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Home , Ahmad Yasawi, Baba (Alevism), Sari Saltik, The Rihla

EVLİYÂ ÇELEBİ Studies and Essays Commemorating the 400th Anniversary of his Birth

EDITORS Nuran Tezcan · Semih Tezcan Robert Danko"

REPUBLIC OF MINISTRY OF CULTURE AND TOURISM PUBLICATIONS © REPUBLIC OF TURKEY MINISTRY OF CULTURE © THE BANKS ASSOCIATION OF TURKEY AND TOURISM GENERAL DIRECTORATE OF LIBRARIES AND PUBLICATIONS

Republic of Turkey Ministry of Culture and Tourism 3358 The Banks Association of Turkey Publications General Directorate of Libraries and Publications 290, Series of Culture:5 Series of Biographies and Memoirs 40 )+I$%Q%E($+!1:R=+I2!@W@OO eeeK&:'$:I$:I%URK`0GK$I eeeK$==K0I`K$I +;R(%'2!8(8%R'(If&:'$:I$:I%URK`0GK$I +;R(%'2!$==f$==K0I`K$I c/712!CWO;CWB;@W;6P@W;O c/712!CWO;P>B;B63W;@C;5

ORIGINAL TURKISH EDITION First Edition Evliyâ Çelebi, ©Republic of Turkey Ministry of Culture and Tourism General Directorate of Libraries and Publications, Ankara, 2011. Print Run: 500. Editors Nuran Tezcan, Semih Tezcan

ENGLISH EDITION Editor of the English Edition Robert Dankoff

PRODUCTION Isbank Culture Publication Address!"#$%&'('!)(**+#%,!-+.+'%&!/0&(&!102!345,!65566!7+809':;"#$(<=:'! Phone!>!?3@3A!3B3!6C!C@

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PRINT RUN 2000 copies.

PUBLICATION PLACE AND DATE Istanbul, 2012.

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1. Evliya Çelebi I. Tezcan, Nuran. II. Tezcan, Semih. III. Dankoff, Robert IV. Series C@>KC3 CONTENTS

INTRODUCTORY # 1 Introduction 9 Nuran Tezcan and Semih Tezcan Introduction to the English Edition 10 Robert Dankoff # 2 Selection of Images Relating to Evliyâ Çelebi 15 # 3 The Travel Book of a Genius 17-19 Semih Tezcan LIFE AND LEGACY # 4 The Life of Evliyâ Çelebi: A Chronological Inventory 20-29 !"#$%&'()*#$+%,-./(0123)*#)*3#425()0"#/(0123)* # 5 When did Evliyâ Çelebi Die? 30-32 Nuran Tezcan # 6 Evliyâ Çelebi the Archer 33-40 Semih Tezcan # 7 7(0#4,%890#2*#:;&2-<#=0&0>2?%#610)@ 41-42 Nuran Tezcan # 8 Documentary Traces of Evliyâ Çelebi 43-55 Nuran Tezcan Evliyâ Çelebi in Vienna The men he met in Vienna A1)BCD2 Patents of Safe Conduct Obtained from the Franks Interest in Drawing E*D010%D#2*#4)F% Evliyâ Çelebi in Books of Archery RESEARCH, MANUSCRIPTS, EDITIONS # 9 History of Research on the Seyahatnâme from 1814 to 2011 56-80 Nuran Tezcan # 10 /D195D910#)*3#G,*D0*D%#,B#D(0#/0-)()D*<@0H#E@F,1D)*D#4)*9%512FD%#)*3#:32D2,*% 81-95 Nuran Tezcan MAPS OF HIS TRAVELS # 11 4)FI#7(0#71);0&%#,B#:;&2-<#=0&0>2 96 425()0"#/(0123)*# # 12 4)F#,B#:;&2-<#=0&0>2?%#71);0&%#2*#$*)D,&2) 97 Jens Peter Laut

COUNTRIES, REGIONS, CITIES # 13 J,D0%#,*#:;&2-<#=0&0>2?%#71);0&%#2*#$*)D,&2) 100-107 K01239*#4"#:@050*# # 14 :;&2-<#=0&0>2?%#$*+)1) 108-113 Nuran Tezcan # 15 :;&2-<#=0&0>2?%#L,91*0-#D,#M20**) 114-118 A2%0&)#N1,5(OP+).:2%& # 16 L,91*0-#2*#$P01>)2Q)*#)*3#D(0#7R,#E1)8% 119-134 Christiane Bulut # 17 712F,&2#)*3#2D%#$15(2D05D91),*9@0*D%#2*#D(0 Seyahatnâme 135-144 Sawsan Agha Kassab and Khaled Tadmori # 18 4055)#2*#D(0#/0-)()D*<@0 145-153 Nurettin Gemici # 19 :S-FD#2*#D(0#/0-)()D*<@0 154-166 4,()@03#T)123- # 20 7(0#J2&0#L,91*0-I#:S-FDU#/93)*U#T)>0%( 167-182 Nuran Tezcan # 21 :;&2-<#=0&0>2?%#N0150FD2,*#,B#D(0#J0R#V,1&3 183-189 Hakan T. Karateke EXCERPTS AND CROSS SECTIONS FROM THE SEYAHATNÂME # 22 The Guild Procession 190-194 WX50)Y&' # 23 7(0#4)1+0DF&)50%#,B#Z91%)U#[)-%012#)*3#\1B) 195-207 ]9&0#NB02BB01.7)^ # 24 7(0#N12*50?%#N)&)50#2*#4)*2%) 208-209 Nuran Tezcan # 25 N&)D,?%#N);2&2,*#_#7,R01#,B#D(0#V2*3% 210-212 Semih Tezcan # 26 The Piraeus Lion 213-215 Semih Tezcan # 27 7(0#4,%D)1#Z123S0#2*#Z,%*2) 216-218 Nuran Tezcan # 28 The Banana Tree 219 Nuran Tezcan # 29 `K)D(01#,B#7011,1aI#7(0#/D,1-#,B#D(0#/F(2*b 220-221 Semih Tezcan # 30 An Enemy of Images 222-223 Semih Tezcan # 31 Kaya Handkerchiefs Used as Gifts 224-225 Nuran Tezcan TRAVEL WRITING # 32 40@,21%#)*3#71);0&#J,D0%#,B#)#Z,,*#G,@F)*2,* 226-231 T)&2&#c*)&5'+ # 33 What Kind of Traveler was Evliyâ Çelebi? 232-235 Sooyong Kim # 34 71);0*#D(0#42*3#,B#)#71);0&01I#$#K0@2*2%D#N01%F05D2;0#,*#:;&2-<#=0&0>2#2*# 236-241 Vienna Arzu Erekli HISTORY # 35 :;&2-<#=0&0>2?%#M20R%#,*#D(0#dDD,@)*#6-*)%D- 242-262 W)(-)#[0@))^D)* CULTURAL ANTHROPOLOGY # 36 !0)32*S#D(0#/0-)()D*<@0#)%#)*#:D(*,S1)F(25#70bD#,1#!0S)132*S#:;&2-<#=0&0>2#)%# 263-271 )*#:)1&-#:D(*,S1)F(01 /9);2#$-3'* # 37 Two Pilgrimage Sites at Ayasofya and their Stories in the Seyahatnâme 272-275 Hasan Özdemir # 38 Notes on Turkish Folk Literature from the Seyahatnâme 276-289 4"#/)>12#[,P # 39 e0S0*3%#)>,9D#M20**)#2*#D(0#/0-)()D*<@0#)*3#D(021#$9%D12)*#G,9*D01F)1D 290-295 Claudia Römer # 40 e0S0*3%#,B#/)1'#/)&D'+#2*#D(0#/0-)()D*<@0#)*3#D(0#Z0+D)%(2#d1)G)32D2,* 296-304 Helga Anetshofer # 41 `4)1;0&%#)*3#V,*301%a#2*#D(0#/0-)()D*<@0 305-309 Yeliz Özay ART HISTORY # 42 ED2*01)*D#A)P0I#7(0#!0F10%0*D)D2,*#,B#dDD,@)*#)*3#40320;)&#$*)D,&2)*# 310-326 Architecture in the Seyahatnâme =2Y30@#[)B0%52,Y&9 # 43 4)D1)+f'#J)%9(#)*3#:;&2-<#=0&0>2I#N01%F05D2;0%#,*#dDD,@)*#A)130*%#ghijk_ 327-344 1682) Nurhan Atasoy # 44 :;&2-<#=0&0>2?%#$*520*D#V,1&3 345-351 7)*%9#$f'+ LINGUISTICS # 45 Languages of the World in the Seyahatnâme 352-364 Robert Dankoff LITERATURE # 46 The Seyahatnâme in World Travel Writing 365-368 Sooyong Kim # 47 The Literary Value of the Seyahatnâme and its Place in 369-382 Literature Nuran Tezcan # 48 :;&2-<#=0&0>2?%#V12DD0*#/,9150% 383-387 Hatice Aynur MAP OF THE # 49 :;&2-<#=0&0>2?%#4)F#,B#D(0#J2&0 388-393 Robert Dankoff and Nuran Tezcan APPRECIATIONS # 50 :;&2-<#=0&0>2#)*3#:@F210 394-396 $(@0D#T)@32#7)*F'*)1 # 51 7(0#T,%F2D)&#,B#/9&D)*#Z)-0P23 397-399 Z0(f0D#J05)D2S2& # 52 :;&2-<#=0&0>2?%#Z,,+#,B#=)@&'>0& 400-401 c&()*#Z01+ # 53 The Seyahatnâme and History 402 ]01)B0DD2*#791)* # 54 Evliyâ Çelebi of the Future 403-404 Talât S. Halman # 55 :;&2-&2,S1)F(- 412-459 Robert Dankoff and Semih Tezcan Authors 460 Translators 461

CD BIBLIOGRAPHY # 40 e0S0*3%#,B#/)1'#/)&D'+#2*#D(0#/0-)()D*<@0#)*3# the Bektashi Oral Tradition

Helga Anetshofer !"#$%!"&'$()*%+,-.'/'0%".,%12&/03% vast body of oral and written narratives — on his 4-&-5/)*%+6"7-%89%!"#$%!"&'$( legendary life, his endless wars, his fantastic ad- ventures and miracles — began to emerge from the !"#$%!"&'$()%'*+%,-.'%/012+0'/"&%3+#4/.*56*"7/% Hc'*%M+0'2#>%-0@"#3.A%X*+%,-.'%/,<-#'"0'%"03%4-- /0%'*+%8.&",/7"'/-0%-9%'*+%:"&("0.)%;62#+.%<#-,/- luminous of these is the Saltuknâme, a large com- nently in various passages of the Seyahatnâme. pilation that is the third in a cycle of epic romances Especially during his three visits to the , on the Islamic conquest of and the Bal- =4&/>?%.*-@.%"%(++0%/0'+#+.'%/0%!"#$%!"&'$(%&+6+03.A% ("0.% "9'+#% '*+% Battalnâme and 345067"585+7". B+% #+9+#.% '-% !"#$% !"&'$(% ".% C-0+% @*-% .'#266&+.% /0% the path of God” (mücâhidün fî sebîlillâhD%88AEFG")% The Saltuknâme was compiled between 1473 and 888AHEI"J%K%/A+A%-0+%@*-%+06"6+.%/0%L/*"3A%=4/3+0'- HaIZ%N>%=N2]&5B">#%h2,/%9-#%T+,%!2&'"0%"03%/.% &>% *+% @".% 9".M/0"'+3% N>% '*+% &+6+03.% "#-203% !"#$% extant in a (nearly complete) copy of more than !"&'$(%"03%N+&/+4+3%3++<&>%/0%*/.%."/0'*--3A% FZZ%9-&/-.%9#-,%'*+%+03%-9%'*+%HF'*%M+0'2#>A%X*+% evidence from the Seyahatnâme%,"(+.%/'%M&+"#%'*"'% O+#>% 9+@% .-2#M+.% #+9+#% '-% '*+% */.'-#/M"&% !"#$% =4&/>?%i+&+N/%3/3%0-'%(0-@%'*/.%@-#(AE%X*+%:+(- !"&'$()%@*-%/.%6+0+#"&&>%N+&/+4+3%'-%*"4+%N++0%"M- tashi hagiographies (90#4:";5+7"/0( <4=>( ?"&;46@( '/4+% /0% '*+% P-N#2L"% "03% '*+% Q/

296 !"#$%&'(!#!)$ X*+.+%@#/''+0%+j",<&+.%-9%!"#$%!"&'$(%&+6+03.% !"#$%!"&'$(].%/3+0'/;M"'/-0%@/'*%T*#/.'/"0%."/0'.)% are based on a rich earlier oral tradition that was and perhaps also some of his activities that were &"'+#%M"##/+3%-0)%+.<+M/"&&>%/0%:+('".*/%M/#M&+.)%"03% considered heterodox, must have caused discomfort reached various places in South East Europe as far among the Ottoman authorities and ulema in the ".% T-#92% "03%V&N"0/"A% 8'% /.% 4+#>% &/(+&>% '*"'% =4&/- HF'*%M+0'2#>A%V9'+#%!s&+>,"0%8%4/./'+3%!"#$%!"&'$(].% >?].% +0M-20'+#% @/'*% !"#$% !"&'$(% &+6+03.% "&.-% '--(% tomb (türbe) and lodge (tekkeJ%/0%:"N"3"`%/0%HcSI)% <&"M+%'*#-26*%'*+%,+3/"'/-0%-9%:+('".*/%3+#4/.*+.% *+%-#3+#+3%'*+%!*">(*2&/.&",%=N2.2Y23%=9+03/%'-% in the Dobruja. His primary motive in introducing /..2+% "% 9"'@"% M-0M+#0/06% !"#$% !"&'$(].% ."/0'*--3A% !"#$%!"&'$(%"03%*/.%&+6+03.%/.%'-%M-20'+#%'*-.+%-9%*/.% =N2.2Y23].% #+.<-0.+% /.% 9",-2.r% C!"#$% !"&'$(% AAA% /.% M-0'+,<-#"#/+.%@*-%3-2N'+3%'*"'%!"#$%!"&'$(%#+"&&>% "%T*#/.'/"0%*+#,/'%,"M+#"'+3%N>%+jM+../4+%9".'/06g% @".%"%X2#(%"03n-#%"%b2.&/,%."/0'A%V.%*+%#+<+"'+3&>% (!4,>(!4#;>&(AAA(,0:+B";(0#"(&48-8(C#7%6(D0,(&"60680,).c states, “Some godless heretics say — God forbid! Although Evliyâ does not mention this fatwa, he is K%'*"'%*+%@".%"%<#/+.'%0",+3%!"&'$(g%R888AHHH"JA @+&&%"@"#+%-9%'*+%9"M'%'*"'%!"#$%!"&'$(%/.%#+4+#+3%".% As a result of the Ottoman conquests in the "%T*#/.'/"0%."/0'%-9%!&"4/M%-#/6/0%K%Ct.4+'/%[/(-- F :"&("0.% 9#-,% '*+% Ha'*% M+0'2#>% -0@"#3.)% ,"0>% &"g%-#%CV>"%t.4+'/%[/(-&")g%/A+A%!"/0'%[/M*-&".J — people of different faiths and cultures (especial- N>%\#++(%"03%!&"4/M%T*#/.'/"0.%/0%'*+%:"&("0.A%80% &>%^#'*-3-j%T*#/.'/"0.%"03%!200/%b2.&/,.J%&/4+3% */.% \#++(% @-#3% &/.'% *+% 6/4+.% t.4+'/% [/(-&"% ".% '*+% closely together and intermarriage and conversion +W2/4"&+0'%-9%X2#(/.*%!"#$%!"&'$(%RO888AEcFNJD%"03% occured on a regular basis. The people accepted @*+0%*+%'"&(.%"N-2'%T*#/.'/"0%*-&/3">.%-#%4+0+#"'+3% this situation with more or less tolerance. As part of ."/0'.% *+% 2.2"&&>% ,+0'/-0.% t.4+'/% [/(-&"% "03% !"#$% 7 '*+%.",+%<#-M+..)%T*#/.'/"0.%"03%b2.&/,.%N+6"0%'-% !"&'$(%M-0L-/0'&>A share some of the old religious sites, and this also We also learn from Evliyâ that the Ottoman au- N#-26*'%"N-2'%'*+%/3+0'/;M"'/-0%-9%.-,+%T*#/.'/"0% '*-#/'/+.%'#/+3%N>%"&&%,+"0.%'-%<#+4+0'%'*+%&-M"&%\#++(.% saints with Muslim saints.3%X*+%!"#$%!"&'$(%/0%'*+% in Patras (Ballibadra, Morea) from visiting the shrine Saltuknâme M+#'"/0&>%#+6"#3.%'*+%T*#/.'/"0.%".%/0;- -9%"%."/0'%M"&&+3%!"#$%!$33/(%:"N"%R/A+A%!"#$%!"&'$(uJr% dels and enemies, but at the same time he spends a CX*+% \#++(% /0;3+&.% "&.-% 4/./'% v'*+% .*#/0+w% .">/06)% good part of his time in monasteries and churches YX*/.%/.%!"#$%!"&'$(%@*-%/.%-2#%!"/0'%[/M*-&".A]%X*+>% 3/.62/.+3%".%"%T*#/.'/"0%,-0(%-#%."/0'A%B+%(0-@.% 6/4+%-99+#/06.%'-%'*+%M"#+'"(+#.%-9%'*+%.*#/0+%"03%4/./'% '*+%&"062"6+.)%#+&/6/-0%"03%M2.'-,.%-9%'*+%T*#/.- it. All the magistrates have been absolutely unable tians very well and can even “bring tears to their '-%<#+4+0'%/'Ag%RO888AEFE"J%V&'*-26*%'*+%0",+%/0%'*+% eyes” by reciting the Bible.4 4-/M+A%X*+%/0;3+&.%"&&%@+<'%"03%@+#+%N+./3+%'*+,.+&4+.Ag% S% eA% oA% B".&2M(% RHkHSnHa)% HkEkJ% @".% '*+% ;#.'% '-% 3#"@% R!"&'2(0?,+%8ASHJA%!+&/,%P+#/06/&%REZZZ)%cccJ)%9-&&-@/06% scholarly attention to the syncretistic character of the T+,"&%Q"9"3"#%RHkkcJ)%M"&&.%'*/.%"''/'23+%-9%!"#$%!"&'$(% !"#$%!"&'$(%M2&'%/0%'*+%:"&("0.)%@/'*%/'.%M-,N/0"'/-0%-9% and other epic heroes latitudinarianism and interprets it 8.&",/M% "03% T*#/.'/"0% +&+,+0'.A% V0'*#-<-&-6/.'% h-N+#'% ".%+,<"'*>%@/'*%C'*+%-'*+#g%"03%T*#/.'/"0/'>A bA% B">3+0% REZZE)% EZcfZFJ% 3/.'/062/.*+.% '@-% (/03.% -9% c% e-#%'*+%"M"3+,/M%3+N"'+%M"2.+3%N>%'*/.%9"'@"%.++%^M"(% tolerance observed at competitively shared sacred sites: EZZE)%HS)%GEfGaA positive tolerance, which is “recognizing and respecting F% Sveti means “saint” in the South Slavic languages (Bul- N+&/+9.%-#%"M'/-0.%@/'*%@*/M*%-0+%3/."6#++.Dg%"03%0+6"- 6"#/"0)%b"M+3-0/"0)%!&-4+0/"0)%!+#N/"0)%T#-"'/"0)%:-.- '/4+%'-&+#"0M+)%@*/M*%/.%C<#+,/.+3%-0%"%&"M(%-9%"N/&/'>%-9% 0/"0JD%/0%'*+.+%&"062"6+.%!"/0'%[/M*-&".%/.%(0-@0%".%Sveti either group to overcome the other.” NikolaA%B/.%\#++(%0",+%/.%Ágios Nikólaos. The form aya a% Cp+#/9%Rq%!"#$%!"&'$(J%AAA%.'+<<+3%9-#@"#3)%(/..+3%'*+%tekur /.%N".+3%-0%'*+%\#++(%9+,/0/0+%9-#,%ágia. R'*+%:>7"0'/0+%&-#3J].%*"03)%"03%."/3r%Yb>%9"'*+#%T"&2'% G% X*2.%@/'*%#+6"#3%'-%8.'"0N2&%\#++(.%Rh2,)%8AHGc"J)%x(#"/0+% R"%6#+"'%,-0(%-9%'*+%d"'/0.J%6#++'.%>-2%@/'*%'*+%<#">+#% ROAcG"J)%'*+%M"'*+3#"&%-9%8"y/%/0%b-&3"4/"%ROAHZFNJ)%B20- '*"'%T*#/.'].%6#"M+%N+%@/'*%>-2A]%B+%<2&&+3%-2'%"%&+''+#%"03% 6"#/"0.%RO8AGSN)%O8AHZH"J)%P2N#-40/(%RO8AHcHNJ)%T*#/.'/"0% handed it to the tekur. The tekur%'--(%/'%"03%#+"3%/'A%p+#/9% .-&3/+#.%/0%'*+%:"''&+%-9%!"/0'%\-''*"#3%RO88AEHNJ)%O/+00"% M-2&3%#+"3%"03%@#/'+%'@+&4+%&"062"6+.AAAA%p+#/9%,-20'+3% RO88AFHNJ)% :2M*"#+.'% RO88AHZHNJ)% \+#,"0)% U-&/.*)% T7+M*% the pulpit and recited the Bible in a loud and pleasant etc. soldiers in the Western Steppe (VII.114a).

!"#$%&'(!#!)$ 297 Saltuknâme%/.%6/4+0%'*#++%'/,+.%".%!"#$%!$33/(%:"N"n sers”) this prayer has been recited by the host at Sultan, the same legend ascribed to this saint is found @#+.'&/06%,"'M*+.%/0%X2#(/.*%X*#"M+%Rh2,+&/J%20'/&% in the Saltuknâme%".%@+&&%R.++%N+&-@)%U&-'%<"''+#0%cr% '*+%EZ'*%M+0'2#>A9 !"#$%!"&'$(%'2#0.%'*+%.+"%/0'-%3#>%&"03JA% X-% M-20'+#% '*-.+% @*-% 3+9",+% !"#$% !"&'$(% ".% V0-'*+#%<-<2&"#%"''#/N2'/-0%'-%!"#$%!"&'$(%'*"'% 0-'%N+/06%"%'#2+%X2#(%-#%."/0')%=4&/>?%6/4+.%*/,%"% Evliyâ considers inappropriate is that some call him 0+@%/3+0'/'>%@/'*%'*+%;M'/4+%0",+%!"&'$(5N">%b2- the patron-saint of the boza-sellers (boza is a bev- hammed Buhârî (III.111a). This identity is nei- erage made of fermented millet): “The boza-sellers ther found in the Saltuknâme nor is it compatible say: ‘Our pîr%/.%!"#$%!"&'$()%*+%/.%'*+%<"'#-0%-9%'*+% @/'*%'*+%:+('".*/%'#"3/'/-0A%:>%M*--./06%'*+%0",+% boza-sellers’ — God forbid! He was a great saint, b2*",,+3%:2*?#z%=4&/>?%'#/+.%'-%3/..-M/"'+%!"#$% "%0-N&+%3+.M+03"0'%-9%'*+%U#-<*+'g%R8AEHENJA%X*"'% !"&'$(%".%9"#%".%<-../N&+%9#-,%'*+%.2.+#%'*"'%-#/6/0"'+.%/0%:+('".*/% U#-<*+'%b2*",,"3%'*#-26*%N-'*%*/.%<"#+0'.]%&/0+.D% circles and is said for the champions before they and in the Vilayetnâme he has the modest identity of engage in oil wrestling. Evliyâ, functioning as the "%.*+<*+#3%-9%V0"'-&/"0%X2#(/.*%-#/6/0AHZ prayer-reciter (8%E+=>) of wrestling-matches in- volving Sultan Murad IV, would recite the follow- It is noteworthy that both the Saltuknâme ing prayer: and the Seyahatnâme% M-0./3+#% !"&'$(% "% 0-05X2#- (/M% 0",+A% 80% '*+% !"&'2(0?,+% V&>-0% h2,/)% "9'+#% God, God, great Master, his defeat and conversion to , gives him the Lord of the universe and pride of existing things, R.2<<-.+3&>%\#++(uJ%0",+%!"&'$(%RC/0%9"M')%/0%'*"'% Blessings upon the perfect beauty of &"062"6+%v!"&'$(w%,+"0.%Y4+#>%.'#-06%,"0]g%8AHkJD% Mustafa. and Evliyâ relates that Muhammed Buhârî acquired '*+%0",+%!"#$%!"&'$(%"9'+#%'"(/06%-4+#%'*+%/3+0'/'>% In Ankara lies Er (i.e. the saint Er Sultan), -9%'*+%T*#/.'/"0%<#/+.'%R-#%<"'#/"#M*J%!"#$%!"&'$(%Rq% !"#$%&#'()*#'(+,*-#.%,/#0"#,)0%/1)/2 !"/0'%[/M*-&".J%@*-,%*+%(/&&+3%/0%P"07/6%R\3"{.()% 30)#,41#/(-1#05#0%)#.(,)0"6/(7",#8(4&%9#:7)#;()67## U-&"03J% R8AEHEN)% 88AEFF")% 888AHHH"J)% "03% 3+.M#/N+.% Veli, him as follows: “He was one who struggled in the <"'*% -9% \-3D% 9-#% '@+0'>5-0+% >+"#.% *+% <#+'+03+3% Hand to hand, head to head, chest to chest, '-% N+% "% T*#/.'/"0% ,-0(% 0",+3% !"&'$(% "03% /04/'+3% For the sake of ‘ the lion of God, '*+% /0;3+&.% '-% +,N#"M+% '*+% '#2+% #+&/6/-0% R8.&",Jg% R88AEFG"JA%:-'*%@-#(.%"&.-%"..-M/"'+%'*+%0/M(0",+% May God prosper you. (I.71b; cf. II.334a) !"#$%RC>+&&-@)%N&-03gJ%@/'*%!"&'$(].%9"/#%M-,<&+j- [Translation from An Ottoman Traveller)%aaw k% !++%Q"*#","0%HkIk)%4-&A%H)%GFfIcA o/'*% "% .&/6*'% 4"#/"0'% RC80%V0("#"% &/+.% =#)% 80% HZ% !++% !"&'2(0?,+)% 8AEfS)% "03% !"&'2(0?,+)% 8AaG% RC*+% /.% "% h2,%!"#$%!"&'$(%(0-@.%'*+%9#/+03%"03%<2'.%-0%'#-2- X2#(%9#-,%Q"#","0g%5%Karavan TürklerindendürJD%9-#%'*+% variants Karavan%|%Karaman%.++%!"&'2(0?,+)%8AHA%V("&$0% I% P-+#9+#%HkFc)%0-A%GII)%,G45%/0.'+"3A%T9A%^M"(%EZZE)%SIfaHA

298 !"#$%&'(!#!)$ /-0%"03n-#%N&-03%*"/#A%80M-0./.'+0'&>%@/'*%'*+%.'-#>% N+'@++0%_"7$M$-`&2%b+*,+3%R3A%IccnHacHJ%"03%*/.% "N-2'%'*+%(/&&/06%-9%'*+%<#/+.'%!"#$%!"&'$(%/0%P"07/6)% 0",+."(+%"03%<#+.2,<'/4+%N#-'*+#%_"7$M$-`&2%YV&/)% =4&/>?%@#/'+.%'*"'%V*,"3%_"."@/%6"4+%!"#$%!"&'$(% author of the abovementioned History of the Seljuks '*+% N>0",+% R!"#$J% !"&'$(5N">A11 It is interesting to @*/M*%/0M&23+.%"%<".."6+%-0%!"#$%!"&'$(A% note how Evliyâ uses the name element bay. The et- •%*."(KC5L%"';'(CM(F.45(*CL;47>'.()NO;P.+;/>( ymon of bay, which is generally seen in the names *C.;47>6(<+52. Judging from the fact that Evliyâ -9% b",&2(% .2&'"0.% R}">'N">)% X2,"0N">)% +'MAJ)% /.% <#-4/3+.% .-,+% 3+'"/&.% -0% '*+% &/9+% -9% X-W'",$.*)% ,-.'%<#-N"N&>%'*+%X2#(/.*%@-#3%bay “rich.” Evli- Q*"0%-9%'*+%\-&3+0%B-#3+%R#2&+3%M"A%HSGIfkcD%3A% yâ apparently interprets the elements bay and kay HaZF)%o+.'+#0%!/N+#/"J%K%/0M&23/06%.-,+%/0M-##+M'% ".% '/'&+.% 9-#% #2&+#.% -#/6/0"'/06% 9#-,% Q*-#"."0% "03% ones such as that he was buried in Ahlat — it is very HE Transoxania. In this spirit, he adds the name ele- &/(+&>% '*"'% *+% ."@% "% .-2#M+% -0%X-W'",$.*].% &/9+A14 ment bay%'-%4"#/-2.%<+#.-0"6+.%-9%'*+%:+>&/(%"03% :2'%".%-9%'-3">)%/'%/.%20M&+"#%@*"'%@-#(%*+%/.%#+9+#- ="#&>%^''-,"0%<+#/-3%-'*+#%'*"0%!"&'$(5N">%@*+0% ring to by this title. *+%/0'+03.%'-%.*-@%'*"'%'*+>%-#/6/0"'+%9#-,%Q*-#".- "0)%+A6A%Q-M"5N">%9-#%V(~"%Q-M"%R88AEaENJA13 •%*."(!4#;%&5+7"(C,(Q"5+&>D/>(!4#;>&/D4:. Ev- &/>?%".M#/N+.%'*/.%'-%RQ-M"J%Q+0Y?0%U".*")%C'*+%6-4- V9'+#% '*/.% .2#4+>% -9% =4&/>?].% /,"6+% -9% !"#$% +#0-#%-9%€7s%R^M*"(-4JAg%VMM-#3/06%'-%=4&/>?)%'*/.% !"&'$()%&+'%2.%'2#0%'-%'*+%&+6+03.%-9%!"#$%!"&'$(%9-203% Q+0Y?0% U".*"% @".% "% M"&&/6#"<*+#% @*-% M-,<-.+3% in the Seyahatnâme and the written and oral sources '*/.%@-#(%/0%-#3+#%'-%./&+0M+%'*+%20N+&/+4+#.r%CN+- that Evliyâ used or claims to have used. cause the deniers spread all sorts of rumors about '*+%."/0')%3+9",/06%*/,%".%N+/06%"%T*#/.'/"0%,-0(% Putative Written Sources 0",+3%!"&'$()%"03%'*2.%9+&&%/0'-%./0Ag%B-@+4+#)%0+/- While oral narration is certainly the source for '*+#%/.%Q+0Y?0%U".*"].%/3+0'/'>%M+#'"/0)%0-#%*".%.2M*% Hc =4&/>?].%*"6/-6#"<*/+.%-9%!"#$%!"&'$()%*+%3-+.%,+0- "%@-#(%N++0%9-203A tion three written sources in his description of Ba- Aside from these sources, Evliyâ vaguely men- N"3"`$%/0%'*+%P-N#2L"%R888AHEGNJA%V&&%-9%'*+.+)%*-@- '/-0.%C,"0>%*/.'-#>%N--(.g%Rniçe kütüb-i tevârîh) ever, are either doubtful or not extant today. '*"'%M-0;#,%3+'"/&.%-9%!"#$%!"&'$(].%&/9+)%"&-06%@/'*% •% X*+( 7"5+&>D% R+j<&-/'.J% -9% !"#$% !"&'$(% N>% “the reliable 7"5+&>D% -9% _"7$M$7"3+Ag% =&.+@*+#+% C_"7$M$-`&2% 9#-,% \+&/N-&2)% "2'*-#% -9% '*+% Mu- *+%.">.%'*"'%'*+%\#++(.%R-#%:>7"0'/0+.)%Urûmlar) hammediyeAg%V&'*-26*% ,"0>% .M*-&"#.% *"4+% '"(+0% *"4+%@#/''+0%'#2'*92&&>%"N-2'%*/,%R888AHHH"JD%"03%#+- this at face value, it is obviously due to a confusion 6"#3/06%!"#$%!$33/(%!2&'"0r%Cb"0>%-9%*/.%+j<&-/'.% "#+%@#/''+0%3-@0%/0%'*+%\#++(%R-#%:>7"0'/0+)%Rûm) 11% CB+%@".%M"&&+3%!"#$%!"&'$(%N+M"2.+%-9%*/.%9"/#%M-,<&+j/-0% histories. According to their account, this saint was "03%#+33/.*%N&-03%*"/#g%R!"&'2(0?,+%8AHkJA%Ce-#%"%&-06% B"M$%:+('"y].%3+<2'>%Rhalîfe) during the sultanate '/,+%*+%'#"4+&+3%'*2.%203+#%'*+%0",+%!"#$%!"&'$(A%V03%N+- M"2.+%*+%@".%-9%9"/#%M-,<&+j/-0%!*">(*%V*,"3%_"."@/% -9%Y^.,"0%v8wg%RO888AEFE"JA%B-@+4+#)%@+%(0-@%'*"'% 6"4+%*/,%'*+%N>0",+%!"&'$(5N">A%:2'%*/.%#+"&%0",+%/.%b2- none of the Byzantine chronicles mentioned above *",,+3%:2*?#zAg%R88AEFF"JA #+9+#.%'-%!"#$%!"&'$(A HE% CX*+>%R'*+%"0M+.'-#.%-9%'*+%^6*27%X2#(/M%3>0".'/+.J%AAA% left Mahan in Transoxania ... and settled in Azerbaijan. 14% e-#%X-W'",$.*%.++%O•.•#>%EZZk)%IHfIcA X*+>% "&.-% M-0W2+#+3% V*&"')% =#72#2,)% P/>"#N+(/#)% 8#"(% Hc% T9A% Q/+&% EZZZ)% EcS)% EGSfGGD% ^M"(% EZZE)% cA% e-#% Q-M"% and Fars.... They are called Beg, also Bay and Shah.... Q+0Y?0%U".*"%"&.-%.++%888AHEFNA%X*+%Q+0Y?0%U".*"%,+"0'% V&&%'*+.+%.2&'"0.%"03%+,/#.%"03%(/06.%&/(+%'*+%Q">.%"03% *+#+%/.%,-.'%<#-N"N&>%Q-M"%Q+0Y?0%U".*"%R3A%HFcHJA%80% :">.%-#/6/0"'+3%9#-,%:"&(*)%:2(*"#")%X#"0.-j"0/"%"03% the sources, data on his life are confused with those on b"*"0Ag%R8OAEaHNJ V3,/#"&%RQ"<23"0J%x720nX-<"&%Q+0Y?0%U".*"%R3A%HFckJ% 13% T9A%"&.-%F4,4745CH#%(G"(I",70:45CH#%(G"(*"&"/D4:CH#%( RM9A%:"N/06+#%EZHHD%\‚>s0~%EZZE)%EcSfcaJA%80%HFSc%b2- G"(J:8>5/D4:( G"( !4,%.+5/D4:CH%##4,>% R8AEF"JD% "03% p+>- #"3%8O%N+.'-@+3%-0%Q-M"%Q+0Y?0%U".*"%C'*+%eyâlet (prov- */5N">%i+&+N/%9-#%'*+%<-+'%"03%<*>./M/"0%\+#,/>"0&$%p+>- /0M+J%-9%!/&/.'#+%v"&'+#0"'+&>%M"&&+3%€7sw%@/'*%"&&%/'.%M#-@0% */%9#-,%\+#,/>"0%R3A%HaSHJ%R8OAEcGNJA &"03.g%R.++%b+*,+3%B"&/9+%HkEa)%HcJA

!"#$%&'(!#!)$ 299 Oral Sources ,-.'%&/(+&>%N".+3%-0%-#"&%:+('".*/%.-2#M+.A%^0%'*+% other hand, he seems to have learned the story (VI- The longest passage devoted to le6+03.%-9%!"#$% 88AEFE")%3/.M2..+3%"N-4+J%'*"'%*+%"''#/N2'+.%'-%!"#$% !"&'$(% /.% 9-203% /0%O-&2,+%E% -9% '*+% Seyahatnâme, !$33/(%:"N")%#"'*+#%'*"0%'-%!"#$%!"&'$()%9#-,%&-M"&.% where Evliyâ describes his eight month stay at /0%'*+%b-#+"%RU+&-<-00+.+J%"03%0-'%'*#-26*%:+(- Q"&/"(#"%U-/0'%R:2&6"#/"J%/0%HFaHfaEA%V9'+#%N+/06% tashi oral tradition. .*/<@#+M(+3%-0%'*+%:&"M(%!+"%K%N#+"'*'"(/06&>%#+- M-20'+3% N>% =4&/>?% R88AEFaN5EFF"JHF — he and his 80% .2,)% '*+% !"#$% !"&'$(% &+6+03.% #+M-20'+3% /0% 9-2#%.&"4+.%"#+%@".*+3%".*-#+%0+"#%'*+%#-M(.%@*+#+% the Seyahatnâme correspond closely to those in "%!"#$%!"&'$(%d-36+%RM"&&+3%X+(>+5/%Q+&/6#"%!2&'?0J% the Saltuknâme, but they must have reached Evliyâ /.%&-M"'+3A%X*+%:+('".*/%3+#4/.*+.%@*-%&/4+%'*+#+% '*#-26*%'*+%;&'+#%-9%:+('".*/%-#"&%'#"0.,/../-0A "MM-,,-3"'+%'*+%.*/<@#+M(%4/M'/,.%20'/&%'*+/#%#+- covery. Mention of the mystical conversations (cân :&8'%;"''-#.%<=%!"#$%!"&'$()*%8#/7/.*>% sohbetleri) Evliyâ had with the is directly ?"@$%A-('"B)*%*-.,/.7%C/6%'8%DE6-&/% 9-&&-@+3%N>%0"##"'/4+.%-9%!"#$%!"&'$(D%'*/.%,"(+.%/'% and the wooden sword. 4+#>% &/(+&>% '*"'% *+% /.% "M'2"&&>% 0-'/06% '*+% 4+#./-0.% V.%.*-@0%"N-4+)%'*+%"MM-20'%-9%!"#$%!"&'$(].% 17 -9% '*+% 0"##"'/4+.% *+% *+"#3% 9#-,% '*+,% R88AEFF"JA origins varies in the three sources (Saltuknâme, Shorter versions of the same stories related here re- Vilayetnâme, Seyahatnâme). In addition, Evliyâ cur in other parts of the Seyahatnâme: during his M"&&.% !"#$% !"&'$(% CQ*-L"%V*,"3%_"."@/].% 3+<2'>% later travels, when he visits places associated with (halîfe)” and says that he was sent by Ya- !"#$% !"&'$(% RU/#"4"3/nU#-4"3/")% :2&6"#/")% 888AHZkND% ."@/%9#-,%Q*-#"."0%'-%V0"'-&/"%'-%B"M$%:+('"y%-#% :"N"3"`$n:"N"3"6)%h-,"0/")%888AHEFNJD%-#%@*+0%*+% '-6+'*+#%@/'*%B"M$%:+('"y%'-%Y^.,"0%v8w%R8AEHENJA% '"&(.%"N-2'%-'*+#%."/0'.%@*-%@+#+%M-0'+,<-#"#/+.% In the Vilayetnâme there is no reference to Ahmad -9%!"#$%!"&'$(%RV(>"7$&$%!2&'"0)%888AHEENJA% _"."@/D%/'%/.%B"M$%:+('"y%@*-%.+03.%!"#$%!"&'$(%'-% Rumeli (Dobruja, etc.).18 In the Saltuknâme)%B"M$% The only story that is completely different :+('"y%.+03.%!"#$%!"&'$(%'-%e"(/*%V*,+3)%@*+#+".% from both the Saltuknâme and the Vilayetnâme Mahmud Hayran sends him out for raids or ghaza /.%'*+%-0+%<+#'"/0/06%'-%!"#$%!"&'$(].%-#/6/0.%"03% /0'-%9-#+/60%R0-05b2.&/,J%'+##/'-#/+.D%N2'%'*+%,++'- emergence (Plot Pattern 1 below). In my opinion, /06%N+'@++0%B"M$%:+('"y%"03%!"#$%!"&'$(%'"(+.%<&"M+% '*+% /3+0'/'>% -9% b2*",,+3% :2*?#z% !"&'$(5N">% /.% -0&>%"9'+#%!"#$%!"&'$(%*".%"&#+"3>%9-26*'%02,+#-2.% entirely made up by Evliyâ, without reference to 6*"7".%"03%M-04+#'+3%/0;3+&.%/0%h2,+&/)%-0%b'A% any written or oral source, solely in order to defend }"9)%/0%803/")%X2#(+.'"0%"03%-'*+#%<&"M+.%"03%*".% !"#$%!"&'$(%9#-,%'*+%"&&+6"'/-0.%-9%N+/06%"%T*#/.'/"0% had epic adventures. It is certainly due to Evliyâ’s ,-0(A%V&&%'*+%-'*+#%!"#$%!"&'$(%&+6+03.%*+%#+M-20'.% #+&/"0M+%-0%:+('".*/%-#"&%.-2#M+.%'*"'%B"M$%:+('"y% are found in the Saltuknâme, either identically or plays such a greater role in the Seyahatnâme than in a variant. But since Evliyâ did not have direct in the Saltuknâme.19%e-&&-@/06%:+('".*/%'#"3/'/-0)% (0-@&+36+%-9%'*+%Saltuknâme as a written source =4&/>?%#+M-20'.%'*"'%B"M$%:+('"y%6/#3.%!"#$%!"&'$(% (see above), those legends that correspond to the @/'*%"%@--3+0%.@-#3%'-%;6*'r%CB"M$%:+('"y%*"03- Saltuknâme but are missing in the Vilayetnâme are +3%Q+&/6#"%!2&'?0%Rq%!"#$%!"&'$(J%"%@--3+0%.@-#3)% a prayer rug, a large drum, a small double drum, HF For an English translation see An Ottoman Traveller, EZHZ)%aGfcEA "%N"00+#)%"%1"6)%"%'",N-2#/0+%"03%"%.,"&&%(+''&+- 17% T9A%B".&2M(%RHkEk)%aEkJr%CX*+%&+6+03%-9%!"#/%!"&'/()%.+'% 3#2,g%R88AEFF"D%"&.-%.++%88AEFG"JA%80%M-0'#".')%/0%'*+% down by Evliya Efendi in the middle of the seventeenth Saltuknâme this sword made of date palm wood is century from particulars retailed to him by the dervishes -9%Q"&/"(#"%RQ/&6#"J%0+"#%O"#0"Ag%B-@+4+#)%=4&/>?%3-+.% 18% O/&">+'0?,+%ScZfScSD%O+#./;+3%O/&">+'0?,+%EcSfEcaA not explicitly say that he was writing down the dervishes’ 19% !"&'2(0?,+% 88AaEfaFD% !+>"*"'0?,+% 8AEHEN)% 88AESSN)% account. EFF")%888AHZkN)%HEENA

300 !"#$%&'(!#!)$ the prophet Muhammad’s sword and is brought to "03%Q/~/%VN3"&%"03%&"03/06%"'%Q"&/"(#"%/.%&/0(+3%'-% !"#$%!"&'$(%N>%B$7$#AEZ the cauldron story in the Saltuknâme (see below). !"#$% !"&'$(].% '#"4+&&/06% '*+% P"02N+% -0% '-<% -9% */.% Plot pattern F=%!"#$%!"&'$(%(/&&*%'C-% <#">+#%#26)%-#%1>/06%/0%'*+%"/#)%/.%"%M-,,-0%,-- 68.(%."6-,%!"#$%!"&'$(G!"/.'%%% tif in the Saltuknâme.EE Seyahatnâme and Vilayet- Nicholas and takes his identity. nâme%.*"#+%'*+%.'-#>%-9%*-@%!"#$%!"&'$(].%*"03%"03% In Evliyâ’s version, “Muhammed Buhârî” in 9--'%<#/0'.%M-,+%'-%N+%9-203%-0%"%#-M(%"'%Q"&/"(#"% P"07/6%(/&&.%C"%<#/+.'%0",+3%!"#$%!"&'$(%R8AEHENJg% @*+#+%*+%(/&&+3%'*+%3#"6-0A%80%"&&%'*#++%@-#(.%'*+% -#%C"%,/.62/3+3%<"'#/"#M*%"03%<#/+.'%0",+3%t.4+'/% <#/0M+%-#%(/06%-9%P-N#2L"%".(.%*/,%'-%(/&&%'*+%3#"6- [/(-&")%,+"0/06%!"#$%!"&'$(%R88AEFF"JAg%B+%"..2,+.% -0A%P+'"/&.%&"M(/06%/0%'*+%+%-9%"%9"- *+%(/&&+3%'*+%3#"6-0%RVilayetnâme and Saltuknâme). ,-2.%,-0(].%.-0%RC8%",%p+,Yƒ0)%.-0%-9%'*+%!+#- o*/&+% '*+% 0",+% Q"&/"(#"% RQ+&/6#"J% /.% 0-'% ,+0- N/"0%,-0(%h"*4"&g%8AScJA%X*+%M&-.+.'%.'-#>%/0%'*+% tioned in the Saltuknâme% RM9A% Q+&/6#"3% N+&-@J)% /'% Saltuknâme%'-%=4&/>?].%4+#./-0%/.%@*+0%!"#$%!"&'$(% /.%"<<"#"0'%'*"'%Q"&/"(#"%/.%/3+0'/M"&%@/'*%'*+%<&"M+% (/&&.%'*+%,-0(%[+.'-#r%CB+%<2'%-0%[+.'-#].%M&-'*+.% in the Saltuknâme% M"&&+3%_$&"0% :"N"n_$&"0% X+(>- "03%<2'%*/.%-@0%M&-'*+.%-0%[+.'-#AAAA%B+%@/<+3%*/.% esi after the slaying of the dragon.ES%X*+%Q"&/"(#"% 9"M+%@/'*%*/.%*"03.%"03%'--(%-0%'*+%"<<+"#"0M+%-9% dragon-slaying story recounted by Evliyâ Çelebi in [+.'-#g%R888AEkZJA%=4&/>?)%<+#*"<.%#+&>/06%-0%:+(- great detail is only one of many such stories in the tashi oral sources, adds details such as the location Ea "03%'*+%"3-<'/06%-9%'*+%0",+%-9%'*+%.&"/0%,-0(D%N2'% Saltuknâme. */.%4+#./-0%R8AEHEN)%88AEFF")%888AHHH"J%M"0%N+%M-0./3- ered a variant of related stories in the Saltuknâme.EH :&8'%;"''-#.%I=%!"#$%!"&'$(%;#82-*%C/*% sainthood by surviving in a cauldron :&8'%;"''-#.%H=%!"#$%!"&'$()*%C".,%".,% of boiling water. foot prints on a rock at Point; This story is absent from the Vilayetnâme, but he slays a dragon at Kaliakra and ma- it is a common pattern in narratives ranging from kes water flow from a spring. ,+3/+4"&% =2#-<+"0% '-% T+0'#"&%V./"0% U+#./"0% 0"#- The story in the Vilayetnâme% -9% !"#$% !"&'$(% ratives.Ec Since the story revolves around a caul- travelling on his prayer rug together with Ulu 3#-0%RX2#(/.*%kazanJ%=4&/>?%#+&-M"'+.%/'%'-%Q"7"0%

EZ% !++%O/&">+'0?,+%ScZfcSD%CB+%6/#3+3%*/,%@/'*%"%@--3+0% EE% !++% O/&">+'0?,+% ScSfScGD% O+#./;+3%O/&">+'0?,+% Eca5 .@-#3%K%.++%'*+%."/0'„%n%V03%*+%6"4+%*/,%"%N-@%"03%.+4- cGA%Ce#-,%'/,+%'-%'/,+%*+%@-2&3%.<#+"3%*/.%<#">+#%#26%-0% +0%"##-@.%n%B+%6"4+%*/,%"%<#">+#%#26%"03%"%#+'/02+%-9%'@-% '*+%h/4+#%P"02N+)%6+'%-0%/'%"03%'#"4+&%"N-2')%@/'*-2'%./0(- 3+#4/.*+.%n%X-%6-%@/'*%*/,%@*+#+4+#%*+%@+0'g%RO+#./;+3% /06g%R!"&'2(0?,+%88AckJD%"&.-%.++%!"&'2(0?,+%88AEHZfHHA O/&">+'0?,+%EcaJA%CB$7$#%M",+%'-%*+&"*"'0?,+% 8AEHEND% 88AEFF"f "%.@-#3A%8'%@".%,"3+%9#-,%@--3)%N2'%/'.%0"'2#+%@".%&/(+% EFFND% 888AHZkND% 888AHHZNfHHH"A% !"&'2(0?,+% 88AEHfEEA% iron. He said: ‘This sword belonged to the prophet, he O/&">+'0?,+% ScGfFED% O+#./;+3% O/&">+'0?,+% EcGfFZA% *".%6/4+0%/'%'-%>-2%".%>-2#%&-']g%R!"&'2(0?,+%88AEkJA%e-#% For the differences in dragon slaying stories in Iranian '*+%@--3+0%.@-#3%"&.-%.++%!"&'2(0?,+%8AHGZfHGHD%88ASED% +>/3%:"'- 1987. tal Gazi also used to ride, and Hamza’s arms also become Ea% e-#%-'*+#%3#"6-05%-#%.+#<+0'5.&">/06%.'-#/+.%/0%!"&'2(0?,+% !"#$%!"&'$(].%&+6"M>%R.++%Q"9"3"#%Hkkc)%FSJA .++%-0%b'A%}"9%R8AHEFJ)%/0%='*/-

!"#$%&'(!#!)$ 301 :"&("0$% K% &/'A% CT"2&3#-0% :"&("0.g% K% @*/M*% /.% <#+9"M+.%'*+%&+6+03%@/'*%'*+%.'-#>%-9%*/.%4/./'%'-%B"M$% Q"7"0&"(% @+.'% -9% U/#"4"3/% RU#-4"3/")% :2&6"#/"JA% :+('"y].% &-36+% /0% !2&2M"% Q"#"*‚>s(% @*+#+% '*+>% In the Saltuknâme)% *-@+4+#)% '*+% &-M"'/-0% /.% Q+- .&"26*'+#%"%'"&(/06%-j+0A%o*/&+%.'">/06%/0%U/#"4"3/% &/6#"3% Rq% Q+&/6#"nQ"&/"(#"J% @*/M*% /.% 0",+3% "9'+#% (Provadia) (SeyahatnâmeJ%n%Q"&/"(#"%RVilayetnâme) '*+%,-0(%Q+&/6#"3r%!"#$%!"&'$(%'#"4+&.%-0%*/.%<#">+#% n% X20"% :"N"% R:"N"3"6J% RSaltuknâmeJ% !"#$% !"&'$(% rug (nemedJ%-0%'*+%:&"M(%!+"%'-6+'*+#%@/'*%:s>s(% feels that death is near. He commands his dervishes :"N")%^#'"0M"%:"N"%"03%Qs~s(%:"N"%"03%&"03.%"'% n%6*"7/.%2<-0%*/.%3+"'*%'-%3+&/4+#%"%M-9;0%'-%+"M*% Q"&/"(#"%RM9A%"N-4+%'*+%4+#./-0%@/'*%x&2%VN3"&%"03% (/06%n%<#/0M+%@*-%"##/4+.%'-%3+,"03%*/.%N-3>A%X*+% Q/~/%VN3"&%/0%'*+%Vilayetnâme). In the Saltuknâme, 02,N+#% -9% '*+% M-9;0.% /.% 0-'% ,"3+% +j<&/M/'% /0% '*+% "%3/.<2'+%"#/.+.%@*+0%'*+%,-0(%Q+&/6#"3%,"(+.%920% 9",'0S"8(90#4:";5+7", but in the prose Vilayetnâme -9%!"&'$(].%@--3+0%.@-#3%"03%M"&&.%*/,%"%@/'M*%"03% a sorcerer, while in the Seyahatnâme%"%,-0(n<#/+.'% and the Seyahatnâme% /'% /.% .+4+0% (/06.% @*-% M"##>% M&"/,.% '*"'% *+% */,.+&9% #"'*+#% '*"0% !"#$% !"&'$(% *".% "@">% .+4+0% M-9;0.% '-% b-.M-@)% P"07/6% RU-&"03J)% (/&&+3%'*+%3#"6-0A%80%N-'*%'+j'.%'*+>%203+#6-%'*+%-#- U$7-40/~+%RuJ%RT7+M*J)%_/4"0~+%RuJ%R!@+3+0J)%:"- deal of being boiled in a large cauldron in order to N"+.(/)%"%<&"M+%0+"#%:-7"4%RuJ%T".'&+%Rb-&3"4/"J)% 3+'+#,/0+%@*/M*%-9%'*+%'@-%/.%"%'#2+%."/0'A%X*+%,-0(% "03%Q"&/"(#"A%80%'*+%Saltuknâme%'@+&4+%M-9;0.%"#+% <+#/.*+.)%'2#0/06%/0'-%C<-#(%.'+@g%R8CR%B(:4.50'0) '"(+0%'-%'@+&4+%<&"M+.r%X20"%:"N"%R:"N"3"6J)%_$&"0% in Saltuknâme% "03% N-/&/06% &/(+% C@*+"'% <233/06g% :"N"%R/A+A%Q"&/"(#"J)%=3/#0+)%=.(/%:"N"%R:"N"+.(/J)% (herîse) in Vilayetnâme.EF '*+% Q/)%U-&"03)%T7+M*/")%V0- :&8'%;"''-#.%J=%!"#$%!"&'$(%'E#.*%'C-% 3"&2./"A% !"#$% !"&'$(].% N-3>% "<<+"#.% '-% N+% /0% +"M*% sea into dry land. M-9;0)%N2'%'*+%b2.&/,.%N+&/+4+%'*"'%*/.%'#2+%6#"4+% =4&/>?% "''#/N2'+.% '*/.% &+6+03% '-% !"#$% !$33/(% /.% /0% :"N"+.(/)% @*+#+% C*/.% &",<% /.% .'/&&% N2#0/06g% :"N"n!2&'"0% @*-.+% .*#/0+% /.% /0% '*+% b-#+"% RU+&-- (SaltuknâmeJ%n%C*/.%&",<%*".%0-'%3/+3%-2'%3">%"03% <-00+.+J)% N2'% '*+% b-#+"0% T*#/.'/"0.% "''#/N2'+% /'% night since he was buried” (Seyahatnâme). Today '-%!'A%[/M*-&".n!"#$%!"&'$(A%80%9"M'%'*+%.'-#>%/.%+0- .+4+#"&%'-,N.%"03%.*#/0+.%3+3/M"'+3%'-%!"#$%!"&'$(% countered in the Saltuknâme with almost the same 3"'/06% 9#-,% '*+% Ha'*5HF'*% M+0'2#/+.% "#+% +j'"0')% @-#3/06A%o*+0%T*#/.'/"0%."/&-#.%#+92.+%'-%9+##>%!"#$% 32+% '-% Q"&+03+#/5:+('".*/% <#-<"6"03")% ,-.'&>% /0% !"&'$(%"M#-..%'*+%.'#"/')%*+%'#"4+#.+.%/'%-0%3#>%&"03% !-2'*%=".'+#0%=2#-<+%K%/0%T-#92)%Q#2L…%RV&N"0/"J)% N>%;&&/06%*/.%.(/#'%@/'*%."03%"03%'*#-@/06%/'%/0'-% U+†%"03%\L"(-4"%RN-'*%Q-.-4-J)%"03%:&"6"L%R:-.- the sea. In Saltuknâme the setting is the strait of Gi- 0/"5B+#7+6-4/0"JD%"03%/0%V0"'-&/"%K%/0%t70/()%:-#n &"y<-&%R\+&/N-&2uJ)%@*/&+%/0%Seyahatnâme it is the [/`3+)%"03%P/>"#N"($#AEI .'#"/'%-9%t0+N"*'$%R[•4<"('-.nd+<"0'-JAEG EI% e-#%'*+%.'-#>%-9%'*+%'"&(/06%-j+0%.++%Vilayetnâme%SFEf SFc)%O+#./;+3% Vilayetnâme% EFHfEFEA% e-#% '*+% &+6+03% -9% :&8'%;"''-#.%K=%!"#$%!"&'$()*%,-"'C%".,% !"#$%!"&'$(].%3+"'*%"03%M-9;0.%.++%!+>"*"'0?,+%88AEFFNf the multiplication of his coffins. EFG")% 888AHHH"A% U$7-40/~+% RuJ% M-2&3% N+% "% ,/.<+&&/06% 9-#% U"#32N/M+% /0% '*+% T7+M*% h+<2N&/M)% @*/M*% *".% "% ,-0".- V9'+#%'*+%3#"6-0%.&">/06)%'*/.%/.%'*+%N+.'%(0-@0% '+#>%./0M+%'*+%HS'*%M+0'2#>D%:-7"4%/0%b-&3"4/"%,2.'%N+% -9% '*+% !"#$% !"&'$(% &+6+03.A% ^0&>% '*+% Vilayetnâme '-3">].% :27‡2% Rh-,"0/"J)% N2'% '*+#+% /.% 0-% M".'&+r% Vila- yetnâme% SFF)% O+#./;+3% Vilayetnâme% EFSA% Saltuknâme EF Saltuknâme% 88ASHfSSA% Seyahatnâme% 88AEFFND% 888AHHZNf 888AEkGfSZE)%888ASSSA%V&.-%M9A%^M"(%EZZE)%FEfFEA%e-#%!"#$% 111a. !"&'$(].% '-,N.% "03% .*#/0+.% .++% !,/'*% HkIE)% Q/+&% EZZZ)% EG Saltuknâme%88AaGfaIA%Seyahatnâme%O888AEFE"A EIHfIS)%^M"(%EZZE)%HHHfEZA

302 !"#$%&'(!#!)$ Bibliography :"N/06+#)%e#A%CQ+0Ym0%U".*"Ag%Encyclopaedia of Islam, Second Edition. P"0(-99)%h-N+#'A%An Ottoman Mentality: The World of Evliya ÇelebiA%d+/3+0r%:#/&&)%EZZaA P+,/#)%[+M"'/%"03%b+*,+'%P2#.20%=#3+,)%+3A%!4#;>&/5T7"A%V0("#"r%EZZGA P+#/06/&)%!+&/,A%C%YX*+#+%/.%[-%T-,<2&./-0%/0%h+&/6/-0]r%^0%T-04+#./-0%"03%V<-.'".>%/0%'*+%d"'+% ^''-,"0%=,Baba Tükles and Conversion to Islam in Historical and Epic Tradition. Pennsylvania State University Press, 1994. Doerfer, Gerhard. Türkische und mongolische Elemente im Neupersischen, unter besonderer Berück- sichtigung älterer neupersischer Geschichtsquellen, vor allem der Mongolen- und Timuridenzeit.%O-&A%EA% o/+.N"3+0r%eA%!'+/0+#)%HkFcA \‚>s0~)%[+L"'A%CQ+0"0%U".*"Ag%*O,&0:"(30:45";(94&M>(U'#+7(J5'0&#CV"80'0%Ec%REZZEJ)%EcSfcaA B".&2M()%eA%oA%CV,N/62-2.%!"0M'2"#/+.%"03%:+('".*/%U#-<"6"03")g%The Annual of the British School at Athens%EZ%RHkHSnHkHaJA%kafHHkA ——. Christianity and Islam under the .%O-&A%EA%=3A%b"#6"#+'%bA%B".&2M(A%^j9-#3r%T&"#+03-0% U#+..)%HkEkA B">3+0)%h-N+#'%bA%CV0'"6-0/.'/M%X-&+#"0M+A%T-,<+'/'/4+%!*"#/06%-9%h+&/6/-2.%!/'+.%/0%!-2'*%V./"%"03% '*+%:"&("0.Ag%Current Anthropology%aSAE%REZZEJ)%EZcfSHA Q"9"3"#)%T+,"&A%Between Two Worlds: The Construction of the Ottoman State.%:+#(+&+>r%x0/4+#./'>% -9%T"&/9-#0/"%U#+..)%HkkcA Q"*#","0)%ˆ'$9A%K%7.%,0:";"(F484,(*O,&(IO,"60A%E%4-&.A%vV0("#"wr%Qs&'s#%:"("0&$`$)%HkIkA Q*"&+6*/5b-'&"6*)%PLA%"03%bA%^,/3."&"#A%CV‰3"*m%88A%80%U+#./"0%d/'+#"'2#+)%///A%80%8#"0/"0%e-&('"&+.Ag% Encyclopaedia Iranica.%^0&/0+%=3/'/-0)%HkIGA%Š*''

!"#$%&'(!#!)$ 303 !,/'*)%\#"M+%bA%C!-,+%Xs#N+.nb"Wm,.%-9%!"#$%!"&'2W%"0%="#&>%V0"'-&/"0%X2#(/.*%Žm7•5!"/0'Ag%Tur- cica%Ha%RHkIEJ)%EHFfEcA Vásáry, István. “The Jochid Realm: the Western Steppe and Eastern Europe.” In: The Cambridge His- tory of Inner Asia. The Chinggisid Age,%+3A%[/M-&"%P/%T-.,-)%V&&+0%lA%e#"0()%"03%U+'+#%:A%\-&3+0%RT",- N#/36+%x0/4+#./'>%U#+..)%EZZkJ)%FGfIcA 9",'0S"8(90#4:";5+7"](:+3#/%[->"0)%+3A(<4=>(?"&;46(9"#0(Q45BP7(90#+:";5+7"'0A%E03%+3A)%t.'"0N2&)% HkkFA Vilayetnâme: Duran, Hamiye, ed. Velâyetnâme%n%B"M$%:+('?y5$%O+&/A%V0("#")%EZZGA

304 !"#$%&'(!#!)$