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Second New Movement
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Second New Movement is one of the distinguished poetry movements in Turkish Literature. From 1955 onwards it has been an everlasting effect over the many poets; so many amateur and professional poets imitated, and have been imitating the style and the form of the Second New Movement. On the contrary to be thought, this movement didn’t embrace the irrationalism, and surrealism; however, Second New Movement focused on the language which the movements mentioned brought into the literary medium. The general features attributed by the critics to this movement are these; “coincidence”, “meaninglessness”, “irrationality”. Second New Movement is not a collective movement like the preceding ones; that is, the principles, features and rules of the movement weren’t determined by its forerunners. Because, Muzaffer İlhan Erdost was the first person who gave the name Second New, he indicated this name in his one of the critics published in “Son Havadis” in 1956, 16 August after noticing the differences of this poetry style (Karaca, A, 2005, p 59). The aim of this paper is to define the Second New Movement from the birth to today in view of its contributions to the poetry anguage. With this paper, the reader can notice the demystification of many critics and the unreality. In 1950s when the intensively chaotic medium of literature appeared in Turkey, a new movement –called Second New Movement- took over many harsh political, social handicapped situations by establishing original and modern poetry language in Turkish literature. Social and political mediums because of the war are the effects profoundly determining periods for Second New movement. Second New Movement emerged during the republican period of Turkish Literature in 1950s. This period can be sum up as turmoil, war, ideological conflict. In İnönü “national chief” period, the revolutions weren’t worthy as well as in the period of Atatürk; these revolutions were curtailed because of the political pressure. The economical recessions, ideological conflict appeared in this period, and these effects mirrored on the literary medium. The cultural revolutions were slowed down, and its speed was completely prevented because of Second World War in 1945.

Some negative political and economical circumstances impeded the many poetry movements after the II World War. In the period of Democratic Party, a lot of revolutions were impeded because of religious constraint. The divergence of ideological understandings of that period towards the right-winged parties played an efficient role on the change of literary movements. Democratic Party tried to change the language of the Constitution and even tried to alter totally the Constitution in this period in order to grasp the support of the public. This party criticized the West harshly which the people loathed for years, especially owing to the wars. They compromised many principles of Atatürk. The fact that İnönü announced that he was “national chief” (Karaca, 2005, p. 80) initiated the authoritarian and strict environment among the poets, the writers; hence this put limitations to the poem as well as to the ideological understandings. This situation caused such poets as A. Kadir, Rıfat Ilgaz, Hasan İzzettin Dinamo, Sabahattin Ali to be imprisoned; some to be exiled (Karaca, 2005, p. 62). The ideological differences broke out in the war period; these differences quite affected the enlightened ones related to the ideology they endorsed. As for the existing poetry movements, they were the dominant ones in this eon; nonetheless, they were also affected by these processes. In this period, Beş Hececiler which consisted of such the poets as Yusuf Ziya Ortaç, Enis Behiç Koryürek, Faruk Nafiz Çamlıbel who advocated the Turkish cultural movement and pan-Turanism supported the nationalist thought, and also they formed the poems related to the nationalist thought. According to Karaca (2005, p. 67), these poets focused on the syllable-prosody, public-divan poems, national language, national rhythm; and they continued the nationalist poetic. In the literary world of this period, addition to the nationalist-syllable, Yedi Meşaleciler, socialist realist by Nazım Hikmet Ran that advocated the socialist régime, sole poem movement founded by Ahmet Haşim emerged in this mess. All of these movements were born as a contrary to each other or criticized each other, sometimes they combined their principles.

In literary medium, whereas Second New tried to violate intentionally the “old, ordinary, simple” principles of Garip Movement, this movement was affected from the foreigner poets; especially by surrealists. In this ideological turmoil, Garip Movement sprang out with its principles that were against the “traditional, strict” principles. The forerunners of this movement like Orhan Veli Kanık, Melih Cevdet Anday, etc. violated the old rules of the poems. This movement founded by Orhan Veli opened new gates of poems with the Garip published in 1941 in republican era. They defined the life of an ordinary urban human; they eliminated any rules or principles that were implemented in the preceding ones. Their style and themes were generally based on the simplicity of the poetry language. However; these restraints mentioned above entailed individualism, formalism abstraction, surrealism, and irrationalism among the other poets; according to Asım Bezirci (1974, p. 50) this trend was normal because of the war, ideological conflict, literary turmoil. Then the poets were intended to be “obscure”, “meaningless”, “and irrational” (Fuat, 2000, p. 27-28). Related to such changes as urbanization, capitalism, economical stagnation, political conflicts, the restraints of DP (Democratic Party), many poets re-created the poetry language with the deformation, synaesthesia, lettrisme, irrational stanzas.

The birth of Second New movement provided some new contributions to Turkish poetry. Second New Movement began to emerge through these situations, the forerunners of this movement aimed to re-construct the poetry language in order to demolish the “simple, ordinary language”; in deed, they opposed the simplification of poetry language(Fuat, 2000, p. 47). The pioneers of the Second New Movement; Ece Ayhan, Turgut Uyar, Cemal Süreyya, Edip Cansever, Sezai Karakoç, İlhan Berk formed the best poems as an example for the movement.

Though the harsh criticisms, the supporters of Second New movement formed their works as an example of this movement. One of the criticisms propagated is that Second New Movement had strict rules. “For years, were not a lot of innovations made in order to escape from the prohibitions? Were not the promises that we assure not being a toy at the hand of habits, averting from the pressure of traditions, moving the art towards broader quarters?” says Memet Fuat in one of his critics (2000, p. 15). In spite of this critic, Second New Movement didn’t implement any rules or principles; on the contrary, they violated all rules. In addition to this critic, Second New was seen as a slave or missionary of the government. The ones who assumed that the poem of Garip Movement is loyal to CHP; on the other hand, the Second New to DP must be paid attention” says Asım Bezirci in relation to the “crises poem” (Fuat, 2000, p. 57; Bezirci, 1974, p. 79). Second New was recalled as a crisis, abstract, fleeing poem; nevertheless, the forerunners weren’t daunted from these criticisms.

Sword The seas of vagabondage. The octopus beached on the shore of unhappiness. My son is a queen. He has spread his wings. Wrapped himself in taffeta. He forgets his father was burnt as a sorcerer. He winters in Salonica. He talks to a woman. Of Misrayim. A purple horse, his tiredness without fault. Falls asleep among the rocks. Why the sea rises, no one knows. O sunken ship, o black shimmers of exile! I am a weeping half breed. Pessimism is an untellable sword I carry round my waist. (trans. Murat Nemet-Nejat)

Ece Ayhan’s poets enlighten the rules and principles of this movement. The poem above carries generally the theme, the style, the form and some features of Second New Movement. In this poem, the poetry language consists of “abstraction”, “metaphors”, “irrationalism”, and “coincidence”. The bridge between words is trembled, and collapsed. Ece Ayhan impairs the language and reorganizes; deforms the words and expands the bulk of meaning of them, increases the capability of association, multiplies the images (Fuat, 2000, p. 117).

Some other poets of this movement formed their works for this movement. Edip Cansever defines the shape of the poem of this movement like that; “The place of meaning is in prose. The one wants to understand something must read it. The poem explains nothing, because the beauty doesn’t explain anything” (Fuat, 2000, p. 12). Edip Cansever rejected the tradition, the ordinary themes. The real reason for the originality of the poet is fleeing from the usual themes, inclining the things never referred in the life, working on these and creating new ranges in the poem (Cengiz, 2005, p. 113). İlhan Berk is one of the pioneers of this movement. He used abstraction, metaphors in his poems. His poem continuously changes (as thematic, style, form); hence, to fix the framework of him is wrong technique (Cengiz, 2005, p. 63). İlhan Berk girded on the changeability potential. As for the reason, the literary development in this period affected him; “He announced that he followed the Social Realist Poetic (Karaca, 2005, p. 94). The poetry language in his poems gradually tend to be impaired, deformed and to be irrational, synaesthesia. İlhan Berk dealt with mostly the language, the poem as concrete life appears in the language (Berk, 2006, p. 29). Turgut Uyar, as a Second New forerunner, was influenced by the other poetry movements. The first period of his poems seemed to be clear, which this shows that the poet reformed himself in the period of development, maturity, and being expert (Cengiz, 2005, p.110-1). He utilized abstraction, images profoundly, associations, concrete realities. His dominant themes are death, fear, the gloomy world, etc. Cemal Süreyya also tried to look for the pure, extraordinary poems. He used “humors” in his poems to soften his reaction. Deformation, images walk through his poems. “The words in the folk idioms combined with the line of meaning of the words. These are frozen and one-sided. Their functions, their power and associations are clear. Whatever you do, it doesn’t change (Cemal, 2006, p. 35). He tried to deform the patterns of language. Sezai Karakoç began to write poems in the trench of ready movement. He was against the Garip, inclined religious mysticism poetic, which this feature separates him from other “Second New”; however, he also deformed the poetry language (Karaca, 2005, p. 117). He didn’t advocate the irrationalism; new poem repeatedly tries the meaningless, empties the meaning, but meaningless poem can’t be still thought. Since, however different the logic of poem is, it is outside of general logic (Sezai, 2006, p.39).

The poetry language of this movement is seen as a new breath into Turkish poetry. Deformation, synaesthesia, lettrisme, association, abstraction, irrationalism, meaningless, coincidence and violation of grammar are the newness dwelling on the poetry language and in present days as well as at that time, these innovations emerges in the other poets’ poems in time. Ece Ayhan says “we generally changed the language, grammar and syntax” (Karaca, 2005, p. 203). Thus he pointed out the importance of changes in the language. İlhan Berk supports Ayhan by saying that the thing Second New Movement presented is a new language in the poems (Karaca, 2005, p. 202). The forerunners transformed, painted the perception and rationalization of readers with this way.

Some examples for deformation, lettrisme, irrational stanzas, and sentence deformation can be given. Second New deformed the language by violating the rules of grammar or syntax. For instance, Ece Ayhan At nights while a moon, eyebrowed cosmetic, penetrating your heart

“Cosmetic” in meaning of rastık is described with “eyebrow” unlike the expected one. They implemented “synaesthesia” so they destroyed the perceptions.

A Mediterranean lipped painful child without window (Ece Ayhan)

The perception of the reader is collapsed with the help of combination of senses. Association is another way of this movement. All the streets of your hands is the love o petro (Ece Ayhan)

The bridge between associations is loosened or cut, and the association doesn’t perch at the same stanza. The abstraction is the most applied way in this movement. Of some features, one or two is pointed out in the poem, or completely deleted from the mind. Now h, now m sound how the first darkness is Look! A,D,Z, the night of hair (İlhan Berk)

Many poets of Second New supported the obscure or meaningless poem. Irrationalism is the other way applied in the poems (Bezirci, 1974, p. 10-23; Karaca, 2005, p.205-219).

The philosophy of Second New, based on the surrealism, changed the way the poets of this period wrote poem. The most important resource that Second New intended to use so as to demolish the preceding poetic and to found a new poetry movement is surrealists in west. They advocated that the things that can be dreamed enter the range of reality. The trials the surrealists destroy the mind and logic, free associations, curing the subconscious, trial to found a poem based on unlimited world of unconscious and coincidence, and demolition of ballade understandings in the form affected many Second New poets (Karaca, 2005, p. 194).They followed the forerunners of surrealist; but these poets especially were interested in the language presented in the surrealism. They tried to add the land of unconsciousness and sub consciousness by loosening the relation between the objects and the natur e. Principally, it is known that Aloysius Bertrand, Lautréamont, Mallermé, Paul Claudel, Antonin Artaud, e.e. Cummings, Henri Michaux, René Char, and Max Jacob are main poets imitated by Second New (Bezirci, 1974, p. 57).

Though discussions about whether this movement is a movement or not, the alterations and innovations the movements supplied to Turkish poetry open new horizons for the poetry, and make it one of the leading, effective movements. Second New Movement is not a collective or a pre-organized movement; however, the language used in the poems of the forerunners of this movement contributed much freshness to Turkish poetry in every angle. Second New is open to develop, progress and new horizons.

References List

Apollinaire, G. (2006). Yenilikçi düşünce ve şairleri. (Eray Canberk, Trans.). Kül Eleştiri, 8, 21.

Ayhan, E. (2001). Sivil denemeler kara. İstanbul: Yapı Kredi Yayınları.

Ayhan, E. (1982). Yort savul. İstanbul: Adam Yayınları.

Ayhan, E. Kılıç. (Murat Nemet-Nejat, Trans.). Retrieved March 14, 2006, from

http://www.cs.rpi.edu/~sibel/poetry/poems/eceayhan/english/sword

Ayhan, E. (2006). Ayağa kalkarak “ikinci yeni” akımı. Kül Eleştiri, 8, 44–45.

Bayıldıran, S. K. (1998). Şiirde bütünlük. Düşlem, 11, 17-20.

Berk, İ. (2006). Bir yaratış biçimi olarak dil. Kül Eleştiri, 8, 29.

Bezirci, A. (1974). İkinci yeni olayı. İstanbul: Tel Yayınları.

Cansever, E. (2006). Tek sesli şiirden çok sesli şiire. Kül Eleştiri, 8, 52-53.

Cengiz, M. (2005). Türk şiirine eleştirel bir bakış: Nazım’dan 70’li yıllara. İstanbul:

Babil Yayınları.

Fuat, M. (2000). İkinci yeni tartışması. İstanbul: Adam Yayınları.

Karaca, A. (2005). İkinci yeni olayı. Ankara: Hece Yayınları.

Karakoç, S. (2006). Şiir ve mantık. Kül Eleştiri, 8, 39-41.

Süreyya, C. (2006). Folklor şiire düşman. Kül Eleştiri, 8, 39.

Uyar, T. (2006). Ozanın işi. Kül Eleştiri, 8, 33-34.

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