INTRODUCTION
NABI Yousouf Efendi was born at Roha, about the year 1632, during the reign of Mourad IV. Coming to Constantinople in the time of Mahomet IV, he there attached himself to the all-powerful favorite Mustafa Pacha, who made him his secretary. In 1684, his protector having been made Serasker, he accompanied him to Morée. From there, he undertook the pilgrimage to Mecca and to Medina, and finally settled at Halep. It was during his stay in this city, about the year 1694, that he wrote, as he himself says, the poem dedicated to his son Aboul Khair. Some years after, Baltadji Mohammed Pacha, who was much attached to Nabi, recalled him to Constantinople, and appointed him president of the State treasury of Anatolia. He exchanged this position, however, for that of comptroller of the cavalry, in which he remained until his death, which occurred the twelfth of April, 1712.
Nabi is one of the Turkish classic authors; he occupies in Ottoman literature an exalted position, not only as a poet, but also as a prose writer. Under the title of Zeili Nabi, he wrote in the purest and most stately style an appendix to the “Life of Mahomet,” by Weïsi; this work was printed in Cairo in 1248. The imperial library has a copy of the complete works of Nabi. The manuscript is well written, but is filled with clerical errors. Beside the poems, it contains the letters of Nabi and his treatise on Mecca and Medina. The divan of our author is of considerable length; therein are found kassidès, chronograms, gazels, and two poems written for his son: the “Khai-riyè” and the “Khair-abâd.” This divan was written at Cairo in 1257.
The manuscript which has been used to verify the text was obtained from a learned teacher named Chinaci Efendi. The translator has also referred, although with reserve, to the manuscript of the Imperial Library. The Cairo edition has not been very useful; it includes many readings, which are doubtful at best, and which have not been thought sufficiently important to note.
Those who have translated oriental poems know how difficult it is to remain exact without becoming unintelligible. The translator has endeavored to condense the text as much as possible, and has only departed from it insomuch as was necessary in order to make it intelligible. There is an obscure vagueness in Turkish poetry which passes for a kind of beauty in oriental eyes. The reader’s imagination loves to wander among these brilliant clouds; but the translator, forced to express himself clearly and openly, suffers much from this element of uncertainty.
The translator’s aim has been, above all, to provide for persons who are studying the Turkish language a work of a simple and elegant classic style and of moderate price, which will be a preparation for the reading of more difficult writings.