By Mehmet Kalpakli, Walter G. Andrews, Najaat Black
ISBN-10: 0295800933
ISBN-13: 9780295800936
ISBN-10: 029598595X
ISBN-13: 9780295985954
The Ottoman Empire used to be the most major forces in global historical past and but little consciousness is paid to its wealthy cultural lifestyles. For the folk of the Ottoman Empire, lyrical poetry was once the main prized literary job. humans from all walks of existence aspired to be poets. Ottoman poetry used to be hugely complicated and complex and was once used to specific all demeanour of items, from emotions of affection to a plea for employment.
This assortment deals unfastened verse translations of seventy five lyric poems from the mid-fourteenth to the early 20th centuries, in addition to the Ottoman Turkish texts and, new to this extended version, photos of revealed, lithographed, and hand-written Ottoman script types of a number of of the texts--a bonus for these learning Ottoman Turkish. Biographies of the poets and history info on Ottoman background and literature whole the quantity
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Additional info for Ottoman lyric poetry : an anthology
Example text
25b) 4. Sheyhi It's the season of spring, let us be cheek to cheek with the east wind Let us be friends with the rose, and companions of its scent It is the time of the wild tulipwith pure hearts let us take up the cup Like the narcissus, let us be drunk without pretense Like the rosebud, keep hidden the secrets of your fate But like the blooming rose, let your heart be open to the pleasure of the field Jem said the cup is the key, throwing open the gates of the city Come, let us be disciples of the cup that reveals the secrets of this world Let us await God's mercy, for we have sinned If we expect rewards for obedienceforgive us Oh Sheyhi, the wise say it is madness to ask God's forgiveness in the spring Today, let us know the pleasure of the season, tomorrow we may bow as saints 31 5.
And so it is with ours. Another area that demands some explanation is the actual state of the original texts. The situation of texts in Ottoman Turkish studies is largely anomalous. Since the alphabet reform of the early 1920S, most editions of Ottoman texts have been edited, not in their original Arabic script form, but as transcribed by editors into a modified modern Turkish (Latin letter) orthography. This means that the base, "edited" text is not a "version" of the original or an original but an editor's version of an already interpreted transcription of a manuscript or set of manuscripts.
Nonetheless, the conventions show only very minor changes and there is still no way to tell the gender of a beloved from the internal evidence of the poem. Thus there is always an ambiguity, an ambiguity that convention shades toward a reading that includes a young male beloved. It is important to remember that the slightest reference to gender in Ottoman poetry raises issues for us today of homoeroticism and homosexuality and the historical contexts of discourses about both, which are sensitive and vexed issues that demand entire books of their own.
Ottoman lyric poetry : an anthology by Mehmet Kalpakli, Walter G. Andrews, Najaat Black
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