Sanat Mozaik

[Terraluna]

Isvecli sair Gunnar Ekelof’un dogum yildonumu (15 Eylul 1907)



Bir dunyadir her insan
Onlara hukmeden kralin zatina karsi yurutulen
kasvetli bir isyandaki
kor yaratiklarla donanmis bir dunyadir her insan.
Her bir ruhta binlerce ruh hapsolmus,
her bir dunyada binlerce dunya gizli
ve bu kor, bu alttaki dunyalar
gercek ve canlidirlar, tamamlanmamis olsalar bile
benim gercek oldugum kadar gercektirler. Ve biz
icimizdeki binlerce olasiligin krallari ve kontlari
tebaaya mensubuz gene de, hapsedilmis ruhlariz
daha buyuk bir yaratikta, ki O’nun benligiyle varligi
ustamizi anladigimiz kadar az anliyor ustasini.
Onlarin olumunden ve sevdasindan
oturudur bizim duygularimizin bir renk tonu almasi.
Gecer gibi bir buyuk vapur
otede, ufkun altinda, durur orada
aksam isiltisi gibi. – Ve orada oldugunu
sahilde bize bir dalga ulasmadan once bilmiyoruz daha,
once bir dalga, sonra bir tane daha ve niceleri daha
carpar ve cagildar her sey yeniden
ayni olana dek. – Gene de farklidir her sey.
Insanlar gitti, bazi olasiliklar serbest kaldi
dediginde bize bir sey,
iste boyle kavrar garip bir huzurluk biz golgeleri.



Everyone is a world, peopled
by blind beings in dark commotion
against the self the king who rules them.
In every soul thousands of souls are trapped,
in every world thousands of worlds are hidden
and these blind, these underworlds
are real and living, though incomplete,
as true as I am real. And we kings
and princes of the thousand possibilities in us
are ourselves servants, trapped
in some greater creature, whose self and being
we grasp as little as our own superior
his superior. Our own feelings have taken
the color of their love and death.
As when a mighty steamship passes
far out, under the horizon, lying
in the evening glitter- - And we don’t know about it
until the swell reaches us on the shore,
first one, then another, and then many
which strike and boom until everything has become
as before. – Yet everything is different.
So we shades are troubled by a strange unease
When something tells us that others have gone ahead,
That some of the possibilities have been released.

[Terraluna]

Macar Turkolog ve seyyah Arminius Vambery’nin olum yildonumu (15 Eylul 1913)

“Bunlarin hayal bicimlerini tam olarak anlayabilmek icin, bir Kirgiz kadinina, hicbir yerde yerlesmemelerinin nedenini sordum. Gulerek, ‘Size, bizi, siz mollalar gibi sonsuza kadar ayni yerde birkac gun oturmus gorme ihtimaliniz olmadigini kesinlikle soyleyebilirim. Insan, gunes, ay, yildizlar, sular, her turden hayvanlar, kuslar ve baliklar gibi hareketli yaratilmistir. Dunyada hareket etmeyen yalnizca oluler ve onlarin gomulu oldugu topraktir.” dedi.



“We met with some Kirghiz Nomads on the following day, and I seized the opportunity of addressing a few words to a Kirghiz woman, asking her if she did not weary of this roving gipsy life of hers. "We cannot be so indolent," she answered, "as you mollahs are, and spend the entire day in one place. Man must move about, the sun, the moon, the stars, the water, animals, birds, fish, all are moving; only the dead and the earth lie motionless."


“Halk cevreme toplanip sacma sapan sorulariyla surekli rahatsiz ediyorlardi. Kimi kendisine dini bilgiler ogretmemi ister, kimi de yeryuzunde Hive gibi bir kentin bulunup bulunmadigini sorardi. Kimisi de Padisah'in yemeginin, her ogun Mekke'den nasil getirildigini ogrenmek isterdi. Cunku bunlar, Zat-i Sahane'nin sabah-aksam yemeginin Kabe'den getirildigine, bunun getirilmesinin bir dakikalik is olduguna inaniyorlardi. “



“I was surrounded by a crowd, and plagued to death with the most stupid enquiries. One wanted religious instruction; another asked if the world offered elsewhere places as beautiful as Khiva; a third wished, once for all, to receive authentic information whether the Great Sultan really had his each day's dinner and supper forwarded to him from Mecca, and whether they passed to his palace from the Kaaba in one minute.”

[Terraluna]

Turk roman ve oyun yazari (Mehmet Rasit Ogutcu) Orhan Kemal’in dogum yildonumu (15 Eylul 1914)

Firladik. Sora sora Alisfeneri'ni bulduk. Tutun depolarini teker teker dolastik. Ogleye dogru, eli yuzu, ustubasi kir pas icinde Necip, karsimizdaydi. Aci aci tutun kokuyordu. Gozlerine inanamiyordu. Beni birakip Gazi'ye, Gazi'yi birakip bana sariliyordu. Sonra gitti, depodan izin aldi. Calistigi deponun yanindaki bir lokantaya bizi soktu, evvela karinlarimizi doyurmamizi soyledi. ‘Ben’, dedi, ‘depoya kadar gidecegim. Beni su bitisikteki kahvede bekleyin, soylerim, para filan vermeyin!’ Gazi masaya cokmustu bile: ‘Dikilme lan’, dedi; ‘otur da yumulalim!’ Catalini tabaga vurdu. ‘Biraz kisa gecelim’ dedim, cunku...’ Karisma. Acliktan habibim sasiyor benim. Garson, kardas, bak hele be... Ulan amma da mostra garsonlar be.. Lan bak hele, garson!’ Garson geldi. ‘Bana,’ dedi, ‘evvela zeytinyagli dolma.. Yahut bosver zeytinyagliya. Sadeyagli olsun, amma, irisini secsin ustan ha!’ Garson gulerek cekildi. ‘Ne bakiyorsun,’ dedi, ‘bir haftalik yiyecegim. Sana ne? Fakat ne bildi Necip ac oldugumuzu? Benizlerimiz mi donmus acaba? Fakat arkadas boyle olur. Herif bir bakista nevrimizin dondugunu anladi, aferin!’ Garson onun dolmalarini getirmisti. ‘Bana’, dedim, ‘bir corba’. Necip paydosta geldi. Sokagi dolduran tutun iscilerinin gurultulu kalabaligi onumuzden geciyordu. Onlarin kirli, pasli, fakat her seye ragmen neseli kalabaligi icinde olmayi cok isterdim. Necip, boyuna soruyor, guluyor, seviniyordu. ‘Maclara gideriz, oyle maclar oluyor ki. Hangi kulube gireceksiniz? Fenerbahce'ye girin bence. Cunku Fenerbahce...’ Arada Gazi'yle bakisip usullacik guluyorduk. Kimbilir kacinci kahvelerimizi ictikten sonra: ‘Hangi otelde kaliyorsunuz? diye sordu. ‘Oteliniz temiz mi bari? Gazi bana goz kirpti: ‘Temiz,’ dedi. ‘Bu gece bizde kalirsiniz. Haydi gidelim…”



“Off we went. We eventually found the docks and walked around all the tobacco warehouses there. And, sure enough, by lunchtime, there was Nejip, standing in front of us, covered in a filthy brown layer of muck. He stank of tobacco. He could not believe his eyes. He hugged me, hugged Gazi, then hugged me again. Then he went inside a warehouse and asked for a short break. He shoved us into the restaurant next door and told us to have ourselves a good meal.‘I’ve got to get back now,’ he said, ‘but when you’re finished here you can wait for me at the café. I’ll have a word, so don’t you pay for anything! ’Gazi had already sat down. ‘Don’t just stand there,’ he said to me. ‘Sit down, and let’s tuck in!’ He impatiently tapped his fork on his plate.‘Let’s not get too carried away,’ I warned, ‘because…’‘Leave me alone. I’m so hungry I can’t see straight. Waiter, excuse me, over here…. These waiters are a bit dozy… Hey, waiter, over here’The waiter came over. ‘First,’ said Gazi, ‘bring me some cold dolma… Or, no, wait. I’ll have hot dolma, but make sure the chef gives me some big ones!’ The waiter chuckled as he went off.‘What are you staring at?’ Gazi asked me. ‘I’m going to eat a week’s worth. What’s it to you? But how did Nejip know we were hungry? Do we look that starved, I wonder? That’s what you call a friend. One look at us,and he could tell we were hungry. Good on him!’ The waiter brought his dolma. ‘I’ll have a bowl of soup, please,’ I said. Nejip came over much later when his shift was done. The streets were full of tobacco workers and their hubbub. I would love to have been one of their rusty-brown, dirty but none the less cheerful crowd. Nejip kept asking us questions, laughing and being happy. ‘We can go and see some games. You wouldn’t believe some of the matches they have. Which club are you going to go to? I’d say you should get yourselves into Fenerbahce. You see Fenerbahce…’ Gazi and I exchanged glances and smiled to ourselves. ‘So which hotel are you staying in?’ Nejip asked, after we’d had God knows how many coffees. ‘Is it a nice, clean place?’ Gazi winked at me. ‘Very clean,’ he said. ‘Well, you can stay with me for tonight anyway. Come on then…”

[Terraluna]

Arjantinli kurgu yazari, gazeteci ve cevirmen Adolfo Bioy Casares’in dogum yildonumu (15 Eylul 1914)

“Yasam; ayni sahnelerin sonsuz tekrarindan ibarettir. Tiyatrodaki gibi, yasamda da sahneler yineleniyor. / Como en el teatro, las escenas se repiten. / Scenes are repeated in life, just as they are in the theatre.”



“Butun bu insanlardan ve bitmez tukenmez faaliyetlerinden tiksinti duyuyordum, igreniyordum neredeyse. / Sentí repudio, casi asco, por esa gente y su incansable actividad repetida."



“Ve bir gun, daha eksiksiz bir alet bulunacak. Yasam boyunca -ya da kaydedilen anlar suresince- dusundugumuz ya da hissettigimiz seyler sayesinde goruntunun her seyi anlamayi surdurecegi (tipki bizim bir alfabenin harfleriyle anlayabildigimiz ve butun sozcukleri olusturdugumuz gibi) bir alfabe gibi olacak. O zaman yasam olumun bir deposu olacak. Ama o anda bile goruntu yasamayacak; ozunde yeni nesneleri tanimayacak. Ancak hissettigi ve dusundugu seyleri, ya da hissettigi ve dusundugu seylerin daha sonraki duzenlenisni taniyacak. Zamanin ve uzayin disinda hicbir seyi anlayamayisimiz, belki de yasamimizin, bu alet yoluyla elde edilecek yasamdan daha degisik olmadigini dusunmemizi saglayacakti.”



"Y algún día habrá un aparato más completo. Lo pensado y lo sentido en la vida —o en los ratos de exposición— será como un alfabeto, con el cual la imagen seguirá comprendiendo todo (como nosotros, con las letras de un alfabeto podemos entender y componer todas las palabras). La vida será, pues, un depósito de la muerte. Pero aun entonces la imagen no estará viva; objetos esencialmente nuevos no existirán para ella. Conocerá todo lo que ha sentido o pensado, o las combinaciones ulteriores de lo que ha sentido o pensado. El hecho de que no podamos comprender nada fuera del tiempo y del espacio, tal vez esté sugiriendo que nuestra vida no sea apreciablemente distinta de la sobrevivencia a obtenerse con este aparato."

[Terraluna]

Fransiz ressam Gabriel Deluc'un olum yildonumu (15 Eylul 1916)

Intimité, 1906




Le Chevrier, 1908

[Terraluna]

Ispanyol ressam Raimundo de Madrazo y Garreta'nin olum yildonumu (15 Eylul 1920)

Después del baño, c. 1895 (Museo del Prado, Madrid)




The Reluctant Mistress. 19th century

[Terraluna]

Altin Palmiye Odullu Japon yonetmen Shohei Imamura'nin dogum yildonumu (15 Eylul 1926)





Narayama Turkusu (Narayama bushikô - The Ballad of Narayama, 1983)

[Terraluna]

Amerikali roman yazari Thomas Clayton Wolfe’un olum yildonumu (15 Eylul 1938)

"... bir tas, bir yaprak, yitik bir kapi; bir tas, bir yaprak, bir kapi ve tum unutulmus yuzler.

Biz bu surgune ciplak ve yalniz geldik. karanlik rahminde anamizin yuzunu goremedik; hapsoldugumuz etinden kurtulup bu dunyada kelimelerle anlatilmayan hucre hapsine mahkum olduk.

Hangimiz erkek kardesini taniyabildi? Hangimiz babasinin yureginin icine bakabildi? Hangimiz sonsuza dek hucre hapsine mahkum olmadi? Hangimiz sonsuza dek bir yabanci ve yalniz degiliz?

Ey ruzgarin savurarak yitirdigi bedbaht hayalet tekrar geri gel. " Bu Melek Satilik Degil



"…a stone, a leaf, an unfound door; a stone, a leaf, a door. And of all the forgotten faces.

Naked and alone we came into exile. In her dark womb we did not know our mother's face; from the prison of her flesh have we come into the unspeakable and incommunicable prison of this earth.

Which of us has known his brother? Which of us has looked into his father's heart? Which of us has not remained forever prison-pent? Which of us is not forever a stranger and alone?

O lost, and by the wind grieved, ghost, come back again."