Microsoft Word 1 Arif thesis cover final doc

CHAPTER 5 – TWO SHIRTS OF FLAME 
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Azade Seyhan for her part writes
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: 
In the book’s afterward, Selim İleri interprets this device-closure in an 
epilogue told by a third person narrator-as a sign that Edip could not 
resist writing off the unspeakable crimes perpetuated by the invaders as a 
nightmare that was over and would hopefully never reoccur (“Bugüne 
Bir ‘Ateşten Gömlek’” 228). Judging from Edip’s fondness for and 
knowledge of many literary traditions – sufism, Hans Christian 
Andersen’s fairy tales, Shakespeare’s plays, Romanticism – it makes 
sense to read the ending more as a literary ploy in the romance or 
Romantic tradition than as an expression of the author’s intention. In 
fact, this literary sleight of hand, which provides a sense of ambiguity, 
accentuates the poetic tenor of the novel and tempers its melodramatic 
tone.
None of these views seems very convincing. Jale Parla asks us to believe that Halide 
Edip had in the course of the war a certain ambivalence about the National 
movement. This does not seem very consistent with the spirit of 
Vurun Kahpeye 
or 
even 
The Turkish Ordeal. 
Selim İleri, at least as quoted by Azade Seyhan, proposes 
that Halide Edip wants to present the crimes of the Greeks as an episode in a 
hallucination. But 
The Turkish Ordeal
presents them as all too real. Azade Seyhan’s 
own view seems to be a counsel of despair. The ending according to her is just a 
literary “ploy” unconnected with the author’s intention. If so, the “ploy” would have 
an inexplicable literary purpose. It is furthermore obscure how it could accentuate the 
poetic tenor of the novel: would the novel be more or less poetic, if the last half page 
were missing? More promisingly Adnan Binyazar suggests that by her abrupt ending 
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Seyhan 2008, 55 

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