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Kıta I AKDENİZ HALIKARNAS BALIKÇISI N’ ESERLERİ-9 Kıta I AKDENİZ basım BÎLGİ YAYINLARI : 241 HALİKARNAS BALIKÇISI BÜTÜN ESERLERİ ISBN 975 - 494 - 240 - 4 91 06 Y. 0105 0346 Birinci Basım 1982 İkinci Basım 1985 Üçüncü Uasıın Temmuz 1991 BİLGİ YAYINEVİ Muşruliyet Cad. 46 / A Toll 13181 22 134 12 71 HALlKARNAS BALIKÇISI Bütün Eserleri 9 Altıncı Kıta Akdeniz Derleyen : Şadan GÖKOVALI BİLGİ YAYINEVİ kapak düzeni: erdoğan özer Halikarnas Balıkçısı'nın bütün eserlerinin yayın hakkı, yasal mirasçılarıyla yapılan özel anlaşma gereğince, Türkçe ve bütün dillerde Bilgi Yayınevi'ne aittir. Bu dizide çı­ kan ve çıkacak olan eserlerin hiçbiri kaynak­ ları gösterilmeden alınamaz, yayımlana­ maz. Yayınevi'nin yazılı izni olmadan radyo ve televizyona uyarlanamaz, oyun ve film haline getirilemez. İÇİNDEKİLER Akdeniz’in Ebedi Gençliği ve Akdeniz'in Ebedi Genci................................... 9 ALTINCI KITA Louis Bayle'in Sunuş Yazısı ..................................15 Balıkçı'nın Mektubu ............................................17 AKDENİZ'İN EBEDİ GENÇLİĞİ Akdeniz'in Ebedi Gençliği................................................29 ÖNASYA Efes Artemis'i.......................................................................63 Ondan Önce Gelenler.......................................................63 M inocnler........................................ 66 H ititler................................................................................... 68 A m azonlar............................................................................ 70 Frigyalılar ve Lidyalılar...................................................72 İkon og rafi............................................................................ 78 Tarih Çağlarında Kültlerin Yayılışı..............................79 Artcmis'in Geçirdiği Evrim ............................................81 Minoen Etkisi...................................................................... 82 Hitit Etkisi............................................................................ 84 A rtem is.................................................................................85 5 Artcmis Heykeli............................................................. 86 Artcmis'iıı Efes'e Gelişi....................................................90 Artcmis Rahipleri...............................................................94 Tapmak (Artenıision)........................................ ' ..............96 Aıtemis'iıı Etkileri............................................................103 Artemis Şenlikleri............................................................123 ANADOLU'DAN VE TARİHTEN Büyük Menderes Irmağı............................. 129 Batı Anadolu Uygarlığının Beşiği İzmir........................... 137 Dünyanın tik Turisti: Bodrumlu Herodot........................151 Karya'dan İki Söylence : Selene ile Endimiyon ve Salmakis ile Hermafrodit........................................ 161 Ege Dalgıçları......................................................................... 165 Müzik ve Yaşama Sevinci.....................................................171 Çıplak Resim ve Heykelin Beş Bin Yıllık Tarihi Vardır.........................................175 Resim ve Müzik........................................................................182 Türk Müziğinin Balı Müziğine Etkisi................................ 188 Haftanın Yedi Günü ve Bunların Gerçek Yönü 192 Tarihte ve Mitolojide. Tohumdan Buğdaya Arpadan Biraya.................................................................196 7'nin Uğurluluğu 13'ün Şomluğu........................................217 İtalya'nın En Büyük Klasik. Lirik Şairi: Torkuaıo Tasso................................................................. 223 431 Efes Könsilinin Rezaleti............................................... 236 Prevcze Savaşı Öncesinde.................................... ;..............241 Kıbrıs'ın Zaptı...........................................................................247 12 Adadan Yurdumuza İltica Edenler Arasında Birkaç Saat...................................................... 252 6 HALİKARNAS BALIKÇISI 1890-1973 "Tarih sahibi" Sadrazam Cevat Paşanın kardeşi, tarihçi-yazar-vezir Mehmet Şakir Paşa Girit'te sefirken (büyükelçi), eşi İsmet Hanım, 16/17 Nisan 1890 gecesi bir oğlan doğurdu. Çocuğa, anasının o gece düşün­ de Musa Peygamberi görmesi dolayısıyla "Musa", amcasının ve babasının adlarından ötürü "Cevat Şakir" (Musa Cevat Şakir) adı verildi. Musa Cevat Şakir'in çocukluğu, babası­ nın atandığı Atina/Faleron'da, beş yaşından sonra İstanbul/Büyükada'da geçti. Bu yıllar­ da resim yeteneğiyle dikkati çeken M.C. Şa­ kir, bir yandan özel dersler alırken, bir yan­ dan Büyükada Mahalle Mektebinde okudu. İngilizceyi hayli iyi kavradığı için, hazırlık okumadan Robert Kolej birinci sınıfına alın­ dı. Bu okulu, ilk mezunlarından biri olarak pekiyi dereceyle bitirdi. Kendisi denizci ol­ mak istiyordu. Ama ailesinin ısrarı üzerine Ingiltere'nin Oxford Üniversitesine gönderil­ di. Orada "Yakın Çağlar Tarihi" bölümünde öğrenim gördü. Bu arada, Oxford'un ünlü ki­ taplığından yararlandı. Yurda dönünce çeviriler yaptı, çeşitli ga­ zete ve dergilerde yazılar yazdı, karikatür ve kapak resimleri çizdi. Resimli Hafta dergisinin 13 Nisan 1925 tarihli sayısında yayımlanan "Hapishanede İdama Mahkûm Olanlar Bile Bile Asılmaya Nasıl Giderler?” başlıklı öyküsü yüzünden üç yıl kalebentlikle Bodrum'a sürüldü. Ceza­ sının Son yarısını İstanbul'da geçirdikten sonra yeniden döndüğü Bodrum'da yaklaşık çeyrek yüzyıl kaldı. Bu beldenin Karia ça­ ğındaki adından esinlenerek “Halikarnas Balıkçısı" takma adını kullanır oldu. Bod­ rum'un gelişmesine ve Anadolu uygarlığının tanınıp tanıtılmasına olağanüstü katkılarda bulundu. Çocuklarının ortaöğrenimleri için 1947'de yerleştiği İzmir'de gazetecilik, ya­ zarlık ve turist rehberliği yaptı. 13 Ekim 1973 Cumartesi günü saat 15.10'da İz­ mir'de öldü ve Bodrum'da, Şadan Gökovalı ile birlikte seçtiği yerde gömüldü. I AKDENİZ'İN EBEDİ GENÇLİĞİ VE AKDENİZ'İN EBEDİ GENCİ 13 Ekim 1973 Cumartesi günü saat 15.10'da yitir­ diğimiz Halikarnas Balıkçısı (Cevat Şakir Kabaağaçlı) ülkemizde daha çok öykücü ve romancı olarak tanındı­ ğı halde, dünyada ozan ve düşünür olarak ün yapmıştı. Dünya turizminin önde gelen otoritelerinden Hul- lot, Balıkçı için "Çağdaş Homeros” derdi. Brüksel'de yapılan Dünya Ozanlar Toplantısına Türkiye'yi temsilen Balıkçı çağrılmıştı. Fransa Başbakanı Pompidou, Türki­ ye'ye ne zaman geleceği kararlaştırılmak istenirken, "Bırakırı protokolü murotokolü, Halikarnas Balıkçısı ba­ na ne zaman rehberlik edebilecekse, o zaman gitmek isterim Türkiye'ye!" deyip çıkmıştı. Aynı Pompidou, 1967'de Papa'nın ziyareti için ülkemize yollanan ORTF (Fransa Radyo-Televizyonu) ekibine; "Türkiye'de Balık­ çı ile yapacağınız görüşme, Papa'nın ziyaretinden da­ ha önemlidir" demişti. Dünya Düşünce Adamları Komitesi "L'ASTRADO" (=Yol), Türkiye'den Balıkçı'yı üye seçmişti. Örgütün ay­ nı adlı bilimsel yayın organının 1971 tarihli sekizinci sa­ yısında yaklaşık 20 sayfa Halikarnas Balıkçısı'na ayrıl­ mıştı. Balıkçı'nın törenlerde rehberlik ederken çekilmiş iki resmi ile bir Bodrum fotoğrafının yer aldığı dergi, L'Astrado Genel Sekreteri Louis Bayie imzasıyla Balık- çı'yı tanıtıyor. Bayie, kendisine Anadolu'yu gezdiren Halikarnas Balıkçısı için "Cevat Şakir benim için reh­ berlerin en içten, en bilgili ve en coşkulusudur!" diyor. 9 Övgü dolu tanıtma yazısının ardından Balıkçı'nın L. Bayle'ye yazdığı mektup yayımlanıyor. "Altıncı Kıta: Akdeniz" başlığıyla yayımlanan yazıda Balıkçı, dünya uygarlığında Akdeniz'in büyük payını açıklığa kavuştu­ ruyor ve Akdeniz ülke ve insanlarının ortak özelliklerini sergiliyordu. Balıkçı'nın bu yazısı Avrupa'da ve Akdeniz ülkele­ rinde inanılmayacak ölçüde ilgi gördü. Mektuplar, tel­ graflar, ziyaretler birbirini izledi. Usta, bunu bilerek, planlayarak yapmıştı. Batı, Grek uygarlığına koşullan­ mıştı. Türkiye'nin uygarlığa katkılarını söylediğinizde kimse inanmak istemiyordu. Ama Balıkçı konuya Akde­ niz ölçeğinde bakınca tüm Akdenizliler, "elle gelen dü­ ğün bayram"dercesine ilgi gösteriyordu. Anlatılan Ana­ dolu bile olsa, tüm Akdenizliler, bundan kendilerine pay çıkarıyordu. "Altıncı Kıta"yazısının gördüğü ilgi, "Kültürel Artis­ tik Birlik"\n, bilimsel yayın organı "Carrefour" (=Kavşak) için istediği yazı ile doruğa ulaştı. Dergj genel yönetme­ ninden gelen övgü dolu mektup, Balıkçı'nın VI. Kıta ko­ nusunu daha açmasını rica ediyordu. Balıkçı, tasarısı gerçekleşmiş insanların erinç ve sevincine kavuşmuş­ tu. "Altıncı Kıta yemdi; İşte büyük balık takıldı oltaya" diyordu. Büyük bir coşkuyla yazmaya girişti. Hızını alamı­ yordu. Anadolu uygarlığı konusundaki son sözlerini bu yazıyla söylemek istiyordu. Hem de yalnız kendi yurt­ taşlarına değil, tüm Avrupa ve Akdeniz insanlarına. Üs­ telik "Carrefour"saygın bir yayın organıydı. Balıkçı "Akdeniz'in Ebedi Gençliği" yazısını 1972 yılında yazdı. Ama yazı, derginin 1973 yılına ait 12. sa­ yısına yetişemedi. Üstelik dergi yazısının boyutlarını çok aşmıştı. Bugün gibi anımsıyorum. Balıkçı, yazısının bazı bölümlerini kırmızı, bazı bölümlerini yeşil renkli kalemle 10 işaretlemişti. Dergi yöneticilerine yazdığı notta özetle şunları söylüyordu: "Yazım, derginize göre uzun oldu. Hızımı alamadım. Öncelikle kırmızıyla işaretlediğim bö­ lümleri, daha da kısaltmak ğerejkirse yeşille işaretledi­ ğim yerleri çıkarabilirsiniz... " Artistik Kültürel Birlik genel başkanı ve Carrefour dergisi redaktörü Henri Féraud, Balıkçı'ya şunları yaz­ dı : "Yazınızdan değil bölüm çıkarmak, virgülüne do­ kunmak cinayet olur!
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