İRONİDEN KOMEDİYE BİR EĞLENCE ARACI: EFRÂSİYÂB’IN HİKÂYELERİ

Özet

İronie/irony teriminin kaynağı kabul edilen eirônia sözcüğü, Yunanca "bilmezden gelerek sormak" anlamına gelir. Gerçek ile görünüş arasındaki uyumsuzluğa işaret eden ironi, çoğunlukla eleştirel nitelik taşımaktadır. Yazar eleştirilerini ironi yoluyla iletirken eleştirinin dozunu yükseltebilir; ancak dilini yumuşatmış olur. İronik anlatımda, ifadeler daha vurucu ve sarsıcı hale geldiğinden okuyucu üzerinde daha etkili olurlar. İroni yöntemini kullanan yazarın asıl amacı, değersizleştirmek ya da küçük düşürmekten çok eleştiri nesnelerini olumlu anlamda değişim ve dönüşüme zorlamaktır. İroninin komikle benzer bir yanı vardır. Komik duygusu "bir şeyle o şeyin sunumu arasındaki uyumsuzluk"tan kaynaklandığı gibi, ironi de söylenen ile kastedilen arasındaki uyumsuzluktan kaynaklanır. Ayrıca komiğin de sosyal düzenleme gibi bir amacının olması onu ironiye yaklaştırır. İroninin iç içe geçtiği bir başka tür, parodidir; çünkü parodiler mutlaka ironi içerirler. Postmodern anlatının Türk Edebiyatındaki önemli temsilcilerinden biri olan İhsan Oktay Anar, eserlerinde ironiyi eleştirel nitelikleriyle başarıyla kullanan bir yazardır. Anar, Efrâsiyâb'ın Hikâyeleri adlı eserinde ironiyi hem bir eleştiri hem de eğlence aracı olarak kullanır. Bu yüzden hikâyelerde ironinin çoğunlukla komediyle yer yer de parodiyle iç içe geçtiği görülmektedir. Bu da ironinin ortaya çıkardığı gerilimi düşürmekte, hem yazarın hem de okuyucunun metinle buluşmasını eğlenceli hale getirmektedir. Hikâyelerin masal unsurlarıyla örülü olması da buna zemin hazırlamakta ve eğlence unsurunun öne çıkmasını kolaylaştırmaktadır. Yazar, eğitim sistemi, dini yaşantı, batıl inançlar, sözde kahramanlık, gelenek ve görenekler, erkek egemen toplum yapısı ve kadın-erkek ilişkilerini ironi nesnesi olarak seçer. İroni kurbanları da seçilen bu ironi nesneleriyle ilintili kişilerdir. Anar, hikâyelerinin ironik kurgusunda alazon-eiron karşıtlığından yararlanmaz. Bunun yerine yazar, eiron rolünü kendisi üstlenir. Bu çalışmada, ironinin komedi ve parodi öğeleriyle birleşerek İhsan Oktay Anar'ın Efrâsiyâb'ın Hikâyeleri (2013) adlı eserinde yazarve okuyucu açısından eğlence unsuruna dönüşmesi, örnekler üzerinden gösterilmektedir.

Abstract

The word ironie/ irony which is accepted as the source of the word eironia which means "asking for something as pretending ignorant" in Greek. Irony which is a literary instrument that shows the inconsistency between real and appearance is mostly used as a criticism method. When author is transferring his criticisms by irony, he may increase the dose of criticism; but he would also soften his tone. In the ironic expression, due to the fact that expressions become more striking and shocking, they become more effective on the reader. The main purpose of the author who uses irony method is not to devalue or to humiliate but rather to force the criticism elements to change and transformation in the affirmative meaning. There are similar aspects of irony with comic. As well as the sense of comic stems from “the inconsistency between something and the presentation of it” irony also arises from “the inconsistency between said and intended”. In addition, comic has the objective of social arrangement and this makes it closer to the irony. Another genre intertwined with irony is parody; because parodies necessarily contain irony. İhsan Oktay Anar, who is one of the important representatives of the postmodern narrative in Turkish Literature, successfully uses comedy and parody with their critical features in his works. In this study, how irony and comedy factors in Efrâsiyâb’ın Hikâyeleri (Stories of Afrasiyab), written by İhsan Oktay Anar, turn into means of entertainment from the viewpoint of author and reader will be represented. Efrâsiyâb’ın Hikâyeleri(Stories of Afrasiyab), written by using "Frame narrative" technique, consists of nine chapters. In this study, the classification of examples is based on the differentiation of "irony object" and "irony victim" made by D.C. Muecke. İhsan Oktay Anar uses the irony as an instrument of both criticism and entertainment in Efrâsiyâb’ın Hikâyeleri (Stories of Afrasiyab). In the stories, it is seen that irony intertwines mostly with comedy and partly with parody. This reduces the tension posed by the irony, and also makes entertaining the meeting of text with author and reader. For this, a lot of elements of fairy tales in the story also prepares the ground and makes it easier for entertainment element to become prominent. Anar’s criticisms made by irony technique aren’t the criticisms of political incidents, people or a certain period. Anar, with the influence of his philosopher identity, mostly discusses thoughts and beliefs, settled social attitudes and habits and their reflections in social life. In this study, the most typical irony usages have been commentated as examples. On the other hand, the irony which has a dominant function in the structure of book is preponderant element in almost entire work. Irony technique, that criticizes while praising, provides a great convenience of expression to author. The author chooses educational system, religious life, the superstitions, the so-called heroism, customs and traditions, maledominated social structure and gender relations as the subject of irony. Irony victims are people associated with these selected irony objects. Although the contrast between eiron and alazon characters put forward by Aristotle, constitute the structure of ironic texts, Anar doesn’t benefit from alazon-eiron contrast in the ironic fiction of his stories. Instead of this, the author plays the role of eiron himself. Anar mostly creates the alazon characters which have the features such as unscrupulousness, selfishness, self-interest, ignorance, greed, biased and far from being inquisitive, lack of education, misinterpretation of religion. In the story titled “Güneşli Günler” (Sunny Days), main irony objects are the violent education given at schools; this education intended to frighten "pupils" and the teaching staff who continues to give such kind of education. Anar expands his critical view focused on a fictional example, as he does in other stories and draws attention to the corruptions in the education system and social perception. The headmaster nicknamed “Kont”(Count) and the deputy principal nicknamed “Sağır”(Deaf) are the irony victims. In the story, headmaster "Kont"(Count) has been fictionalized as a vampire drinking the blood of students. And it is extremely ironic that "Sağır"(Deaf), who is committing violence to students, is an art teacher. Anar’s one of the most important irony objects is the religious phenomenon. Within his criticisms on religious life or the clergy, the comedy elements seem to be used much with irony. The author makes a mockery of clergy or religious person character that he created. The author warns the society and aims to display in front of society the comic and tragic situations of those who use the religion for their comfort and establish authority on people and abuse pure feelings of people. In addition, some people uses the concepts of "prayer" , "pilgrimage ”, "angel", "sin", "reward" and social morality in order to get a clear conscience, gain social status and reputation, establish authority on others, this intention of them made in the eyes of the author to convert them as an irony object. "Wise old man” motif, that is seen in dreams and attributed religious meaning among people, is also taken place in Efrâsiyâb’ın Hikâyeleri (Stories of Afrasiyab), as an ironic object. In the story of “Bir Hac Ziyareti”(A Visit to Hajj), imams who are regarded as the symbol of authority and dignity by the people of Zengefil village; in "Dünya Tarihi"(World History) self-seeking sheikh of town bazaar and the town traders who are keen on worshipping but also very stingy; in the story titled "Şarap ve Ekmek"(Wine and Bread), the imam Sefa who is preaching at mosque on the day but drinking at a tavern at nights and Zeynelabidin who is selling religious books like prayer teacher book and parts of Quran, and is described as "religious" because of that; and in "Ezine Canavarı"(Ezine Monster), Nafile Kalf who