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CHAPTER 4 – HALIDE EDIP AND YAKUP KADRI 
129 
Delacroix’s 
The Massacre of Chios
hanging on the walls of the Louvre which 
showed how the Turks had massacred the Rum. “The value of a composition which 
has been accepted as a national anthem is not only in its art, it is at the same time in 
the historical moment it evokes”, he explains
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.
According to Yakup Kadri, the Unionists had offered some members money or 
teaching positions, even important administrative positions to some others. But 
Ahmet Hâşim, Refik Hâlit and he himself resisted preserving both their material and 
spiritual independence
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. 
Finally a story Yakup Kadri told Hasan-Âli Yücel is indicative of the reception of 
the Fecr-i Âticiler’s literary novelties by the established reading public: one evening 
the door of the room where the Fecr-i Âticiler were having a heated debate burst 
open and Raşit Tahsin, a university professor of nervous diseases at the Faculty of 
Medicine, came in uninvited and introduced himself. Having first confirmed that the 
people in the room were actually the Fecr-i Âticiler, he read two poems aloud: one 
by Celâl Sâhir whom he diagnosed as suffering from mental illness and another by 
Hamdullah Suphi whom he diagnosed as suffering from the dangerous disease of the 
delusional misperception of reality. 
Recalling this incident in 1948, Yakup Kadri finished with a laugh and said that 
Raşit Tahsin had only been reading poems and was only referring to poets… He had 
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Yücel, 60-61 
58
Yücel, 68, 72 

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CHAPTER 4 – HALIDE EDIP AND YAKUP KADRI 
130 
not referred to prose... 
59
Little did either Yakup Kadri or Raşit Tahsin suspect what 
psychoanalytic methods would make of prose in later years
60
.
Yakup Kadri’s Fecr-i Âti period was one phase in the quest of an emerging writer for 
a literary identity which he could not find by following more conventional paths. His 
search would take him shortly afterwards to other innovative approaches such as the 
Nev Yunanîlik
(Neo-Hellenism). Although Yakup Kadri did not share the open 
political commitment of some other writers such as Halide Edip and although the 
literary movements he was close to took a somewhat etherial approach to art he was 
nonetheless not indifferent to social issues and these appear in his writing.
The prose Yakup Kadri published during this period - between 1909 and 1911- 
consisted of short stories which appeared in the following periodicals: 
Şiir ve 
Tefekkür 
(Poetry and Reflection), 
Serveti Fünun 
(Wealth of Sciences), 
Eşref Dergisi
(Auspicious Review). The themes were drawn from personal experience from his life 
in Manisa and Izmir and he used them as a kind of social critique of customs 
prevalent not only in provincial societies but in Istanbul as well. In particular the 
young Yakup Kadri was affected by the 
baskın, 
the unexpected attacks against 
females who were suspected of not conforming with the accepted social morality, 
and he makes it the subject of his first short story with the title ‘Baskın’ which was 
published in 
Şiir ve Tefekkür 
(Poetry and Thought) in (1325) 1909. Women and their 
position in society are central in Yakup Kadri’s work. As will be discussed in the 
59
Yücel, 68-69 
60
Serdar 16-19 

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