User:Nilssuguz/Story in Turkish Literature

Muhayyelat, written by Ali Aziz Efendi from Crete in 1796-97 and first published in 1852, is considered the beginning of the modern Turkish story in terms of its proximity to realistic narration without Western influence. Although it has a tradition of both oral and written, verse and prose stories in Turkish literature, a new style of story has emerged as a narrative genre with different structural features after the Period of Tanzimat. Apart from this, meddah stories, which became widespread by being published in the 19th century, are seen as works that prepare the ground for the "new story". In addition to Ahmed Midhat Efendi's ongoing Letâif-i Rivâyât series between 1875 and 1890, Mehmet Celal's long stories such as Venus and Cemile and Nabizade Nâzım's early stories are also available. Samipaşazade Sezai's work called Küçük Şeyler (Little Things) is accepted as the beginning of the short story in the modern sense in Turkish literature. Halid Ziya Uşaklıgil's works titled The Last Leaves of a Memorandum and the History of an Izdivac (Bir Muhtıranın Son Yaprakları ile Bir İzdivacın Tarih-i Muaşakası), written in 1888, are considered the first stories in the European style.

Named
It cannot be said that the first examples of the story genre in Turkish literature developed under the influence of Western literature; In the western sense, the emergence of the story as a genre coincides with the novel, and there is uncertainty in determining the first example of the story genre in Ottoman-Turkish literature.The reason for this is that while the novel is included in Turkish literature through translation, the word "story" is confused with its proper meaning, which is the name of a unique genre, since it covers all the texts from epic to fairy tale, from anecdote to legend, from novel to theater. For this reason, writers in Turkish literature have used both concepts as "story". Namık Kemal talked about the aims of writing the story in the preface of his novel İntibah, and said of his own novel, "That's why we wanted to live with an imaginary story that includes this work of art.". Ahmet Mithat, in his Letaif-i Rivayat series, "has a story with his name." Although there are notes in the form of "report", these expressions have been used as the equivalent of the concept of narration rather than specifying the genre.Recâizade Mahmut Ekrem named the novel as a great story in the introduction to his book Muhsin Bey or the Sad Bird of Poetry. Halit Ziya Uşaklıgil, in his work named Story, dealt with the word story and the genres of story and novel together and evaluated both genres under the title of story.

First Examples
Muhayyelat, written by Ali Aziz Efendi from Crete in 1796-97 and first published in 1852, is considered the beginning of the modern Turkish story in terms of its proximity to realistic narration without Western influence. In the Encyclopedia of Islam, it is stated that "Muhayyelat-ı Aziz Efendi is considered a turning point in the transition from classical storytelling to modern storytelling". It is stated that the work has the features of both the classical story and the modern story, and the following are highlighted as the features of the modern story: "The fact that it was written in a very simple language, the space overlaps with geographical realism in some parts, the effort to get rid of the stereotypes in the style, the attention to make the story heroes speak in accordance with their social status in some places, the processing of local lines belonging to 18th century Istanbul."

Ahmet Mithat Efendi gave the first local examples of the story genre with his works Kıssadan Hisse and Letâif-i Rivâyat (1870-1893). In the same years, Müsâmeretnâme was written by Emin Nihat Bey. Müsâmeretnâme, which is connected to the stories of One Thousand and One Nights, stands at the crossing point of the old and the new. The first example of the short story genre at the point of transition to the modern story is Samipaşazade Sezai's book Küçük Şeyler (1891). Küçük Şeyler consists of an introduction, six stories, a prose and a translation. Sami Paþazade Sezai included stories in addition to travel writings, conversations and political articles in Rumuz'l Edep (1898) and İclâl (1924), which were published after Küçük Şeyler. With his long story Karabibik (1891), Nabizade Nazım brings the genre of the story to the line of realism both thematically and with his realist and naturalist orientation. The work, the subject of which is set in Kaş, gives sections from the life of Anatolian villagers. In the period of Servet-i Fünûn, Western examples of the story genre were given by Halit Ziya Uşaklıgil. They consider Halit Ziya's long stories titled The Last Leaves of a Memorandum (1888) and The History of an Izdivac (1888) as the first Western-style "stories". In this period, writers such as Mehmet Rauf, Ahmet Hikmet Müftüoğlu, Hüseyin Cahit Yalçın also wrote various stories. In the Fecr-i Ati period, Cemil Süleyman Alyanakoğlu is the main story writer of this movement.

National Literature period
National Literature is a literary movement operating between the Second Constitutional Monarchy and the first years of the Republic. In this period, as a result of ideologies such as Ottomanism, Turkism, and nationalism, an approach to the people and an understanding of art for the society emerged. One of the most important qualities of the story and novel of the National Literature, the orientation from Istanbul to Anatolia; Anatolian geography is to bring people and their lives to the agenda seriously. The most important story writer of this period is Ömer Seyfettin. He has an important role in the beginning of contemporary Turkish storytelling with his attitude that tries to overcome the traditional language and literary understandings, and he has placed the Maupassant style story fiction in Turkish literature. Hero wrote stories about daily life, ordinary people, civil servants, male-female relationships, as well as stories about the harsh realities of traditional life. In many of his stories, he criticizes mistakes, superstitions and bigotry made under the guise of religion. He wrote a total of 138 stories and 21 short stories throughout his life.

The stories of this period have a regular flow of events, introduction, development and conclusion parts, and in terms of content, they have thought, wit, surprise and exaggeration. Memduh Şevket Esendal, F. Celaleddin, Refik Halit Karay, Yakup Kadri Karaosmanoğlu, Halide Edib Adıvar are other writers who wrote stories during this period.

Republican Era
Between 1923-1928, story books of the pre-Republican generation such as F. Celaleddin, Reşat Nuri Güntekin, Ercüment Ekrem and Aka Gündüz were published. The stories of the writers of the Republican generation were in newspapers and magazines after 1926; It was published in book form after 1929 and gained intensity in the 1930s. The magazine named "The Most Beautiful Stories" published a series of story selections in 1928, 1929 and 1930. Aka Gündüz, Ercüment Ekrem, Reşat Nuri, Vala Nurettin, Mahmut Yesari, Necip Fazıl, Sadri Etem, Nahit Sırrı, Hikmet Şevki, Nizamettin Nazif, Aka Gündüz, Ercüment Ekrem, Reşat Nuri and Celâlettin Ekrem, have total sixteen stories. The same magazine started to publish an anthology called "The Small Stories Collection" in September 1927, and the "Small Stories Collection" in December 1931. After establishing Varlık Publications, Yaşar Nabi Nayır gave special importance to the story as a genre, and he regularly published twelve books under the general title of "New Stories" between 1948-1959.

Themes and narrative styles
Westernization efforts, which became official with the declaration of the Tanzimat Edict in the Ottoman Empire and thus gained a new dimension, also affected literature. The story in this period stays away from reality and daily life with the influence of tradition. The story as a genre takes its source from daily life, the world of ordinary people. In the first story examples, it is seen that the details are not respected much, and each element has a very superficial and sketchy expression. Selim Ileri stated that the storytellers of this period were unaware of being political, what they chose in the understanding of the world, and scrutinizing the main factors that determined the social structure of their period, so they took refuge in dimensions far from reflecting social life. He divided the storytellers of the period into two groups: Storytellers such as Ahmet Mithat and Emin Nihat, who reflected the Ottoman's innovation movements on the surface as the general crowd of the society understood and therefore could not get rid of their semi-intellectual qualities, and storytellers such as Nabizade Nazım who grasped the general flow of history, tried to evaluate the society in this flow, made their political choices, and tried to make the story modern. In the early stages of the Tanzimat, conflicts were mostly between people and society. In his early works, there are strong people representing the society as a conflict element or irresistible conditions against the heroes.With the modern story, the non-human elements in traditional narratives have begun to leave their place to ordinary people. While Ahmet Mithat Efendi also dealt with subjects such as fallen women, village life and women's rights in his stories, Samipaşazade Sezai wrote realist subjects in a romantic style.

During the Servet-i Fünûn period, Halit Ziya is considered to be the pioneer of both Turkish novel and modern Turkish story. The writers of this period took a realistic attitude in their stories and worked on a life they lived: While there was romance in terms of romantic feelings, relationships and approach to nature, they took a realistic approach by choosing the people of the story from people similar to them and the neighborhoods they lived in. While the people in his stories are regulars of Istanbul's realms of pleasure and entertainment, the place is also Istanbul. The physical characteristics of the individuals were not described extensively, but rather their psychology was tried to be given. The authors of Servet-i Fünûn, who did not deal with social issues, directed their attention to human and his life isolated from everything. Parallel to this, the conflicts in the works are smaller in size and related to the inner world. Some writers, such as Hüseyin Rahmi Gürpınar, have dealt with popular topics by staying out of the influence of Servet-i Fünûn. In Gürpınar's stories, the idea is based on a single event and there are no long conversations or unnecessary details.

The story writers in the period of national literature are trying to raise the awareness of the public and they have turned to the issues that concern the nation. With the simplification movement that occurred in the language, the language and expression of the stories approached the way they are used in daily life.