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Rubailer
PİRAYEME RUBAİLER
Sana yazdığım şeyleri - zaten şu son sekiz yıl içinde ne yazdım ki sana ait olmasın - beğenmen beni nasıl bahtiyar ediyor, tasavvur edemezsin. Seni sevmek, seni düşünmek, senin için çalışmak ve her şeye rağmen seni yüzde yüz, katıksız bahtiyar edebilmek, geri kalan ömrüm yüz misli uzun olsa da onu doldurmaya, onu mânalı ve yaşanmaya değer kılmaya yeter.
Sana yazdığım şeyleri - zaten şu son sekiz yıl içinde ne yazdım ki sana ait olmasın - beğenmen beni nasıl bahtiyar ediyor, tasavvur edemezsin. Seni sevmek, seni düşünmek, senin için çalışmak ve her şeye rağmen seni yüzde yüz, katıksız bahtiyar edebilmek, geri kalan ömrüm yüz misli uzun olsa da onu doldurmaya, onu mânalı ve yaşanmaya değer kılmaya yeter.
- GenresPoetry
36 pages, Paperback
First published June 1, 1985
About the author
Nâzım Hikmet
265 books808 followersNazim Hikmet was born on January 15, 1902 in Salonika, Ottoman Empire (now Thessaloníki, Greece), where his father served in the Foreign Service. He was exposed to poetry at an early age through his artist mother and poet grandfather, and had his first poems published when he was seventeen.
Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.
In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry—five collections and four long poems—while working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.
After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to “depoetize” poetry.
Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn’t Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (“The Epic of Shaykh Bedreddin”) and Memleketimden insan manzaralari (“Portraits of People from My Land”).
Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.
Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.
In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry—five collections and four long poems—while working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.
After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to “depoetize” poetry.
Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn’t Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (“The Epic of Shaykh Bedreddin”) and Memleketimden insan manzaralari (“Portraits of People from My Land”).
Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.
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Displaying 1 - 4 of 4 reviews
May 9, 2018
Ey benim sevgilim, karlı bir çam ormanında nefes almanın bahtiyarlığına benzer seni sevmek...
August 25, 2026
nâzım’ın şairliğinden ziyade toplumcu gerçekçiliği yüzünden sevildiği sık duyduğum bir kanaat. bence tam aksine, bütün o kuru materyalizmine rağmen iyi bir şair.
bursa cezaevi’nde kant okuyamadığı için falan eleştirecek değilim elbette, yine de “sûret hemi zıllest...” diye başlayan rubaiye yaklaşımının yüzeyselliğine biraz takıldım, illa neoplatonist anlaşılmalı diye bir kaide yok...
hayyam’a çaktığı laf da tam textbook whataboutism örneği. haksız bir itiraz demek istemiyorum, mesajının arkasındayım, ama hayyam’la gerçek bir diyaloğa gir(e)miyor, şiirinin ajandası uğruna eleştiriyor göründüğü sözün maksadını belki kasten çarpıtıyor.
bir de “varız da düşünebilmekteyiz” demeyi “cogito ergo sum” demeye karşıt bir alternatif olarak görmesi dümdüz mantık hatası. “düşünüyorum, öyleyse varım” iddiası düşündüğüm için var olduğum anlamına gelmiyor, daha ziyade düşünüyor oluşumdan şüphe edemeyişim (hiç değilse düşünen bir şey olarak) var olduğuma dair şüpheyi ortadan kaldırıyor. kaldı ki “cogito ergo sum” epistemolojik bir dert taşırken “varız da düşünebilmekteyiz” ontolojiye kaçıyor.
her şey bir yana asıl salaklık bende tabii, bir şairin retorik hileler kullanmasına takılmak komik aslında...
bursa cezaevi’nde kant okuyamadığı için falan eleştirecek değilim elbette, yine de “sûret hemi zıllest...” diye başlayan rubaiye yaklaşımının yüzeyselliğine biraz takıldım, illa neoplatonist anlaşılmalı diye bir kaide yok...
hayyam’a çaktığı laf da tam textbook whataboutism örneği. haksız bir itiraz demek istemiyorum, mesajının arkasındayım, ama hayyam’la gerçek bir diyaloğa gir(e)miyor, şiirinin ajandası uğruna eleştiriyor göründüğü sözün maksadını belki kasten çarpıtıyor.
bir de “varız da düşünebilmekteyiz” demeyi “cogito ergo sum” demeye karşıt bir alternatif olarak görmesi dümdüz mantık hatası. “düşünüyorum, öyleyse varım” iddiası düşündüğüm için var olduğum anlamına gelmiyor, daha ziyade düşünüyor oluşumdan şüphe edemeyişim (hiç değilse düşünen bir şey olarak) var olduğuma dair şüpheyi ortadan kaldırıyor. kaldı ki “cogito ergo sum” epistemolojik bir dert taşırken “varız da düşünebilmekteyiz” ontolojiye kaçıyor.
her şey bir yana asıl salaklık bende tabii, bir şairin retorik hileler kullanmasına takılmak komik aslında...
July 5, 2018
হিকমত রুবাইয়াৎগুলা লিখছিলেন জেলে বইসা; তাঁর বৌরে; কেউ কেউ কয় বিরহে কাতর হইয়া লেখা এই রুবাঈগুলা। আমার কাছে অতো কাতর লাগে নাই। হিকমত এই রুবাঈগুলা যেটা নতুন মিশাইছিলেন সেটা হইল, তাঁর সমাজচেতনা+ধর্মীয় দর্শন এবং সোশ্যাল কালচারের এসথেটিক উপাদান। রুবাঈ বহু পুরানা লিটারারি ফর্ম হইলেও হিকমত যেহেতু মার্ক্সিস্ট আছিলেন, তাই উনি ট্রাই মারলেন দ্বান্ধিক বস্তুবাদ দিয়া একটা নয়া ফর্ম খাঁড়া করাইয়া রুবাঈ লিখতে। এইটা উনার বউরে উনি চিঠিতেও লিখছিলেন। ৪ পর্বে উনি রুবাঈ গুলারে ভাগ করেন :
১) দার্শনিক
২) সামাজিক
৩) গীতিধর্মী
৪) ব্যাঙ্গাত্মক
মূলত হিকমতের রুবাঈগুলা এইজন্য সার্থক যে, আগের রুবাঈ গুলার যে প্লেটোনিক ভাব এন্ড সুফিতাত্ত্বিক জায়গা সেইটারে হিকমত ভাইঙ্গা দিছেন। এইজন্য উনারে নমস্কার।
১) দার্শনিক
২) সামাজিক
৩) গীতিধর্মী
৪) ব্যাঙ্গাত্মক
মূলত হিকমতের রুবাঈগুলা এইজন্য সার্থক যে, আগের রুবাঈ গুলার যে প্লেটোনিক ভাব এন্ড সুফিতাত্ত্বিক জায়গা সেইটারে হিকমত ভাইঙ্গা দিছেন। এইজন্য উনারে নমস্কার।
May 15, 2016
My father read it to me. I loved it I kept reading it my whole life. I've use about a half dozen of Omar's poems in most of my last 10 books.
Displaying 1 - 4 of 4 reviews