir zaman gelip ge\u00e7ici olmam\u0131\u015ft\u0131r. Pek hakk\u0131 verilmez bunun, sanat\u0131n etkisi ile, adetlere girer. O zaman insanlar\u0131n kan\u0131ndan ve mutsuzlu\u011fundan anlams\u0131z edebiyatlar, bo\u015f gazete l\u00e2k\u0131rd\u0131lar\u0131, dostluk biyografileri ve kinin, dinin yerini ald\u0131\u011f\u0131, emirle yaz\u0131lm\u0131\u015f eserler do\u011far. B\u00f6ylelikle sanat, l\u00fckslerin en k\u00f6t\u00fcs\u00fc olan, emirli iyi hiyet ile, en ucuz yalanlar aras\u0131nda kal\u0131r.<\/p>\n

Ni\u00e7in \u015fa\u015fmal\u0131 buna? \u0130nsanl\u0131\u011f\u0131n derdi o kadar b\u00fcy\u00fck bir konudur ki, hemen hemen hi\u00e7 kimse, Keats gibi elleri ile ac\u0131ya dokunacak kadar duygulu olmad\u0131k\u00e7a bu derdi ele alamayacakt\u0131r. G\u00fcd\u00fcml\u00fc edebiyat bu derde resm\u00ee avutmalar getirince daha da \u00e7ok g\u00f6r\u00fcl\u00fcr. Sanat i\u00e7in sanat yalan\u0131, k\u00f6t\u00fcy\u00fc g\u00f6rmemezli\u011fe geliyor ve sorumlulu\u011funu ta\u015f\u0131yordu. Ger\u00e7ek\u00e7ilik yalan\u0131 \u00f6tekine k\u0131yasla, insanlar\u0131n bahts\u0131zl\u0131\u011f\u0131n\u0131 tan\u0131mak cesaretini g\u00f6steriyorsa, hi\u00e7 kimsenin ne oldu\u011funu bilmedi\u011fi ve b\u00fct\u00fcn aldatmalara elveri\u015fli olan gelece\u011fin mutlulu\u011funu b\u00fcy\u00fctmekle o kadar da ona ihanet ediyor.<\/p>\n

Biri tamamen g\u00fcnl\u00fck olaylar\u0131, \u00f6teki de g\u00fcnl\u00fck olmayan her\u015feyi reddeden, uzun zamanlardanberi m\u00fccadele halindeki bu iki estetik sonu\u00e7ta, ger\u00e7ekten uzak, sanat\u0131 ortadan kald\u0131ran bir yalanda birle\u015fiyorlar. Sa\u011fc\u0131 akademizm, solcu akademizmin istismar etti\u011fi sefaleti hesaba katm\u0131yor. Fakat, her iki halde de sefalet, sanat ink\u00e2r edildi\u011fi \u00f6l\u00e7\u00fcde kuvvetlenmi\u015f oluyor.<\/p>\n

III
\nYalan, sanat\u0131n esas\u0131d\u0131r sonucuna m\u0131 varmak gerektir? Aksine, diyece\u011fim ki, \u015fimdiye kadar s\u00f6z\u00fcn\u00fc ettiklerim, sanatla b\u00fcy\u00fck ilgileri olmad\u0131klar\u0131 \u00f6l\u00e7\u00fcde yaland\u0131rlar. \u00d6yleyse sanat nedir? Bundan daha basit \u015fey olam\u0131yaca\u011f\u0131 muhakkak. G\u00fc\u00e7 olan, her\u015feyi basitle\u015ftirmek i\u00e7in y\u0131rt\u0131nanlar\u0131n \u00e7\u0131\u011fl\u0131klar\u0131 i\u00e7inde, sanat\u0131n ne oldu\u011funu \u00f6\u011frenebilmektir. Bir yandan deh\u00e2, muhte\u015fem ve tek kals\u0131n isteniyor, \u00f6te yandan da herkese benzemeye zorlan\u0131yor. Yaz\u0131k ki, ger\u00e7ek daha \u00e7apra\u015f\u0131k. Bu \u00e7apra\u015f\u0131kl\u0131\u011f\u0131 Balzac bir c\u00fcmlede s\u00f6yl\u00fcyor: \u00abDeha her\u015feye benzer, hi\u00e7 bir \u015fey ona benzemez\u00bb Ger\u00e7eksiz bir anlam\u0131 olmayan sanat, sanats\u0131z de\u011ferinden \u00e7ok kaybeden ger\u00e7ek i\u00e7in de b\u00f6yledir. Nas\u0131l olur da sanat ger\u00e7ekten vazge\u00e7ebilir, ya da onun emrine girer? Sanat\u00e7\u0131, kendisinin se\u00e7ilmi\u015f olmas\u0131 gibi, konusunu se\u00e7er. Sanat biraz, d\u00fcnyan\u0131n bitmemi\u015fli\u011fine ve ka\u00e7\u0131p gidicili\u011fine kar\u015f\u0131 isyand\u0131r.<\/p>\n

Sanat\u00e7\u0131, heyecan\u0131n\u0131n kayna\u011f\u0131 oldu\u011fu i\u00e7in korumak zorunda kald\u0131\u011f\u0131 ger\u00e7e\u011fe bi\u00e7im vermekten ba\u015fka \u015feyi \u00f6dev edinmez gene de. Bu a\u00e7\u0131dan, hepimiz ger\u00e7ek\u00e7iyiz ve hi\u00e7 birimiz de\u011filiz. Sanat ne b\u00fct\u00fcn bir reddir, ne de b\u00fct\u00fcn bir kabul. Ayn\u0131 zamanda ret ve kabuld\u00fcr; bunun i\u00e7in de, ancak, durmadan yenilenen bir \u015fiddetli ac\u0131dan ba\u015fka bir \u015fey olamaz. Sanat\u00e7\u0131, her zaman bu iki anlaml\u0131l\u0131k i\u00e7indedir. Bir yandan ger\u00e7e\u011fi inkar edemez, \u00f6te yandan, gene de sonsuz bitmemi\u015flik s\u00fcrd\u00fck\u00e7e ger\u00e7e\u011fi tart\u0131\u015fmak zorundad\u0131r. Bir \u00abnature-morte\u00bb yapabilmek i\u00e7in, bir elma ile bir ressam biribirlerini d\u00fczeltmeli, birbirleri ile sava\u015fmal\u0131d\u0131rlar. Yery\u00fcz\u00fcn\u00fcn \u0131\u015f\u0131klar\u0131 olmaks\u0131z\u0131n nas\u0131l bi\u00e7imler anlams\u0131zla\u015f\u0131rlarsa, bi\u00e7imler olmadan da \u0131\u015f\u0131klar \u00e7ok \u015fey kaybeder. Muhte\u015femli\u011fi ile cisimleri ve heykelleri yaratan ger\u00e7ek evren, ayn\u0131 zamanda onlardan da g\u00f6\u011f\u00fcn \u0131\u015f\u0131klar\u0131n\u0131 yaratan bir ikinci \u0131\u015f\u0131k al\u0131r. B\u00fcy\u00fck \u00fcsl\u00fbp b\u00f6ylelikle, sanat\u00e7\u0131 ile konunun aras\u0131nda yar\u0131 yolda kalm\u0131\u015ft\u0131r.<\/p>\n

S\u00f6z konusu olan, sanat\u0131n, ger\u00e7ekten ka\u00e7mas\u0131 ya da ona boyun e\u011fmesi de\u011fil, bulutlar aras\u0131nda kaybolup gitmemek ya da aksine kur\u015fun \u00f6k\u00e7elerle yerlerde s\u00fcr\u00fcnmemek i\u00e7in ne \u00f6l\u00e7\u00fcde ger\u00e7ekten vazge\u00e7mesi gerekti\u011fidir. Bu sorunu her sanat\u00e7\u0131, duydu\u011fu ve yapabildi\u011fi kadar halleder. Sanat\u00e7\u0131n\u0131n d\u00fcnya ger\u00e7e\u011fine kar\u015f\u0131 duydu\u011fu isyan ne kadar b\u00fcy\u00fck olursa, ona dengesini verecek ger\u00e7e\u011fin a\u011f\u0131rl\u0131\u011f\u0131 da o kadar b\u00fcy\u00fck olur. Ama bu a\u011f\u0131rl\u0131k, sanat\u00e7\u0131n\u0131n m\u00fcnzevi varl\u0131\u011f\u0131n\u0131 bo\u011fmamal\u0131d\u0131r. En b\u00fcy\u00fck eser, her zaman, eski Yunan trajedilerinde, Melville\u2019de, Tolstoi\u2019da, Moliere\u2019de oldu\u011fu gibi, ger\u00e7e\u011fi ve insan\u0131n ger\u00e7e\u011fe kar\u015f\u0131 duydu\u011fu reddi dengeleyecek eserdir. Bunlardan herbiri \u00f6tekini ta\u015f\u0131racak, mutlu ve ac\u0131 hayat\u0131n f\u0131\u015fk\u0131rmas\u0131n\u0131n ta kendisi olan, bitip t\u00fckenmez bir canl\u0131l\u0131k verecektir. O zaman, yava\u015f yava\u015f, herg\u00fcnk\u00fcnden farkl\u0131, gene de ayn\u0131; \u00f6zel gene de genel, m\u00e2sum bir g\u00fcvensizlikle dolu, deh\u00e2n\u0131n doymazl\u0131\u011f\u0131 ve kuvveti ile bir ka\u00e7 saat i\u00e7in yarat\u0131lm\u0131\u015f yeni bir d\u00fcnya ortaya \u00e7\u0131kacakt\u0131r. Bu, budur; gene de bu, bu de\u011fildir; d\u00fcnya bir hi\u00e7tir, gene de d\u00fcnya her\u015feydir; i\u015fte her ger\u00e7ek sanat\u00e7\u0131n\u0131n yorulmak bilmez iki \u00e7\u0131\u011fl\u0131\u011f\u0131; onu g\u00f6zleri a\u00e7\u0131k ve ayakta tutan, ve yava\u015f yava\u015f, herkes i\u00e7in, uyuklayan d\u00fcnyan\u0131n ortas\u0131nda hi\u00e7 rastlamadan tan\u0131d\u0131\u011f\u0131m\u0131z bir ger\u00e7e\u011fin \u0131srarl\u0131 ve ka\u00e7ak hayalini uyand\u0131ran \u00e7\u0131\u011fl\u0131k.<\/p>\n

B\u00f6ylece sanat\u00e7\u0131, \u00e7a\u011f\u0131 kar\u015f\u0131s\u0131nda ger\u00e7ekten ne vazge\u00e7ebilir, ne de ona boyun e\u011febilir. Vazge\u00e7erse bo\u015flukta konu\u015fmu\u015f olur. Fakat aksine onu madde (Objet) olarak ald\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde, kendi varl\u0131\u011f\u0131n\u0131 da konu (Subjet) olarak ortaya koyar ve oldu\u011fu gibi ona boyun e\u011femez. Ba\u015fka bir deyimle, herkesin kaderini payla\u015ft\u0131\u011f\u0131 anda sanat\u00e7\u0131 kendi ki\u015fili\u011fini s\u00f6ylemi\u015f olur. Sanat\u00e7\u0131, tarihten, do\u011frudan do\u011fruya, ya da arac\u0131l\u0131kla, kendi g\u00f6rebildiklerini, ac\u0131s\u0131n\u0131 \u00e7ektiklerini al\u0131r; yani kelimenin en kesin anlam\u0131 ile g\u00fcndelik olaylar\u0131 ve g\u00fcn\u00fcm\u00fczde ya\u015fayan insanlar\u0131; ya\u015fayan sanat\u00e7\u0131 i\u00e7in ke\u015ffi g\u00fc\u00e7 olan bir gelecekle, g\u00fcndeli\u011fin ba\u011f\u0131n\u0131 de\u011fil. G\u00fcn\u00fcm\u00fcz adam\u0131n\u0131, hen\u00fcz var olmayan bir insan ad\u0131na yarg\u0131lamak, peygamberlik olur ancak. Sanat\u00e7\u0131, efsaneleri ya\u015fayan insan \u00fczerindeki tepkileri \u00f6l\u00e7\u00fcs\u00fcnde de\u011ferlendirebilir. Peygamber ise, ister din\u00ee, ister siyas\u00ee olsun, kesin olarak yarg\u0131layabilir ve zaten, ka\u00e7\u0131nmad\u0131klar\u0131 da mal\u00fbmdur. Sanat\u00e7\u0131 yapamaz bunu. Kesin yarg\u0131lar verse, iyi ile k\u00f6t\u00fc aras\u0131nda ger\u00e7e\u011fi, farks\u0131z b\u00f6lm\u00fc\u015f olacakt\u0131r, melodram yapacakt\u0131r. Oysa aksine, sanat\u0131n amac\u0131 kanunla\u015ft\u0131rmak, ya da h\u00fckmetmek de\u011fil, her \u015feyden \u00f6nce, anlamakt\u0131r.<\/p>\n

Anlamak i\u00e7in, h\u00fckmetti\u011fi olur bazen. Ama hi\u00e7 bir deh\u00e2 eseri, k\u00fc\u00e7\u00fcmseme ve kin \u00fczerine kurulmam\u0131\u015ft\u0131r. Bunun i\u00e7in de sanat\u00e7\u0131, y\u00fcr\u00fcd\u00fc\u011f\u00fc yolun sonuna geldi\u011finde su\u00e7land\u0131raca\u011f\u0131 yerde affeder. Yarg\u0131\u00e7 de\u011fildir, do\u011frulay\u0131c\u0131d\u0131r o. Ya\u015fayan yarat\u0131\u011f\u0131n, ya\u015fad\u0131\u011f\u0131 i\u00e7in ve ya\u015fad\u0131\u011f\u0131 zaman boyunca sonsuz avukat\u0131d\u0131r. Yak\u0131n sevgisini, ger\u00e7ekten savunur, \u00e7a\u011fda\u015f uygarl\u0131\u011f\u0131 bir mahkemede din dersi durumuna sokan uzak sevgisini de\u011fil. B\u00fcy\u00fck eser, sonu\u00e7ta, b\u00fct\u00fcn yarg\u0131\u00e7lar\u0131 birle\u015ftirir. Sanat\u00e7\u0131, b\u00fcy\u00fck bir eserle, hem insanl\u0131\u011f\u0131n en b\u00fcy\u00fck \u00e7ehresi kar\u015f\u0131s\u0131nda sayg\u0131 duyuyor, hem de canilerin en sonuncusu \u00f6n\u00fcnde e\u011filiyor demektir. Wilde hapishanede \u00abbu sefil yerde benimle birlikte bulunan bahts\u0131zlar\u0131n i\u00e7inde, hayat\u0131n s\u0131rr\u0131 ile sembolik ba\u011f\u0131 olmayan tek bir ki\u015fi yok\u00bb diyordu. Evet, ve i\u015fte, sanatla bir araya gelen de, hayat\u0131n bu s\u0131rr\u0131d\u0131r.<\/p>\n

Y\u00fcz elli y\u0131l boyunca, t\u00fcccar toplumun yazarlar\u0131, bir ka\u00e7 ayr\u0131cal\u0131k d\u0131\u015f\u0131nda, mutlu bir sorumsuzluk i\u00e7inde ya\u015fayabileceklerini sand\u0131lar. Yaln\u0131z ya\u015fad\u0131lar, ve yaln\u0131z ya\u015fad\u0131klar\u0131 gibi de, yaln\u0131z \u00f6ld\u00fcler. XX. y\u00fczy\u0131l\u0131n yazarlar\u0131, bizler, hi\u00e7bir zaman yaln\u0131z kalmayaca\u011f\u0131z. Bilmeliyiz ki, ortak sefaletimizden ka\u00e7amay\u0131z ; varl\u0131\u011f\u0131m\u0131z\u0131n \u015fayet varl\u0131\u011f\u0131m\u0131zdan s\u00f6z a\u00e7\u0131labilirse, yeg\u00e2ne delili, imk\u00e2nlar\u0131m\u0131z \u00f6l\u00e7\u00fcs\u00fcnde, a\u011f\u0131zlar\u0131n\u0131 a\u00e7am\u0131yacak durumda olanlar i\u00e7in ve gelecekteki b\u00fcy\u00fckl\u00fckleri ne olursa olsun, \u00fczerlerine bask\u0131 yapan Devlet ve partiler y\u00fcz\u00fcnden \u0131st\u0131r\u0131p \u00e7ekenler i\u00e7in yapt\u0131klar\u0131m\u0131zd\u0131r: sanat\u00e7\u0131 i\u00e7in, imtiyazl\u0131 cell\u00e2tlar yoktur. Bunun i\u00e7in g\u00fczellik bug\u00fcn bile, hatt\u00e2 her zamandan fazla bug\u00fcn, hi\u00e7 bir partiye hizmet edemez, ancak, uzun ya da k\u0131sa bir zaman i\u00e7in, insanlar\u0131n \u00f6zg\u00fcrl\u00fck ve ac\u0131lar\u0131na hizmet eder. G\u00fcd\u00fcml\u00fc sanat\u00e7\u0131, ancak, m\u00fccadeleden ka\u00e7madan, kitleye, g\u00f6n\u00fcll\u00fcler s\u00fcr\u00fcs\u00fcne kat\u0131lmay\u0131 reddedendir. B\u00f6ylece, g\u00fczellikten alaca\u011f\u0131 ders, \u015fayet bu ders namusluca al\u0131nm\u0131\u015fsa, egoizm dersi de\u011fil, karde\u015flik dersidir. Bu anlamda g\u00fczellik, hi\u00e7 bir insan\u0131n hizmetine girmemi\u015ftir. Ve binlerce y\u0131ld\u0131r, her g\u00fcn, her saniye, insanlar\u0131n kullu\u011funa ferahl\u0131k vermi\u015ftir; ve bazen, bir k\u0131sm\u0131n\u0131, o kulluktan b\u00fcsb\u00fct\u00fcn kurtarm\u0131\u015ft\u0131r.<\/p>\n

Sonu\u00e7ta, belki de b\u00f6ylece, g\u00fczellikle \u0131st\u0131rap, insan sevgisi ile yaratma \u00e7\u0131lg\u0131nl\u0131\u011f\u0131, dayan\u0131lmaz yaln\u0131zl\u0131k ve yorucu kalabal\u0131k, red ve r\u0131za aras\u0131ndaki ezel\u00ee gerginlik i\u00e7inde sanat\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fcne eriyoruz. Sanat, iki u\u00e7urum aras\u0131nda gidip geliyor: propaganda ile hava\u00eelik. B\u00fcy\u00fck sanat\u00e7\u0131n\u0131n y\u00fcr\u00fcd\u00fc\u011f\u00fc bu tepe yolunda her ad\u0131m bir macera, sonsuz bir tehlikedir. Gene de bu tehlikede ve sadece bu tehlikede, sanat\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fc vard\u0131r. G\u00fc\u00e7 m\u00fcd\u00fcr bu \u00f6zg\u00fcrl\u00fck, daha \u00e7ok bir kilise disiplinine mi benzer? Hangi sanat\u00e7\u0131 ink\u00e2r eder bunu? Hangi sanat\u00e7\u0131 kendisini bu sonsuz \u00f6devi ba\u015faracak kudrette sayabilir? Bu \u00f6zg\u00fcrl\u00fck, bir y\u00fcrek ve v\u00fccut sa\u011flaml\u0131\u011f\u0131, ruhun kuvveti kadar dayan\u0131kl\u0131 bir \u00fcsl\u00fbp, sab\u0131rl\u0131 bir sava\u015f\u00e7\u0131l\u0131k gerektirir. Her \u00f6zg\u00fcrl\u00fck gibi bu da, daim\u00ee bir tehlikedir, yorup bitiren bir macerad\u0131r ve i\u015fte bunun i\u00e7indir ki, her t\u00fcrl\u00fc kullu\u011fa katlanarak, hi\u00e7 de\u011filse b\u00f6ylece ruhun rahat\u0131n\u0131 sa\u011flamak gayesi ile bu maceradan ka\u00e7\u0131n\u0131l\u0131r. Sanat, bir macera de\u011filse nedir, nedir \u00f6yleyse do\u011frulamas\u0131? Hay\u0131r, \u00f6zg\u00fcr sanat\u00e7\u0131, \u00f6zg\u00fcr insan gibi, rahat\u0131n\u0131 d\u00fc\u015f\u00fcnen adam de\u011fildir, \u00f6zg\u00fcr sanat\u00e7\u0131, g\u00fc\u00e7l\u00fckle, kendi d\u00fczenini yaratand\u0131r. Bu d\u00fczen ne kadar pervas\u0131z olursa, kural\u0131 o kadar kesin olacak ve \u00f6zg\u00fcrl\u00fc\u011f\u00fc o kadar ortaya koyacaklard\u0131r. Anla\u015fmazl\u0131\u011fa yol a\u00e7makla beraber her zaman kabul etti\u011fim Gide\u2019in bir s\u00f6z\u00fc vard\u0131r : \u00abSanat bask\u0131 ile ya\u015far ve \u00f6zg\u00fcrl\u00fckle \u00f6l\u00fcr.\u00bb Do\u011frudur bu. Ama bundan sanat\u0131n g\u00fcd\u00fcmlenebilece\u011fi anlam\u0131 \u00e7\u0131kmas\u0131n. Sanat, kendi kendisine yapt\u0131\u011f\u0131 bask\u0131 ile ya\u015far, ba\u015fkalar\u0131n\u0131n bask\u0131s\u0131 ile \u00f6l\u00fcr. Aksine kendi kendisine bask\u0131 yapmazsa \u00e7\u0131ld\u0131r\u0131r nihayet ve bir tak\u0131m hayaletlerin kulu olur. B\u00f6ylece en \u00f6zg\u00fcr, en isyanc\u0131 sanat, en kl\u00e2sik sanat olacakt\u0131r; en b\u00fcy\u00fck gayreti arma\u011fanland\u0131racakt\u0131r. Bir toplum ve sanat\u00e7\u0131lar\u0131 bu uzun ve \u00f6zg\u00fcr gayrete raz\u0131 olmad\u0131k\u00e7a, e\u011flencelerin rahat\u0131na, konformizme, sanat sanat i\u00e7indir oyununa, ya da ger\u00e7ek sanat va\u0131zlar\u0131na kendilerini b\u0131rakt\u0131k\u00e7a k\u0131s\u0131rl\u0131k ve hi\u00e7lik i\u00e7inde kal\u0131rlar. Bunu s\u00f6ylemek, g\u00fcn\u00fcm\u00fczde yenilenme cesaretimize ve a\u00e7\u0131k g\u00f6r\u00fc\u015fl\u00fcl\u00fckteki irademize ba\u011fl\u0131d\u0131r, demektir.<\/p>\n

Evet, bu yenilenme hepimizin elindedir. Avrupan\u0131n, B\u00fcy\u00fck \u0130skender\u2019in k\u0131l\u0131c\u0131 ile kesti\u011fi uygarl\u0131\u011f\u0131n Gordium d\u00fc\u011f\u00fcm\u00fcn\u00fc yenide ba\u011flayacak \u0130skender d\u00fc\u015fmanlar\u0131 yaratmas\u0131 bizim elimizdedir. Bunun i\u00e7in b\u00fct\u00fcn tehlikeleri ve \u00f6zg\u00fcr \u00e7al\u0131\u015fmalar\u0131 g\u00f6ze almak gerektir. Adaletin yolundan giderek, \u00f6zg\u00fcrl\u00fc\u011f\u00fc koruyabilece\u011fimiz, ya da koruyam\u0131yaca\u011f\u0131m\u0131z de\u011fildir, bilinmesi gereken. Bilinmesi gereken, \u00f6zg\u00fcrl\u00fck olmadan hi\u00e7 bir \u015fey yapamayaca\u011f\u0131 adaleti de, ge\u00e7mi\u015f g\u00fczelli\u011fi de kaybedece\u011fimizdir. Ancak \u00f6zg\u00fcrl\u00fck, insanlar\u0131 yaln\u0131zl\u0131ktan kurtarabilir; kulluk bir yaln\u0131zl\u0131klar kalabal\u0131\u011f\u0131 i\u00e7inde gezer. Sanat, a\u00e7\u0131klamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m bu \u00f6zg\u00fcrl\u00fck esas\u0131 sayesinde, istibdat\u0131n ay\u0131rd\u0131\u011f\u0131 yerde, birle\u015ftirir. B\u00f6yle olunca, b\u00fct\u00fcn bask\u0131 yapanlar\u0131n onu d\u00fc\u015fman edinmelerinde \u015fa\u015f\u0131lacak ne vard\u0131r? \u015ea\u015f\u0131lacak ne vard\u0131r, ister sa\u011fc\u0131, ister solcu olsun, g\u00fcn\u00fcm\u00fcz istibdatlar\u0131nda sanat\u00e7\u0131 ve ayd\u0131nlar\u0131n ilk \u00f6nce kurban gitmelerinde? M\u00fcstebitler, sanat eserinde, inanmayanlara esrarl\u0131 gelen bir ka\u00e7\u0131\u015f kuvveti oldu\u011funu bilirler. Her b\u00fcy\u00fck eser, insanl\u0131\u011f\u0131n \u00e7ehresini daha zengin, daha hayran olunacak \u015fekle sokar, b\u00fct\u00fcn s\u0131rr\u0131 buradad\u0131r. Ve bu muazzam vakar tan\u0131kl\u0131\u011f\u0131m karartmak i\u00e7in binlerce kamp ve h\u00fccre demiri gene azd\u0131r. Bunun i\u00e7in de, bir yenisini haz\u0131rlamak bahanesi ile de k\u00fclt\u00fcr, ge\u00e7ici bir zaman i\u00e7in de olsa, ortadan kald\u0131r\u0131lamaz. \u0130nsan\u0131n, sefaleti ve b\u00fcy\u00fckl\u00fc\u011f\u00fc \u00fczerine bitmeyen tan\u0131kl\u0131\u011f\u0131 ortadan kald\u0131r\u0131lamaz, bir nefes durdurulamaz. Mirass\u0131z k\u00fclt\u00fcr olmaz ve biz de bat\u0131 k\u00fclt\u00fcr\u00fcn\u00fc ink\u00e2r edemeyiz, etmemeliyiz. Gelece\u011fin eserleri ne olursa olsun, hepsinde ayn\u0131 s\u0131r bulunacakt\u0131r; cesaret ve \u00f6zg\u00fcrl\u00fckten yap\u0131lm\u0131\u015f, y\u00fczy\u0131llar boyunca, her milletten binlerce sanat\u00e7\u0131n\u0131n cesareti ile beslenmi\u015f, ayn\u0131 s\u0131r. Evet, modem istibdat, kendisini yaln\u0131z mesle\u011fine vermi\u015f de olsa, sanat\u00e7\u0131 halk\u0131n d\u00fc\u015fman\u0131d\u0131r, diyorsa, hakl\u0131d\u0131r. Ama b\u00f6ylece, ayn\u0131 istibdat, insanl\u0131\u011f\u0131n \u00e7i\u011fneyemedi\u011fi bir \u00e7ehresine de sayg\u0131 duyuyor demektir.<\/p>\n

Sonucum basit olacak. Tarihimizin k\u0131zg\u0131nl\u0131k ve g\u00fcr\u00fclt\u00fcs\u00fc ortas\u0131nda \u015funu diyece\u011fim: \u00abSevinelim\u00bb. Evet, sevinelim, yalanc\u0131 ve rahat\u0131na d\u00fc\u015fk\u00fcn bir Avrupan\u0131n \u00f6ld\u00fc\u011f\u00fcn\u00fc g\u00f6rd\u00fc\u011f\u00fcm\u00fcze ve bu kadar \u00e7i\u011f ger\u00e7eklerle kar\u015f\u0131 kar\u015f\u0131ya kald\u0131\u011f\u0131m\u0131za, insan olarak sevinelim; \u00e7\u00fcnk\u00fc uzun bir aldatma devri \u00e7\u00f6km\u00fc\u015ft\u00fcr ve bizi tehdit edenleri art\u0131k a\u00e7\u0131k a\u00e7\u0131k g\u00f6r\u00fcyoruz. Sanat\u00e7\u0131 olarak sevinelim; sa\u011f\u0131rl\u0131ktan ve uykudan uyand\u0131r\u0131lm\u0131\u015f\u0131z; sefalet, kan ve hapis \u00f6n\u00fcnde kuvvetle duruyoruz. Bu manzara kar\u015f\u0131s\u0131nda, g\u00fcnlerden ve \u00e7ehrelerden akl\u0131m\u0131zda kalanlar\u0131 unutmuyorsak, d\u00fcnyan\u0131n g\u00fczelli\u011fi kar\u015f\u0131s\u0131nda ezilenleri hat\u0131rl\u0131yorsak, bat\u0131 sanat\u0131 kuvvet ve ihti\u015fam\u0131n\u0131 tekrar bulacakt\u0131r. \u015e\u00fcphe yok, tarihte, bu kadar g\u00fc\u00e7 sorunlarla kar\u015f\u0131 kar\u015f\u0131ya kalm\u0131\u015f az sanat\u00e7\u0131 vard\u0131r. Ama b\u00f6yle oldu\u011fu; kelime ve c\u00fcmlelerin en \u00e2dilerinin bile kan ve \u00f6zg\u00fcrl\u00fckle \u00f6dendi\u011fi i\u00e7indir ki sanat\u00e7\u0131, onlar\u0131 \u00f6l\u00e7\u00fc ile kullanmas\u0131n\u0131 \u00f6\u011frenir. Tehlike, klasikle\u015ftirir sanat\u0131 ve her b\u00fcy\u00fck eserin k\u00f6k\u00fcnde de bu tehlike vard\u0131r.<\/p>\n

Sorumsuz sanat\u00e7\u0131lar\u0131n \u00e7a\u011f\u0131 ge\u00e7ti. K\u00fc\u00e7\u00fck mutlulu\u011fumuz i\u00e7in \u00fcz\u00fcl\u00fcyoruz buna. Ama bu deneyin ger\u00e7eklili\u011fimize yard\u0131m etti\u011fine inan\u0131yoruz ve sava\u015fa daveti kabul ediyoruz. Sanatta \u00f6zg\u00fcrl\u00fck, sanat\u00e7\u0131n\u0131n rahat\u0131n\u0131 sa\u011flamaktan ba\u015fka i\u015fe yaramad\u0131\u011f\u0131 zaman a\u011f\u0131r \u00e7ekmez. Bir de\u011ferin ya da bir faziletin toplum i\u00e7inde k\u00f6k salmas\u0131, yalan s\u00f6ylememekle, m\u00fcmk\u00fcn oldu\u011fu her zamanda onun hesab\u0131n\u0131 vermekle olur. \u015eayet \u00f6zg\u00fcrl\u00fck tehlikeli olmu\u015fsa, bir daha orospula\u015fmamak yolunda demektir. Ve ben bug\u00fcn, uysall\u0131\u011f\u0131n \u00e7\u00f6kt\u00fc\u011f\u00fcnden \u015fik\u00e2yet\u00e7i olanlara ac\u0131m\u0131yorum. \u0130lk nazarda hakl\u0131d\u0131r onlar. Ama ger\u00e7ekte uysall\u0131k, hi\u00e7 bir zaman, bir ka\u00e7 k\u00fct\u00fcphane h\u00fcmanistinin tehlikesiz e\u011flencesi oldu\u011fu zamanki kadar de\u011ferinden kaybetmemi\u015ftir. Ger\u00e7e\u011fin, nihayet tehlikelerle kar\u015f\u0131 kar\u015f\u0131ya kald\u0131\u011f\u0131 g\u00fcn\u00fcm\u00fczde ancak, yeniden ayakta durabilmesi, sayg\u0131 g\u00f6rmesi imk\u00e2n\u0131 vard\u0131r.<\/p>\n

Nietzsche, Lou Salome\u2019den ayr\u0131ld\u0131ktan sonra, denir ki kesin yaln\u0131zl\u0131\u011fa d\u00fc\u015fm\u00fc\u015f, hi\u00e7 bir yard\u0131m olmadan yarataca\u011f\u0131 engin eserin g\u00f6r\u00fcn\u00fc\u015f\u00fc ile de yorgun ve heyecanl\u0131, Cenova k\u00f6rfezine bakan da\u011flarda geceleri gezinir, yaprak ve dallardan yakt\u0131\u011f\u0131 ate\u015fin s\u00f6n\u00fc\u011f\u00fcn\u00fc seyredermi\u015f. \u00c7ok ge\u00e7irdim o ate\u015fleri hayalimden; ve d\u00fc\u015f\u00fcncelerimde, bir \u00e7ok eserlerle insanlar\u0131, denemek i\u00e7in, o ate\u015fin kar\u015f\u0131s\u0131na koymak- istedi\u011fim oldu, \u00c7a\u011f\u0131m\u0131z\u0131n da dayan\u0131lmaz yak\u0131c\u0131l\u0131\u011f\u0131 hi\u00e7 \u015f\u00fcphesiz bir \u00e7ok eserleri k\u00fcl haline getirecek. Ama ate\u015fe dayanacaklar\u0131n maddesi sa\u011flam kalacakt\u0131r ve bu kalacaklar\u0131n \u00f6n\u00fcnde kendimizi tutmadan ad\u0131 \u00abhayranl\u0131k\u00bb olan zek\u00e2n\u0131n en b\u00fcy\u00fck sevincine b\u0131rakabiliriz.<\/p>\n

Hi\u00e7 \u015f\u00fcphe yok hayale, daha az yak\u0131c\u0131 bir alev, bir mola, bir rahatl\u0131k devri istenebilir, bunu ben de diliyorum. Ama belki de sanat\u00e7\u0131 i\u00e7in, kavgan\u0131n en \u015fiddetlisinden ba\u015fka yerde rahat yoktur. Emerson \u00abher duvar bir kap\u0131d\u0131r\u00bb diyor. Kar\u015f\u0131s\u0131nda ya\u015fad\u0131\u011f\u0131m\u0131z duvardan ba\u015fka yerde ne kap\u0131, ne \u00e7\u0131k\u0131\u015f arayal\u0131m. Aksine molay\u0131, oldu\u011fu yerde bulal\u0131m, yeni m\u00fccadelenin ta ortas\u0131nda demek istiyorum. Zira, bana g\u00f6re, ve s\u00f6z\u00fcm\u00fc de burada bitirece\u011fim, rahat oradad\u0131r ancak. B\u00fcy\u00fck fikirlerin yery\u00fcz\u00fcne, g\u00fcvercin ayaklar\u0131 ile geldi\u011fi s\u00f6ylenir. O zaman belki, kulak verirsek e\u011fer, imparatorluklar\u0131n ve milletlerin g\u00fcr\u00fclt\u00fcs\u00fc i\u00e7inde hayat ve \u00fcmidin k\u00fc\u00e7\u00fck k\u0131m\u0131ldan\u0131\u015flar\u0131: zay\u0131f bir kanat \u00e7\u0131rp\u0131nt\u0131s\u0131 halinde duyabiliriz. Baz\u0131lar\u0131 bu \u00fcmit b\u00fct\u00fcn bir milletindir diyecektir; baz\u0131lar\u0131 tek bir insan\u0131n. Ben \u00f6yle zannediyorum ki aksine, bu \u00fcmit, i\u015f ve eserleriyle, her g\u00fcn tarihin en kaba g\u00f6r\u00fcn\u00fc\u015flerini, hudutlar\u0131; herkesin ac\u0131lan ve sevin\u00e7leri ile, herkes i\u00e7in y\u00fckselttikleri ve her zaman tehdit edilen ger\u00e7e\u011fin de\u011ferini gizliden gizliye par\u0131ldatmak i\u00e7in ink\u00e2r eden, binlerce m\u00fcizev\u00ee taraf\u0131ndan yarat\u0131lm\u0131\u015f, canland\u0131r\u0131lm\u0131\u015f ve beslenmi\u015ftir.<\/p>\n

(1) Bu nutuk, 14 Aral\u0131k 1957 tarihinde Upsala \u00dcniversitesinin b\u00fcy\u00fck salonunda s\u00f6ylenmi\u015ftir.<\/p>\n

Sanat\u00e7\u0131 ve \u00c7a\u011f\u0131 | Albert Camus<\/strong><\/p>\n

\u00c7ev : Y\u0131ld\u0131r\u0131m Keskin<\/p>\n","protected":false},"excerpt":{"rendered":"

Do\u011fulu bir ermi\u015f, dualar\u0131nda, kaderin kendisini ilgi \u00e7ekici bir \u00e7a\u011f ya\u015famaktan al\u0131koymas\u0131n\u0131 dilermi\u015f (1). Ermi\u015f olmad\u0131\u011f\u0131m\u0131zdan, kader bizleri korumad\u0131; ilgi \u00e7ekici bir \u00e7a\u011f ya\u015f\u0131yoruz. ilgi \u00e7ekici, hi\u00e7 de\u011filse kendisi ile ilgilenmemizi isteyen bir \u00e7a\u011f. G\u00fcn\u00fcm\u00fcz yazarlar\u0131 da biliyorlar bunu. A\u011f\u0131zlar\u0131n\u0131 a\u00e7salar, h\u00fccuma u\u011fruyorlar, tenkit ediliyorlar. Al\u00e7ak g\u00f6n\u00fcll\u00fcl\u00fck g\u00f6sterip sussalar, ni\u00e7in sustuklar\u0131 soruluyor, en \u015fiddetli \u015fekilde […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[134],"tags":[],"class_list":{"0":"post-7165","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kuram"},"yoast_head":"\nSanat\u00e7\u0131 ve \u00c7a\u011f\u0131 | Albert Camus - 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\/09\/13\/sanatci-ve-cagi-albert-camus\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sanat\u00e7\u0131 ve \u00c7a\u011f\u0131 | Albert Camus\" \/>\n<meta property=\"og:description\" content=\"Do\u011fulu bir ermi\u015f, dualar\u0131nda, kaderin kendisini ilgi \u00e7ekici bir \u00e7a\u011f ya\u015famaktan al\u0131koymas\u0131n\u0131 dilermi\u015f (1). 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