By Gabriel Piterberg
Within the area of six years early within the 17th century, the Ottoman Empire underwent such turmoil and trauma--the assassination of the younger ruler Osman II, the re-enthronement and next abdication of his mad uncle Mustafa I, for a start--that a pupil said the period's three-day-long dramatic climax "an Ottoman Tragedy." lower than Gabriel Piterberg's deft research, this era of obstacle turns into a historic laboratory for the heritage of the Ottoman Empire within the 17th century--an chance to watch the dialectical play among heritage as an incidence and adventure and historical past as a recounting of that have. Piterberg reconstructs the Ottoman narration of this fraught interval from the foundational textual content, produced within the early 1620s, to the composition of the nation narrative on the finish of the 17th century. His paintings brings theories of historiography into discussion with the particular interpretation of Ottoman historic texts, and forces a rethinking of either Ottoman historiography and the Ottoman country within the 17th century. A provocative reinterpretation of a massive occasion in Ottoman background, this paintings reconceives the relation among historiography and heritage.
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Extra resources for An Ottoman Tragedy: History and Historiography at Play (Studies on the History of Society and Culture)
Süleyman Ag˘a repeatedly said to the sultan: The skills of the janissary corps in using the musket and of the imperial sipahis in horsemanship in days of battle are well known. , they are properly trained]. , performed] like the Egyptian and Syrian horsemen, and like the Anatolian sekban in using the musket. Last year, at the Hotin campaign, they were unable to defeat a small inﬁdel force. Incompetent and useless, is this lot of salary-drawers [really] kul? 30 The rift between Osman II and the kul should be contextualized before the story unfolds further.
The Abaza affair was to end only in the 1630s under Murad IV. In the capital, the effort of the kul to distance themselves from Osman II’s killing culminated in the dismissal of Kara Davud Pasha from the grand vezirate and later in his execution. Pressures by various groups and factions yielded a period of sixteen months that witnessed ﬁve different grand vezirs: Kara Davud Pasha, Mere Hüseyin Pasha (to whom we shall return in the following chapters), Lefkeli Mustafa Pasha (another son-inlaw), Gürcü Mehmed Pasha, and Kemankes¸ Ali Pasha.
He chose to recover and spend some time with an old man, Yahs¸i Fakih, the son of the imam of Orhan Gazi (r. 1324 – 62). It was at the home of Yahs¸i Fakih that Apz became acquainted with the menakib (gaza tales) that the old man had collected and written down. Kafadar rightly observes that, apart from Apz’s illness, nothing was accidental: There is every reason to assume [that] Apz felt comfortable in the sociocultural milieu he was born into. He chose to include Yahs¸i Fakih’s menakib in his chronicle not merely because he happened to have access to them .
An Ottoman Tragedy: History and Historiography at Play (Studies on the History of Society and Culture) by Gabriel Piterberg
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