Bu çalışmada Peyami Safa'nın Yalnızız romanı yapı ve izlek açısından incelenmiştir. Roman teorisine göre anlatma tekniği, bakış açısı, olay örgüleri, karakterler, mekan ve zaman gibi kriterler izlekler ve kavramlar çerçevesinde açıklanmıştır. Hem karakterin rolüne hazırlanışı hem de diğer romandaki unsurlar romanın üç ana bölümünü oluşturan üç ana olay örgüsü altında ele alınmıştır. Romanın ana izleği olarak yalnızlık varoluşçuluğun ana çekirdeği babında incelenmiştir. Peyami Safa'nın Yalnızız romanı, adı da üzerinde olduğu gibi, Türkiye'de İkinci dünya savaşının getirdiği olumsuz etkileri ele alır. Modernleşmenin batılılaşma olduğunu anlamakla kendi özünden kopan, gelenek ve göreneklerine uzaklayan, ayrıca özgür olarak varoluşsal evrimini yaşayamayan Türk kadını, yalnızlığının uç noktasını yaşar. Yani batılılaşmak, kendi gelenek ve göreneklerinden kopup Batı'yı taklit etmekle değil, Batı'nın modernliğinin de yer verildiği yerli kültürün ve yaşamın yaşanılmasıydı kastedilen. Dolayısıyla, varoluşçuluk Batı dünyasında kendi doğal akışıyla yaşanırken, Batı'nın taklit edilmesi sorunsalı zorunlu olarak Türkiye'de de yaşanılmasını kaçınılmaz yapar. Bu bağlamda, varoluşçu yaklaşımla insanın yalnızlığını kaleme alan yazar, aynı zamanda insanın aslında yalnız olmadığını ve yalnızlıktan kurtulmanın ip uçlarını vererek insanın kendi özüne, gelenek ve göreneklerine dönmekle mümkün olduğunu da söyler. Yeter ki, insan kendi kültürüne dönmelidir. Çünkü, insan her anlamda kendi içinde oturamadıysa yaşamayı sürdüremez. Bu açıdan romandaki ölüm, bir yeniden doğuşun simgesi olarak ortaya çıkar. Diğer bir ifadeyle, insanın kendi özünü bulması için ölmesi gerekirdir. Bu bağlamda Yalnızız romanı ruh-beden çatışmasını anlatmaktan çok insanın varoluşsal sorununu, hayatın çeşitli olabilirliklerini ve aynı zamanda kültürel değerlerin eleştirmesini ele alan kültürel romandır

In this article Peyami Safa's Yalnızız novel was analized in terms of structure and themes. According to the narrative technique, it is explained in terms of the techniques, point of view, event patterns, characters, space and time. The preparation of the character's role and the other elements in the novel have been dealt with the three main events of braids forming. We considerated three basic parts of the novel as well. The loneliness like matrix of existentialism, was taken over as the main theme of the novel. Peyami Safa's Yalnızız novel showes the negative effects of the Second World War in Turkey, as it is on its name. By understanding, the fact that modernization is westernization is breaking away from its own essence, moving away from its traditions and customs. Especially, the Turkish women who could not live the existential evolution freely lived the extreme point of they loneliness. It’s nessesary to underline that westernization meant not only breaking away from its own traditions and customs and imitating the West, but also by experiencing the indigenous culture and life in which the modernity of the West was also included. Because of it, while existentialism is experienced in its own natural way in the Western world, the imitation of the West makes it inevitable to experience the problematic, comfortable for Turkey. In this context, the writer retains the loneliness of man by the existentialist approach. At the same time he also tells us that man is not alone, and that it is possible to return to man's own essence, traditions and customs by giving them the clues of loneliness. As long as man has to return to his own culture. If man could not set within himself in every sense, he could not live. In this respect, the death in the novel is showed as a symbol of a rebirth. In other words, a person has to die in order to find his own self. In this context, it is a cultural novel that deals with the existential problem of humanity, the various possibilities of life, and the criticism of cultural values, rather than the soul-body conflict After the Second World War, the disintegration of roots and the misinterpretation of Westernization in Istanbul was caused alienating from self and common values in society. The novel Yalnızız showed how this values echoed in individuals. However, the novel do not showed just dualistic consepts, how its used to understanding: east/west, soul/body, truth/lie, sincerity/forgery, loyalty/betrayal, and do not prepares the characters on this ground by using ideological symbolism, but it focused on individuality and humanism. If we perceive the novel as an ideological novel as it is said,we should to perceive that the main characters are symbolized of soul-body conflict: Meral is symbol of materialism, and Samim is the spiritualism. Milan Kundera draws attention to a characteristic of the novel: "On the one hand, there is a novel in which the historical dimension of human existence is examined, on the other side there is a historical novel, a description of a society at a certain time, a novelistic historical writer". As for the novel Yalnızız, it is a humanistic novel, as the author put it. Thus, the novel is built on existential possibilities and in this respect, examines the historical dimension of human existence (Kundera, 2012: 43, 50). Because, the main character Samim is not only representative of East or spiritual values. From a cultural point of view, emphasizing God as an inevitable end, and Samim's mystical Eastern Simeranya are emphasizing Eastern cultures, the Meral’s Paris adventure emphasizes Western cultures with its abandoned human beings. However, this duality is not concretized sharply like kart characters. Samim, is a character who is loyal to his spiritual values and able to construct hisself, but also is capable of making mistakes, as well as being able to be specific to every human condition; rather than a symbol of a particular concept. Just, we can only be said that the existence of Samim are: honesty, loyalty and humanity. Peyami Safa's novel consists of three parts, which we can divide into three main events: a) I. Section: Enlightenment of the main character Samim; b) II. Section: Meral's internal conflict. c) III. Section: Meral's death. Samim, striving to solve the issues within the family, writes Simeranya as a resort for this in the first part and in the second part he is tasked to help Meral. In other words, in the first part he faces Selmin's mother’s doubts about Samim and her desire to take revenge from her fiancé named Ferhat while in the second part he encounters Meral’s existentially not being at peace with herself and her pursuit for herself. The alienation theme in both parts develops in two different ways: the alienation in the first part gives harm to other humans’ realm of existence by the self-confidence people have to themselves (Human’s alienation threatening other humans’ realm of existence with a selfish and arrogant confidence); the alienation in the second part causes harm to a person himself arising from his fight with himself. In this context, we can say that the main theme of the novel is alienation (alienation due to the harm a human gives to himself arising from his fight with himself). A human’s alienation by being away to his humanistic values while he is in pursuit of himself is the main theme of the entire novel. Alienation and self-creation arise from the feeling of a big lack of self-confidence or from the feeling of inadequateness. For example, the story of false pregnancy which Selmin has fabricated with a view to show her independence against her mother is actually a deep feeling of inferiority she feels about herself. As such, this feeling that the characters have in the novel brings lying, doubt, revenge and racism with itself. After the first part which paves the way for the conflict between Samim and Meral in terms of the course of events, it is clearly observed in the second part that the reason of this conflict is due to Meral's internal conflict. Accordingly, in the second part, the theme of alienation occurs with themes like individual's self-search and self-escape. And this is Meral'il duality. The author also reveals here the psychological dimension of the human being's process of existential depression. The existential depression in the humans has an archetypal value inasmuch as it is the process of integration of the subconscious with consciousness. As such, statement of Samim, as the second in Meral, corresponds with Jung's Shadow archetype. The Shadow archetype is the negative and dark side in humans. If this second in Meral also has an archetypal character, then this archetypal ego status also belongs to all mankind. Actions reflected by Meral is an attempt to create the essence of a human being left to the world in the existential sense or moves towards the unconscious. Until this process is completed, the level of awareness to actions made by people and everything is at a minimal level. Accordingly a human must make peace compete with this ego state within himself and earn himself. Otherwise, human beings do harmful actions, become unhappy and become alienated to themselves. This section is very tightly connected to the third section. In this section, desolation and loneliness of person who is on the way of searching himself or Meral is discussed. No one guides and helps people about what they do. This is because human is left to be able to create his essence. A person who is in pursuit for himself can re-create himself by death on the symbolic level. However, human beings become increasingly like objects and are alienated to their essence due to the negative influence of modern life, and modern life makes it more difficult for the human beings to create their essence. On the other hand, the pressure caused by tradition and the understanding of universal ethics make the process of creating a man's essence even more difficult. Meral cannot achieve this stage in the novel. Because Meral cannot think on this error which is defined as sin, in other words she cannot get rid of the complex of sin arising from not doing the “correst” thing (Gruen, 2012: 33); therefore she cannot be herself and cannot get rid of the pressure. In this context, a person who cannot be himself is condemned to not existing in every sense. As such death (death of any kind: either suicide or death) seems to be inevitable by the author. The mother and the daughter, both of whom have not been able to create their own essences, commit suicide without being their real selves, or rather their lives end because they cannot be themselves in the real sense. This destruction, in other words death corresponds to nothingness. So a person who cannot be himself in the real sense is a nothing. In this context, every death has a symbolic value. As a result, this depression is due the absolute loneliness that human beings are condemned in their creation. The title of the novel covers the cited meaning. We humans are actually alone. Until this fact is comprehended, human beings look for happiness in others and elsewhere. Accordingly every character in the novel is unhappy and in a state of escaping: Samim to Simeranya; Meral to Paris; Renginaz to mental disorder and mystical world; Feriha to Paris. However, man should be in pursuit of peace and happiness within himself. The author again recommends going to Allah as the solution. This is because Allah is the highest peak of soul a man can reach.