Original Ottoman Turkish Text
Metre: Fâ’ilâtün Fâ’ilâtün Fâ’ilâtün Fâ’ilün
Olalıdan gül yüzün ey dost çeşmümden nihân
Subha dek bülbül gibi ben eylerem zâr u figân
Hâlüme rahm eyler oldı cümleten halk-ı cihân
Gönlüm ârâm eylemez taglara düşmemdür hemân
La’l-i nâbun hasretinden bini mahzûn eyledün
Fürkatünle dil-berâ hâlüm diger-gûn eyledün
Leylî-zülfün bendine dil düşdi Mecnûn eyledün
Gönlüm ârâm eylemez taglara düşmemdür hemân
Gün yüzüni göreliden olmışam dîvâne ben
Şem’-i ruhsâruna karşu yanmışam pervâne ben
Çâre bulmaz hem dirîgâ derd ile hicrâne ben
Gönlüm ârâm eylemez taglara düşmemdür hemân
Hasret-i derdünle cânâ inlerem ben zâr u zâr
Gözlerüm yaşı akar turmaz oluban âşikâr
Dil çeker tâ subha dek her şeb yolunda intizâr
Gönlüm ârâm eylemez taglara düşmemdür hemân
Ol hilâl-ebrûn görelden baş açuk dîvâneyem
Derd ü mihnet kıssasından çün yine efsâneyem
Âteş-i ‘ışkına yârün cân virür pervâneyem
Gönlüm ârâm eylemez taglara düşmemdür hemân
Mihnet-i hecrün nigârâ haddi vü pâyânı yok
Ne belâyımış cihânda ugradum oranı yok
Bir devâsuz derddür kim dostum dermânı yok
Gönlüm ârâm eylemez taglara düşmemdür hemân
‘Âşık-ı dil-hasteni sen yanulup yâd itmedün
Derd-i hecründen anı bir lahza âzâd itmedün
Şâhî-i üftâdeni vaslun ile şâd itmedün
Gönlüm ârâm eylemez taglara düşmemdür hemân
In English
1. O friend, since your rose face was hidden from my eyes I moan and cry out like a nightingale until morning. All the people of the world have come to pity my state. My heart finds no rest; all that is left for me is to take to the mountains.
2. With longing for your pure ruby lips you made me sorrowful; O heart-stealer, with your separation you changed my state; the heart fell into the bond of your Leylâ lock, and you made it Mecnun. My heart finds no rest; all that is left for me is to take to the mountains.
3. Since I saw your sunlike face I have become mad; I have burned like a moth before the candle of your cheek. Alas, with pain and separation I cannot find a remedy either. My heart finds no rest; all that is left for me is to take to the mountains.
4. O my soul, with longing for your pain I weep, moaning and moaning; the tears of my eyes flow ceaselessly and openly. Every night until morning the heart watches your road. My heart finds no rest; all that is left for me is to take to the mountains.
5. Since I saw that crescent brow I am a bareheaded madman; with my tale of pain and hardship I am again a legend on every tongue; I am the moth that gives its life to the fire of the beloved's love. My heart finds no rest; all that is left for me is to take to the mountains.
6. O beauty, the hardship of separation has no limit and no end; what an affliction in the world, I have met with it, it has no measure. My friend, it is a pain beyond remedy, with no cure. My heart finds no rest; all that is left for me is to take to the mountains.
7. You never once, even by mistake, remembered your heartsick lover; you did not free him for a moment from the pain of separation; you did not gladden fallen Şâhî with union. My heart finds no rest; all that is left for me is to take to the mountains.
Literary and Historical Commentary
Structure of the Poem
The poem is a murabba of seven stanzas with a refrain, written in the "fâ'ilâtün fâ'ilâtün fâ'ilâtün fâ'ilün" pattern of the remel family of aruz (quantitative metre). In the first stanza the four lines rhyme on "-ân": nihân, figân, cihân, hemân. The other stanzas use the rhymes "-ûn eyledün", "-âne" with the redif (refrain word) "ben", "-âr", "-âneyem", "-ânı yok" and "-âd" with the redif "itmedün". The refrain is the line "Gönlüm ârâm eylemez taglara düşmemdür hemân". The word "bini" in the second stanza is printed so in the edition and is read "beni" (me). The pen name (mahlas) appears in the last stanza (fols. 75a-75b).
Meaning and Figures of Speech
Kılıç cites the last stanza of this poem to show that Şâhî handles his pen more skilfully in the murabbas. In that stanza the verbs "yâd itmedün" (you did not remember), "âzâd itmedün" (you did not free) and "şâd itmedün" (you did not gladden) follow one another, and the reproach addressed to the beloved is strengthened by three negative sentences. "Taking to the mountains" in the refrain recalls Mecnun going out to the mountains and deserts when parted from his beloved; in the second stanza this allusion is made explicit when the heart that falls into the bond of the Leylâ lock becomes Mecnun.
The third and fifth stanzas repeat the same world of images: the lover who sees the sunlike face or the crescent brow goes mad and burns like a moth before the candle of the cheek. The first line of the third stanza, "Gün yüzüni göreliden olmışam dîvâne ben", is almost identical with the line "Göreliden gün yüzüni olmışam dîvâne ben" in the fourth stanza of the tenth murabba, and the two stanzas use the same "dîvâne, pervâne" rhyme. The sequence "pâyânı yok, oranı yok, dermânı yok" in the sixth stanza also occurs in the first and tenth murabbas. These repetitions show that Şâhî often drew on ready-made patterns in his murabbas; this observation is our own.
The "baş açuk dîvâne" of the fifth stanza is the madman who goes about bareheaded; the word "efsâne" points to the lover's story on every tongue, and "pervâne" to throwing oneself into the fire of love. In the fourth stanza watching the road until morning and tears flowing "âşikâr", that is, for all to see, say that love can no longer be hidden. It is not known to whom the poem was written.
Bibliography
- Filiz Kılıç (ed.), Şâhî Dîvânı (Şehzâde Bâyezîd), Ankara: T.C. Kültür ve Turizm Bakanlığı Kütüphaneler ve Yayımlar Genel Müdürlüğü, 2018, e-book pp. 139-140, murabba no. 14 (Millet Library, Ali Emîrî Efendi, Manzum Eserler 225, fols. 75a, 75b); also pp. 30-31 (on the murabbas), https://ekitap.ktb.gov.tr/Eklenti/59394,sahi-divanipdf.pdf.
Online sources
