See

 By then, it had become a habit. After finishing the lessons organized for us at my father’s mansion, that place of residence for a hundred people, I would walk from Taş Kasap to Beyazıt and back. During this institutionalized evening circuit, I constantly encountered a certain man. His hair, grown long from lack of care, spilled over his broad forehead, and while engrossed in his thoughts, he was forever tripping over his own feet and then righting himself. At one point I asked myself: “Who is this great man?” This conjecture of mine, this question, was not ungrounded. For I thought this man’s aspect and behavior exactly matched the descriptions and characteristics in the book The Lives of Great Men, which I was reading at that time for an assignment from our French teacher. Usually, he would be walking down the Lâleli Yokuşu towards Aksaray, gazing at the sky with eyes that were presumably fixed on some scientific discovery, or literary creation—in short, some sort of lofty aim—with his learned countenance illuminated by a light received from the heavens. The science of appearances is of undeniable importance. Surely the view of an expert on the truths of the material world differs from a poet’s perspective on the universe. In the gaze of the former, focused on the quest for truth, one might discern a mild resentment, and a great calm—but in the indecisive eyes of the latter, fixed on some unique heavenly dream, is a melancholy, an agony, not present and visible? Let us examine a poet and a scholar, both aged, from the perspective of the science of appearances. Does the scholar’s white crown not resemble a great, cold, unfeeling mountaintop, covered with snow that remains unmelted by any heat? And does that of the poet not remind us of mountain peaks ensconced in mist and fog?… Such was my thinking as a child!

 

This great man’s enchantingly perfect gaze was so elevated that not once did I see him look at the dairy shops and tobacconists of Koska around him, or the streets of Aksaray before him; nor did I see him turn his head to greet anyone.

 

Is this Victor Hugo, or is it Jean-Jacques Rousseau? That was the question to be answered.

 

I slowly began to settle on Jean-Jacques Rousseau. For this people-shy scholar, whom I never saw greeting or speaking to any man, would sagely appear behind the coal sellers’ pack camels that often trudged along the tram route, their bells rattling.

 

با لای سرش ز هشمندی

 [1]میتفت ستاره بلندی

 

Perhaps his habit of following camels on those days rested on an impulse to investigate and examine natural history. Sometimes, this shiftless traveler of burning deserts, graveyards of the works of nature—this suffering, sand-bound companion of the bedouin—would twist its neck in its own meaningful way and carefully examine this great man.

 

One day, I saw a substantial crowd had gathered at Lâleli, and I heard one of their number making a commotion. I wriggled my way into the crowd.

 

Would you believe it? Among them, furiously inveighing against this gathering of philistines, was none other than our learned scholar! Great men have great tempers. What splendor, what splendor! At this moment of fury, he had taken on a formidable, awesome, lofty state, like the churning of a limitless ocean. He was bellowing at those around him: “You worthless, inhuman idiots…can’t you see I’m passing through here? What business did you have coming to touch me on the arm? What horrible idiots you are!” And would you believe it, the fellow he’d addressed and offended the most said: “You’re the real shameful idiot!” At that point, the great man’s patience expired and he lost control. He grabbed the fellow by his throat, and the fellow seized the learned scholar.

 

او در من من در او فتاده

 خلق از پی ما دوان و خندان

 انگشت تعجب جهانی

[2]از گفت شنید ما بدندان

 

I began to follow them together with the others. After walking for a while, the crowd ultimately managed to settle the dispute and rescue the sage from the claws of ignorance.

 

It was truly a pitiful sight to see this great man straighten his torn collar, put on his mud-stained fez and enter his home, that house of learning, in his wretched state. When this great man had closed the door behind him and disappeared from view, I said to myself, fraught with horror from his miserable condition: “Poets and scholars write their greatest works when they are grieving, or enraged.”

           

Hadn’t one of Victor Hugo’s works, and Jean-Jacques Rousseau’s Emile, been written at such times? This man, complaining of ignorance, must now have begun to occupy himself with an unimaginably great philosophical work on the subjects of knowledge and general education. Why should the sun of wisdom not rise over the darkness of this street? For a while, I did not come across him anywhere, presumably on account of his engagement with this vital task. If memory serves me correctly, it was twenty days later that I saw him from a distance in a tobacco shop, listening with the utmost care and attention as the shopkeeper read out a piece of paper to him. When I went over to the shop, the great man was leaving. “What was the paper you were reading to that great man?” I asked. Although years have passed, the shopkeeper’s reply still remains rooted in my memory.

 

“That man’s not great, he’s of average height. He always has me read the letters that come from his hometown. He can’t read or write.”

 

 

[1]  Above his head, from wisdom // The star of loftiness was shining (Saadi Shirazi, Gulistan, Chapter 1, Story 5)

 

[2] He has attacked me, and I him // The people are running behind us and laughing // From our conversation // They are completely astonished (Saadi Shirazi, Gulistan, Chapter 7, Saadi’s Debate with an Opponent on the Interpretation of Wealth and Poverty)

 

Note on the original text: This story was originally written in the Ottoman alphabet, which is no longer used to write Turkish. A transliteration of this story into the Latin alphabet is available on pages 1-5 of the text at this link.

 

 

او زمان اعتیاد ایتمشتم. پدرمك یوز کشی یه اقامتگاه الان قناغنده ترتیب ایدلمش درسلرمزی بتیردکدنصکره آقشام اوزری اکثر طاش قصابدن بایزیده قدر یایان کیدوب کلیردم. بو مقنن اولان آقشام عزیمت و عودت نده دائما بر آدمه تصادف ایدردمکه قیدسزلقدن اوزامش  صاچلری کنیش ناصيه سنك اوزرينه دوکيله رك, تفکرات عمیقه ایچنده دالغین دالعین اتدیغی آدیملر یله ایکیده برده سندلر و دوشمامك ایچون همان کندینی طوپلاردی. بر کره کندی کندیمه « بو بیوك آدم کیمدر؟ » دیه صوردم. بو ظنم، بو سوءالم سببسز دکلدی. چونکه بو آدمك هر حال و طورینی او کنلرده فرانسزجه خواجه مزدن اوقودیغم «بیوك آدملرك حیاتی» عنوانلی کتابك تعریفات و توصیفاتنده تمامیله مطابق بولیوردم. اکثریت اوزره لاله لی یوقوشندن، استدلالمجه یا بر اختراع فنی، یا بر بدیعه ادبی و الحاصل بر مقصد عالی یه معطوف و منصوب اولان کوزلرینی گوگه دیکه رك او کنیش ناصیه عرفانی سمادن آلدیغی بر ضیا ایله منور کورندیکی حالده اقسرایه طوغری اینردی. علم قیافتك اهمیتی انکار اولنه مز. بر علامه نك حقایق اشیایه باقیشیله بر شاعرك کاءناته نظری بر میدر؟ اولکینك جستجوی حقایقه منصوب اولان نظرنده بر کوچك اغبرار، بر بیوك سکونت کورندیکی کبی ایکنجیسنك بر خیال بی مثال بهشتی یه معطوف چشمان بی قرارنده بر حزن، بر اضطراب موجود و مشهود دکلمیدر؟ ایکیسیده اختیار اولمش بر شاعرله بر علامه یه علم قیافت نقته نظرندن باقه لم. علامه نك سر سفیدی، هیچ بر حرارته قارشو اریمز قارلرله مستور بر طاغ باشی کبی حسسز، صغوق، بیوك کورنمز می؟ شاعرك کی ایسه سیسلر دومانلر ایچنده قالمش شواهق جبالی آکدیرمز می؟.. ایشته چوجقلغمده بویله مهاکمه ایدییوردم.!

 

   

بو بیوك آدمك کوزلری جاذبه کمالات ایله او قدر علیین نظر ایدیکه بر کره اطرافنده کی قوسقه نك سودجی، توتونجی، دکانلرینه بر کره اوکنده کی آقسرایك سوقاقلرینه باقدیغی، باشنی دندیروب بر کیمسه یه بر کره سلام ویردیکنی کورمدم.

 

 

ویقتور هوغو می؟ ژان ژاق روسو می؟ مسءله بوراده.

 

 

یواش یواش ژان ژاق روسو اولدیغنه حکم ایتمکه باشلادم. زیرا هیچ بر آدمه سلام ویردیکنی هیچ بر آدمله قونوشدیغنی کورمدیکم بو علامه مردم کریز، اکثر تراموای یولنك اوستندن کچن چنغراکلی کمورجی دوه لرینك آرقه سیندن سرنمای هوشمندی اولوردی. 

 

 

بالای سرش زهوشمندی  

می تافت ستاره بلندی

 

 

بلکه او کونلرده کی دوه تعقیبی اعتیادی، تاریخ طبیعی یه داءر بر فکر تدقیق و تاءلیفه مستند ایدی؟ 

 

 

آثار طبیعتك مزاری اولان آتشلی صحرالرك بو سیاح بی قراری، بادیه نیشینانك قوم عالملری ایچنده بو یار جفاکاری، کندیسنه مخصوص بر طور معنیدار ایله آره صره او اوزون بوینونی چویره رك بو بیوك آدمی مشمول نظر دقت ایدردی.

 

 

بر کون لاله لیده بر چوق خلقك تجمع ایتدیکنی و آره لرنده بریسنك باغروب چاغردیغنی ایشیدنجه غلبه لغك ایچنه صوقولدم. 

 

 

اورته ده کمال شدت و حدتله تحشد قیمت ناشناساندن فریاد ایدن مگر بزم علامه ایمش! بیوك آدملرك حدتیده بیوک اولور. نه علویت! نه علویت! بو زمان حدتنده، هیجانه کلان عمان بی پایان کبی مهیب، مدهش، عالی بر حال کسب ایتمشتی. اطرافنده کیلره: « آدم اولمز، ینسانیت بیلمز جاهللر. بنم بورادن کچدیکمی کورمیور میسکز؟ کلوب قولمه دوقونه جق نه واردی؟ مگر سز نه یمان جاهللر ایمشسنز؟» دیه فریاد ایدییوردی. او غلبه لکك ایچنده اك زیاده مخاطب و معاتب اولان بر حریف: «اصل قره جاهل سنسك!» دیمسونمی؟ او آنده بیوك آدمك صبر و اختیاری الندن کیده رك حریفك بوغازندن یقلادی. حریفده علامه نك یقه سنه صارلدی.

 

 

«او در من من در او فتاده خلق از پی ما دوان و خندان

 انگشت تعجب جهانی از گفت شنید ما بدندان» 

 

 

بنده خاق ایله برابر آرقه لرندن کیتمکه باشلدم. برآز یورودکدنصکره هله ایکیسننده آرسنی بوله رق معرفتی پنچه جهالتدن قورتاردیلر. 

 

 

بو بیوك آدمك ییرتلمش یاقه سنی دوزلته رك، چامورلر ایچنده کی فسنی کییه رك، آقسرایده قرانلق سوقاقده کی خانه علوم آشیانه سنه، او پریشان حالیله کیردیکنی کورمك کرچکدن  بك رقت انکیز ایدی. بو بیوك آدمك حال انفعالنده کلن دهشتله، قپوسنی قپایوبده غاءب اولدیغی زمان دیدمکه: شاعرلرك، علامه لرك اك بیوك اثرلری حال یاءس و حدتلرنده یازدقلریدر. 

 

 

ویقتور هوغونك بر اثری، ژان ژاق روسونك امیلی او یله بر زمانده تاءلیف ایدلمامشمیدی؟ جهالتدن شکایت ایدن بو آدم کیم بیلیر شمدی معارف و تربیه عمومیه یه داءر نه بیوك بر تاءلیف حکمی ایله مشغول اولمغه باشلامشدر، نیچون بو سوقاغك قرانلغندن بر شمس معرفت طلوع ایتمسون؟ بو اشتغالات مهمه اثار و اسبابندن اولمق کرکدرکه کندینه بر چوق زمان هیچ بر یرده تصادف ایده مدم. اکر حافظه م بنی آلداتمیور ایسه یکرمی کون صکره تا اوزاقدن، بر توتونجی دکاننده، توتونجینك کندیسنه اوقومقده اولدیغی بر کاغدی کمال اعتنا و دقت ایله دیکلدیکنی کوره رك او طرفه طوغری کیدنجه بیوك آدمده دکاندن چیقیوردی. توتونجی یه «بو بیوك آدمه اوقودیغك کاغد نه ایدی؟» دیه صوردم. توتونجینك ویردیکی شو جواب، آره دن سنه لر کچدیکی حالده حالا خاطرمدن چیقمز. 

 

 

« او بیوك آدم دکل، اورته بویلی. مملکتندن آلدیغی مکتوبلری هر زمان بکا اوقوتور. اونك اوقومسی یازمسی یوقدر.»

Translator's Note

In “Who Is This Great Man?,” Sezai ostensibly takes aim at the Westernizing current in 19th-century Ottoman life. The metaphor is apparent: the Turkish narrator, childish and inexperienced, idolizes the eponymous figure as a seeming manifestation of French intellectual sophistication. The desert camel on the streets of Istanbul seems equally fascinated. The admiration for this purported avatar is misplaced, as he is an illiterate street brawler. The adulation of Europe is reflexive, superficial and conclusory; it is grounded in a children’s book, substantiated by snatches of information and a few brief observations, and ultimately refuted.

The cultural heritage of the Iranian world, on the other hand, is ingrained, even innate; the narrator’s mind skillfully deploys medieval Persian verse to describe unfolding events, and Sezai firmly places the camel as a “sand-bound companion of the Bedouin.” Rudyard Kipling, a near-contemporary of Sezai, wrote that “East is East, and West is West, and never the twain shall meet.” Sezai does not go so far; for him, the encounter is possible, perhaps valuable. Yet he lampoons the futile mimicry and veneration of one by the other.

Sezai’s writing is superficially Western; his form, his structure, his references to French philosophers and novelists situate his writing in the tradition of the European short story. However, his work sits on a substratum that owes as much to Sufi mysticism and the Persian epics as it does to Balzac or Goethe. In today’s Turkey, few are grounded in classical Ottoman literature at all, and even fewer to the same extent as Sezai and his intended readers. Yet the gentle elegance of his work resonates, even today.

Two qualities of this text complicate any English translation; the first is cultural, the second mechanical. In “Who Is This Great Man?,” Sezai weaves the poetry of Saadi Shirazi into the text of the story. Readers of Saadi will recognize this technique, which was frequently employed by the 13th-century Persian writer himself. Indeed, the tone and content of the story echo the satirical, tongue-in-cheek tenor of Saadi’s oeuvre. By leaving the Persian quotes in the original text, and by providing an explicit reference to the source, the translation invites the reader to explore this cultural backdrop.

The mechanical aspect arises from the grammatical structure of Turkish, which tolerates a higher degree of sequencing than contemporary English idiom. The camel is a shiftless traveler, an inhabitant of the burning deserts; it is simultaneously, within the same sentence, a sand-bound companion of the bedouin. The modifying clauses, multiple and layered, fit awkwardly within a single English sentence. To complicate matters, punctuation was a recent arrival in the nineteenth-century Turkish, and Sezai uses it sparingly. By alternating between commas and dashes, the translation attempts to transpose this series onto a structure that is more agreeable, and more readily comprehensible, to the English-speaking reader.


Daniel Koehler

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