Necip Fazıl Kısakürek , Çağdaş Türk Edebiyatının şair ve yazarları arasında yer almaktadır. 1922'de şiirlerle başlayan yazı hayatı, makale, deneme, tiyatro, fıkra, biyografi, tenkit, inceleme ve araştırma yazılarıyla devam eder. Gerek sanatçı gerekse siyasi kimliği çerçevesinde birçok eser vermiştir. Yarım kalan "Sır (1946) ve Kumandan (1960)" adlı iki tiyatro eseri haricinde toplam on beş tiyatro eseri bulunmaktadır. Sabır Taşı, Necip Fazıl'ın 1940 yılında yazdığı dördüncü tiyatro eseridir. Yazarın, ana hatlarını eski bir Türk masalından aldığını söylediği bu tiyatro eseri, Billur Köşk Masalları'ndaki "Muradına Eren Dilber" adlı masaldan ilhamla kaleme alınmıştır. Aynı dile fakat farklı dönemlere ait bu iki eser, ortak bir konu etrafında birleşmektedir. Böylelikle karşılaştırma yönteminin uygulanabilmesi için geçerli ölçütler sağlanmış olur. Çünkü eser ya da yazarlar rastgele bir tercihle karşılaştırılamaz. İki eser arasında mutlaka karşılaştırmaya değer bir özelliğin bulunması gerekmektedir. Bu çalışmada biri anonim bir masal, diğeri Çağdaş Türk Edebiyatının köşe taşlarından biri olan Necip Fazıl'a ait bir tiyatro eseri karşılaştırma yöntemiyle çözümlenmiştir. Her iki eserde de genç bir kızın muradına ermek için gösterdiği sabır ve sonunda doğruluğun kazanması ele alınmıştır. Çalışma, üç bölümden oluşmaktadır: 1. bölümde, Necip Fazıl Kısakürek'in Sabır Taşı adlı eseri; oyunun tasviri, konusu, olay dizisi, kişilik, zaman ve mekân çözümlemeleri gibi yapısal unsurları bakımından incelenmiş ve bu oyunun ana hatlarının dayandığı Billur Köşk Masalları'nda yer alan Muradına Eren Dilber adlı masalla karşılaştırması yapılmıştır. 2. bölümde, bu iki eser arasındaki farklılıklar belirlenmiştir. 3. bölümde de eserde yer alan motiflere ana hatlarıyla yer verilmiştir

Necip Fazıl Kısakürek (1904-1983) is one of the novelists and poets in Contemporary Turkish Literature. His writing life starting with poets in 1922 continues with article, essay, plays, joke, biography, criticism and memoirs. He wrote works as a reflection of his artistic and political missions. Necip Fazıl has a total of fifteen theathre plays other than ‘Sır (1946) and Kumandan (1960)’ which are incomplete. Sabır Taşı is the 4th play that was written by Necip Fazıl in 1940. This play is based on an old Turkish fairy tale and was inspired by a fairy tale named “Muradına Eren Dilber” in Billur Köşk Masalları. These two works, written in the same language yet belonging to different periods, evolve around the same topic. Thus, the acceptable criteria in order to apply the comparison method is ensured because works or authors cannot be randomly compared. There definitely has to be a feature in both works that is worth comparing. In this study, two works, one being an anonymous tale and the other a theathre play by Necip Fazıl which is one of the milestones of Contemporary Turkish Literature, were analysed. This story is about a young girl who shows patience to attain her desire and it suggests that the truth will finally win. This work is comprised of three chapters: In first chapter, Sabır Taşı by Necip Fazıl Kısakürek is studied in terms of description of the play, plot, character, setting and time analysis and compared with Muradına Eren Dilber in Billur Köşk Masalları on which Sabır Taşı is based. In second chapter, differences between these works are determined. Third chapter includes generally motives. STRUCTURED ABSTRACT Necip Fazıl Kısakürek (1904-1983) is one of the novelists and poets in Contemporary Turkish Literature. His writing life starting with poets in 1922 continues with article, essay, plays, joke, biography, criticism and memoirs. He wrote works as a reflection of his artistic and political missions. Necip Fazıl has a total of fifteen theathre plays other than ‘Sır (1946) and Kumandan (1960)’ which are incomplete. Sabır Taşı is the 4th play that was written by Necip Fazıl in 1940. This play is based on an old Turkish fairy tale and was inspired by a fairy tale named “Muradına Eren Dilber” in Billur Köşk Masalları. These two works, written in the same language yet belonging to different periods, evolve around the same topic. Thus, the acceptable criteria in order to apply the comparison method is ensured because works or authors cannot be randomly compared. There definitely has to be a feature in both works that is worth comparing. In this study, two works, one being an anonymous tale and the other a theathre play by Necip Fazıl which is one of the milestones of Contemporary Turkish Literature, were analysed. This story is about a young girl who shows patience to attain her desire and it suggests that the truth will finally win. This work is comprised of three chapters: In first chapter, Sabır Taşı by Necip Fazıl Kısakürek is studied in terms of description of the play, plot, character, setting and time analysis and compared with Muradına Eren Dilber in Billur Köşk Masalları on which Sabır Taşı is based. In second chapter, differences between these works are determined. Third chapter includes generally motives. The work that is written in an epic atmosphere and developed using poetical language preserved the authenticity of Billur Köşk Masalları. The play in which the event is stated to have taken place ‘in the past in pre-eternity and the future in the post-eternity’ is mainly deeply rooted in an ancient Turkish tale. This is why the events take place in legendary time. In the schemes are shown various parts of the palace, a Turkish old-style room, a road over the mountain and the deck of a sailing ship. The plot is organised in accordance with the paintings in the play, and the exposition, code, climax, conflict and resolution are shown under the schemes. Necip Fazıl did not name the people who established the character list, but he called them by their quality or their title. It shows that what is crucial to the author is not people’s names but their qualities and what these qualities stand for. The play consists of these characters: young girl, grandmother, dervish prince handmaiden, the first gin, the second gin, the third gin, conjurer, Zebella, captain, a crew, a passenger, a fool crew and a jailer. The author regards the young girl as the representative figure of purity and cleanliness. Islamic World would attain its real identity with that girl because she is the symbol of the patience. It was intended to shown that People who are patient and honest like her will certainly attain their desire. In the play, the prince caught a fatal disease and looked for someone pure and clean who would care for his death body for forty days. Purity and patience would save him from this condition. According to the author, Islamic World has been plunged into the darkness for nearly 150 years and is waiting to be rescued in the spiritual dungeon. When the text’s deep structure is analysed, prince can be associated with the Islamic World that is waiting to be rescued from the darkness. The handmaiden, having become the sultan by means of deceit and wangling, goes back to where she originally began as a result of the conflict between the good and the bad. In the play, handmaiden was associated with everything which is mundane, addle, noxious and disruptive. Dervish who does not exist in the tale, dream and gin motifs are appeared in the epitome of patience (sabır taşı). The pilgrimage on the fortieth day of the wedding of prince does not exist in the tale. When dervish was in the boat, it was referenced by means of reminding Yunus Emre’s stanza and Molla Kasım event. It was asked whether there was someone cursed or not, but there was no body like Molla Kasım in the tale. In the play, it is examined a huge man whose one of lip is on the ground and another one is in the sky. Handmaiden attempts to match young girl with Zebella before Prince’s coming back from the pilgrimage. In the tale, such an event and a person do not take part. Handmaiden keeps young girl in the dungeon under observation meanwhile the prince is on the pilgrimage. There is no trace of the events that take place in the dungeon. In the tale, the girl, upon pouring her heart out, attempts to hang herself with a loop around her neck when the epitome of patience (sabır taşı) cracks. The prince, shaking off the shock, comes for her rescue just in time. In the play, however, the prince comes in before the young girl even attempts at such a thing. At the end of the tale, the prince gets the liar and fraudulent sultan killed by trying him to the tails of forty mules. In the play, on the other hand, the handmaiden escapes death with the help of the young girl and is sent back to her hometown with forty mules loaded with chests full of pearls. The play comes to an end with the young girl’s final words: ‘Wherever she goes, everybody knows this is how a sultan should be.’ (ST. 108). In this way, the focus is drawn to the young girl’s personality which makes her a forgiver who cannot hold a grudge. In the tale, the prince swears an oath to marry the girl who would watch his dead body for forty days. With this in mind, he takes a pill and lies. On the contrary, in the play, he suffers from a fatal disease, he does not want to die, however, a voice tells him he will pass away in forty days and asks him promise to marry the girl waiting for him for forty days after his death. The number 40, bird, the epitome of patience (sabır taşı) are the motives that exist in both works. The conflict between the young girl and the handmaiden that lasts throughout the game comes to an end when the epitome of patience (sabır taşı) cracks. The prince wakes from his actual ‘death sleep’ thanks to the the epitome of patience (sabır taşı) and sees the reality. Necip Fazıl uncovers the distress and religious corruption that the public people have faced since the period of Kanuni with the symbol of the epitome of patience (sabır taşı). The epitome of patience (sabır taşı) that gradually expands and then cracks as the Young girl tells all she has experienced helps the prince see the hidden reality. The author, with his works, depicts the drama extending from the period of Kanuni to this date with the symbol of the epitome of patience (sabır taşı). In this study, both the theatre and the tale are examined through the method of comparison. The comparison obviously shows that, although there is an interaction between these Works which deal with the same issues, N. Fazıl, in his play, continues with his symbolist understanding of theathre, tends towards religion and mysticism, and allocates a wider place to philosophical conversations. In the play, the character of Derviş draws attention by solving the problem at the climax and only telling the epitome of patience (sabır taşı) except from reading Yunus Emre’s verses. In addition, the things such as the prince’s keeping his promise and making the pilgrimage, the character of Molla Kasım on the ship, the young girl’s forgiving the handmaiden contrary to the what happens in the tale as well as the absence of the suicide attempt in the drama prove that the author has religious tendencies and makes use of traditional motives. In the tales people who have morals and are honest have happy ending whereas the bad characters are punished. Necip Fazıl, in the play that he wrote based on the tale, let both parties have happy ending, and the bad go without punishment. It is obvious that the author, in his work, followed a religious-sufi path with the idea of helping even the ones who have done harm. He reveals the need for patience, honesty, kindness, clearing the mind from evil thoughts on the way to becoming a human of perfection. With the character of Molla Kasım who tries to uncover others’ frauds yet is unaware of his own or behaves as if he did not have any fault, the author refers to today’s human-beings and attracts attention to the fact that these people misrepresent the religion. What should be done to understand Islam correctly and live according to the essence of this religion is highly clear: promises should be kept, people should be patient and in resignation, the hearth should be pure and clean and involve good intentions however should not involve the thought of vengeance. That people may be happy as long as they pay attention to such kind of virtues not only in the tales but also in reality and with the existence and majority of this kind of people the problems Islam goes through nowadays may be left behind is revealed.