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CHAPTER 3 – SOME TOPOI IN THE KURTULUŞ EDEBİYATI 
97 
Dinle Neyden 
(Listen from the Ney)
 
(1919) he used both the 
aruz 
and the 
hece
vezni
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. As an exponent of the 
aruz
metre he was praised by Yahya Kemal: 
Bir lübbidur cihanda elezz-i lezaizin,
Her misra-i güzidesi Faruk Nafiz’in 
 
Each select line of Faruk Nafiz
Is a delightful essence in this world. 
His poems were very popular among the younger people of his time. In this period he 
used the 
aruz 
metre and he is thought to be the last in the line of the master poets 
who used the 
aruz
metre (Muallim Naci, Tevfik Fikret, Mehmet Akif, Ahmet Haşim 
and Yahya Kemal) .
Gradually he moved on from love and sentimental poetry to different subjects: he 
dealt with fine descriptions of Istanbul landscape as well as with thoughts and 
feelings common among the poor and suffering people. In this new kind of poetry, he 
skilfully managed to bring some of the beauty of the old poetry into the new one. 
His poem 
Han Duvarları 
is about Anatolia seen through the eyes of a person from 
Istanbul. Anatolia had been the subject of poetry long before 1926, though. Folk 
poetry echoes its landscape and its people. Mehmet Emin, Ziya Gökalp and Mehmet 
Akif had made Anatolia the subject in their poetry, each of them projecting a 
different ideology: Mehmet Emin showing its harshness, its poverty and its 
21
Kurdakul I, 233 

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CHAPTER 3 – SOME TOPOI IN THE KURTULUŞ EDEBİYATI 
98 
abandonment, Mehmet Akif presenting a landscape united by Islam and Ziya Gökalp 
an ideal country based on the ideals of Turan
22
. 
In 
Han Duvarları, 
Faruk Nafiz describes the physical landscape of Anatolia through 
the eyes of a traveller from Istanbul on a horse drawn cart. The poem successfully 
conveys the impression of the vastness, remoteness and geographical variety of 
Anatolia. It consists of 140 lines and is written in the syllabic metre 
hece vezni
of 
folk poetry.
The poet draws a tableau of what he sees and how he feels during the three day long 
journey: the geography of Anatolia, the people of Anatolia and his inner world, his 
own feelings. There is a clear sense of melancholy and nostalgia which increases as 
the cart goes further into Central Anatolia which is presented as a place of 
gurbet
(being far from home, foreign travel, exile).
In this three day long journey the vastness of Anatolia is eloquently presented with 
these lines: 
Nihâyetsiz bir ova ağarttı benzimizi,
Yollar bir şerit gibi ufka bağladı bizi. 
Gurbet beni muttasıl çekiyordu kendine, 
Yol, hep yol, dâimâ yol… bitmiyor düzlük yine. 
 
And its people gathered around the fire at the first stop:
22
Kaplan, 8, rather than reflecting the realities of Anatolia mainstream poets of the prerepublican period 
projected an imaginary landscape reflecting their own ideology. 

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