Recaizade Mahmut Ekrem
Araba Sevdası (1896), written by Recaizade Mahmut Ekrem, is considered the first realist novel of Turkish literature. The work critiques post-Tanzimat Westernization and a pretentious lifestyle with a tragicomic tone through the character of Bihruz Bey, who has become detached from his own values.
The clash between the sublime, tragic, and poetic world Bihruz Bey creates in his mind after reading romantic French novels and the vulgar, self-interested, and realistic world of the people at Istanbul's promenades. Bihruz battles his own delusions until he realizes that the 'angel' of his dreams is, in reality, an ordinary street woman.
Istanbul, the capital of the Ottoman Empire. In particular, promenade and recreational spots such as Çamlıca Garden, Kısıklı, Beyoğlu, Kadıköy, Fenerbahçe, Göksu, Şehzadebaşı, and Direklerarası, as well as the mansion in Süleymaniye.
The last quarter of the 19th century, the post-Tanzimat era of the Ottoman Empire (the text explicitly mentions years around 1305 / 1889 and marks of the year '86 in the dates of the letters).
Contrasting with the reality of an Istanbul promenade setting that is extremely lively, bustling, crowded, and entertaining, it is loaded with a fake melancholy, arabesque sorrow, and exaggerated tragedy reflected by the protagonist's inner world. It possesses an atmosphere where everyday life and fictional dreams are intertwined in an ironic and satirical manner.
Third-person omniscient narrator. The narrator generally delivers events through Bihruz's eyes, yet constantly intervenes to show how blind and delusional he is, conversing with the reader (the connoisseur of literature) and employing a biting, subtle irony.
In this world, value is based on appearance, fashionable dress, owning an expensive carriage, and speaking by interjecting French words (alafranga). Social status is measured by who strolls more stylishly in the promenades (Çamlıca, Fenerbahçe). Superficial and fake European mimicry has replaced genuine morality and intelligence. Those heirs who think they are Westerners are exploited even by tradesmen and servants.
The society is caught between traditional Turkish/Ottoman values and superficial customs rapidly imported from the West (particularly France). While the older generation (Valide Hanım, veteran slaves) lives according to tradition, the new generation of wealthy youth, living in luxury and waste, attempts to adapt the lifestyles depicted in Western literature to themselves. Class classifications such as 'civilized' and 'bourgeois' are only just being fabricated among people.
Characters are arranged at equal intervals on a circle; you can read the relationship type and dynamics by clicking on the lines.
Bir çizgiye tıklayarak ilişki detayını açın.
Bihruz worships her as a noble and innocent 'angel,' idealizing her in his mind and experiencing passive submission. Periveş, on the other hand, sees him merely as an entertaining and ridiculous simpleton, attaching no value to him. The power balance between them is in favor of reality and mockery, against Bihruz, who is completely blind to Periveş's true nature.
As Bihruz chases after the carriage, Periveş Hanım and Çengi Hanım laugh at his state behind his back.
Keşfi is an opportunist who finds a morbid pleasure in lying, while Bihruz is overly naive due to the books he reads. Keşfi shatters Bihruz's naive reality by inventing the lie that Periveş has died, playing with him like a toy. Both are 'alafranga' gentlemen on the outside, but they actually despise each other.
Keşfi Bey drags Bihruz into mourning with a completely fabricated story, claiming the blonde woman died of an illness.
Monsieur Pierre aims to fill his own pockets and ensure his own comfort and interest under the guise of teaching French to Bihruz. Although Bihruz shows him great respect (addressing him as 'excellency' or 'professor'), Pierre secretly views him as an uneducated fool whose money is easily taken. He protects his own interests by selling books at high prices and instilling unfounded literary opinions in him.
Monsieur Pierre sells some of his decrepit books, which should be thrown in the trash, to Bihruz for forty or fifty francs by presenting them in luxury packaging.
Çengi Hanım is older, coarser, and more experienced. She directs Periveş, handles the haggling with carriage drivers, and holds the reins of situations according to the circumstances. They have fun together, tell lies to noblemen, and make fun of them.
Çengi Hanım mocks Bihruz's situation by calling him 'Such a naive poor thing!' and catches up to the carriage with Periveş.
Bihruz does not see his mother with love or respect, but only as part of an estate or property from which money can be squeezed. His mother is aware of Bihruz's erroneous life but is weak toward her son; she manages him by constantly financing his requests and trying to prevent the mansion from being sold.
Bihruz manages to take one hundred and fifty liras from his mother, who sees him in misery, to pay off his debts.
Bihruz has not established true authority over his carriage driver. Andon is aware of the clumsiness Bihruz exhibits for the sake of vanity and ostentation and easily bypasses and exploits him by making up excuses to hide issues like carriage accidents from him.
Andon concocts various lies about the broken carriage and intimidates Bihruz by telling him that the creditor has seized it.
Kondoraki, being an astute Beyoğlu merchant, knows that Bihruz will be unable to pay the installments. He is ruthless and cold-blooded enough to seize the carriage immediately, using legal loopholes or sycophantic lies whenever the opportunity arises. Bihruz can only utter empty threats against him, unable to take any real action.
In a letter to Bihruz, Kondoraki cunningly informs him that, even before the installment date has arrived, he has seized the carriage and the horses at his own factory.
Bihruz constantly takes out his bad moods and frustrations on his servant, Mişel. Although Mişel fawns over him by calling him 'excellency,' he is always the one to suffer from his master's unwarranted outbursts. Bihruz suppresses his own sense of guilt by scolding his subordinates.
Whenever Bihruz makes a mistake or receives bad news from Monsieur Kondoraki, he unfairly reprimands Mişel and kicks him out of the room.
