A COMPARATIVE STUDY ON THE FAIRY TALE NAMED “MURADINA EREN DILBER”( BEAUTIFUL GIRL ATTAINING HER DESIRE) IN BILLUR KÖŞK MASALLARI AND A PLAY NAMED “SABIR TAŞI” (STONE OF PATIENCE) BY NECIP FAZIL

NECİP FAZIL’IN “SABIR TAŞI” ADLI TİYATRO ESERİ İLE BİLLUR KÖŞK MASALLARINDAN “MURADINA EREN DİLBER” ADLI MASAL ÜZERİNE KARŞILAŞTIRMALI BİR ÇALIŞMA

Abstract

Necip Fazıl Kısakürek (1904-1983) is one of the novelists and poets in Contemporary Turkish Literature. His writing life starting with poets in 1922 continues with article, essay, plays, joke, biography, criticism and memoirs. He wrote works as a reflection of his artistic and political missions. Necip Fazıl has a total of fifteen theathre plays other than ‘Sır (1946) and Kumandan (1960)’ which are incomplete. Sabır Taşı is the 4th play that was written by Necip Fazıl in 1940. This play is based on an old Turkish fairy tale and was inspired by a fairy tale named “Muradına Eren Dilber” in Billur Köşk Masalları. These two works, written in the same language yet belonging to different periods, evolve around the same topic. Thus, the acceptable criteria in order to apply the comparison method is ensured because works or authors cannot be randomly compared. There definitely has to be a feature in both works that is worth comparing. In this study, two works, one being an anonymous tale and the other a theathre play by Necip Fazıl which is one of the milestones of Contemporary Turkish Literature, were analysed. This story is about a young girl who shows patience to attain her desire and it suggests that the truth will finally win. This work is comprised of three chapters: In first chapter, Sabır Taşı by Necip Fazıl Kısakürek is studied in terms of description of the play, plot, character, setting and time analysis and compared with Muradına Eren Dilber in Billur Köşk Masalları on which Sabır Taşı is based. In second chapter, differences between these works are determined. Third chapter includes generally motives. STRUCTURED ABSTRACT Necip Fazıl Kısakürek (1904-1983) is one of the novelists and poets in Contemporary Turkish Literature. His writing life starting with poets in 1922 continues with article, essay, plays, joke, biography, criticism and memoirs. He wrote works as a reflection of his artistic and political missions. Necip Fazıl has a total of fifteen theathre plays other than ‘Sır (1946) and Kumandan (1960)’ which are incomplete. Sabır Taşı is the 4th play that was written by Necip Fazıl in 1940. This play is based on an old Turkish fairy tale and was inspired by a fairy tale named “Muradına Eren Dilber” in Billur Köşk Masalları. These two works, written in the same language yet belonging to different periods, evolve around the same topic. Thus, the acceptable criteria in order to apply the comparison method is ensured because works or authors cannot be randomly compared. There definitely has to be a feature in both works that is worth comparing. In this study, two works, one being an anonymous tale and the other a theathre play by Necip Fazıl which is one of the milestones of Contemporary Turkish Literature, were analysed. This story is about a young girl who shows patience to attain her desire and it suggests that the truth will finally win. This work is comprised of three chapters: In first chapter, Sabır Taşı by Necip Fazıl Kısakürek is studied in terms of description of the play, plot, character, setting and time analysis and compared with Muradına Eren Dilber in Billur Köşk Masalları on which Sabır Taşı is based. In second chapter, differences between these works are determined. Third chapter includes generally motives. The work that is written in an epic atmosphere and developed using poetical language preserved the authenticity of Billur Köşk Masalları. The play in which the event is stated to have taken place ‘in the past in pre-eternity and the future in the post-eternity’ is mainly deeply rooted in an ancient Turkish tale. This is why the events take place in legendary time. In the schemes are shown various parts of the palace, a Turkish old-style room, a road over the mountain and the deck of a sailing ship. The plot is organised in accordance with the paintings in the play, and the exposition, code, climax, conflict and resolution are shown under the schemes. Necip Fazıl did not name the people who established the character list, but he called them by their quality or their title. It shows that what is crucial to the author is not people’s names but their qualities and what these qualities stand for. The play consists of these characters: young girl, grandmother, dervish prince handmaiden, the first gin, the second gin, the third gin, conjurer, Zebella, captain, a crew, a passenger, a fool crew and a jailer. The author regards the young girl as the representative figure of purity and cleanliness. Islamic World would attain its real identity with that girl because she is the symbol of the patience. It was intended to shown that People who are patient and honest like her will certainly attain their desire. In the play, the prince caught a fatal disease and looked for someone pure and clean who would care for his death body for forty days. Purity and patience would save him from this condition. According to the author, Islamic World has been plunged into the darkness for nearly 150 years and is waiting to be rescued in the spiritual dungeon. When the text’s deep structure is analysed, prince can be associated with the Islamic World that is waiting to be rescued from the darkness. The handmaiden, having become the sultan by means of deceit and wangling, goes back to where she originally began as a result of the conflict between the good and the bad. In the play, handmaiden was associated with everything which is mundane, addle, noxious and disruptive. Dervish who does not exist in the tale, dream and gin motifs are appeared in the epitome of patience (sabır taşı). The pilgrimage on the fortieth day of the wedding of prince does not exist in the tale. When dervish was in the boat, it was referenced by means of reminding Yunus Emre’s stanza and Molla Kasım event. It was asked whether there was someone cursed or not, but there was no body like Molla Kasım in the tale. In the play, it is examined a huge man whose one of lip is on the ground and another one is in the sky. Handmaide

Özet

Necip Fazıl Kısakürek , Çağdaş Türk Edebiyatının şair ve yazarları arasında yer almaktadır. 1922'de şiirlerle başlayan yazı hayatı, makale, deneme, tiyatro, fıkra, biyografi, tenkit, inceleme ve araştırma yazılarıyla devam eder. Gerek sanatçı gerekse siyasi kimliği çerçevesinde birçok eser vermiştir. Yarım kalan "Sır (1946) ve Kumandan (1960)" adlı iki tiyatro eseri haricinde toplam on beş tiyatro eseri bulunmaktadır. Sabır Taşı, Necip Fazıl'ın 1940 yılında yazdığı dördüncü tiyatro eseridir. Yazarın, ana hatlarını eski bir Türk masalından aldığını söylediği bu tiyatro eseri, Billur Köşk Masalları'ndaki "Muradına Eren Dilber" adlı masaldan ilhamla kaleme alınmıştır. Aynı dile fakat farklı dönemlere ait bu iki eser, ortak bir konu etrafında birleşmektedir. Böylelikle karşılaştırma yönteminin uygulanabilmesi için geçerli ölçütler sağlanmış olur. Çünkü eser ya da yazarlar rastgele bir tercihle karşılaştırılamaz. İki eser arasında mutlaka karşılaştırmaya değer bir özelliğin bulunması gerekmektedir. Bu çalışmada biri anonim bir masal, diğeri Çağdaş Türk Edebiyatının köşe taşlarından biri olan Necip Fazıl'a ait bir tiyatro eseri karşılaştırma yöntemiyle çözümlenmiştir. Her iki eserde de genç bir kızın muradına ermek için gösterdiği sabır ve sonunda doğruluğun kazanması ele alınmıştır. Çalışma, üç bölümden oluşmaktadır: 1. bölümde, Necip Fazıl Kısakürek'in Sabır Taşı adlı eseri; oyunun tasviri, konusu, olay dizisi, kişilik, zaman ve mekân çözümlemeleri gibi yapısal unsurları bakımından incelenmiş ve bu oyunun ana hatlarının dayandığı Billur Köşk Masalları'nda yer alan Muradına Eren Dilber adlı masalla karşılaştırması yapılmıştır. 2. bölümde, bu iki eser arasındaki farklılıklar belirlenmiştir. 3. bölümde de eserde yer alan motiflere ana hatlarıyla yer verilmiştir