HAYAL-
İ CELÂL
ABSTRACT
The ability of making comparisons, in addition to being one of
the fundamental facilities of the human mind, is an essential tool for
thinking, producing and categorising knowledge. Being a very popular
method for positive sciences in this regard, comparison became
prominent as one of the methods used by many social sciences, which
claimed independence in the nineteenth century. While the literary
science is discussed oftentimes in terms of theory, criticism and
history, literary education, sociology of literature and literary
comparison began to be viewed as sub branches. The achievement of
the methodology of literary comparison occurred towards the end of
nineteenth century. Its development in Europe determined that the
primary comparisons were of literary works native to this region; later
it has been established as a sub branch in America and other countries.
At first, comparing two texts from different literatures has been
accepted as a rule, however in recent times, comparing works of the
same literature is also seen as viable. This has vastly extended the
research area of the comparison studies.
In this study, the works of the writers from Tanzimat Era
literature, which was the first stage of the Turkish literature
developing under the influence of the Western one, Şinasi’s play Şair
Evlenmesi and Recaizade Mehmet Celâl’s novel Hayal-i Celâl will be
compared. Initially the respective biographies and some information
about the aforementioned works will be given; subsequently the key
elements of the narratives will be evaluated, similarities and
differences will be determined. The resemblance in subject is the first
point of remark for these works. The concept of marriage is discussed
in regards to the changing relationships between men and women in
conjunction of Westernisation and some criticisms are given. Another
mutual aspect is relating the ploy, on women’s trickery. Although the
writer has classified Hayal-i Celâl as a novel, the numerous dialogues
push it towards the form of a play and is evocative of
Şair Evlenmesi.
The main characters are the first examples of would-be European
snobs, although Şeyda Bey, the main character of Hayal-i Celâl,
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