Original Ottoman Turkish Text

Cihân şâdîye gama yurd olupdur
Niçe hakanlara cihân gülüpdür
Gelüp devrân sürenler 'âlem içre
Hemân arzûları hayâl kalupdur
Cihân halkı tamâm murâd mı buldı
Nedür ol kim murâdı olmayupdur
Togar aglar ölür aglar töredür
Bu devrân böylece bil düzilüpdür
Gülerem sanur ol yañlış habardur
Ne gülmek var melâle irmeyüpdür

In English

1. The world has become a home for joy and for grief; the world has smiled on many khans.

2. Of those who came and enjoyed their turn in the world, only their desires remained, as a dream.

3. Did all the people of the world attain their wish; what is there that did not attain its wish.

4. Man is born weeping, dies weeping, it is the custom; know that this turning of the age is so arranged.

5. He thinks "I laugh"; that is false news; what laughter is there that has not come to sorrow.

Literary and Historical Commentary

The Bridal Party

Those who went to fetch the bride are listed in the fifty-first chapter. The kadı of Bursa Koca Efendi, the standard-bearer Aksungur Ağa, the chief herald Temür Han Çavuş son of Süle Çavuş and about a thousand cavalrymen set out; of the ladies, the kadı's wife, Bayezid's nurse and Aksungur's wife. The lord of Germiyan holds the wedding in Kütahya and receives the guests well. The bride is entrusted to Aksungur's wife and Bayezid's nurse. The lord of Germiyan sends his chief taster Paşacuk Ağa to lead the bride's horse; the Ottomans also put men in the fortresses he gave his daughter. Bayezid asks his father-in-law for Paşacuk Ağa and makes him his own chief taster. Paşacuk's son Elvan Beg and Elvan Beg's three sons also become chief tasters. This Elvan Beg should not be confused with Elvan Çelebi, who gave his name to the author's birthplace. The author says this family gained intimacy at the Ottoman Porte "with lineage and descent".

Joy and Grief

After the joy of the wedding and the bridal party, the couplets take on a melancholy tone. The world is home to both joy and grief; it has smiled on many khans, but the desires of those who enjoyed their turn remained a dream. The fourth couplet frames human life with two weepings: one is born and weeps, dies and weeps. This image repeats the line "Öñi aglar soñı aglar" in the verse after Süleyman Paşa's death. The last couplet says that even laughter is a delusion: there is no laughter that does not come to sorrow. Such sadness after a wedding scene shows Âşıkpaşazâde's tendency to close even moments of joy with a lesson on transience. The refrain is "-updur/-üpdür": olupdur, gülüpdür, kalupdur, olmayupdur, düzilüpdür, irmeyüpdür.

Bibliography

  • Âşık Paşazade, Osmanoğulları'nın Tarihi, ed. Kemal Yavuz, M. A. Yekta Saraç, Istanbul: K Kitaplığı, 2003, p. 388 (transliterated text, bâb 51).