TAHIRU’L-MEVLEVI’S ANNOTATION ON NAMIK KEMAL AND ZIYA PASHA’S PARALLEL POEMS TO NEDIM’S “MANOR EULOGY

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Art begins with imitation, and an artist takes his beginning with imitating to a higher level of purpose to build on present models. This purpose is also true for literary genres and traditions. Therefore, the well established Turkish tradition of mimic poems or parallel poems is not significant only as a literary practise but also as a means for a poet to explain his ibda, namely his reasons to create a newer and better poem. Mimicking, which served as a school for inspiring poets who wished to compose poems as their masters, turned into a challenge on literary grounds for those who aimed to outrival the original poem. There are also instances where it served as a token of friendship or expression of gratitude or admiration. This study presents researches with a translation in new letters for Tahiru’l Mevlevi’s annotation on Namik Kemal and Ziya Pasha’s parallels in sakiname (poems on drinks, drinking, and drinking councils) and bahariyye (poems celebrating the arrival of spring) types to “the Manor Eulogy” by 18th century court poet Nedim. The translated text is recorded as item 91 in Fethi Sezai Turkmen Collection at Sulaymaniyah Manuscript Library and was written in Tahiru’l Mevlevi’s own handwriting in rika calligraphy. Two pages of the original text in old letters are presented as samples at the end of this article.

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Nedim , Manor Eulogy , Namik Kemal , Ziya Pasha , parallel , Tâhirü’l , Mevlevi (Olgun) , annotation

Journal Of Turkish Research Institute

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Journal Of Turkish Research Institute