Nerîneke Postkolonyal li ser The Tempest û Axriyên Wê

Nerîneke Postkolonyal li ser The Tempest û Axriyên Wê

Ravi Bhoraskar[1] Ji îngilîzî: Ferzan Şêr

Kurte

Em lîstika dawî a william Shakespeare, The Tempest [Bahoz] bi her sê axriyên wê re nîqaş dikin; xêzeromana The Tempest, The Tempest: graphic novel [Xêzeroman] a Neil Gaiman û adaptasyona lîstika Tales From Shakespeare [Ji Çîrokên Shakespeare] a Charles Lamb. Em bi çavên teoriya postkolonyal li van şanonameyan dinerin, û şîroveyên bûyerok, hawir û karakteran dikin.

Destpêk

1.1. Kurtedîrokeke mêtinsaziya [colonization] Brîtanyayê

Em bi nîqaşekê li ser kurtedîroka mêtinsaziya Brîtanyayê dest bi nîqaşa xwe bikin. Ev yek dê ji bo famkirina peywenda dîrokî û civakî ya serdema ku Shakespeare Bahoz nivîsandiye, alîkariya me bike. Christopher Columbus dema di 1492ê de Emerîka kişf kir, bo Hîndistanê ji hêla rojavayê ve riyeke behrîn digeriya. Di 1497ê de Henryê heftemîn peywira behreçûna ber bi rojavayê ve da John Cabot û ew bû yekem kesê îngilîz ku pê li xaka Emerîkayê kir. Bala xwe dayê ku li vê dûrahiyê mêtinsazî nîne û axên nû ji bo bazarî û bidestxistina kanên xwezayî hatin kifşkirin. Ji 1596an vir ve, angaşta ewilîn a xakê li ser navê şahbanûyê dihat kirin. Mêtinsaziya Brîtanyayê li Emerîkayê di 1607an de dema ku Virginia Company li bajarê Jamestownê Virginiayê mêtingehek saz kir, destpê kir. A soxî dema ku Shakespeare di sala 1611ê de Bahoz nivîsand, mêtinsazî bi giştî sext bû û di hişmendiya raya giştî de bû. Lê belê, hêj ku mêtinsazî bi hemû têkelbûn û mijarên xwe yên exlaqî têra xwe rûneniştibû, nêzikatiya di navbera Bahoz û Rabêje Mêtinkar de xêzkirî piranî ji dêvla ku ravekar be muhtemel in.

Di 1609an de mîna îlhama Shakespeare a bo Bahozê qezayek pêk hat. Keştiyeke bi navê Sea Venture [Peyana Behrê] ji bo ku qûtan radestî Jamestown a Virginiayê ya Mêtingeha Brîtanyayê bike hatibû peywirdarkirin. Keştî 20ê hezîranê bi rê ket, lê belê nexêr rastî bahozekê hat û 24ê tîrmehê noq bû. Lê, 150 rêwî bi silametî li Bermuda li perava girikê mircanan ketin, neh meh bi hesarkirî man. Dawî, du keştiyên biçûk avakirin, ber bi Virginiaya ku piraniya 150 rêwiyan bi silametî daketin, bi rê ketin. Gelek meselokên vê mûcîzeya bêhempa ji aliyê William Strachey ve hat nivîsîn, û wekî îlhama Bahozeke din tê fikirîn.

1.2 Bahoz

Bahoz şanonameya dawî ya Shakespeare e, di 1610-11an de hatiye nivîsîn. Ji her du şanonameyên wî yên bi temamî resen in yek jê ev e, a din jî A Midsummer Night’s Dream [Xewna Şeveke Havînê] e. Tevneçîrok xwe dispêre Behra Spî lê bêtirî dirûva Cîhana Nû li pênasekirina giravê dikeve, ku [ew cîhan] di dema nivîsandina vê şanonameyê de bûbû mêtingeh. Berovajiya şanonameyên din ên Shakespeare, Bahoz bi tevahî her sê yekîneyên dem, şûnwar û çîrokê destnîşan dike. Rexnegiran Prospero[2] wekî îmaja Shakespeare, pê re jî jêqerîna sêhrê di dawiya lîstikê de wekî pênaseye xatirxwestina Shakespeare a dikê, dîtin. Ji ber tengahiya cihê ez nikarim kurteya wê li vir bidim, lê dikarim berê xwînerên eleqedar bidim [çavkaniyên] 6 û 4an.

Teoriya postkolonyal û Bahoz

“Postkolonyalîzm rabêjeke rewşenbîrî ye ku ji bertek û analîzkirina mîrata çandî ya kolonyalîzm û emperyalîzmê pêk tê.”

Harald Fisher-Tine

2.1 Prospero

Dema ji çavên teoriya postkolonyal [mirov] lê binere şîrovekirina Bahozê diguhere. Rexnegirên ewil wekî xêrxwaz û wek-Xwedayekî li Prospero dinerîn. Lê belê, ji tevgerên wî yên hemberî pêgirên wî hin kêmasiyên wî hatin dîtin. Mînak di tevgerên xwe yên li hember Miranda de wekî bavkalî [patrîarkal] û zayendperest hat dîtin, ku kesekî zêde parêzker e dem bi dem jî berew zordariyê diçe. Ew bavek e û ji bo wî guhpênekirina keçeke biçûk pirr zehmet e. Di helwestên xwe yên li ser Caliban û Ariel de wekî mêtinger û bi rengê nîjadperest dixuye, her du jî pêgirê wî ne, û arezûya serbestiyê dikin.

2.2 Caliban û rabêja mêtingeriyê

Caliban kurê Sycorax e, niştecihê resen ê berî hatina Prospero ye. Dema [mirov] ji çavê teoriya postkolonyal li Bahozê binêre, ew wênandina xwecihên emerîkî dike û Prospero jî ya mêtingeriya brîtanî dike. Tê dîtin ku Caliban wekî xwecihên emerîkî di giravê de bi xwezayê re li hev dijî.

“Caliban: Û peyre min ji te hez kir, û hemû taybetiyên giravê nîşanî te da…[3] Ji ber wê jî Xwedê qehra xwe li min kir!.. Bi tenê kesê di bin hikumdariya te ez im, û di despêkê de [berî hatina te] ez bi xwe Mîr [azad] bûm.” Perde 1, Dik 2

Prospero Calibanî wekî çors û hov dibîne, lewra pêdiviya guhertina wî û kedîkirina wî hest dike. Caliban ji vê yekê dil digre, lewra beriya hatina Prospero serbest û dilşad bû. Caliban dike zorganiya Miranda bike, û ji vê yekê poşman nabe.

“Caliban: Xwezî min bikira. Te rê li ber min girt. Ger te nekira, min ê ev girav bi Calibanan dagirta.” Perde 1, Dik 2

Wî daxwaz dikir ku serweriya çi tiştê rewa dibîne li girava xwe bike. Mêtinger Prospero dibîne ku ew yek gef li serweriya wî dixwe, ji ber vê yekê zextên li ser wî zêdetir dike. Ziman alaveke din e ji bo serweriya çandî, piranî ji aliyê neteweyên Mêtinger ve tê bikaranîn, wek ku damezrandina zankoyên îngilîzî li Hîndistanê, ku ji bo taca Brîtanyayê welatiyên dilsoz diafirandin– “Esmer li derve, spî li hundir”. Prospero kirina vê yekê wek qenciyekê didît.

“Caliban: Te ziman hînî min kir; û hemû tiştê ku karibim pê bikim lanetî ne” Perde 1, Dik 2

Wêjeya kolonyal û postkolonyal bi piranî bi zimanê mêtingeran hatiye nivîsîn, hew rexneyên li mêtinsaziyê bi xwe ye jî. Caliban wiha dixuye ku vê yekê wek qenciyekê pêşniyaz dike. Di lîstikê de Stephano û Trinculo şeravê bera ser dilê Caliban didin û ew dûçarî dikin koleya solalastinê–bengîkirina vexurkê û firotina çekan ku şerê hevdu bikin ji bo Xwecihên emerîkî yek ji riya pêgiriya îngilîzî bû.

Axriyan wer dixuyin ku pêşdarazên nivîskaran ketiye nav şîroveyên li ser Caliban. Charles Lamb di Tales From Shakespeare [çavkanî 4] de Caliban wiha dinimîne:

“ … tiştekî xerîb î bêteşe, ji dirûvê mirovan bêtir wek meymûnan… ji bo wî karîbû baştir bibûya, lê xwezaya neçak, … rê neda wî ku tiştên baş û kêrhatî hîn bibe: lewma wekî koleyek şixulî; êzing dan hev, karê herî zehmet kir.” Charles Lamb

Bahoz: Xêzeroman [çavkanî 1] Caliban wekî ne mirov, piranî aferîdeyekî şeytanî pênase dike, wek di fîgura 1 de tê dîtin.

Ev her du temsîl jî dikin ku Caliban ji mirovatiyê derxin, ne ji bo ku ji bikarhêneran re xwîngermiyekê peyda bike, a soxî ji bo piştrastkirina helwestên Prospero ye. Shakespeare, bi vê yekê re, cihekî xwîngerm digre, hewl dide ku xala lênerîna Caliban baş temsîl bike.

2.3 Dijnerîn

Meredith Anne Skura [çavkanî 7] dibêje paraleliyên di navbera Bahoz û Rabêje Mêtinger de bênêtkirî ne, û nabe ku cidî bê girtin. [Skura] Dibêje Shakespeare temaya îstîsmariyê di lîstikên xwe yên din de baş kifşkiribû, ku ew jî ne di peywenda mêtingeriyê de ne. Jê pê ve, dema nivîsîna lîstikan jî rê nedida fikrên Rabêja Mêtinger dewlenmendtir bibûna hêj. [Skura] Karakterên di lîstîkan de wekî rûdana kesayetiya mirovan dibîne. Mînak, ew Caliban wekî rûdaneke şeytanî û vîzkozî a Prospero dibîne, ku pê re di dawiya lîstikê de li hev tê, dema ku dibêje:

“Prospero: Ez dipejirînim ev cenawirê xerab ê min e.” Perde 5, Dik 1

Bahoza Neil Gaiman

Rexnegir Neil Gaiman û Shakespeare rûberî hev dikin, ji ber ku wî [Gaiman] xêzeroman berbelav kir, wekî formeke wêjeyî rewatî li wan kir, wek ku Shakespeare ji bo dramayê kiribû. Wek ku Shakespeare ji bo Prosperoyî dike Gaiman jî Shakespeareî wekî îmaja xwe dibîne. Bahoz [çavkanî 3] pirtûka dawî a rêza The Sandman [Qûmemêr] e û Bahoz lîstika dawî ya Shakespeare e. Wek ku di Xewna Şeveke Havînê ya wî de jî xuyaye, Gaiman ji têkelkirina tebeqeyên nivîskar, temaşevan û karakteran kêfxweş e [çavkanî 2].

3.1 Drama, li hemberî xêzeromanê

Niha em du navgînan berawirdî û dijrabertiyê bikin – Lîstik û Xêzeroman

“Xêzeçîrok piranî bi fîlman re tê berawirdkirin, lê ez wan bêtir wekî şanoyê dibînim, navgîneke din nikare hemûyan bi fîzîkî nîşan bide û nexwe divê pişta xwe bi pêşniyazên bi hin hûrguliyên bijarte ên bêqisûr girê bide”

Mark Zulli [çavkanî 5]

Xêzeçîrok xwediyê yekîtiya temsîla peyvî û dîtbarî ye, lê rasteqîniya wêneyî kêm e, bi vê yekê re dev ji gelek sêwirîna temaşevanan berdide. Wateya bikaranîna herî kêm a paldankan di şanogeha Elizabeth di vir de gelek e, temaşevan mecbûr bû dîmen û sazkirina dramayê bisêwirîne.

Lê belê di navbera her du navgînan de cudahiyek jî hebû. Vebêjeke Xwedahî ku di dramayê de nîne, bi berfirehî ji aliyê Neil Gaiman ve tê bikaranîn. Ji dema ku di xêzeçîrokan de hesta şêwaza diyalogê nîne vir ve, Gaiman fontên cuda bi kar tîne ji bo pêşkêşkirina cir û kesayetiyan.

3.2 Tema

Axriyek di nav metna resen de dikare li dagirtina valahiyan bigere. Ew dike ku meşrû û rave bike bê çima tiştên teqez di riya wan ên di metna resen de ne. Dema peywendên çandî diguherin meşrûkirineke wiha hewce dike -mîsal di nav cîhana postkolonyal de. Gaiman Îngîlistana Shakespeare nîşanî me dide, û peywendên çandî û civakî ên ku wî tê de Bahozê nivîsandiye. Niha em hin temayên ku Gaiman ji Bahoza wî aniye nîqaş bikin.

Temaya ewil Karkerên Nivîsandinê ye. Ji nişka ve ji dêvla şanonûsekî ciwan î bicoş em hay ji Shakespeareekî bêhal dibin di vê kitêbê de [çavkanî 2]. Jineke pitpitokî (fîgur 2), pesta zewaca qîza wî û bêgaviya nivîsandina vê şanoyê wekî sozdayîna bo

Morpheus bo me hat nîşandayîn. Shakespeare nivîsandina şanoyê wekî karekî ji rêzê dibîne, û bi rastî jî ji pêvajoyê kêfxweş nîne. Ji ber ku Shakespeare îmajeke Gaiman e, ev dike ku em tatêla gelo Gaiman bi xwe ji nivîsandina Qûmemêr aciz bûye, bikin.

Gaiman pêşniyaz jî dike ku Shakespeare têxe nav bûyer û tecrûbeyên ji jiyana wî bixwe ya di Bahozê de. Nemaze, piştî Judith (fîgur 3) qîza wî bixwe, modela Miranda jê re hat nîşandayîn, hestên wî bixwe yên

parastîner ên ji bo Judith veguherîn ber bi bav Prosperoyê pirrparastîner ve. Ber bi dawî ve, jêqerîna sêhrê nîşanî Prospero hat dayîn, dawîlêanîna nivîsandinê şanî Shakespeare hat dayîn.

Temaya din a ku Gaiman nîqaş dike Nemirî û Gerdûnîbûna Shakespeare e. Wek Gaiman nîşan dike, drama di serdema Shakespeare de wekî hunera herî bilind nehatibû hêvotin. Tevî ku şano pirr populer bû, lê pîşeya şanonûsiyê ne wekî karekî rêzgirtinê dihat dîtin. Ev belkî şîroveyek e ji bo pêşeroja cihê xêzeçîrokan.

Axaftineke di navbera Ben Johson û Shakespeare de da nîşandayîn ku Ben Johnson angaşt dike hewce ye yek van çeşnên rewş û pîşeyên cuda li gor sazûmana karîna xwe derbarê wan de binivîse. Bersivên Shakespeare wiha dibêjin “hemû kesên ku dixwazin mirovan fam bikin divê mirov bin”. Wiha xuyaye Gaiman dibêje fama tûj a rehjena xweza û hestên mirov e ku eleqe û dilkêşiya Shakespeare pêk aniye, heta îro jî.

Nîqaş

Piştî 400 salî li pey mirina wî, hê jî balkêş e û eleqeyê dibîne, ev selmandina mezinahiya Shakespeare e. Lê belê, wekî şanonûsên dema xwe, ew jî bûbû xulamê ecêbiyên hilberîna lîstikan, û wî ji bo bê lîstin dinivîsand, ne ji bo parçeyekî wêjeyê ku 400 salî wekî kanon bimîne di nav paşerojê de. Ew vê yekê bi me dide pirsîn ku gelo di rastiyê de ew qas wate û kurahî nêta Shakespeare bixwe nebe jî bera hewce ye ku em Shakespeare hûr bi hûr analîz bikin. Lê belê, bi rastî îro me eleqeyek di nav karên wî de dît, ew jî mezinahiya karên wî nîşanî me da. Di nav Bahozê de nêta wênendina rabêja mêtingeriyê kiribe nekiribe li pey vê pirseke beleheq e, ger me ew di nav metnê de dîtibe jî, madem em dikarin wê di nav metnê de bibînin, dersan jê bigrin, nexwe Shakespeare girîng e, xebatên li ser karên wî hîndariyên sûdewar in.

ÇAVKANÎ

[1] C. Bryant, J. McDonald, J. Sutli_ Sanders, J. Haward, G. Erskine, and N. Dobbyn. The Tempest: The graphic novel. Classical Comics Ltd, 2009.

[2] N. Gaiman. a Midsummer night’s dream (Sandman No. 19). DC Comics, 1997.
[3] N. Gaiman. The Tempest (Sandman No. 75). DC Comics, 1997.
[4] C. Lamb and M. Lamb. Tales from Shakespeare. 1807.
[5] J. Pendergast. Six characters in search of shakespeare: neil gaiman’s sandman and shakespearian mythos. The Free Library, 2008.
[6] w. Shakespeare. The Tempest. 1611.
[7] M. A. Skura. Discourse and the individual: The case of colonialism in “the tempest”. Shakespeare Quarterly, 40(1):pp. 42-69, 1989.

[1] Em wek kovara Zaremayê spasiya nivîskarê vê tekstê dikin ku bi ciwamêrî destûra wergerandina bo kurdî da.

[2] Ev hêmaya Prospero bi nav û deng e, di romana Bir Buğday Tanesi [Libek Genim] a Ngugi Wa Thiongo de jî derbas dibe. Serkarekî îngilîz dema serxwebûna Kenyayê tê, lazim e terkî Kenyayê bike li ser lênûska xwe ya şexsî sernivîsek wiha davêje “Prospero Li Afriqayê”. Di vê romanê de nivîskar vê mantiqa kolonyal berovajî/serobino dike, lewra Thomsonê serkar, beriya roja rizgariyê wekî hemû mêtingeran terka Kenyayê dike. (Nîşeya wergêr)

[3] Ev agahîdana niştecihan ango agahîgirtina mêtingeran zanîna giştî ya ku dibêje epîstemolojiya Rojavayî bi xwe derbarê mêtingehan de xwedî agahiyan e, çewt dike. Dema kirdeya Rojavayî/dagirker/mêtinger tên axên bo mêtingehê agahiyan jî dîsa ji niştecihên herêmê digrin. Binêre: Ania Loomba, Kolonyalizm, Postkolonyalizm. Wergera tirkî. Mehmet Küçük. Stenbol: Ayrıntı Yayınları. (Nîşeya wergêr)

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Nerîneke Postkolonyal li ser The Tempest û Axriyên Wê

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