Necip Fazıl Kısakürek, Türk düşüncesinde ve şiirinde, şahsî fikir cephesini en net tanımlayabilmiş sanatkârlardandır. Yaşadığı ferdi zihin dönüşümünün Necip Fazıl üzerindeki en büyük etkilerinden biri, yakından tanıma olanağı bulduğu Batı düşüncesine olan reaksiyon boyutudur. Türk düşüncesi açısından 19 ve 20. yüzyıllar, var olan şartların Batı kaynaklı temellük edildiği bir zaman dilimine denk gelmesi bakımından Necip Fazıl şiiri için de düşündürücüdür. Başka bir açıdan Necip Fazıl, Batı kaynaklı fikir cereyanına edebî-politik bağlamında direnen adamdır. Fakat söz konusu batılılaşmanın düşünce hayatımıza etkisi şair üzerinden bir 'korku' olgusuyla ele alınmaya müsaittir. Bu makale biraz da böyle bir yönüyle Necip Fazıl şiirinin mistik-metafizik karakterini, batılı anlamda bir 'korku' karşıtlığıyla değerlendirme çabasıdır. Bu bağlamda Necip Fazıl'ın 'ben' olgusu, egosantrik bir duygunun ötesinde korkuya yönelik şiir dilinde tepki boyutuyla şekillenmiş bir direnme biçimi olarak ele alındığında; şairin Batı düşüncesinden ve sanatından gelen fikirlere karşı duruşunu mizacından gelen tavırla şekillendirdiği görülür. İşte anlam ve metaforlar dünyasında sıklıkla yan yana gelen hislerin şair adına ne tür bir etkileşim içinde olduğu da, öncelikli sorgulama alanlarından biri olacaktır. Dolayısıyla Necip Fazıl şiiri, Batı karşısında kendini konumlandırırken sadece ben duygusunu nceleyen bir şiir değildir. Bizatihi öznel verilerini evrensel benlik fikrine bağlayan bir şiirdir. Korku ise evrensel benlik fikriyle karşılanan bir duygudur

It is one of the primary areas of inquiry whether the Ottoman Empire loses its classical rhetoric of Turkish poetry against western theoric and what kind of thought-method relationship the Ottoman Empire has with the Republican turn and whether this orientation is met in the context of conservative thought. In this context, Necip Fazıl Kısakürek is the artisans who can most clearly define the Turkish idea and poetry in terms of intensifying the personal idea cephalopia into the problems of the future. One of the greatest influences on Necip Fazıl that he has experienced is his reaction to the Western thought that he could get to know closely. In terms of Turkish thought, Necip Fazıl is also a suggestion for poetry because the 19th and 20th centuries correspond to a time period in which the existing conditions are dependent on Western origin . In another respect, Najib Fazil is a man who resists in the literarypolitical context of Western-originated ideas. However, the effect of Westernization on the thought of our life is possible to be treated as a 'fear' over the poet. This article attempts to evaluate the mysticalmetaphysical character of Necip Fazıl's poetry in a western sense of 'fear'. In this context, Necip Fazıl's 'i' phenomenon is considered as a form of resistance that is shaped by the reaction of fear in the language of poetry beyond an eccentric sensation; it is seen that the poet has shaped the attitude of the West from the mind and the attitude against the ideas coming from the art. It is also one of the primary areas of interrogation, in terms of the meaning and metaphors, how often the feelings of side by side are in the name of the poet. In this context, when we thought together with Necip Fazıl in the Republican era, a main poem of Turkish poetry, which was a conservative rhetoric, came up with a new poetry vessel based on the spirit of Necip Fazıl tradition and thought in essence by using all possibilities of modern Western poetry like Sezai Karakoç It is seen. The question is what epistemological conditions under which Necip Fazil was examined in the context of conservative thinking. Because Necip Fazıl's assessment of poetry with mentality problems is a method problem. The introduction of Abdülhakîm Arvâsî in 1934, which was seen as one of the most radical changes in Necip Fazıl's monographic framework in a sense, brought about the resurrection of the existing conditions and the artkrane. These conditions are closely related to the fact that Necip Fazil's Naqshibendi shaykh Abdulhakim Arvashi was formed from the period of life and cultural formation to be more or less Western. In this context, Alexsandre Dumas and Michael Zevaco and Saint-Pierre who have influenced their literary taste in childhood, Gedikpaşa French and Kumkapi American colleges, and the ward of Yahya Kemal as a westernization figure in the Bahriye Mektebi period. To put it another way, the culture areas of Westernization-oriented civilization transformed with the Tanzimat were more important then; that is to say experience of Necip Fazıl as a poet since childhood. It can be said that Necip Fazil was sent to Paris in 1924, where the Sorbonne University's year-ending and returning in a short period of a year is causing a deeply suspicious allegation that Necip Fazıl might recognize Western cultures on this journey. Because, at that time, the secular phenomena brought by Necip Fazıl's Westernization, which directs the art axis, will remain in the mystic and metaphysical character of his poetry and things left out in the ongoing life cycle. As a matter of fact, Necip Fazıl and his trip to Paris are far from being a trace or influence to his poetry from his cultural formation. If the poet knew Baudelaire or Rimbaud, it would be far from an experience of Paris life. In this context, the above-mentioned cultural formation dimension of Necip Fazıl poetry requires that the 'I' poet's essence be treated differently on the axis of fear. In other words, is it only necessary to evaluate the 'anxiety', 'fear' and 'shudder' which determine the metaphysical character, with the result of an attention that only the poet's subject directs to the outside world and itself? Or is this fear the fear of the lack of artistic, political and rhetorical opposition to the new life anxiety caused by Westernization? Here, in the name of Necip Fazıl, the determination of the mentality that was formed at the end of the stages of monographic development does not leave fear in the form of poetry in the case of an action fed only from metaphysical occurrences. One of the main triggers of horror is that of a Muslim thought that lacks a metaphor in the face of westernization, other than the feeling of ideological emptiness of the belief core after the change of mentality. As a result, the metaphysical and monographic revolution of Necip Fazil's attitude toward the West has opened the way for a time crosssection in which the alternative proposals for the Western formation, which the artist has already appropriated, are literally produced. Of course, the monographic revolution does not mean that the horror of universal art and antecedents of the individual side is a must to fight the notion of an 'I' who is inevitably a poet. On the contrary, the intellectual populations of the West, which have struck the last centuries, in the name of Neci Fazıl; art, philosophy, rhetoric, and poetry, the most basic literary productions are the age of the pilgrimage that makes the cat feel heavy and intense. Necip Fazıl, poetry as much as in prose, is a poet who resists the epistemological sources of this time of day and the fears he produces. But the main question to be asked is the separation of the state of fear of the things that the westernization, which constitutes the basic problem area of the Turkish thought like Necip Fazıl, carries to the poet's language. In the name of Necip Fazıl Kısakürek, there is a serious character in terms of action and intelligence; this intelligent method of systematic thought and problem-centering in the context of TurkishIslamic civilization should be discussed according to poetry.