Ottoman literature
fluent style is due, apart from his talent and wide experience, to the careful
training that he received in the palace as a page to Mur
ˆ
ad IV.
113
His prose
should be classed in the orta category put forward by Fahir
˙
Iz.
‘A z
ˆ
ız Efendi, the author of the Muhayyel
ˆ
at-ı led
¨
unn-i il
ˆ
ah
ˆ
ı, was born in Crete
and, as a young man, dissipated his inherited fortune, travelled to Istanbul
and there achieved a successful career, first in the palace guards, and then in
the bureaucracy. He was sent to Berlin as the first permanent ambassador to
Prussia, where he died in 1798. At one point in his life he went through a crisis
and turned to mysticism. Quite a few elements of his biography were reflected
in the stories of the Muhayyel
ˆ
at.
‘A z
ˆ
ız Efendi’s work has been noted for its rich intertextuality: the Thousand
and One Nights and other collections of this type have served the author as
points of reference, as well as other collections of Middle Eastern tales; but we
also find reminiscences of ancient Greek myths and Muslim saints’ legends, to
say nothing of mesnev
ˆ
ı poetry.
114
The three major parts of which the work is
composed are named hayal (imagination, illusion). The first section recounts
the adventures of a prince and princess named Kamerc
ˆ
an and G
¨
ulr
ˆ
uh, and later
those of their children Asil and Nesil. In the second section we find an account
of the mystical quest of a dervish called Cev
ˆ
ad, while the third is devoted to
another mystical search, this time by Prince N
ˆ
ac
ˆ
ı, and later to the adventures
of the latter’s son Dil
ˆ
ag
ˆ
ah. In each section, a common frame unites several
stories, which are linked so closely to one another that the whole resembles a
novel. In this sense our text, though largely forgotten today, contains features
that are considered typical of the late Ottoman novel as it emerged in the last
quarter of the nineteenth century. ‘Az
ˆ
ız Efendi’s preface also is quite modern –
indeed, post-modern – in atmosphere: the author claims to have re-worked an
imaginary Persian original, in turn fictionalising it further, so that the reader
is made aware of the fact that the stories are fictitious and yet the illusion
that they might be real always looms in the background. Certainly the author
wished to express the idea, so favoured by mystics, that the world is nothing
but a product of God’s imagination.
115
‘A z
ˆ
ız Efendi’s work was reprinted five times after its first appearance in
1852, long after the author’s death.
116
While some Ottoman critics found it
113 Mine Mengi, ‘Evliya C¸ elebi Seyahatnamesi’nin I. cildinde tahkiye’, in Evliya C¸ elebi ve
seyahatname, ed. Nuran Tezcan and Kadir Atlansoy (Gazima
˘
gusa, 2002), pp. 197–208,at
p. 207.
114 Andreas Tietze, ‘Aziz Efendis Muhayyelat’, Oriens 1 (1948), 248–329.
115 Zeynep Uysal, ‘Ola
˘
gan
¨
ust
¨
u masaldan c¸a
˘
gdas¸ anlatıya: Muhayyelat-ı Aziz Efendi’, MA
thesis, Bo
˘
gazic¸ı University (1994).
116 Az
ˆ
ız Efendi, Muhayyel
ˆ
at-i ‘Az
ˆ
ız Efendi (Istanbul, 1268/1852).
519
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