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Greetings, readers!
Mesihi of Prishtina (born Isa) was born in the late
15th century, around 1470, in Prishtina, modern-day Kosovo. Although he hailed
from the Balkans, he moved early to the heart of the Empire—Constantinople
(Istanbul). At that time, the Ottoman Empire was experiencing a massive
cultural surge following the conquest of the city; for a young, talented man,
it was a city of boundless opportunity where Eastern and Western traditions
converged.
Regarding his character, Mesihi is known to have been
a vibrant but rebellious individual. He was characterized by a sharp wit, a
keen sense of humor, and an undisguised leaning toward hedonism. Unlike many
intellectuals of his time who sought the strict ethics of the court, Mesihi was
a true bohemian: he loved wine, nightlife, and never hesitated to demonstrate
his independent spirit—a trait that eventually cost him his career.
While no contemporary portraits survive, literary
descriptions and modern interpretations, such as those by Mathias Énard, paint
him as an elegant yet somewhat melancholic figure. He possessed refined manners
that allowed him to become the secretary to the Grand Vizier, Ali Pasha.
However, his appearance and behavior likely betrayed a man who valued street
life and taverns far more than dry state documents.
Mesihi’s family life remains a mystery. Most sources
indicate that he never had a traditional family or descendants. This was not
uncommon among the Sufis or the intellectual circles of the era, where
spiritual and creative freedom was often prioritized over domestic life. His
world revolved around his brotherhood, fellow poets, and the objects of his
affection, whom he immortalized in his verse.
Religiously, Mesihi was a Muslim, but his faith was
deeply infused with Sufi philosophy. Sufism allowed him to view God and the
world through the prism of love and beauty. To him, God was beauty
itself—visible in the petal of a flower or a beautiful human face. This fluid
approach to spirituality allowed him to reconcile his religion with his
passionate lifestyle.
Mesihi’s work revolutionized Ottoman literature. He
became famous for pioneering the Shehr-engiz genre (The City-Thriller or
"The City's Beauties"). In this genre, he described the young
craftsmen of specific cities (mostly Edirne or Istanbul)—bakers, shoemakers,
furriers—praising their beauty and diligence. This was incredibly bold, as he
effectively "lowered" poetry from the aristocratic chambers down to
the streets.
His poetry is characterized by simplicity, vivid
imagery, and emotional honesty. His most famous work, the "Ode to
Spring" (Bahariye), became one of the most cited verses throughout the
Empire. Mesihi was a master of the playfulness of the Turkish language,
avoiding excessive Persian or Arabic complexity, which made his verses popular
not only with the elite but also with common people.
The historical context of Mesihi’s life was marked by
the reign of Sultan Bayezid II. This was a period when the Empire stabilized
and began investing heavily in arts and architecture. Although the Sultan
himself was pious and reserved, an intellectual class flourished under his
wing, interested in Antiquity, the Italian Renaissance, and philosophy. It was
in this atmosphere that the idea to invite geniuses like Leonardo da Vinci or
Michelangelo was born.
Mesihi’s fate was not easy. After the death of his
patron, Ali Pasha, he lost his standing at court. Due to his volatile temper
and love of freedom, he was unable to find another influential protector. He
spent his final years in poverty, feeling underappreciated and forgotten by the
system he served, even as his verses continued to echo through the streets of
Istanbul.
The poet died around 1512 (though some sources suggest
later). It is said that death met him in solitude, yet his legacy survived for
centuries. He is considered a pioneer of the "modern" style in
classical Ottoman poetry—the first who dared to write about what he saw around
him rather than just abstract ideals.
Today, Mesihi is remembered not only as a literary
classic but as a symbol of that lost, sensual, and free part of the Ottoman
Empire that was unafraid of beauty in all its forms. His presence in Mathias
Énard's novel has reintroduced him to Western readers as a bridge between two
civilizations that, despite their wars, always admired each other's genius.
Fragments from the "Ode to Spring"
(Bahariye)
This work became so popular in the 16th century that
it was translated into European languages and is considered one of the finest
examples of Eastern lyricism. Each stanza ends with a refrain reminding the
reader of the fragility of time.
Fragment I: The Rebirth of Nature
"The garden is filled with colors, like a chest
of jewels, Each blossom shines like the Sultan's cup. The world is young again,
though it was old and grey. Enjoy this moment, for spring will soon pass."
Explanation: Mesihi uses the garden metaphor, which in
Ottoman culture symbolized paradise on earth. However, he emphasizes transience
rather than eternity. By urging us to "enjoy the moment," he
challenges strict religious asceticism, asserting that beauty is found here and
now.
Fragment II: Desire and the Wind
"The wind caresses the rose; she trembles with
pleasure, The nightingale sings a song of love in the silence of the night.
Your face shines among others, like the sun among stars. Let us drink wine
while the roses have not yet faded."
Explanation: There is a distinct eroticism in this
stanza. In Ottoman poetry, the nightingale always symbolizes the lover, and the
rose symbolizes the beloved. Wine represents both spiritual and sensory
intoxication—a state where one forgets social status and merges with beauty.
Fragment III: City Suitors (from the
"Shehr-engiz" cycle)
While not from the "Ode to Spring," these
lines perfectly illustrate his unique style:
"That young blacksmith at his anvil—his hands are
black with coal, But his eyes strike sparks stronger than iron. He beats my
heart like glowing metal, and the whole city suffocates from the fire of his
beauty."
Explanation: Here, Mesihi demonstrates his innovation.
He sings of a common laborer rather than a distant princess. This reflects his
connection to the street life of Istanbul and his courage to find aesthetics in
the everyday and in masculine strength.
Why was this poetry important? Mesihi brought genuine
feeling to a stagnant literature. In his verses, there are no empty
metaphors—one feels a man who fears old age, craves love, and observes the
world with a slightly sad smile. It was "earthly" poetry, understood
by both the Sultan and the apprentice in the market.
A Rebellious Soul
