Satire develops first in Greek and Latin arts. After cruising of this development, becomes an art form based on the principles of “praising of virtue”, “criticizing the evil” during the Roman period. Satire is sub genres of humor, because the satirist carries the object of criticism on the fictional plane to the field of comical (humorous/ridiciluous) and holds it there. The artist can select the individual, community groups, legal entities and other elements as “victim” and put them at the target of criticism. The satirical text, which is presented with a clear, sharp, aggressive language and style, often uses irony and parody techniques. The analysis of satirical texts imposes consciousness and knowledge that these texts are intended as satirical criticism as a prerequisite. Because, in satirical texts, fragmentary structure is essential, not fiction. As a result of this, there may be a number of fictional or technical problems. The reason is that the humorous is revealed in crowded scenes. Therefor, each approach to analysis requires knowing the characteristics of satire; this is directly related to revealing the purpose and success of the work. Refik Halit Karay, one of the most powerful story-writers of Turkish literature can be considered a successful satirist for his sharp tongue, the power of his style, ability to capture irony. In the context, “Şeftali Bahçeleri” and “Sarı Bal” stories in Karay’s Memleket Hikâyeleri provide an potentiality to be considered as satire examples. The aim of this study is to reveal the satirical elements in the stories in question with a comparative assessment. Finally, it is aimed to reveal the satirist attitudes in Karay’s texts.
Satire, Refik Halit Karay, Memleket Hikâyeleri, “Şeftali Bahçeleri”, “Sarı Bal”, carnivalesque.