Thales of Miletus was the son of Examyes and Cleobuline. His parents are said by some to be from Miletus but others report that they were Phoenicians. J Longrigg writes in [1]:-
But the majority opinion considered him a true Milesian by descent, and of a distinguished family.
Thales seems to be the first known Greek philosopher, scientist and mathematician although his occupation was that of an engineer. He is believed to have been the teacher of Anaximander (611 BC - 545 BC) and he was the first natural philosopher in the Milesian School. However, none of his writing survives so it is difficult to determine his views or to be certain about his mathematical discoveries. Indeed it is unclear whether he wrote any works at all and if he did they were certainly lost by the time of Aristotle who did not have access to any writings of Thales. On the other hand there are claims that he wrote a book on navigation but these are based on little evidence. In the book on navigation it is suggested that he used the constellation Ursa Minor, which he defined, as an important feature in his navigation techniques. Even if the book is fictitious, it is quite probable that Thales did indeed define the constellation Ursa Minor.
Proclus, the last major Greek philosopher, who lived around 450 AD, wrote:-
[Thales] first went to Egypt and thence introduced this study [geometry] into Greece. He discovered many propositions himself, and instructed his successors in the principles underlying many others, his method of attacking problems had greater generality in some cases and was more in the nature of simple inspection and observation in other cases.
There is a difficulty in writing about Thales and others from a similar period. Although there are numerous references to Thales which would enable us to reconstruct quite a number of details, the sources must be treated with care since it was the habit of the time to credit famous men with discoveries they did not make. Partly this was as a result of the legendary status that men like Thales achieved, and partly it was the result of scientists with relatively little history behind their subjects trying to increase the status of their topic with giving it an historical background.
Certainly Thales was a figure of enormous prestige, being the only philosopher before Socrates to be among the Seven Sages. Plutarch, writing of these Seven Sages, says that (see [8]):-
[Thales] was apparently the only one of these whose wisdom stepped, in speculation, beyond the limits of practical utility, the rest acquired the reputation of wisdom in politics.
This comment by Plutarch should not be seen as saying that Thales did not function as a politician. Indeed he did. He persuaded the separate states of Ionia to form a federation with a capital at Teos. He dissuaded his compatriots from accepting an alliance with Croesus and, as a result, saved the city.
It is reported that Thales predicted an eclipse of the Sun in 585 BC. The cycle of about 19 years for eclipses of the Moon was well known at this time but the cycle for eclipses of the Sun was harder to spot since eclipses were visible at different places on Earth. Thales's prediction of the 585 BC eclipse was probably a guess based on the knowledge that an eclipse around that time was possible. The claims that Thales used the Babylonian saros, a cycle of length 18 years 10 days 8 hours, to predict the eclipse has been shown by Neugebauer to be highly unlikely since Neugebauer shows in [11] that the saros was an invention of Halley. Neugebauer wrote [11]:-
... there exists no cycle for solar eclipses visible at a given place: all modern cycles concern the earth as a whole. No Babylonian theory for predicting a solar eclipse existed at 600 BC, as one can see from the very unsatisfactory situation 400 years later, nor did the Babylonians ever develop any theory which took the influence of geographical latitude into account.
After the eclipse on 28 May, 585 BC Herodotus wrote:-
... day was all of a sudden changed into night. This event had been foretold by Thales, the Milesian, who forewarned the Ionians of it, fixing for it the very year in which it took place. The Medes and Lydians, when they observed the change, ceased fighting, and were alike anxious to have terms of peace agreed on.
Longrigg in [1] even doubts that Thales predicted the eclipse by guessing, writing:-
... a more likely explanation seems to be simply that Thales happened to be the savant around at the time when this striking astronomical phenomenon occurred and the assumption was made that as a savant he must have been able to predict it.
There are several accounts of how Thales measured the height of pyramids. Diogenes Laertius writing in the second century AD quotes Hieronymus, a pupil of Aristotle [6] (or see [8]):-
Hieronymus says that [Thales] even succeeded in measuring the pyramids by observation of the length of their shadow at the moment when our shadows are equal to our own height.
This appears to contain no subtle geometrical knowledge, merely an empirical observation that at the instant when the length of the shadow of one object coincides with its height, then the same will be true for all other objects. A similar statement is made by Pliny (see [8]):-
Thales discovered how to obtain the height of pyramids and all other similar objects, namely, by measuring the shadow of the object at the time when a body and its shadow are equal in length.
Plutarch however recounts the story in a form which, if accurate, would mean that Thales was getting close to the idea of similar triangles:-
... without trouble or the assistance of any instrument [he] merely set up a stick at the extremity of the shadow cast by the pyramid and, having thus made two triangles by the impact of the sun's rays, ... showed that the pyramid has to the stick the same ratio which the shadow [of the pyramid] has to the shadow [of the stick]
Of course Thales could have used these geometrical methods for solving practical problems, having merely observed the properties and having no appreciation of what it means to prove a geometrical theorem. This is in line with the views of Russell who writes of Thales contributions to mathematics in [12]:-
Thales is said to have travelled in Egypt, and to have thence brought to the Greeks the science of geometry. What Egyptians knew of geometry was mainly rules of thumb, and there is no reason to believe that Thales arrived at deductive proofs, such as later Greeks discovered.
On the other hand B L van der Waerden [16] claims that Thales put geometry on a logical footing and was well aware of the notion of proving a geometrical theorem. However, although there is much evidence to suggest that Thales made some fundamental contributions to geometry, it is easy to interpret his contributions in the light of our own knowledge, thereby believing that Thales had a fuller appreciation of geometry than he could possibly have achieved. In many textbooks on the history of mathematics Thales is credited with five theorems of elementary geometry:-
A circle is bisected by any diameter.
The base angles of an isosceles triangle are equal.
The angles between two intersecting straight lines are equal.
Two triangles are congruent if they have two angles and one side equal.
An angle in a semicircle is a right angle.
What is the basis for these claims? Proclus, writing around 450 AD, is the basis for the first four of these claims, in the third and fourth cases quoting the work History of Geometry by Eudemus of Rhodes, who was a pupil of Aristotle, as his source. The History of Geometry by Eudemus is now lost but there is no reason to doubt Proclus. The fifth theorem is believed to be due to Thales because of a passage from Diogenes Laertius book Lives of eminent philosophers written in the second century AD [6]:-
Pamphile says that Thales, who learnt geometry from the Egyptians, was the first to describe on a circle a triangle which shall be right-angled, and that he sacrificed an ox (on the strength of the discovery). Others, however, including Apollodorus the calculator, say that it was Pythagoras.
A deeper examination of the sources, however, shows that, even if they are accurate, we may be crediting Thales with too much. For example Proclus uses a word meaning something closer to 'similar' rather than 'equal- in describing (ii). It is quite likely that Thales did not even have a way of measuring angles so 'equal- angles would have not been a concept he would have understood precisely. He may have claimed no more than "The base angles of an isosceles triangle look similar". The theorem (iv) was attributed to Thales by Eudemus for less than completely convincing reasons. Proclus writes (see [8]):-
[Eudemus] says that the method by which Thales showed how to find the distances of ships from the shore necessarily involves the use of this theorem.
Heath in [8] gives three different methods which Thales might have used to calculate the distance to a ship at sea. The method which he thinks it most likely that Thales used was to have an instrument consisting of two sticks nailed into a cross so that they could be rotated about the nail. An observer then went to the top of a tower, positioned one stick vertically (using say a plumb line) and then rotating the second stick about the nail until it point at the ship. Then the observer rotates the instrument, keeping it fixed and vertical, until the movable stick points at a suitable point on the land. The distance of this point from the base of the tower is equal to the distance to the ship...
Devamı için: http://www-history.mcs.st-andrews.ac.uk/Biographies/Thales.html
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Francis Kett, the mystic, burnt in 1589 for heresy, was a fellow and tutor of his college, and may have had some share in developing Marlowe's opinions in religious matters. Marlowe's classical acquirements were of a kind which was then extremely common, being based for the most part upon a minute acquaintance with Roman mythology, as revealed in Ovid's Metamorphoses. His spirited translation of Ovid's Amores (printed 1596), which was at any rate commenced at Cambridge, does not seem to point to any very intimate acquaintance with the grammar and syntax of the Latin tongue. Before 1587 he seems to have quitted Cambridge for London, where he attached himself to the Lord Admiral's Company of Players, under the leadership of the famed actor Edward Alleyn, and almost at once began writing for the stage.
Of Marlowe's career in London, apart from his four great theatrical successes, we know hardly anything; but he evidently knew Thomas Kyd, who shared his unorthodox opinions. Nash criticized his verse, Greene affected to shudder at his atheism; Gabriel Harvey maligned his memory. On the other hand Marlowe was intimate with the Walsinghams of Scadbury, Chiselhurst, kinsmen of Sir Francis Walsingham: he was also the personal friend of Sir Walter Raleigh, and perhaps of the poetical earl of Oxford, with both of whom, and with such men as Walter Warner and Robert Hughes the mathematicians, Thomas Harriott the notable astronomer, and Matthew Royden, the dramatist is said to have met in free converse. Either this free converse or the licentious character of some of the young dramatist's tirades seems to have sown a suspicion among the strait-laced that his morals left everything to be desired. It is probable enough that this attitude of reprobation drove a man of so exalted a disposition as Marlowe into a more insurgent attitude than he would have otherwise adopted. He seems at any rate to have been associated with what was denounced as Sir Walter Raleigh's school of atheism, and to have dallied with opinions which were then regarded as putting a man outside the pale of civilized humanity.
As the result of some depositions made by Thomas Kyd under the influence of torture, the Privy Council were upon the eve of investigating some serious charges against Marlowe when his career was abruptly and somewhat scandalously terminated. The order had already been issued for his arrest, when he was slain in a quarrel by a man variously named (Archer and Ingram) at Deptford, at the end of May 1593, and he was buried on the 1st of June in the churchyard of St Nicholas at Deptford. The following September Gabriel Harvey referred to him as "dead of the plague." The disgraceful particulars attached to the tragedy of Marlowe in the popular mind would not seem to have appeared until four years later (1597) when Thomas Beard, the Puritan author of The Theatre of God's Judgements, used the death of this playmaker and atheist as one of his warning examples of the vengeance of God. Upon the embellishments of this story, such as that of Francis Meres the critic, in 1598, that Marlowe came to be "stabbed to death by a bawdy servingman, a rival of his in his lewde love," or that of William Vaughan in the Golden Grove of 1600, in which the unfortunate poet's dagger is thrust into his own eye in prevention of his felonious assault upon an innocent man, his guest, it is impossible now to pronounce.
We really do not know the circumstances of Marlowe's death. The probability is he was killed in a brawl, and his atheism must be interpreted not according to the ex parte accusation of one Richard Baines, a professional informer (among the Privy Council records), but as a species of rationalistic antinomianism, dialectic in character, and closely related to the deflection from conventional orthodoxy for which Kett was burnt at Norwich in 1589. A few months before the end of his life there is reason to believe that he transferred his services from the Lord Admiral's to Lord Strange's Company, and may have thus been brought into communication with Shakespeare, who in such plays as Richard II and Richard III owed not a little to the influence of his romantic predecessor.
Marlowe's career as a dramatist lies between the years 1587 and 1593, and the four great plays to which reference has been made were Tamburlaine the Great, an heroic epic in dramatic form divided into two parts of five acts each (1587, printed in 1590); Dr Faustus (1588, entered at Stationers' Hall 1601); The Famous Tragedy of the Rich Jew of Malta (dating perhaps from 1589, acted in 1592, printed in 1633); and Edward the Second (printed 1594). The very first words of Tamburlaine sound the trumpet note of attack in the older order of things dramatic:
| "From jigging veins of riming mother wits And such conceits as clownage keeps in pay We'll lead you to the stately tent of war, Where you shall hear the Scythian Tamburlaine Threatening the world with high astounding terms And scourging kingdoms with his conquering sword." |
It leapt with a bound to a place beside Kyd's Spanish Tragedy, and few plays have been more imitated by rivals (Greene's Alphonsus of Aragon, Peele's Battle of Alcazar) or more keenly satirized by the jealousy and prejudice of out-distanced competitors. With many and heavy faults, there is something of genuine greatness in Tamburlaine the Great; and for two grave reasons it must always be remembered with distinction and mentioned with honour. It is the first play ever written in English blank verse, as distinguished from mere rhymeless decasyllabics; and it contains one of the noblest passages, perhaps indeed the noblest, in the literature of the world, ever written by one of the greatest masters of poetry in loving praise of the glorious delights and sublime submission to the everlasting limits of his art. In its highest and most distinctive qualities, in unfaltering and infallible command of the right note of music and the proper tone of colour for the finest touches of poetic execution, no poet of the most elaborate modern school, working at ease upon every consummate resource of luxurious learning and leisurely refinement, has ever excelled the best and most representative work of a man who had literally no models before him and probably or evidently was often if not always compelled to write against time for his living.
The just and generous judgment passed by Goethe on the Faustus of his English predecessor in tragic treatment of the same subject is somewhat more than sufficient to counterbalance the slighting or the sneering references to that magnificent poem which might have been expected from the ignorance of Byron or the incompetence of Hallam. Of all great poems in dramatic form it is perhaps the most remarkable for absolute singleness of aim and simplicity of construction; yet is it wholly free from all possible imputation of monotony or aridity. Tamburlaine is monotonous in the general roll and flow of its stately and sonorous verse through a noisy wilderness of perpetual bluster and slaughter; but the unity of tone and purpose in Doctor Faustus is not unrelieved by change of manner and variety of incident. The comic scenes, written evidently with as little of labour as of relish, are for the most part scarcely more than transcripts, thrown into the form of dialogue, from a popular prose History of Dr Faustus, and therefore should be set down as little to the discredit as to the credit of the poet. Few masterpieces of any age in any language can stand beside this tragic poem — it has hardly the structure of a play — for the qualities of terror and splendour, for intensity of purpose and sublimity of note. In the vision of Helen, for example, the intense perception of loveliness gives actual sublimity to the sweetness and radiance of mere beauty in the passionate and spontaneous selection of words the most choice and perfect; and in like manner the sublimity of simplicity in Marlowe's conception and expression of the agonies endured by Faustus under the immediate imminence of his doom gives the highest note of beauty, the quality of absolute fitness and propriety, to the sheer straightforwardness of speech in which his agonizing horror finds vent ever more and more terrible from the first to the last equally beautiful and fearful verse of that tremendous monologue which has no parallel in all the range of tragedy.
It is now a commonplace of criticism to observe and regret the decline of power and interest after the opening acts of The Jew of Malta. This decline is undeniable, though even the latter part of the play (the text of which is very corrupt) is not wanting in rough energy; but the first two acts would be sufficient foundation for the durable fame of a dramatic poet. In the blank verse of Milton alone — who perhaps was hardly less indebted than Shakespeare was before him to Marlowe as the first English master of word-music in its grander forms — has the glory or the melody of passages in the opening soliloquy of Barabbas been possibly surpassed. The figure of the hero before it degenerates into caricature is as finely touched as the poetic execution is excellent; and the rude and rapid sketches of the minor characters show at least some vigour and vivacity of touch.
In Edward the Second the interest rises and the execution improves as visibly and as greatly with the course of the advancing story as they decline in The Jew of Malta. The scene of the king's deposition at Kenilworth is almost as much finer in tragic effect and poetic quality as it is shorter and less elaborate than the corresponding scene in Shakespeare's King Richard II. The terror of the death-scene undoubtedly rises into horror; but this horror is with skilful simplicity of treatment preserved from passing into disgust. In pure poetry, in sublime and splendid imagination, this tragedy is excelled by Doctor Faustus; in dramatic power and positive impression of natural effect it is certainly the masterpiece of Marlowe. It was almost inevitable, in the hands of any poet but Shakespeare, that none of the characters represented should be capable of securing or even exciting any finer sympathy or more serious interest than attends on the mere evolution of successive events or the mere display of emotions (except always in the great scene of the deposition) rather animal than spiritual in their expression of rage or tenderness or suffering. The exact balance of mutual effect, the final note of scenic harmony, between ideal conception and realistic execution is not yet struck with perfect accuracy of touch and security of hand; but on this point also Marlowe has here come nearer by many degrees to Shakespeare than any of his other predecessors have ever come near to Marlowe.
Of The Massacre at Paris (acted in 1593, printed 1600?) it is impossible to judge fairly from the garbled fragment of its genuine text which is all that has come down to us. To Mr. Collier, among numberless other obligations, we owe the discovery of a noble passage excised in the piratical edition which gives us the only version extant of this unlucky play, and which, it must be allowed, contains nothing of quite equal value. This is obviously an occasional and polemical work, and being as it is overcharged with the anti-Catholic passion of the time has a typical quality which gives it some empirical significance and interest. That antipapal ardour is indeed the only note of unity in a rough and ragged chronicle which shambles and stumbles onward from the death of Queen Jeanne of Navarre to the murder of the last Valois. It is possible to conjecture, what it would be fruitless to affirm, that it gave a hint in the next century to Nathaniel Lee for his far superior and really admirable tragedy on the same subject, issued ninety-seven years after the death of Marlowe.
In the tragedy of Dido Queen of Carthage (completed by Thomas Nash, produced and printed 1594), a servile fidelity to the text of Virgil's narrative has naturally resulted in the failure which might have been expected from an attempt at once to transcribe what is essentially inimitable and to reproduce it under the hopelessly alien conditions of dramatic adaptation. The one really noble passage in a generally feeble and incomposite piece of work is, however, uninspired by the unattainable model to which the dramatists have been only too obsequious in their subservience. It is as nearly certain as anything can be which depends chiefly upon cumulative and collateral evidence that the better part of what is best in the serious scenes of King Henry VI is mainly the work of Marlowe. That he is at any rate the principal author of the second and third plays passing under that name among the works of Shakespeare, but first and imperfectly printed as The Contention between the two Famous Houses of York and Lancaster, can hardly be now a matter of debate among competent judges. The crucial difficulty of criticism in this matter is to determine, if indeed we should not rather say to conjecture, the authorship of the humorous scenes in prose, showing as they generally do a power of comparatively high and pure comic realism to which nothing in the acknowledged works of any pre-Shakespearian dramatist is even remotely comparable. Yet, especially in the original text of these scenes as they stand unpurified by the ultimate revision of Shakespeare or his editors, there are tones and touches which recall rather the clownish horseplay and homely ribaldry of his predecessors than anything in the lighter interludes of his very earliest plays. We find the same sort of thing which we find in their writings, only better done than they usually do it, rather than such work as Shakespeare's a little worse done than usual. And even in the final text of the tragic or metrical scenes the highest note struck is always, with one magnificent and unquestionable exception, rather in the key of Marlowe at his best than of Shakespeare while yet in great measure his disciple...
Devamı için: http://www.luminarium.org/renlit/marlowebio.htm
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1
sokaktayım, kimsesiz bir sokak ortasında;
yürüyorum, arkama bakmadan yürüyorum.
yolumun karanlığa saplanan noktasında,
sanki beni bekleyen bir hayal görüyorum.
kara gökler kül rengi bulutlarla kapanık;
evlerin bacasını kolluyor yıldırımlar.
in cin uykuda, yalnız iki yoldaş uyanık;
biri benim, biri de serseri kaldırımlar.
içimde damla damla bir korku birikiyor;
sanıyorum, her sokak başını kesmiş devler...
üstüme camlarını, hep simsiyah, dikiyor;
gözüne mil çekilmiş bir ama gibi evler.
kaldırımlar, çilekeş yalnızların annesi;
kaldırımlar, içimde yaşamış bir insandır.
kaldırımlar, duyulur, ses kesilince sesi;
kaldırımlar, içimde kıvrılan bir lisandır.
bana düşmez can vermek, yumuşak bir kucakta;
ben bu kaldırımların emzirdiği çocuğum!
aman, sabah olmasın, bu karanlık sokakta;
bu karanlık sabahta bitmesin yolculuğum!
ben gideyim, yol gitsin, ben gideyim, yol gitsin;
iki yanımdan, bir sel gibi fenerler.
tak, tak ayak sesimi aç köpekler işitsin;
yolumun zafer takı, gölgeden taş kemerler.
ne sabahı göreyim, ne sabah görüneyim;
gündüzler size kalsın, verin karanlıkları!
ıslak bir yorgan gibi sımsıkı bürüneyim;
örtün, üstüme örtün, serin karanlıkları.
uzanıverse gövdem, taşlara boydan boya;
alsa buz gibi taşlar alnımdan bu ateşi.
dalıp, sokaklar kadar esrarlı bir uykuya,
ölse, kaldırımların kara sevdalı eşi...
Necip Fazıl, Çile, sf. 156, 157
.
M(x,y)dx+N(x,y)dy=0
(t=x değişkeni için M(t,y)dt+N(t,y)dy=0)
şeklindeki bir diferansiyel denklem
f(x)dx +ϕ(y) dy=0
şekline dönüştürülebiliyorsa ‘değişkenlere ayrılabilir tipte diferansiyel denklem’ adını alır.
f(x)dx +ϕ(y) dy=0 denkleminin her terimi yalnız bir değişken ve bu değişkenin
diferansiyelini içerdiğinden terim terim integral alınabilir. Bu durumda
∫ f (x)dx + ∫ϕ ( y)dy = c
F(x) + φ(y)=c
çözümü elde edilir.
http://www.karto.itu.edu.tr/derslerimiz/diferansiyel/index.htm.M(x,y) için a skaler olmak üzere M(ax,ay)=ar M(x,y) bu fonksiyona ‘‘r inci dereceden
homojen bir fonksiyondur’’ denir.
Eğer M(x,y) ile N(x,y) aynı mertebeden homojen fonksiyonlarsa buna ‘‘homojen 1.
mertebeden diferansiyel denklem ’’denir. y=vx dönüşümü bu denklemi değişkenlere
ayrılabilir hale getirir.
Eğer dy/dx=y’=f(x,y) şeklindeki bir diferansiyel denklemde f fonksiyonu sadece x’e
veya sadece y’e değil de, onların x/y veya y/x oranlarına bağlı ise bu diferansiyel
denklem homojendir denir ve
dy/dx=F(y/x) şeklinde tanımlanır.
(Ekleme: Son kısımda sadece biçimsel olarak değişiklik yapmak zorunda kaldım. Bölüm işaretini yatay konumdan çapraz konuma getirerek)
http://www.karto.itu.edu.tr/derslerimiz/diferansiyel/index.htm
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"...Uzay uçuşları bilimsel buluşlar bakımından son derece zengin
sonuçlar vermektedir; karşımıza yepyeni ve umulmadık olguları çıkarmış
ve doğal olarak beğeniyle karşılanmışlardır. Ancak her uçuş tehlike
unsurunu da içerir. Şimdilik her uçuş deney uçuşu niteliğindedir ve
başarı yüzde yüz güvenceli değildir. Britanya Jodrell Radyo-Teleskop
Bankası Yöneticisi Profesör Sir Bernard Lovell uzay uçuşlarında
karşılaşılacak tehlikeleri ustaca anlatmıştır. "Karşılaşılan tehlike
yepyeni, şimdiye kadar görülmemiş ölçüde bir cesareti gerektirecek
büyüklükteydi. Ruslar ve Amerikalılar" diye sürdürüyordu Lovell "bu
yeni cesaret örneğini göstermektedirler, ancak Dünya çevresinde
yörüngeye girmenin tehlikesi ne denli büyük olursa olsun Ay a iniş
yapıp ardından Dünya ya dönmenin riski hesaplanamayacak ölçüde
büyüktür..."
(Psychology and Space, sf. 108,109)
Kuşkusuz bir cesaret işidir ilk başta Astronot olmak. Bunların
eğitimleri, alışma zamanı, irade gücü, psikolojik bakımdan bunu
kaldırıp kaldıramayacağı gibi faktörler de önemli. Çünkü insan
bilmediği, hakkında en ufak bile fikri olmadığı yere heyecanla ve de
bunun yanında korkuyla bakar. Korku ve heyecanın birarada bulunduğu
buna benzer şey pek sık görünür bir şey değildir.
Yuri Gagarin tam da başlıktaki gibi Dünya'nın kendince küçülüşüne, onu
izleyenler için de onun aracının yok olmasına tanıklık etmeden önce
röportaj vermiştir. Tarihin ilk yörünge uçuşunu gerçekleştiren Yuri
Gagarin, bu görevin kendisine verilmesinden dolayı büyük bir mutluluk
duymuştu. Hareketten az önce verdiği demeçte şunları söylüyordu:
"...Bildik bilmedik tüm sevgili dostlar, yurttaşlar, tüm ülkelerin ve
kıtaların halkları! Birkaç dakikaya kadar güçlü bir uzay gemisi beni
evrenin uzaklarına taşıyacak. Size hareketten önceki şu birkaç
dakikada ne söyleyebilirim ki? Tüm yaşamım gözlerime tek bir güzellik
anı gibi görünüyor. Şimdiye değin yaptığım, yaşadığım her şey, bu an
için yapılmış ve yaşanmıştı. O denli uzun süre ve coşkuyla
hazırlandığımız deneme saati bu kadar yaklaşmışken duygularımı tahlil
etmenin benim için ne zor olduğunu anlıyorsunuzdur. Benden tarihin ilk
uzay uçuşunu gerçekleştirmem istendiği anda duyduklarımı aktarabilmek
zor. Sevinç miydi? Hayır, yalnızca sevinç değil. Gurur? Hayır yalnızca
gurur da değil. Sonsuz bir mutluluk duydum. Uzaydaki ilk insan olmak,
doğayla şimdiye değin hiç kimsenin yapmadığı şekilde ve tek başına
yüzyüze gelmek daha fazlasını düşleyebilir miydim?... Uzay uçuşuna
çıkmak üzere olduğum şu anda mutlu muyum? Tabii mutluyum. Gerçekten de
insanoğlu her çağda ve her yerde büyük keşiflere katılmaktan büyük
mutluluk duymuştur..."
(Psychology and Space, sf. 115)
Gökyüzüne baktıkça ve karanlığın içinden parlayan yıldızları gördükçe
orada olmamayı istemek gibi bir duygu kalmıyor sanki insanda. Yuri
Gagarin bir ilkti. Aslında şöyle söylemek daha doğru: Dönen ilk
canlıydı/insandı. Uçuş tarihinin arka geri sayfalarına bakıldığında
giden canlılar, köpek, fare. Challenger Uzay Mekiği'nin ihmallerden
dolayı gökyüzünde patlaması:
"...27 Ocak 1986 günü Challenger Uzay Mekiği nin fırlatılışı için tüm
dünyanın gözü Florida daki NASA üssüne çevrilmişti. Mürettebatta
bulunan 37 yaşındaki öğretmen Christa McAuliffe, uzaya çıkan ilk sivil
olabilmek için 11 bin adayı geride bırakmıştı. Bu sayede toplumun
Amerikan Uzay Programı’na karşı azalan ilgisini yeniden canlandırmayı
uman NASA, Challenger Uzay Mekiği projesinin ‘Uzayda Bir Öğretmen’
sloganıyla manşetlerde yer almasından son derece memnundu.
Önceden birkaç kez ertelenen fırlatışın medyanın da büyük ilgisi
yüzünden artık gerçekleşmesi gerekiyordu. Beklenmedik soğuk havanın
bir takım komplikasyonlar doğurmasından endişe edilse de Görev Kontrol
Merkezi sorun çıkmayacağı konusunda iyimserdi. Oysa ki NASA için
teçhizat üreten firmalardan en büyüğü olan Utah daki Morton Thiokol da
toplanan Mühendis Roger Boisjoly ve meslektaşları mekiğin mevcut
koşullarda fırlatılmasının bir faciayla sonuçlanabileceğinden korkarak
NASA’yla kontakt kurmuş ve fırlatışın ertelenmesi gerektiğini dile
getirmişti..."
http://www.ntvmsnbc.com/news/459837.asp
İşte bu olay iyi açıklıyor. Bir insanın tehlike karşısındaki
gözüpekliğini. Yedi Astronot ABD'nin kendi iç politikasından
kaynaklanan ihmal nedeniyle gökyüzünde hiçliğe adım attılar zamanında.
İşte asıl söylemek istediğim uzaya ilk çıkan canlının Yuri Gagarin
değil, ilk dönebilmeyi başaranın o olduğudur. Ancak tabii ki bu
Challenger faciasını alamayız çünkü bu olurken Gagarin ölmüştü bile.
Ancak çok daha eskilerden, roketin daha henüz geliştirilemediği
dönemlerde ve ondan da önce gerek paraşütlerle gerekse de Dünya dan
kurtulabilecek kadar ivmelenme gücüne sahip olmayan roketlerle
insanlar denemeler yapmışlardır. Ne olmuştur o zaman? Gökyüzünde,
atmosferde ya da düşerek ölmüşlerdir. Bu da o zamanlar insanın doğa
karşısındaki acizliğini ortaya koymaktadır. Doğa insana üstün
gelmiştir. İnsan bu yönüyle eksik kalmıştır, tam değildir, değil
kusursuz kusursuza yakın bile değildir o zaman. Şimdi ise bir yandaki
Mars a ya da bize en yakın olan uydumuz Ay a gitmiştir, ayak
basmıştır, ama bu hala bir eksikliktir. Evet dünya belki gözümüzde
küçülüyor uzaklaştıkça ama yok olacak kadar uzaklaşılmadı bugüne
kadar, dış gezegenlere ve bunun da yanında Samanyolu Galaksisi nin
dışına çıkamadı, Andromeda ya gidemedi.
Sonuç olarak her defasında daha uzağa gidildi, daha ıssız olanına daha
karanlığına. Ama hiçbir zaman Dünya yı bir hiç olarak görecek kadar
uzaklaşılamadı, küçüldü ama yok olmadı...
.
GÜNLER
Günler nehir gibi akmıyor. Nehrin serinliği var, sularında yıkanabilirsiniz, gümüş pullu balıklar yaşar koynunda nehrin... Hayata zincirliyiz kollarımızdan, zaaflarımızdan çiviliyiz.
Ve günler, çehrelerinde kamçıdan sert bir istihza. Ve günler, bakışlarında hançer... birer birer geçiyor önümüzden. Kimi suratımıza tükürüyor durup, kimi tokatlıyor bizi. Kim çözecek ellerimizi Tanrım? Kim çözecek?... Günler kükreyerek geçen canavarlara benziyor, uluyarak geçen canavarlara... Gök karanlık, kulaklarımızda acı bir nâra...
Nehre benzemez günler Heraklit! Yanan alnımızı serinletir kardeş suları nehrin. Nehir bir gözyaşıdır, bize ağlayan. Nehir bir busedir. Nehrin sularında gök var, altın yıldızlarıyla gök.
Neden azgın rüzgârların önüne kattığı kumlara benzetmedin günlerin geçişini, neden dökülen yapraklara benzetmedin, eriyen kara benzetmedin Koca Hafız! Günler belki de önünüzden şuh birer kadın gibi göz süzerek geçiyordu. Bir an serin bir rüzgâr gibi dostça dolaşıyordu yanan alnınızda parmakları. Günler birer arı, siz kovandınız. Belki zaman zaman yandınız alevden dudaklarıyla, ama aydınlandınız, aydınlattınız... Günler belki dilber zaman zaman, belki o canavarlar kafilesinden sonra bir Meryem, bir Mesalina. Ama zincirli ellerin, koparsan da zincirlerini, günlerin saçını okşayamazsın, kadın sandığın canavarlaşır birden, Meryem ifritleşir, Mesalina ısırır parmaklarını zavallı dostum! Çok çok, yırtılan entarilerinden birer parça kalır avuçlarında...
Korkuyorum günlerden, korkuyorum. Uçsuz bucaksız bir uçurum günler, anlamıyorum söylediklerini. Dört nala giden azgın bir atın yelelerini sarılmışız bir elimizle, yarların arasından geçiyoruz... ve tarlalarda başaklar, şiirin başakları; mânânın başakları... Yoluyoruz yolabildiğimiz kadar. Yazık ki dikenle başak yan yana ve avuçlarımızda, bir avuç diken, bir avuç ısırgan!
Günler birer kelebek belki. Ama ellerine konmuyorlar ki bilesin ve bir ânda tozlaşan o çiçekleri hatıraların defterine gözyaşlarınla iğneleyesin! Günler birer kuş belki de. Neden
saçlarına konmuyorlar? Kanatları birer el gibi dokunsa alnına ne olur?
Günler senden birer parça götüren haramiler, kırk haramiler, kırk bin haramiler. Günler sam yeli, sen çöl, sen kumdan bir tepecik. Günler yaramaz birer çocuk, sen çerden çöpten kurdukları bir evcik... Günler geçiyorlar, geçtiler... Her biri bir parçanı kopardı, koparacak... Onlardan sana ne kaldı? Hiç. Senden onlara şarkıların kalacak. Ne şarkıları?
Günler bir akbaba, çelikten gagası bu akbabanın ciğerlerine kadar saplanmıyor ki avaz avaz bağırasın, ışık olsun çığlığın, fırtına olsun, baykuş olsun, kurt olsun... Çelikten gagası akbabanın alnında dolaşıyor biteviye. Muhteşem değil ıstırabın, parlak değil... Günler bir akbaba ama gagaları çelikten değil ve sen Kaflara değil, karanlıklara zincirlisin. Karanlık demek adem demek, adem yani mutlak, yani Tanrı, yani sükut. Adem şarkı söyler mi ahmak!
Günleri saçlarından yakalayacaksın, canavar, bir genç kız oluverecek. Gözlerinin içine bakacaksın günlerin. Birer ağaç gibi meyve verecek günler. Günler kısır değil, kısır olan sensin. Günler erkeğin karşısında diz çöker... İhtiyar Homer'in yaralı ayaklarını lepiska saçları ile okşayan onlar değil mi? Hâlâ donuk göz bebekleri ihtiyar Homer'in, onlar için kutsal birer ateş...
Seni denemek istiyor günler, dostum. Onlar birer masal sfenksi, büyülerini çözdün mü perileşirler, akbaba güvercinleşir, yardan yara atlayan kızgın küheylan, seni Himalaya'ya, Olemp'e kanatlandırır. Senin Himalaya'da işin ne? İstemiyorsun, günleri kelimeleştirmek istemiyorsun. Mezarlaşan saatleri hayata kavuşturmak, ölüleri diriltmek belki elinde, ne biliyorsun. Belki kader bütün oklarını bunun için saplıyor kalbine. İstiyor ki, oradan akan kan günlere dokunarak ebedileştirsin onları... Kan ve gözyaşı: simyagerlerin aradığı felsefe taşı.
23.1.1963
(C. Meriç, Jurnal Cilt 1, sf. 73-75)
http://jimithekewl.blogspot.com/2008/08/francis-bacon-seme-aforizmalar.html
Detay için tıklayınız...
http://bacon.blogcu.com/francis-bacon-secme-aforizmalar_22494431.html
PARANOID
Finished with my woman cause she couldnt help me with my mind
People think Im insane because I am browning all the time
All day long I think of things but nothing seems to satisfy
Think Ill lose my mind if I dont find something to pacify
Can you help me thought you were my friend
Whoah yeah
I need someone to show me the things in life that I cant find
I cant see the things that make true happiness, I must be blind
Make a joke and I will sigh and you will laugh and I will cry
Happiness I cannot feel and love to me is so unreal
And so as you hear these words telling you now of my state
I tell you to enjoy life I wish I could but its too late
http://www.lyricsfreak.com/b/black+sabbath/paranoid_20019415.html
BLACK SABBATH
What is this that stands before me?
Figure in black which points at me
Turn around quick and start to run
Find out I'm the chosen one, oh nooo!
Big black shape with eyes of fire
Telling people their desire
Satan's sitting there, he's smiling
Watches those flames get higher and higher
Oh no, no, please God help me!
Is it the end, my friend?
Satan's coming 'round the bend
People running 'cause they're scared
The people better go and beware!
No, no, please, no!
http://www.lyricsmode.com/lyrics/b/black_sabbath/black_sabbath.html
My name it means nothing
My fortune is less
My future is shrouded in dark wilderness
Sunshine is far away, clouds linger on
Everything I posessed - Now they are gone
Oh where can I go to and what can I do?
Nothing can please me only thoughts are of you
You just laughed when I begged you to stay
I've not stopped crying since you went away
The world is a lonely place - you're on your own
Guess I will go home - sit down and moan
Crying and thinking is all that I do
Memories I have remind me of you
http://www.lyricsmode.com/lyrics/b/black_sabbath/solitude.html
BORN TO LOSE
I'll play your game
But if you lose you're gonna have to
Pay the price
Broken chains, like a prisoner free at last
The fear inside just up and died
Time will tell if I am wrong
It won't be too long
You think I'm chasing shadows
In the dark
Well I'm not born to lose
You curse my name, as you turn and
Walk away, from view
It won't be too long
You don't scare me 'cos you're
Hard to see and it's time
That you were gone
It won't be too long
You think I'm chasing shadows
In the dark
Well I'm not born to lose
You think I'm chasing shadows
In the dark
What you gonna do about it now
What you gonna do about it now
It won't be too long
It won't be too long
It won't be too long
You think I'm chasing shadows
In the dark
What you gonna do about it now
What you gonna do about it now
Ain't nothing I can do about it now
BLACK MOON
Oh the Devil is rising with the moon
He cries and my blood runs cold
Oh no never was the darkness so black,
No light and nowhere to go
My spirit is crying for a love
So tired of being alone
I remember He came here to steal,
And You are His stealer of souls
I see a Black Moon rising, and it's calling out my name
Oh it's calling my name
I've been blinded, lost and confused,
Darkness will call me no more
Heaven is no friend of mine,
No god ever knocked on my door
I see a Black Moon rising, and it's calling out my name
It's calling out my name, it's calling
I see a Black Moon rising, and it's calling out my name
Oh, it's calling
I'm standing on the dark side of time
Reaching for the power of Her hand
She's weaving an unholy light
And calls from Lucifer's land
I see a Black Moon rising, and it's calling out my name
An angel of Hell is rising, heaven's no friend of mine
I see a Black Moon rising, and it's calling out my name
I see a Black Moon rising, and it causes so much pain
An angel of Hell is rising, heaven's no friend of mine
I see a Black Moon rising, and it's calling out my name
It's calling my name, this spirit's crying for love
Heaven's no friend of mine
http://www.lyricsmode.com/lyrics/b/black_sabbath/black_moon.html
ZERO THE HERO
Accept the fact that you're second rate, life is easy for you
It's all served up on a gold plated plate
And we don't even have to talk to you
Your face is normal, that's the way you're bred
And that's the way you're going to stay
Your head is firmly nailed to your TV channel
But someone else's finger's on the control panel
What you gonna be, what you gonna be brother
Zero the Hero
Don't you wanna be, don't you wanna be brother
Zero the Hero
When you gonna be, when you gonna be brother
Zero the Hero
Impossibility impissibolity mother
We'll need a Hero
You sit there watch it all burn down
It's easy and breezy for you
You play your life to a different sound
No edge no edge you got no knife have you
Your life is a six-lane highway to nowhere
You're going so fast you're never ever gonna get down there
Where the heroes sit by the river
With a magic in their music as they eat raw liver
What you gonna be, what you gonna be brother
Zero the Hero
Don't you wanna be, don't you wanna be brother
Zero the Hero
When you gonna be, when you gonna be brother
Zero the Hero
Impossibility impissibolity mother
We'll need a Hero
You stand there captain and we all look, you really are mediocre
You are the champion in the Acme form book
But I think you're just a joker
Your facedown life ain't so much of a pity
But the luv-a-duckin' way you're walkin' around the city
With your balls and your head full of nothing
It's easy for you sucker but you really need stuffing
What you gonna be, what you gonna be brother
Zero the Hero
Don't you wanna be, don't you wanna be brother
Zero the Hero
When you gonna be, when you gonna be brother
Zero the Hero
Impossibility impissibolity mother
We'll need a Hero
DIE YOUNG
Though the wind won't help you fly at all
Your back's to the wall
Then chain the sun
And then it turns around and face you
As you run, you run, you run!
Behind a smile
There's danger and a promise to be told
You'll never get old
Life's fantasy
To be locked away and still to think you're free
You're free
You're free!
So live for today
Tomorrow never comes
Die young, die young
Can't you see the writing in the air?
Die young, gonna die young
Someone stopped the fair
Gather the wind
Though the wind won't help you fly at all
Your back's to the wall
Then chain the sun
And then it turns around and face you
As you run, you run, you run!
So live for today
Tomorrow never comes
Die young, young
Die young, die young
Die young, die young, young
Die young (x7)
http://www.lyricsmode.com/lyrics/b/black_sabbath/die_young.html
DIRTY WOMEN
The neon lights are shining on me again
I walk the lonely streets in search of a friend
I need a lady to help me to get through the night, through the night
If I could find one then everything would be alright
The sleepy city is dreaming the night time away
Out on the streets I watch tomorrow becoming today
I see a man, he's got take away women for sale, yes for sale
Guess that's the answer
'Cos take away women don't fail
Oh dirty women, they don't mess around
Oh dirty women, they don't mess around
You've got me coming
You've got me going around
Oh dirty women, they don't mess around
Walking the streets I wonder will it ever happen
Gotta be good 'cause then everything will be o.k.
If I could score tonight then I will end up happy
A woman for sale is gonna help me save my day
PLANET CARAVAN
Stars shine like eyes
The black night sighs
The moon in silver trees
Falls down in tears
Light of the night
The earth, a purple blaze
Of sapphire haze in orbital ways
While down below the trees
Bathed in cool breeze
Silver starlight breaks dawn from night
And so we pass on by
The crimson eye of great god Mars
As we travel the universe
SABBATH BLOODY SABBATH
You know you had to learn
The execution of your mind
You really had to turn
The race is run the book is read
The end begins to show
The truth is out, the lies are old
But you don't want to know
Nobody will ever let you know
When you ask the reasons why
They just tell you that you're on your own
Fill your head all full of lies
The people who have crippled you
You want to see them burn
The gates of life have closed on you
And there's just no return
You're wishing that the hands of doom
Could take your mind away
And you don't care if you don't see again
The light of day
Nobody will ever let you know
When you ask the reasons why
They just tell you that you're on your own
Fill your head all full of lies
Where can you run to
What more can you do
No more tomorrow
Life is killing you
Dreams turn to nightmares
Heaven turns to hell
Burned out confusion
Nothing more to tell
Everything around you
What's it coming to
God knows as your dog knows
Bog blast all of you
Sabbath, Bloody Sabbath
Nothing more to do
Living just for dying
Dying just for you
WAR PIGS
Just like witches at black masses
Evil minds that plot destruction
Sorcerers of death's construction
In the fields the bodies burning
As the war machine keeps turning
Death and hatred to mankind
Poisoning their brainwashed minds
Oh lord yeah!
Politicians hide themselves away
They only started the war
Why should they go out to fight?
They leave that role to the poor
Time will tell on their power minds
Making war just for fun
Treating people just like pawns in chess
Wait 'til their judgement day comes
Yeah!
Now in darkness world stops turning
Ashes where the bodies burning
No more war pigs have the power
Hand of God has struck the hour
Day of judgement, God is calling
On their knees the war pig's crawling
Begging mercy for their sins
Satan laughing spreads his wings
Oh lord yeah!
http://www.lyricsmode.com/lyrics/b/black_sabbath/war_pigs.html
WICKED WORLD
Fighting going on between the human race
People got to work just to earn their bread
While people just across the sea are counting their dead
A politician's job they say is very high
'Cos he has to choose who's got to go and die
They can put a man on the moon quite easy
While people here on earth are dying of old diseases
A woman goes to work every day after day
She just goes to work just to earn her pay
Child sitting crying by a life that's harder
He doesn't even know who is his father
http://www.lyricsmode.com/lyrics/b/black_sabbath/wicked_world.html
GYPSY
Fatalistic ships froma distant shore
In the back of my mind I could see she was standing there
Like the feeling you have
When you've been there before
She was a gypsy woman
She was as cold as the day, yeah
She said I'd got it coming
And then she took me away, yeah
She took me through the shadows of her sunken dream
I thought it's over me, she wasn't all she seemed
She took my hand and then she started to speak
She told me she'd had the call
With eyes of fire that were burning my soul
She looked into her crystal ball
She read my fortune then she read my mind
She didn't like my thoughts at all
She showed me shadows, a spectre of life
My soul just wanted to scream
She stared so deeply into my eyes
That's when I fell into a dream
When I awoke in bed she lay beside me
And she read me with her eyes, she said
So you wanna be a gypsy, come on now
So you wanna be a gypsy, come on now, now, now
Gypsy woman you're the devil in drag
You are the queen of all hell
You took my body,now you're wasting my soul
You've got me under your spell
And as the sun shines on another day
You're gonna take my mind as well,it's over
So you wanna be a gypsy, come on now
So you wanna be a gypsy, come on now
So you wanna be a gypsy, come on now
So you wanna be a gypsy
http://www.lyricsmode.com/lyrics/b/black_sabbath/gypsy.html
I
I am anger
Under pressure
Lost it cages
A prisoner
The first to escape
I am wicked
I am legion
Strength in numbers
A lie
The number is one
I - I - I
Everything that I see is for me
Yes, I am giant
I'm a monster
Breaking windows
In houses
Buildings of glass
Rebel rebel
Holy outlaw
Ride together
Don't try it
The power's in one
I - I - I
I am standing alone
But I can rock you
I - I - I
On the edge of the blade
But the knife can't cut the hero down
I am virgin
I'm a whore
Giving nothing
The taker
The maker of war
I'll smash your face in
But with a smile
All together
You'll never
Be stronger than me
I - I - I
Right here on my own
But I still rock you
I - I - I
Don't follow behind
Just leave me on the outside
I - I - I
I am standing alone
But I can shock you
I - I - I
On the edge of the blade
But no one makes the hero bleed
I am hunger
Feed my head
All together
You'll never
Never make the hero bleed
IN MEMORY
No one told me the way I should feel
You left an aching heart
Lost and lonely, the feeling goes on
You were the one friend I had
You gave me so much love
Now the tears remind me you're gone
It still haunts me there's a silence
Where you used to be
It still haunts me
Just an empty space in history
It still haunts me
But life must go on, on and on
It's still haunting me
It's still haunting me
Haunting me
Haunting me
http://www.lyricsmode.com/lyrics/b/black_sabbath/in_memory.html
Ortak bir insanlık kültürü oluşturma, eşit haklara dayalı bir dünya düzeni kurma; düşünce zenginliğine yenilerini katma idealleri için Erasmus'un düşünceleri verimli bir toprak olarak değerlendirilebilir Rotterdamlı Erasmus, hangi yandandır, öğrenmek istedim. Ama bir tacir şu karşılığı verdi bana: "Erasmus kendinden yanadır."
Epistolae obscurorum virorum, 1515
Desiderus Erasmus (1466-1536), Rönesans'ın benzersiz yaratıcısı, bir insanın yaşadığı dönemi bir başına nasıl aydınlatabileceğine gösterilebilecek en parlak örneklerden. Böyle olması onun büyük insanlık kültürü içindeki yerinin zaman içinde ve bugün herkesçe iyi anlaşıldığını göstermiyor. Stefan Zweig, Rotterdamlı Erasmus-Zaferi ve Trajedisi biyografisine Erasmus'un nasıl da unutulduğuna, yapıtlarının kitaplıklarda uyuduğuna, bugün oradaki düşüncelere dönüp bakma gereksiniminin hiç de istekle yaşatılmadığına hayıflanarak başlıyor.
Zweig'in Avrupa'nın alacakaranlığında yazdığı bu sözlerden sonra bugün neyseki Erasmus'un birleşik Avrupa ve evrensel insanlık değerleriyle ilgili düşünceleri karşılığını daha çabuk buluyor. Belki gene de tam anlamıyla değil; Rotterdamlı Erasmus'un yalnızca hümanizmin yaratıcılarından biri oluşunu onaylamakyetmez çünkü; onun ortaya attığı düşüncelerin aynı zamanda günümüzün çözülmesi olanaksız görünen siyasal kaosu için de çıkar yollar gösterdiğini anlamadan, o düşüncelerin ne denli etkili bir gerçeklik alanı yaratabileceği anlaşılamaz. Hümanizm düşüncesinin zaman içinde sönümlenip yerini insanlığın ortak değerlerini anlatan katı ideolojilere bırakmış olması ve hümanizmin böylece paylaşılması zor bir düşünme biçimi olarak tarihe bırakılması Erasmus'un düşüncelerini geçersiz kılmaz. Onu pekala bugünün küresel barış ve demokrasi hareketinin bayraklarından biri olarak alabiliriz; böylece ortak bir insanlık kültürü oluşturma, güçlülerin üstünlüğü yerine eşit haklara dayalı bir dünya düzeni kurma; uluslarüstü düşünce zenginliğine yeni zenginlikler katma idealleri için Erasmus'un toprakları verimli bir toprak olarak değerlendirilebilir. Beş yüz yıl önce Rönesans Avrupası için söylenenler, günümüze pekala uyarlanabilir. Hem de değişime en çok direnen Avrupa'dan söz ediyoruz; yarattığı karanlığı kendini eleştirerek aşmaya çalışmış, ama kendi yarattığından daha büyük karanlığın gezegenimizin başka yerlerinde bir daha yaşanmadığını bilmenin ahlaki baskısından belki hiçbir zaman kurtulamayacak Avrupa, içinde taşıdığı üstünlük gururunu ötekine dayatmadan yaşayamıyor işte. Karanlık zamanlarını geride bıraktığına inanan Avrupa'nın, bugünkü üsütün uluslar gururu ve aşağıya sızdırdığı milliyetçi, benmerkezci ve ırkçı içgüdüleriyle Erasmus'un ideallerine yakın durduğunu söylemek kolay değil. Erasmus'un zaferi Rönesans içinde hümanizm düşüncesinin muazzam yükselişine ön ayak olmaksa, trajedisi de birbirini boğazlamak için kalkışan milyonların bağnazlığına karşı tek başına bile olsa karşı çıkma güç ve kararlılığına sahip olma endişesiyle kavrulmaktır. Sanki aynı reform bayrağı altındaymış gibi göründüğü Luther'in devrimci tutumu Avrupa'yı topyekün çatışma ve uzlaşmazlık kazanına atarken, Erasmus'un bütün iyileştirmelerin yalnızca reformlarla yaratılması gerektiği barışçı inancı yok sayılmaya mahkumdu. Çatışmanın en kızgın günlerinin onu da saf tutmaya çağıran sertliğine boyun eğmedi; "ne yalnızca Kilise'nin ne de yalnızca Reformasyon'un saflarına katıldı"; tek başına kalmayı seçti Erasmus. Onu Erasmus yapan bu iradesiydi. Değil mi ki dogmalardı Reformasyon'un yolunu aydınlatan, o yoldan çıkılacak yeni hayat kaçınılmaz biçimde otoriter de olacaktı. Dolayısıyla gerilimden uzak durup "kendinden yana olma" ilkesine hiç kimsenin saldırmasına izin vermedi. Stefan Zweig, onun hem kendini korumaya, hem insanlara doğru duruş biçimini anlatmaya çalışan tutumunu şöyle özetliyor:
Bir dünya vatandaşı
"Sanatçının ve düşünürün yeri cephelerde olamazdı; ona düşen, bütün özgür düşüncelerin ortak düşmanına, bağnazlığın her türlüsüne karşı çıkmaktı. İnsancıl duyguları paylaşmak gibi bir misyonu olan sanatçı, partilerin safında değil, fakat onların üzerinde kalmalı, rastladığı aşırılıklarla, sonuç olarak da hep o aynı anlamsız, mutsuzluktan başkaca bir şey getirmeyen nefretle savaşmalıydı."
Onun yalnızlığı göze alan bu bağımsız ve özgür tutumu kendi zamanında anlaşılamadı, şimdi de anlaşılması kolay değil. Toplumun ve bütün insanlığın özgürleşmesi ve barış içinde yaşaması amacı taşıyan bireylere, siyasal odaklara çekilmekten başka çare bırakmayan şimdiki zamanların baskıcı tutumu da aynıdır. Bütün çatışmayı iktidar odakları çevresinde tanımlayan, kendi konumunu siyasal dengelere göre belirleyen, sonunda demokrasiyi de siyasetin araçlarıyla yürütmeye gönüllü, demek ki siyasal iktidar amacını elinden bırakmayan bugünkü düşünceler de Erasmus düşüncesinden Büsbütün kopuktur, Erasmus'un karşısında elinde Machiavelli'nin Prens'ini sallayıp ahlakın dışına çıkmış siyasete sarılmaktır. Siyasal iktidar saf demokrasi için yola çıkanların önüne de içinden çıkılması olanaksız bir hiyerarşi kılıcı sunacaksa, zor ve şiddet her zaman kaçınılmazdır. Erasmus gerçek bir dünya vatandaşıydı, der Zweig. Öyle oluşu hiçbir yeri kendi yurdu yaşayamamasına yol açmıştı; tek-kültürlü, tek-dilli olmayı hiçbir zaman benimsememiş, her yeri kendi yurdu gibi görmüştü. Bu düşüncelerin bütün gelecekçi düşüncelerin başkaldırısına tanık olunan 1960'larda kanatlandığı, kendini Erasmus gibi "dünya vatandaşı" olarak tanımlayanların çoğaldığı zamanlarda geride kaldı. Bugün milliyet ve din kavramları önünde saf tutmaya gönüllü olanların sayısı öylesine büyük bir çoğunluğa ulaştı ki, güç ve iktidar, demokrasinin kör noktasında gizli dururmuş gibi sunulmaya başlandı.
Erasmus 1500'lerin başından hemen sonraki yıllarda Avrupa'nın en ünlü aydınlarından biri oldu. Zweig bu yılları, "Dürer, Raffaello, Leonardo, Paracelsus ya da Michelangelo dahil, çağdaşlarından hiçbirinin adı o günlerin ruhsal atmosferinde Erasmus'unki kadar saygıyla anılmaz, hiçbir yazarın eserleri onunkiler kadar çok basılıp yaygınlaşmamıştır, onunkiyle ahlak ya da sanat alanında boy ölçüşebilecek başkaca bir ün yoktur" diye anlatıyor.
Erasmus, kendini yenilemeye çalışan bir çağın, Rönesans'ın "gizli ruhsal özleminin simgesi"ydi. Zweig bu simgeyi şu parlak sözlerle anlatıyor: "Kendini yenilemek isteyen her çağ, idealini önce bir kişiliğe yansıtır, çağın ruhu kendi özünü somut bir biçimde kendi bilinç düzeyinde algılayabilmek için, her zaman önce bir insanı tip olarak seçer ve bu biricik, çoğu kez rastgele seçilmiş bireyi kendi ölçülerinin çok üzerine çıkarmakla, bir anlamda kendi coşkularından arınmış olur."
Bireyin tarihte kahramanlık rolünü oynamak zorunda kaldığı bütün zamanlarda Zweig'in bu sözlerinin karşılıklarını bulabiliriz; gene de 1960'lardan ve 1970'lerden sonra (o tarihler özellikle çağın belası emperyalizmin savaş ve yok etme tutkusuna karşı özellikle Latin Amerika ve Asya'da yeni simgeler çıkarmıştı) değişen zamanlar, özellikle günümüz dünyası, belki hiçbir zaman Erasmus gibi simge kişilikler ortaya çıkarmayacaktır. Öte yandan, nerde iktidar ve zoru "kitlelerin zorbalığa her zaman hazır olan iradelerine gerekli bahaneyi" yaratma yolunda kullanmış simgeler varsa, ömürleri kısa olmuştur; yarım yüzyıl boyunca kendinden başkalarını iktidarı paylaşmaya değer görmeyen simgesel önderlerin zamanla unutulacakları nerdeyse kuşkusuzken, Che gibi bir yeni zaman simgesi, sanırım her şeyden önce iktidarı, yönetmeyi reddedip yalnızca idealler ve ütopyalar uğruna her şeyini feda ettiği için unutulmazlaşacaktır. Erasmus, çağının sahip olmadığı ruhu ve ahlakı da ona vermiş bir düşünce insanıydı... Kaynak: (Radikal Kitap, 16 Mayıs 2008 Cuma, sf. 6)
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