Bir odada tek ba\u015f\u0131n\u0131za oturdu\u011funuzu hayal edin. Saat ilerler, g\u00fcn yer de\u011fi\u015ftirir; ama i\u00e7erideki istek susmaz. Sessizli\u011fin ortas\u0131nda bile ba\u015fka bir yer, ba\u015fka bir h\u00e2l, ba\u015fka bir tamamlanma \u00e7a\u011f\u0131r\u0131r insan\u0131. Arthur Schopenhauer bu sesi, evrenin \u00f6z\u00fcndeki \u201cisteme\u201d olarak adland\u0131rd\u0131. Ona g\u00f6re ya\u015fam, arzular\u0131n bitmeyen zinciridir; tatmin ise ac\u0131n\u0131n k\u0131sa bir s\u00fcreli\u011fine geri \u00e7ekilmesinden ba\u015fka bir \u015fey de\u011fildir.<\/p>\n
Schopenhauer \u00e7\u0131k\u0131\u015f\u0131 iki yerde arad\u0131: istemeyi ink\u00e2r etmekte ve sanata s\u0131\u011f\u0131nmakta. Sanat, iradeyi bir an i\u00e7in unutturan ince bir perde gibi huzur verir. Bir m\u00fczik par\u00e7as\u0131, bir tablo ya da \u015fiirin ritmi insan\u0131 kendi arzusunun g\u00fcr\u00fclt\u00fcs\u00fcnden uzakla\u015ft\u0131r\u0131r. Fakat perde kapand\u0131\u011f\u0131nda istek yeniden konu\u015fur; zincirin a\u011f\u0131rl\u0131\u011f\u0131 yine duyulur.<\/p>\n
\u0130nsan\u0131 yaln\u0131zca karamsarl\u0131\u011f\u0131n tutsa\u011f\u0131 gibi g\u00f6rmek eksik kal\u0131r. Mutluluk, bireysel ba\u015far\u0131lar\u0131n, g\u00fcc\u00fcn ya da paran\u0131n dar alan\u0131na s\u0131\u011fmaz. Bunlar varolu\u015f yolculu\u011funda gelip ge\u00e7en duraklard\u0131r. Daha derin mutluluk, ba\u015fkas\u0131n\u0131n y\u00fck\u00fcn\u00fc hafifletirken do\u011far. Ya\u015fl\u0131 birinin elinden tutmak, yorgun bir dostun suskunlu\u011funu payla\u015fmak, bir \u00e7ocu\u011fun korkusunu azaltmak\u2026 Merhamet, burada soyut bir erdem olmaktan \u00e7\u0131kar; iradenin sertli\u011fini yumu\u015fatan canl\u0131 bir temas h\u00e2line gelir.<\/p>\n
Schopenhauer\u2019in sezdi\u011fi gibi merhamet, insan\u0131 kendi benli\u011finin dar \u00e7emberinden \u00e7\u0131kar\u0131r. Ba\u015fkas\u0131n\u0131n ac\u0131s\u0131na dokundu\u011fumuzda yaln\u0131z onun y\u00fck\u00fcn\u00fc azaltmay\u0131z; i\u00e7imizde susmayan arzunun sesini de hafifletiriz. \u00c7\u00fcnk\u00fc arzu insan\u0131 s\u00fcrekli kendine do\u011fru \u00e7ekerken, merhamet onu ba\u015fkas\u0131na a\u00e7ar. Bu a\u00e7\u0131l\u0131\u015fta irade b\u00fcsb\u00fct\u00fcn yok olmaz; y\u00f6n de\u011fi\u015ftirir.<\/p>\n
Panlektik bak\u0131\u015f tam da burada devreye girer. \u0130rade yaln\u0131zca bireysel arzunun k\u00f6r iti\u015fi de\u011fildir; daha b\u00fcy\u00fck bir d\u00fczen i\u00e7inde d\u00f6n\u00fc\u015febilen bir kuvvettir. \u0130nsan ister, yan\u0131l\u0131r, ac\u0131 \u00e7eker, arar; fakat bu hareketler yaln\u0131zca da\u011f\u0131n\u0131k bir i\u00e7 \u00e7alkant\u0131 olarak kalmaz. Do\u011fru temasla, do\u011fru kavray\u0131\u015fla, do\u011fru merhametle daha geni\u015f bir anlam \u00f6rg\u00fcs\u00fcne ba\u011flan\u0131r. Bireyin i\u00e7indeki yara, ba\u015fkas\u0131n\u0131n yaras\u0131na merhem oldu\u011funda, ac\u0131 yaln\u0131zca katlan\u0131lan bir y\u00fck olmaktan \u00e7\u0131kar; d\u00f6n\u00fc\u015f\u00fcm\u00fcn kap\u0131s\u0131 h\u00e2line gelir.<\/p>\n
Bu y\u00fczden irade yaln\u0131zca zincir de\u011fildir; anlam\u0131n da k\u00f6pr\u00fcs\u00fcd\u00fcr. \u00c7aba, ac\u0131n\u0131n k\u00f6r tekrar\u0131na d\u00f6n\u00fc\u015fmek zorunda kalmaz. Yard\u0131m ettik\u00e7e, payla\u015ft\u0131k\u00e7a, dayan\u0131\u015fma i\u00e7inde b\u00fcy\u00fcd\u00fck\u00e7e ba\u015fka bir y\u00f6n kazan\u0131r. \u0130nsan kendi eksikli\u011fini, ba\u015fkas\u0131n\u0131n eksikli\u011fine e\u011fildi\u011finde daha derinden anlar. Varolu\u015fun a\u011f\u0131rl\u0131\u011f\u0131 da orada biraz hafifler.<\/p>\n
Sanat bu noktada ki\u015fisel ac\u0131y\u0131 unutturan bir s\u0131\u011f\u0131naktan daha fazlas\u0131na d\u00f6n\u00fc\u015f\u00fcr. Bir tabloya bakan g\u00f6z, bir \u015fark\u0131y\u0131 dinleyen kulak, yaln\u0131z kendi huzuruna de\u011fil, varl\u0131\u011f\u0131n daha geni\u015f titre\u015fimine de temas eder. Sanat, ka\u00e7\u0131\u015f gibi g\u00f6r\u00fcn\u00fcr; fakat \u00e7o\u011fu zaman insan\u0131 b\u00fct\u00fcne ba\u011flayan sessiz bir ge\u00e7ittir. Kendi ac\u0131m\u0131z\u0131 onda tan\u0131r, ba\u015fkas\u0131n\u0131n ac\u0131s\u0131yla ayn\u0131 ak\u0131\u015fta bulu\u015furuz.<\/p>\n
Schopenhauer umudu \u00e7o\u011fu kez bir yan\u0131lsama olarak g\u00f6rd\u00fc. Ba\u015fka bir bak\u0131\u015f ise umudu, \u00e7aban\u0131n devam\u0131 i\u00e7in gerekli bir i\u00e7 kuvvet sayar. \u0130nsan yaln\u0131z ac\u0131ya katlanmak i\u00e7in ya\u015famaz; ac\u0131dan anlam \u00e7\u0131karma imk\u00e2n\u0131n\u0131 da ta\u015f\u0131r. Entropi, da\u011f\u0131lma ve bilinmezlik bu \u00e7abay\u0131 de\u011fersizle\u015ftirmez. Tersine, onu daha sahici k\u0131lar. \u00c7\u00fcnk\u00fc anlam, haz\u0131r verilmi\u015f bir konfor alan\u0131nda de\u011fil, da\u011f\u0131lmaya kar\u015f\u0131 g\u00f6sterilen bilin\u00e7li gayrette belirir.<\/p>\n
O h\u00e2lde soru yerinde durur: \u0130rade yaln\u0131zca zincir midir, yoksa yarat\u0131c\u0131 bir k\u00f6pr\u00fc m\u00fc? Belki ikisi de do\u011frudur. \u0130rade ac\u0131n\u0131n kayna\u011f\u0131d\u0131r; fakat anlam\u0131n yolunu da a\u00e7ar. \u0130nsan bu yol \u00fczerinde karanl\u0131kla \u0131\u015f\u0131k aras\u0131nda y\u00fcr\u00fcrken kendi y\u00f6n\u00fcn\u00fc bulur. Her arzu onu biraz s\u0131nar, her merhamet onu biraz geni\u015fletir.<\/p>\n
Schopenhauer bize ac\u0131n\u0131n sert hakikatini hat\u0131rlat\u0131r. Merhametle geni\u015fleyen bak\u0131\u015f ise \u00e7aban\u0131n de\u011ferini g\u00f6sterir. \u0130kisi birle\u015fti\u011finde daha sahici bir varolu\u015f resmi belirir: saf karamsarl\u0131k da de\u011fildir, kolayc\u0131 iyimserlik de. \u0130nsan ac\u0131dan \u00f6\u011frenir, merhametle b\u00fcy\u00fcr, d\u00fczenin i\u00e7inde kendi yerini arar. Belki ya\u015fam, bitmeyen isteme ile merhametli anlam\u0131n kesi\u015fti\u011fi o uzun yoldur.<\/p>\n","protected":false},"excerpt":{"rendered":"
Bir odada tek ba\u015f\u0131n\u0131za oturdu\u011funuzu hayal edin. Saat ilerler, g\u00fcn yer de\u011fi\u015ftirir; ama i\u00e7erideki istek susmaz. Sessizli\u011fin ortas\u0131nda bile ba\u015fka bir yer, ba\u015fka bir h\u00e2l, ba\u015fka bir tamamlanma \u00e7a\u011f\u0131r\u0131r insan\u0131. Arthur Schopenhauer bu sesi, evrenin \u00f6z\u00fcndeki \u201cisteme\u201d olarak adland\u0131rd\u0131. Ona g\u00f6re ya\u015fam, arzular\u0131n bitmeyen zinciridir; tatmin ise ac\u0131n\u0131n k\u0131sa bir s\u00fcreli\u011fine geri \u00e7ekilmesinden ba\u015fka bir […]<\/p>\n","protected":false},"author":1,"featured_media":52,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-51","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-varolusculuk"],"_links":{"self":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts\/51","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/comments?post=51"}],"version-history":[{"count":0,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts\/51\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/media\/52"}],"wp:attachment":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/media?parent=51"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/categories?post=51"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/tags?post=51"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}