1940-1950 yılları arasında gelişen Türk edebiyatının en önemli isimlerinden biri olan Cahit Sıtkı Tarancı, 2. Dünya Savaşı’nın izleri eşliğinde bir çocukluk dönemi geçirmiş, Cumhuriyet’in topluma kazandırdıklarına bizzat şahit olmuş ve toplumda yaşanan pozitif yönlü değişmelerden payına düşeni almış önemli bir şairimizdir. Fransız okulunda okuması, bu okula kendini yabancı hissetmesi ve o dönemde Fransız romantiklerini okuyarak kişiliğini şekillendirmesi, onun, içine kapanık, karamsar ve ümitsiz bir karakter kazanmasına sebep olmuştur. Edebiyata ve özellikle şiire olan ilgisi daha çocukluk yaşta başlayan şair, arkadaşı Ziya Osman Saba’nın etkisiyle Fransız şair, Charles Baudelaire’i okumaya başlar ve şiir vadisindeki yerini böylece bulur. Cumhuriyet döneminde ülkede pek çok farklı fikir akımı mevcuttur. Tarancı’nın bu fikir akımlarından etkilenmesi kaçınılmazdır. Yeni lisan anlayışı, Türk tarihine ve bilinç altına yönelme hevesi, tasavvufî yolla Allah’ı arama içgüdüsü, Garip akımı gibi müstakil akımlar, Tarancı’nın tanıştığı ilk fikir akımları ve yönelişler arasındadır. Bu gibi akımların çokluğuna rağmen kendi yolunu bulmayı başaran şair, yazdıklarını evrenselleştirir ve bütün bir insanlığa hitap edebilme yeteneği kazanır. Bunu yapmaktaki amacı, insanlığın eşya ile olan münasebetlerini çözebilme ihtiyacı duymasıdır. Kendini okurlarına karşı sorumlu sayan yazar, geçmişi, bugünü ve geleceği içinde bulunduğu hâlde birleştirmeyi başarmıştır. Bu makalede, önemli şairimiz Cahit Sıtkı Tarancı’nın şiir hakkındaki görüşleri ve şiirlerinin genel yapısı üzerinde durulacak ve yaşama sevinci temalı şiirleri, Prof. Dr. Nurullah Çetin’in Şiir Çözümleme Yöntemi adlı eserine bağlı olarak incelenecektir.

One of the most important names of Turkish poetry developed between 1940 - 1950, Cahit Sıtkı Tarancı had a childhood with the traces of Worl War 2, he was an important poet that was a witness of the improvements of the Turkish Republic and received his hare of the positive directional changes in community. Studying at a French school, feeling foreign to this school, reading French Romantics at that time and shaping his personality makes him withdrawn, depressed and hopeless person. Having an interest in literature especially in poetry in his childhood, the poet started reading French poet Charles Baudelaire with effect of his friend Ziya Osman, and he had his own place in the valley of poem. In the Republican Period, the country has many different idea movements and it is inevitable that Tarancı influenced by these movements. New language understanding, enthusiasm for Turkish history and subconscious, searching for God in mystical ways, distinct movements like “Garip” movement are one the first idea movements that Tarancı met. The poet who managed his own way in spite of the multitude of these movements makes his writings universal and gains ability to appeal to entire humanity. The purpose of doing this is the need of analysing the relation between humanity and the things. The writer who assumes himself responsible to his readers succeeded combinig the past, today and the future in his present situation. Tarancı thinks that a poet may choose whatever he wants as a theme for his poems. Aesthetic consciousness required by poetry must be earned. He must have a certain consciousness and must be aware of what he is doing. He shouldn’t be a propagandist of a any political group or ideological movement. Poetry is not a way to serve social purposes. The poet is not the one who lead the way, but the one who showing existing road s and interprets these one by himself. He also learned from the previous masters and has chosen a way for himself. Masters should never be underestimated and their experiences should be followed up. The poet must have a love for poetry. He is expected to put poetry in the most important place of his life, he must see it as a way of life and he must sleep and wake up with it. While creating his poems he must know the rules of the language and thanks to these rules he may play with the words very well. Tarancı look the poetry fort he chants. Poets like Fuzuli, Nedim, Baki are not the pursuit of chants in their poetry, they are a real poet. The main purpose of poet is to be a poet first. Creating a tune does not make anybody a poet. Thus, it can be said that Tarancı accepts Divan poets as the true ones, but how he writes poems? To the question of this topic, “I do not know clearly how I write poems, if I say please do not get surprised. In poetry you never know. While eating or walking on the way a line comes, I guess it is something like Vallary’s line comes from above” he answered. According to Tarancı’s ideas another factor that creates the magic of poetry is sound. By looking the curent meaninf of the word alone, the magic of poetry is not caught. The poet who accepts Necip Fazıl, Ahmet Haşim and Yahya Kemal as a master for himself, did not choose to follow the footsteps of Ahmet Haşim in terms of meaning in the poem. Ahmet Kutsi Tecer, Asaf Halet Çelebi, Amet Muhip Dıranas and Ahmet Hamdi Tanpınar are among the other poets that provide the unity of spirit in poetry. Poem according to a poet is the art of forming a beatiful shape with the words. That’s why a poet should master the vocabulary of the language used. However, forgetten words in dictionaries shouldn’t be used. İn this aspect poet is seemed very close to “Poetry” movement, but in terms of meter, litearary arts he is far away from Garip movement. It should be mentioned that poet is in the search of a pure structure while he is writing his poems. Despite all this, it must be said that he has created a poem language in his some poems by getti