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The Dream of a 17Th Century Ottoman Intellectual

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The Dream of a 17Th Century Ottoman Intellectual View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sabanci University Research Database THE DREAM OF A 17 TH CENTURY OTTOMAN INTELLECTUAL: VEYS İ AND HIS HABNAME by A. TUNÇ ŞEN Submitted to the Graduate School of Arts and Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts Sabancı University Spring 2008 THE DREAM OF A 17 TH CENTURY OTTOMAN INTELLECTUAL: VEYS İ AND HIS HABNAME APPROVED BY: Asst. Prof. Y. Hakan Erdem …………………………. (Thesis Supervisor) Asst. Prof. Hülya Canbakal …………………………. Asst. Prof. Hülya Adak …………………………. DATE OF APPROVAL: 06 / 08 / 2008 © A. Tunç Şen, 2008 All Rights Reserved ABSTRACT THE DREAM OF A 17 TH CENTURY OTTOMAN INTELLECTUAL: VEYS İ AND HIS HABNAME A.Tunç Şen History, M.A. thesis, Spring 2008 Thesis Supervisor: Y. Hakan Erdem This thesis endeavors to present a literary-historical analysis of a seventeenth century work of prose, Habnâme , which was written by one of the prominent literary figures of his time, Veysî. He was born in Ala şehir in 1561/2, and died in 1628 in Skopje. Having been enrolled in medrese education, he worked as a kadı in various locations in both Anatolia and Rumeli including Ala şehir, Tire, Serez and Skopje. He is, however, better known for his literary abilities, and respected by both contemporary biographers and modern scholars as one of the leading figures of Ottoman ornamental prose. In his Habnâme, Veysî constructs a dream setting, in which the Alexander the Two- Horned has a conversation with Ahmed I regarding Ahmed’s concerns of the abuses in state apparatus. It is, thus, considered as an example of the Ottoman mirror for princes genre. Yet the text has some considerable deviations from other treatises, for it a) unequivocally fictionalizes the content through ‘dream’ fashion, b) contravenes the “Golden Age” rhetoric by making Alexander the Great say that abuses were not peculiar to Ahmed’s reign, they have been always there from the beginning. With this regard, the text serves as a consolation rather than a counsel. Habnâme of Veysî is equally important for its special literary quality of using dream as a frame for the narrative. While attempting to understand his choice, various dimensions should be taken into consideration. Firstly, Veysî’s possible familiarity with Islamic dream paradigms needs to be explained. Furthermore, the layers of correspondences between Veysî’s Habnâme and alike pieces from subsequent periods such as the works of Ha şmetî, Ziya Pa şa, Namık Kemal or Ru şenî should be emphasized. With all these regards, the following study aims to: 1) question the position of Habnâme of Veysî within the Ottoman mirror for princes literature through exploring the intertextuality between Habnâme and contemporary mirrors by taking into consideration the literary ecology (i.e. the audience, reception, authorial intentions) and/or political-cultural context in which the text was produced, 2) contextualize the text within a broader plane of Islamic dream lore in order to answer “Why might Veysî have created such a dream setting?” and/or “In what ways did this dream apparatus enable him in expressing his views?”, 3) through benefiting from the debates on the dream-vision genre of medieval European literature, to scrutinize the continuity within the tradition of composing dream-framed accounts in the Ottoman literature, and hereby question the validity of a new literary genre. iv ÖZET 17. YY’DAN BİR OSMANLI ENTELEKTÜEL İNİN RÜYASI: VEYS İ VE HABNAME İSİML İ ESER İ A.Tunç Şen Tarih, Master Tezi, Bahar 2008 Tez Danı şmanı: Y. Hakan Erdem Bu tez, 17. yüzyılda, döneminin önemli edebî figürlerinden biri olan Veysî tarafından yazılmı ş Habnâme isimli eserin edebî-tarihsel analizini yapmaya çalı şmaktadır. 1561/2’de Ala şehir’de do ğup 1628’de Üsküp’te ölen Veysî, medrese e ğitimini tamamladıktan sonra Ala şehir, Tire, Serez ve Üsküp gibi Anadolu ve Rumeli’nin çe şitli bölgelerinde kadılık yaptı. Ne var ki Veysî daha ziyade edebî yetenekleriyle ün kazanmı ştır. Gerek döneminin biyografi yazarları gerekse günümüz edebiyat tarihçileri, Veysî’nin Osmanlı süslü nesrinin önde gelen temsilcilerinden biri oldu ğu konusunda hemfikirdir. Veysî, Habnâme adlı eserinde, rûyasında görmü şçesine İskender-i Zülkarneyn ile Sultan I. Ahmed’i, devlet düzeninde görülen ve sultana kaygı veren suistimaller hakkında konu şturur. Bu politik içeri ği nedeniyle, metin, Osmanlı nasihat literatürünün bir örne ği olarak kabul edilmektedir. Yine de Habnâme’yi döneminde yazılmı ş risalelerden, i) rûya formu vesilesiyle anlatısını açıkça kurgusalla ştırdı ğı, ve ii) İskender’e, suistimallerin yalnızca Ahmed’in dönemine özgü olmayıp tarihin ba şından beri görüldü ğünü söyleterek yaygın “Altın Ça ğ” söylemine itiraz etti ği için ayırmak gerekir. Siyasi içeri ğinin yanı sıra, anlatıya özgünlük kazandıran ‘rûya’ çerçevesi hasebiyle de Habnâme incelenmeye de ğer bir metindir. Veysî’nin böyle bir stratejiye ba şvurmasındaki saikleri anlamak, çe şitli ba ğlamların incelenmesini gerektirir. Öncelikle Veysî’nin İslamî rûya teorileriyle olan olası yakınlı ğı ortaya konmalıdır. Bunun dı şında, Habnâme ile sonraki dönemlerde Ha şmetî, Ziya Pa şa, Namık Kemal ve Ru şenî tarafından yazılmı ş benzer metinler arasındaki benzerlik/farklılıklar tahlil edilmedir. Bütün bunların ı şığında, bu çalı şmanın ba şlıca amaçları: 1) Metnin üretildi ği ve tüketildi ği edebî çevre ile siyasî-kültürel ba ğlamı ortaya koyarak Habnâme ’yi döneminde yazılmı ş di ğer siyasi metinlerle kar şıla ştırmalı bir okumaya tabii tutarak, Habnâme ’nin Osmanlı nasihat literatürü içindeki yerini sorgulamak, 2) Veysî’nin böyle bir rûya anlatısını neden kurgulamı ş olabilece ği ve bu rûya aracının, Veysî’ye, dü şüncelerini ifade etme hususunda ne gibi olanaklar tanımı ş olabileceği sorularına cevap verebilmek adına Habnâme ’yi daha geni ş bir İslamî rûya literatürü içine yerle ştirmek, 3) Osmanlı edebiyatında, benzer di ğer eserler üzerinden tesbit edilebilen rûya formu gelene ğini, ortaça ğ Avrupa edebiyatındaki rûya-görüleri türü tartı şmalarından da faydalanarak inceleyip yeni bir edebî tür tanımlamanın mümkün olup olmadı ğını cevaplamaktır. v ACKNOWLEDGEMENTS I cannot express my deep gratitude enough to my thesis supervisor Y.Hakan Erdem, who has always encouraged us to study adjaib & garaibs of the Ottoman history. Without his inspiration, attention, and care, this thesis could not be written. I would like to particularly thank to Hülya Canbakal and Hülya Adak for the interest they showed in my work and their comments that enriched my thoughts. I am grateful to Halil Berktay not only for his critical touch that enabled me to entirely concentrate in writing this thesis, but also his being a role model with his never-ending appetite for learning. I am also thankful to the whole history faculty for everything they taught during both my undergraduate and graduate years at the Sabancı University. I am indebted to the generosity of Baki Tezcan, Emel Akal, Jonathan G. Katz and Tülay Artan who kindly shared their unpublished papers with me. During the research process, I have found a chance to receive invaluable comments from several scholars. Here I would like to thank Aslı Niyazio ğlu, Cem Aka ş, Derin Terzio ğlu, Gottfried Hagen, Günhan Börekçi and Zehra Toska. I would also like to specially thank to Hasan Karata ş not only for teaching me Ottoman and helping me in deciphering the texts, but also his friendship. Along with him, Aykut Mustak, Emre Erol, Mehmet Kuru and Sinan Ciddi have shared with me all the ups and downs of this process. I am thankful to each of them for creating a hospitable environment, which was a real savior in desperate times. Many thanks to the librarians in the Information Center at the Sabancı University, especially to Mehmet Manyas, who kindly and quickly provided my demands of interlibrary loan. I must also express my gratitude to TÜB İTAK that financially supported me during the last two years. My family, who was patient with by murky and negligent mood, deserves much more than my humble remarks. They have always backed me with their endless love. Finally, it has been a big pleasure to share each and every moment of not only this short- lived thesis process but also my entire life with my precious Sümeyye. vi Hayatımı güzelle ştiren Annem, Babam, Tuba, Tu ğgen, Ferruh, Ali, Sümeyye, Nehir, ve dünyaya gelmeye hazırlanan Ege’ye, beraber ya şanacak nice güzelliklerin ümidiyle… vii TABLE OF CONTENTS INTRODUCTION.………………………………………………………......................................1 CHAPTER I AN INTERPRETIVE FRAMEWORK…………………………………………………................7 I. 1 The Name of the Genre: Ottoman Mirrors for Princes, Sixteenth to Eighteenth Centuries…………………………………………………………………13 I. 2 Different Approaches to the Problem: How to Read Early Modern Ottoman Political Writings…………………………………………………………………….18 CHAPTER II THE AUTHOR OF HABNÂME AND HIS ENVIRONMENT………………………………….24 II. 1 The Beginning of his Career………………………………………………………..28 II. 2 Veysî in Rumeli…………………………………………………………………….34 II. 3 Search for Patrons………………………………………………………………......38 II. 4 Sufi affiliations……………………………………………………………………..42 CHAPTER III COUNSELLING OR CONSOLING THE SULTAN? HABNÂME AS A ‘MIRROR FOR PRINCE’…………………………………………………...47 CHAPTER IV DREAMS, VISIONS & ANXIETY: HABNÂME AS A ‘REAL DREAM’……………………..74 IV. 1 Islamic Dream Lore………………………………………………………………..80 IV. 2 Sufi Dreams………………………………………………………………………..84 IV. 3 Dreams and Anxiety……………………………………………………………….92 CHAPTER V TOWARDS CONCEPTUALIZING A NEW GENRE? HABNÂME
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