About Ahmet Haşim: Turkish Writer and Poet (1884 – 1933)
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Ahmed Hasim (also written as Ahmed Hasim; احمد هاشم ; 1884? – 4 June 1933) was an influential Turkish poet of the early 20th century.
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Ahmed Hâşim was probably born in Baghdad in 1884. His father was the governor of the province of Fezan in the Ottoman Empire. Around 1893, after the death of his mother, Ahmed traveled to Istanbul with his father. Graduated in 1906 Mekteb-i Sultanî (now Galatasaray High School), he started at Regis, National Tobacco Monopoly, and registered with the Faculty of Law of Istanbul University. Between 1908 and 1910, Hasim worked as a French teacher in the city of Izmir and as an officer in the Public Debt Office (duyun ummiye). He was drafted into the army in World War I and served mainly in Anatolia. After the war, he returned to Istanbul and worked at the Ottoman Bank. After the establishment of the Turkish Republic, Hasim worked as a teacher of aesthetics at the Academy of Fine Arts and a teacher of French at Istanbul University.He also wrote articles for newspapers over the years Aksam and Ikdan.
Ahmed Hâşim died on June 4, 1933 and was buried in the Eyüp Cemetery.
work
Ahmed Hashim’s first poem was published in Mecmua-i Edebiye (مجموعه ادبيه; “Literary Periodical”) between 1900 and 1912.At this time, he was a member of the movement known as “literary journals” Fecr-i Âtî (ﻓﺠﺮ ﺁﺕﯽ), or “dawn of the future”.Later, he published in journals with other poets Degas (درگاه). In 1921, around this time, he published his first book of poetry, Gorsat Leri (گول ساعتلرى; “lake hours”). His second collection of poems, Piale (پياله; “wine glass“), to be launched in 1926.
Hâşim’s early poetry was very Parnassian and decadent in the style of poets Tevfik Fikret (1867-1915) and Cenab Şahâbeddin (1870-1934), who were part of the early influence. Edebiyyât-ı Cedîde (ادبيات جدیده; “New Literature”) movement.However, Hashim’s later poems – collected in Gorsat Leri and Piale– More proof of the influence of French Symbolism, especially Henri de Régnier, whom Hâşim greatly admired.This late poetry can be – to a certain extent – seen as insisting Fecr-i Âtî Movement’s variation on the Symbolist maxim: “Sanat şahsî ve muhteremdir(صنعت ﺵﺨﺼﯽ و محترمدر; “Art is personal and sacred”). According to this motto, and the Symbolist movement in general, much of his poetry is indirect rather than direct, using heavy imagery to create strong Sensory impressions, like the opening lines of his famous poems Piale“Merdiven” (“staircase”):
چيقه چيقه آغير جقسْك بو بو أتکلرکده کونش رنکى رنکى ييغين ييغين ييغين ياپراق ياپراق ياپراق ياپراق ياپراق زمان زمان سمايه آغلايه رق صاراردى صاراردى صاراردى صاراردى پرده پرد صولقده صولقده صولقده.Ağır, ağır çıkacaksın bu merdivenlerden,
Eteklerinde güneş rengi bir yığın yaprak,
Ve bir zaman bakacaksın semâya ağlayarak..Sular sarardı.. yüzün perde perde solmakta,
Know almost…Slowly you will climb these stairs, a bunch of sun-colored leaves on their edge for a while you will cry and look at the sky…the water turns white…when your face Pale step by step, see the reddened air as night falls
The poem also showcases a metaphor that Hasim shared with the Symbolists. Namely, he uses carefully selected natural imagery to express the emotional state of the poetic characters.Many of Hashem’s later poems, especially those collected in Pialeusing this technique in a very brief and evocative way, showing not only the influence of symbolism, but also the haiku poetry Hashim was reading at the time.
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