in: Beiträge zum literarischen Übersetzen in der Türkei: Neue Aspekte und Perspektiven, Öncü Mehmet Tahir, Demirkıvıran Sine, Editor, Logos Verlag Berlin, Berlin, pp.165-180, 2022
Translations that enter a new literature always have to face the problem of adaptation. The translator oscillates between the oddity of a word-for-word translation and the readily accepted familiarity of the adapted one. Şinasi’s Tercüme-i Manzume, in which he translated selected lines from
French authors such as Racine, Lamartine, La Fontaine, Gilbert and Fénelon, is a translation that
faced such a problem within rhythmical issues. According to Meschonnic, rhythm is not a mere
acoustic phenomenon. It is a meaning producer that appears in written texts as well as in spoken
texts. Linguistically, rhythm is a perceptual regulator that can play a unique role in the activity of
constraining the meaning. He defines rhythm, which emerges as a result of the act of translation
of poetry, as a new organization of the word movement in writing. The presence of rhythm in
translation, from meter to intonation, cannot be separated from the historicity of the subject and
his discourse. Translation is a new operation of "ré-énonciation." This operation is nothing but the
subject, his historicity, hence its rhythm. The subject, that is, the translator, creating a new rhythm
is “politique du traduire.” Politique du traduire, on the other hand, is possible with poétisation.
Since Şinasi’s Tercüme-i Manzume is one of the first translations from Western literature, it is
also the pioneer of the formation of a new literary milieu. Şinasi applied both semantic and formal
strategies and reflected his ideology in the process of "ré-énonciation" into the rhythm of his translations. Şinasi not only brought new topics to Ottoman literature in terms of meaning, but also
adopted a more accessible literary approach by simplifying the language. In this study, we will
examine how much Şinasi adhered to the formal rules of classical poetry in his translations and
how he adapted rhythm of the source text in the context of historicity and ideology.
Keywords: Şinasi, Translation, Rhythm, Poetry, Ideology.