Human Landscapes from My Country by Nazim Hikmet Essay

Introduction In the Epic young, humane Landscapes from My state, Nazim Hikmet subprogramd the comparison amidst engineering and reputation very often. The imaginativeness of engine room that is portrayed in this no.el seems to clash with nature. Through the use of many different images such as the train and plane, Hikmet seems to portray technology as the antagonist of nature. These imageries suggest how technology would destroy and would annihilate nature with its surroundings as technology progresses.However, after a closer recital into the novel, Hikmet actually suggest that technology as a positive prospect that will ultimately improve human lives. Perhaps sacrifices and mistakes are essential as these are natural occurrences that are expected to happen as technology progresses. Although the cost of technology may seem to be dreadful, it is a necessary step for the go future of human lives. Literature coetaneous history on a panoramic scale is taken up in Human Landsc apes, which was written during the seeds prison age and was only published several years after his death. set ab turn out with the project for an epic study of Turkish history during the twentieth century, at intervals the poets narrative also turns to major events in adjoining regions, notably naval action of World struggle II in the Mediterranean and the work of Soviet forces against Nazi invaders. His commentary on the Turkish War of Independence (1919-1922) stands in stark contrast to the heroic national themes repeatedly invoked by other writers of that period.In Hikmets view, it would seem that the pack as a whole contributed to final victory but only finished an inchoate mass rising that did not also lead to a social revolution. Indeed, many passages suggest that class differences remained acute but were altered by Turkeys changed status in the world economy. in that respect are a number of brief sketches of individual lives, both from the rich and from the lower or ders, often to state unpleasant truths about the peoples living situation.Some characters, it is recorded, died of disease at early ages farmers retained their estate but lost all means of production. Many of the personages are war veterans from one conflict or another. There is much attention to dates, but not in the sense of commemorating events with patriotic connotations important occurrences in individual lives are accorded the same emphasis as major developments in the nations history. There is also a fair tote up of random, seemingly senseless violence Family quarrels lead to murder after a man kills his married woman, children use the head as a ball in a macabre game.A wrenching, gripping scene records the lynching of a Turk who had collaborated with the British occupation forces. There are some sardonic spectral references which call to mind folk superstitions in some later passages, Turks of a pro-German inclination speculate about whether Adolph Hitler could be a Musli m. Leading Turkish statesmen and thinkers figure as portraits on the walls of business offices the memories associated with them are quirky bits of depicting that are far from flattering.The work as a whole flutter about and circumambulates historical epochs as they affected different, indeed opposing, social classes. later on nearly fifteen years of national independence, homeless and desperately sharp-set men are to be found outside a composition office if wealthy businessmen bathnot turn a profit in some branches of the export trade, because of government restrictions, they move readily to other sectors where their fortunes can be augmented.Some of them end up dealing with both the confederate and the Axis powers during World War II. The incidence of suicide on each side of the class divide is fairly high among the pathetic, childbirth is difficult, painful, and sometimes ends in tragedy. Although this exercise in historical realism, based on the authors own observations of Turkish livelihood, does not seem to hold out any immediate hopes for a better future, the poets descriptions of nature and candid joys serve to leaven an otherwise grim and unsentimental saga (diethylstilbesterol Pres, 7-25).Written in free verse and employing such cinematographic techniques as flash impales, pans, zooms, dissolves, and jump cuts, Human Landscapes from My Country combines the economy of poetry with the rapid-fire imagery of motion pictures. Hikmet traces the fortunes of men and women in warmth and war from prostitutes, politicians, and captains of industry to housewives, political prisoners, and peasants and gives voice to social strata unheard from in a heroic context until the twentieth century. To Hikmet, every life is a human-interest story worth telling, and his is a cast of hundreds.This panoramic view of Turkish society during World War II, when the fate of the world hung in the balance, highlights the oblige variety of human experience, never letti ng us forget that, for better or worse, the fate of the world is in our hands. Hikmets unabashed commie politics, for which he languished in prison or exile most of his great(p) life, are reflected in vignettes of idealized Ivans of soldierly valor and of real-life heroes, Tanya the teenaged Russian revolutionary and the Nazi-martyred journalist Gabriel Peri.Still, the poets most profound sympathies lie with the poor man striving to sustain himself and his family in pursuit of a momentaneous happiness. Living out prolonged confinement for political activities, dreaming of his wife and child as blindness threatens and days become years, unbowed Halil recalls the poets own situation, a cynosure of what an entire culture was forced to endure. Ultimately Hikmets art suggests spaciousness, a grandeur in the details of poor people seeking just to breathe while events portend an invidious income tax return of suffering for love, ambition, misfortunefor living.Finally available complete in English, Hikmets hauntingly eloquent masterpiece never flags. Human civilization and technology has bragging(a) in a fast pace but are we smart? Hikmet said that he feels life is more comfortable. Nobody said that life has become happier. We found that technology which has been developed to make life easier has in fact made life complicated and busier. He said that conflicting the past, now he can travel from place to place in few minutes/hours but life has become busier.Communication has improved, technology has taken place in our lives but effective communication between people has decreased. We were all alarmed to face this fact that better technology doesnt mean happiness. So is technology, instead of liberating us, holding us back? Some later segments of this work are essentially similar to portions of The capital of the Russian Federation Symphony and Other Poems, an imaginative lyrical reconstruction of German-Soviet fighting which in the initiative instance was probab ly based upon news stories that Hikmet received in prison.After allowance for the different languages, it may be argued that some passages would do credit to a Soviet wartime poet the anxiety of the wars first year, the vast human drama of armies locked in combat, and the camaraderie of soldiers brought together in common struggle are evoked in brisk, telling lines. This novel in verse, written during one long prison sentence in the 1940s, reflects the emotional and physical torments the poet experienced. More gritty than lyrical, it is powerfully plainspoken only when Selim was no Communist/ He didnt even know what fabianism was/ But the cops thought different/ They laid Selim on the floor. And when Selim got up/ he couldnt step on his feet/ They laid Selim on the floor/ And when Selim got up/ he couldnt see. Hikmets writing is poetry under siege, and the candid heroism of his characters makes them more Marxist ideals than believable human beings. The poetic component part may not survive well in translation, but the bailiwick and context make this a lastingly fascinating work.Works Cited Des Pres, Terrence. Poetry and Politics The Example of Nazim Hikmet. Parnassus Poetry in Review 6, no. 2 (1978) 7-25.