DILHARÂB (FATMA FAHRÜNNİSA)

Name: DILHARÂB (FATMA FAHRÜNNİSA)
Author: Fatma Fahrünnisa (Tezcan) (b. 31 July 1876- d. 13 January 1969)

Title	DILHARÂB (FATMA FAHRÜNNİSA)
Author	Fatma Fahrünnisa (Tezcan) (b. 31 July 1876- d. 13 January 1969)
Publication Date:	28/07/2022
Subject	Turkish Literature in the Renovation Period - novel
Type	Book
Language	Undetermined
Digital	No
Manuscript	No
Library:	Dictionary of Turkish Literature Works
Record ID	dilharab-fatma-fahrunnisa
Date	14 November 1312/1896 - 22 May 1313/1897
Notes	It is a serialized novel about the unhappy marriage of the cultured and well-mannered Mazlume, who does not want to get married but is forced to have an arranged marriage because of her brother, and questions the duties of the ideal woman and the responsibilities imposed on women through marriage. The serialization start date of this novel, which was serialized in 21 issues in Hanımlara Mahsus Gazete, is 14 October 1312 (1896), the number of periodicals is 88; The serialization end date is 22 May 1313 (1897), the number of periodicals is 113. There is a remarkable introduction at the beginning of the novel, which is divided into 25 chapters. This introduction is like a condensed representation of the female literary public (Altuğ 2017: 12). Educated and literate women who come together in the house of the narrator/female writer in the introduction discuss in detail the function of the novel. In this assembly, where different ideas are respected and women's solidarity comes to the fore, the replacement of detective novels by naturalist novels and the birth of a new novel genre are talked about. It is emphasized that there is no need to translate from other languages because their morals and customs are different from our way of life, instead the importance of writing national works and that there are many local subjects worth writing and describing. Interestingly, the author figure in the introduction is anti-novel on the grounds that it cannot serve the purposes of beautifying morals, reforming and purifying behavior and thoughts, and that it can only create temporary emotions with a limited effect. He thinks that novels bring more harm than good. The female writer, who previously thought that only what men wrote was sufficient, accepted the invalidity of her thought with the convincing ideas and logical evidence of her educated and cultured companions. He states that he is open to being persuaded on reasonable grounds regarding the novel. In the introduction, the effort of a woman (Mazlume) to persuade the narrator/female writer, who wants her to turn her life story into a novel in detail in order to serve as a lesson and example to other women, is also mentioned. Unlike the woman who is unhappy in her marriage, the narrator/writer, who is happily married, does not want to write about a situation that she has not experienced, on the grounds that she cannot properly describe it. At this point, women's writing activities are supported by highlighting women's solidarity and positive suggestions to each other. In the introduction, the birth story of the novel is given. Dilharâb begins by telling about Mazlume's fear of marriage, who thinks that there is no fidelity and fidelity in marriage, based on the books he reads and what he sees around him, and how he finds himself in the preparations for marriage even though he does not want to. Mazlume, the daughter of a distinguished and cultured family, is a girl who is eager to learn and tries to read every book she can spell by spelling when she is only 7 years old. Father Saffet Efendi spares the same attention to his daughters' education as he does for their upbringing, and settles for superficial education. However, he does not hesitate to make any sacrifice in order not to leave his sons lacking in knowledge. Thanks to his ability and determination, Mazlume learns to read on his own. Afterwards, reading books becomes the most important occupation in his life. After the loss of her father, she finds the greatest consolation in reading more. For Mazlume, who thinks that marriage, especially arranged marriage, does not bring happiness to the woman; It means enduring great discomfort, risking a great sacrifice, and most importantly, being deprived of living one's life freely (Kaplan 2021: 82). Mazlume, who is almost afraid of marriage and does not want to get married, is married to Razi, whose brother's approval was given without proper research, on the grounds that she is now of age. However, just as there are serious cultural differences between the two families, the life philosophies and cultural levels of Mazlume and Razi are also quite different from each other. Razi's family wants to marry their son, who is fond of desires and fun, to save him from the disgrace and debauchery he has fallen into. Razi is a corrupt person who is fond of alcohol and women, grew up spoiled, and does not value his family. Just as he is not ready for marriage, he does not have the maturity required to be a wife. Mazlume agrees to this marriage because she has to obey her brother's decision, but her fears come true. Although she is a chaste, respectful, loyal, understanding wife who takes on the responsibilities of marriage, she is despised by Razi and is exposed to the bad behavior of her husband's family. Mazlume, who works as a maid at home while her mother-in-law and sister-in-law are out and about and believes that she can change the behavior of the household with patience and dedication, does not complain about her miserable situation. Razi loves another woman named Güzide. Since he realized that he could not marry her, he married the daughter of a distinguished and wealthy family like Mazlume, out of spite. Razi, whose mind is always on Güzide, does not show love to Mazlume during the marriage, and moreover, he restarts his relationship with Güzide. Mazlume, who cannot feel like she has started a family despite all her dedication in this family she entered as a bride, is taken to her father's house after her mother finds out about the situation. When Razi breaks up with his girlfriend Güzide, he convinces Mazlume to return home again. However, behind this persuasion attempt is a plan to avoid paying dowry to Mazlume. Razi's lack of love and indifference towards Mazlume does not change in the second chance given. Razi leaves Mazlume and marries Güzide. Mazlume goes to Yanya to her relatives to forget her bad days and find solace. There, he learns from a letter he received from a friend that Razi's marriage is not going well. Despite all the pain Razi inflicted on her, Mazlume, who is an idealized example of a woman with her moral beauty as well as her physical beauty, is not happy with this news. He believes that the tortures he experienced in his marriage will turn into a reward in the future. While Roman found peace and satisfaction in the world and cultural environment full of books where he took shelter when he was 17, Mazlume, who turned into a painful woman who had to endure a life of pain and disappointment with the position she took in marriage, wondered who would find those responsible for the persecution of a woman who knew her duties in marriage and had all the feminine virtues by men who were not mature enough for marriage. It ends with a message-laden question about who will compensate mature women for their situation in marriage. In the novel, in which marriage is a fundamental issue, issues such as arranged marriage, the equality of couples to be married, problems caused by cultural differences between families, the responsibilities of women in marriage, perseverance in marriage, the disappointments caused by men who are not ready for marriage, the struggle for hierarchy among women in the family, the pressures on women in marriage are discussed. The novel, written from the dominant perspective of the divine narrator, draws attention with its skillful use of language as well as its narrative techniques. Internal analysis and internal monologue techniques are used in a way that makes the disagreement and conflict between Mazlume and Razi vivid and realistic. Credibility is strengthened by conveying the feelings and thoughts of the novel characters in their own words. Dilharâb is one of the pioneering texts of Turkish literature as it is one of the first texts to use the interior monologue technique. The novel, which has a bookish style (Enginun 2021: 222), represents a transition and progress in our novel history (Kuruhalilo 2018: 311) in terms of the techniques it uses. Sometimes the narrator, who enters into a dialogue with the reader, adopts Mazlume's point of view and appears on her side as a support for the woman in a forced marriage. Dilharâb, which remained serialized and unknown until recently, was brought to light as a product of the project called "History of Serialization Novel in Turkish Literature (1831-1928)". It was published as a book for the first time in November 2017, with the original text transcribed into Latin letters and the simplified text. For the author's biography, see. “Fatma Fahrünnisa”.Turkish Literature Names Dictionary.
ISBN	978-9944-237-87-1
Madde Yazarı	Araş. Gör. Dr. ZEHRA KAPLAN
Alfabesi	Arap
Yapısı	Mensur
Niteliği	Telif
Kaynakça	Altuğ, Fatih (2017). “Deneyim Ve Duygulanım Aktarımı Olarak Roman: Fatma Fahrünnisa’nın Dilharap’ı”.Dilharap.(ed. E. Köroğlu). İstanbul: Koç Üniversitesi Yayınları. 9-18. Coşkun, Betül (2016). “Edebiyat Tarihinde Unutulmuş Bir Kadın Yazar: Ahmet Vefik Paşa’nın Torunu Fatma Fahrünnisa Hanım”. https://www.academia.edu/38787411/Fatma_fahrunnisa_SINN_Hanim [Erişim tarihi: 27.07.2022]. Enginün, İnci (2021). “Tefrika Romanlara Dair.”Zemin Edebiyat Dil ve Kültür Araştırmaları,(1): 220-227. Fatma Fahrünnisa (14 Teşrinisani 1312-22 Mayıs 1313). “Dilharâb”.Hanımlara Mahsus Gazete. nr. 88-113. Fatma Fahrünnisa (2017).Dilharap.(hzl. F. Altuğ ve K. Bayraktar). İstanbul: Koç Üniversitesi Yayınları. Gece, İmren (2014).Hanımlara Mahsus Gazete’de Edebî Faaliyet.Yüksek Lisans Tezi. İstanbul: İstanbul Üniversitesi. Günaydın, Ayşegül Utku (2017).Kadınlık Daima Bir Muamma Osmanlı Kadın Yazarların Romanlarında Modernleşme. İstanbul: Metis Yayınları. http://earsiv.sehir.edu.tr:8080/xmlui/bitstream/handle/11498/18054/001510941006.pdf?sequence=1&isAllowed=y [Erişim tarihi: 27.07.2022] (Fatma Fahrünnisa Hanım. Taha Toros Arşivi). https://eresearch.ozyegin.edu.tr/xmlui/bitstream/handle/10679/5401/Dilharab%20form.pdf?sequence=2&isAllowed=y [Erişim tarihi: 24.07.2022] (Tefrika bilgi formu adresi). Kaplan, Zehra (2021).19. Yüzyıl Türk Romanında Annelik Olgusu (1870-1900). Doktora Tezi. Kayseri: Erciyes Üniversitesi. Kuruhalilo, Kübra (2018). “Fatma Fahrünnisa’nın Dilharap Romanında Ruhsal Boyutun Sunuluş Biçimleri”.Akademik Dil ve Edebiyat Dergisi,2 (3): 298-313. Nerkiz, Ümmühan (2019). “Türk Edebiyatında İlk Kadın Yazarlarımız”.Türk Kültürü Ve Edebiyatında Kadın(ed. Ş. Çağın ve D. Maktal Canko). İzmir: Ege Üniversitesi Yayınları, 15-48. Özen, Güner (1997).Hanımlara Mahsus Bir Gazete Yazarı: Fatma Fahrünnisa. Mezuniyet Tezi. İstanbul: Boğaziçi Üniversitesi. Tapan, Arif (2018). “Mazlume’ye Zulüm Revâ mı?”. https://www.agos.com.tr/tr/yazi/20201/mazlume-ye-zulum-rev-mi [Erişim tarihi: 27.07.2022]. Toska, Zehra (Mart 1999). “Fatma Fahrünnisa Hanım’ı Tanır mısınız?”Gösteri. nr. 209, 32-33. Uraz, Murat (1941).Kadın Muharrirlerimiz II. İstanbul: Tefeyyüz Kitapevi.
Atıf Bilgileri	KAPLAN, ZEHRA. "DILHARÂB (FATMA FAHRÜNNİSA)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/dilharab-fatma-fahrunnisa. [Erişim Tarihi: 25 Ağustos 2025].

View in source Dictionary of Turkish Literature Works

Dictionary of Turkish Literature Works

DILHARÂB (FATMA FAHRÜNNİSA)

Author Fatma Fahrünnisa (Tezcan) (b. 31 July 1876- d. 13 January 1969)

Publication Date 28/07/2022

Subject Turkish Literature in the Renovation Period - novel

Type Book

Language Undetermined

Digital No

Manuscript No

Library Dictionary of Turkish Literature Works

Record ID dilharab-fatma-fahrunnisa

Date 14 November 1312/1896 - 22 May 1313/1897

Notes It is a serialized novel about the unhappy marriage of the cultured and well-mannered Mazlume, who does not want to get married but is forced to have an arranged marriage because of her brother, and questions the duties of the ideal woman and the responsibilities imposed on women through marriage. The serialization start date of this novel, which was serialized in 21 issues in Hanımlara Mahsus Gazete, is 14 October 1312 (1896), the number of periodicals is 88; The serialization end date is 22 May 1313 (1897), the number of periodicals is 113. There is a remarkable introduction at the beginning of the novel, which is divided into 25 chapters. This introduction is like a condensed representation of the female literary public (Altuğ 2017: 12). Educated and literate women who come together in the house of the narrator/female writer in the introduction discuss in detail the function of the novel. In this assembly, where different ideas are respected and women's solidarity comes to the fore, the replacement of detective novels by naturalist novels and the birth of a new novel genre are talked about. It is emphasized that there is no need to translate from other languages because their morals and customs are different from our way of life, instead the importance of writing national works and that there are many local subjects worth writing and describing. Interestingly, the author figure in the introduction is anti-novel on the grounds that it cannot serve the purposes of beautifying morals, reforming and purifying behavior and thoughts, and that it can only create temporary emotions with a limited effect. He thinks that novels bring more harm than good. The female writer, who previously thought that only what men wrote was sufficient, accepted the invalidity of her thought with the convincing ideas and logical evidence of her educated and cultured companions. He states that he is open to being persuaded on reasonable grounds regarding the novel. In the introduction, the effort of a woman (Mazlume) to persuade the narrator/female writer, who wants her to turn her life story into a novel in detail in order to serve as a lesson and example to other women, is also mentioned. Unlike the woman who is unhappy in her marriage, the narrator/writer, who is happily married, does not want to write about a situation that she has not experienced, on the grounds that she cannot properly describe it. At this point, women's writing activities are supported by highlighting women's solidarity and positive suggestions to each other. In the introduction, the birth story of the novel is given. Dilharâb begins by telling about Mazlume's fear of marriage, who thinks that there is no fidelity and fidelity in marriage, based on the books he reads and what he sees around him, and how he finds himself in the preparations for marriage even though he does not want to. Mazlume, the daughter of a distinguished and cultured family, is a girl who is eager to learn and tries to read every book she can spell by spelling when she is only 7 years old. Father Saffet Efendi spares the same attention to his daughters' education as he does for their upbringing, and settles for superficial education. However, he does not hesitate to make any sacrifice in order not to leave his sons lacking in knowledge. Thanks to his ability and determination, Mazlume learns to read on his own. Afterwards, reading books becomes the most important occupation in his life. After the loss of her father, she finds the greatest consolation in reading more. For Mazlume, who thinks that marriage, especially arranged marriage, does not bring happiness to the woman; It means enduring great discomfort, risking a great sacrifice, and most importantly, being deprived of living one's life freely (Kaplan 2021: 82). Mazlume, who is almost afraid of marriage and does not want to get married, is married to Razi, whose brother's approval was given without proper research, on the grounds that she is now of age. However, just as there are serious cultural differences between the two families, the life philosophies and cultural levels of Mazlume and Razi are also quite different from each other. Razi's family wants to marry their son, who is fond of desires and fun, to save him from the disgrace and debauchery he has fallen into. Razi is a corrupt person who is fond of alcohol and women, grew up spoiled, and does not value his family. Just as he is not ready for marriage, he does not have the maturity required to be a wife. Mazlume agrees to this marriage because she has to obey her brother's decision, but her fears come true. Although she is a chaste, respectful, loyal, understanding wife who takes on the responsibilities of marriage, she is despised by Razi and is exposed to the bad behavior of her husband's family. Mazlume, who works as a maid at home while her mother-in-law and sister-in-law are out and about and believes that she can change the behavior of the household with patience and dedication, does not complain about her miserable situation. Razi loves another woman named Güzide. Since he realized that he could not marry her, he married the daughter of a distinguished and wealthy family like Mazlume, out of spite. Razi, whose mind is always on Güzide, does not show love to Mazlume during the marriage, and moreover, he restarts his relationship with Güzide. Mazlume, who cannot feel like she has started a family despite all her dedication in this family she entered as a bride, is taken to her father's house after her mother finds out about the situation. When Razi breaks up with his girlfriend Güzide, he convinces Mazlume to return home again. However, behind this persuasion attempt is a plan to avoid paying dowry to Mazlume. Razi's lack of love and indifference towards Mazlume does not change in the second chance given. Razi leaves Mazlume and marries Güzide. Mazlume goes to Yanya to her relatives to forget her bad days and find solace. There, he learns from a letter he received from a friend that Razi's marriage is not going well. Despite all the pain Razi inflicted on her, Mazlume, who is an idealized example of a woman with her moral beauty as well as her physical beauty, is not happy with this news. He believes that the tortures he experienced in his marriage will turn into a reward in the future. While Roman found peace and satisfaction in the world and cultural environment full of books where he took shelter when he was 17, Mazlume, who turned into a painful woman who had to endure a life of pain and disappointment with the position she took in marriage, wondered who would find those responsible for the persecution of a woman who knew her duties in marriage and had all the feminine virtues by men who were not mature enough for marriage. It ends with a message-laden question about who will compensate mature women for their situation in marriage. In the novel, in which marriage is a fundamental issue, issues such as arranged marriage, the equality of couples to be married, problems caused by cultural differences between families, the responsibilities of women in marriage, perseverance in marriage, the disappointments caused by men who are not ready for marriage, the struggle for hierarchy among women in the family, the pressures on women in marriage are discussed. The novel, written from the dominant perspective of the divine narrator, draws attention with its skillful use of language as well as its narrative techniques. Internal analysis and internal monologue techniques are used in a way that makes the disagreement and conflict between Mazlume and Razi vivid and realistic. Credibility is strengthened by conveying the feelings and thoughts of the novel characters in their own words. Dilharâb is one of the pioneering texts of Turkish literature as it is one of the first texts to use the interior monologue technique. The novel, which has a bookish style (Enginun 2021: 222), represents a transition and progress in our novel history (Kuruhalilo 2018: 311) in terms of the techniques it uses. Sometimes the narrator, who enters into a dialogue with the reader, adopts Mazlume's point of view and appears on her side as a support for the woman in a forced marriage. Dilharâb, which remained serialized and unknown until recently, was brought to light as a product of the project called "History of Serialization Novel in Turkish Literature (1831-1928)". It was published as a book for the first time in November 2017, with the original text transcribed into Latin letters and the simplified text. For the author's biography, see. “Fatma Fahrünnisa”.Turkish Literature Names Dictionary.

ISBN 978-9944-237-87-1

Madde Yazarı Araş. Gör. Dr. ZEHRA KAPLAN

Alfabesi Arap

Yapısı Mensur

Niteliği Telif

Kaynakça Altuğ, Fatih (2017). “Deneyim Ve Duygulanım Aktarımı Olarak Roman: Fatma Fahrünnisa’nın Dilharap’ı”.Dilharap.(ed. E. Köroğlu). İstanbul: Koç Üniversitesi Yayınları. 9-18. Coşkun, Betül (2016). “Edebiyat Tarihinde Unutulmuş Bir Kadın Yazar: Ahmet Vefik Paşa’nın Torunu Fatma Fahrünnisa Hanım”. https://www.academia.edu/38787411/Fatma_fahrunnisa_SINN_Hanim [Erişim tarihi: 27.07.2022]. Enginün, İnci (2021). “Tefrika Romanlara Dair.”Zemin Edebiyat Dil ve Kültür Araştırmaları,(1): 220-227. Fatma Fahrünnisa (14 Teşrinisani 1312-22 Mayıs 1313). “Dilharâb”.Hanımlara Mahsus Gazete. nr. 88-113. Fatma Fahrünnisa (2017).Dilharap.(hzl. F. Altuğ ve K. Bayraktar). İstanbul: Koç Üniversitesi Yayınları. Gece, İmren (2014).Hanımlara Mahsus Gazete’de Edebî Faaliyet.Yüksek Lisans Tezi. İstanbul: İstanbul Üniversitesi. Günaydın, Ayşegül Utku (2017).Kadınlık Daima Bir Muamma Osmanlı Kadın Yazarların Romanlarında Modernleşme. İstanbul: Metis Yayınları. http://earsiv.sehir.edu.tr:8080/xmlui/bitstream/handle/11498/18054/001510941006.pdf?sequence=1&isAllowed=y [Erişim tarihi: 27.07.2022] (Fatma Fahrünnisa Hanım. Taha Toros Arşivi). https://eresearch.ozyegin.edu.tr/xmlui/bitstream/handle/10679/5401/Dilharab%20form.pdf?sequence=2&isAllowed=y [Erişim tarihi: 24.07.2022] (Tefrika bilgi formu adresi). Kaplan, Zehra (2021).19. Yüzyıl Türk Romanında Annelik Olgusu (1870-1900). Doktora Tezi. Kayseri: Erciyes Üniversitesi. Kuruhalilo, Kübra (2018). “Fatma Fahrünnisa’nın Dilharap Romanında Ruhsal Boyutun Sunuluş Biçimleri”.Akademik Dil ve Edebiyat Dergisi,2 (3): 298-313. Nerkiz, Ümmühan (2019). “Türk Edebiyatında İlk Kadın Yazarlarımız”.Türk Kültürü Ve Edebiyatında Kadın(ed. Ş. Çağın ve D. Maktal Canko). İzmir: Ege Üniversitesi Yayınları, 15-48. Özen, Güner (1997).Hanımlara Mahsus Bir Gazete Yazarı: Fatma Fahrünnisa. Mezuniyet Tezi. İstanbul: Boğaziçi Üniversitesi. Tapan, Arif (2018). “Mazlume’ye Zulüm Revâ mı?”. https://www.agos.com.tr/tr/yazi/20201/mazlume-ye-zulum-rev-mi [Erişim tarihi: 27.07.2022]. Toska, Zehra (Mart 1999). “Fatma Fahrünnisa Hanım’ı Tanır mısınız?”Gösteri. nr. 209, 32-33. Uraz, Murat (1941).Kadın Muharrirlerimiz II. İstanbul: Tefeyyüz Kitapevi.

Atıf Bilgileri KAPLAN, ZEHRA. "DILHARÂB (FATMA FAHRÜNNİSA)".Türk Edebiyatı Eserler Sözlüğü,http://tees.yesevi.edu.tr/madde-detay/dilharab-fatma-fahrunnisa. [Erişim Tarihi: 25 Ağustos 2025].