Contemporary half brown calf, green cloth boards, with handwritten ownership inscription on them (i.e., This book belogs to Ali Efendi). Roy. 8vo. (23,5 x 17 cm). In Ottoman script (Old Turkish with Arabic script). 132 p. Printed on a early 19th / late 18th century watermarked paper. Ex-library stamp on the recto of the title page, with a manuscript ownership inscription. Faded on cloth boards, slightly stained edges. Overall, a good copy. The first edition of this poetry collection, the first and only book by poet Mehmed Emin Belîg, including vivid and humorous depictions of the social life in 18th-century Istanbul. The collection includes eleven qasidas, 31 chronograms, 243 ghazals (238 in Turkish and five in Persian), one sakinâme, 54 quatrains (rubaiyat) and couplets (qita), as well as museddes (six-line stanzas) titled "Hammamnâme", "Kefsgernâme", "Hayyatnâme", and "Berbernâme." It also features a poem in the form of a qasida titled "Der-Menkibe-i Sâhil-hâne-i Çerâgân", and a sakiname composed as a terkib-i bend (a stanzaic form of classical Ottoman poetry). Belîg wrote his qasidas mostly for individuals who were not particularly prominent or famous in his time, with many dedicated to Yenisehirli Râtip Ahmed Pasha (1711-1762). His ghazals are considered more successful than his qasidas, notable for their powerful and succinct expressions. Among the notable sections of the collection, "Kefsgernâme" stands out for its wealth of historical shoemaking terminology. The "Hammamnâme-i Dilsûz" provides valuable insights into the traditions and culture of Turkish baths. "Berbernâme", a museddes focused on the barbering profession, offers a vivid glimpse into the cosmopolitan occupational and social life of the Ottoman capital. "Hayyatnâme-i Dilsûz" recounts a narrative centered around a beloved figure from the tailoring guild, portraying a same-sex romantic attachment with emotional nuance. "Sâkînâme" explores the entertainment and nightlife of Istanbul, while the qasida titled "Der-Menkibe-i Sâhilhâne-i Çiragân" paints a rich picture of the Çiragan Palace and the festivities that took place there. Belîg not only addressed prominent districts of Istanbul such as At Meydani (Hippodrome), Tozkoparan, Fatih, and Okmeydani in his poems, but also focused on many locations across the Rumelia region. By referring to the great fires of Istanbul, he sheds light on significant historical events. As a poet who closely observed his era and made realistic assessments based on his experiences, he also paid attention to social issues and portrayed the characters he observed with a vivid and realistic style in his poetry. He successfully reflected the human profiles, lifestyles, and psychology of the time, and through his critique of extreme examples and character types in society, he demonstrated a strong talent for social satire. The poet frequently complained about the corruption of his age: he spoke of widespread bribery, oppression, injustice, and the favouritism shown only to the wealthy, as well as people's ingratitude. His depictions of beauty in his poetry are highly realistic. He provides significant insights into the social life, commercial practices, and daily experiences of his period. The subtlety and originality of his imagination, along with his use of chained compound expressions, reveal the influence of the Sebk-i Hindî literary movement on his work. Özege 4124, TBTK 5887, Ipekten & Isen pp. 20; As of June 2025, the book is located at twelve American libraries.
Lingue: Turkish, Ottoman (1500-1928)
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