Or 15960

This volume contains selected gazeliyat from the Divan of Koca Ragıb Paşa (1110–1176 AH/1698-9–1763 CE), an Ottoman statesman and man of letters. According to Gibb, the Divan of Ragıb Paşa marks a special moment in Turkish literary history, being the last monument of Ottoman lyric poetry to follow the classical Persian model (HOP IV:92-106).

Many of the gazeliyat featured in the present copy cannot be found in the printed edition from 1253 AH/1837 CE and in other manuscript copies (see for example British Library Or 7182, Or 8008, Or 12185, and Or 14242). As an example, the gazeliyat of the letter lam in these copies and in the printed edition (pp 36-38) consist of four sections, while the present copy (ff 55v-58r) has twelve. It may also be possible that the additional gazeliyat in the present manuscript were composed by one or more other poets.

There is a preface in prose on ff 3v-5v, which in this copy appears to be incomplete, concluding with a quotation in Persian from Nizami.

The importance of the present manuscript lies in the quality and variety of its pages of marbled paper, to be found on folios 6r, 9v, 13r, 21v, 26r, 28r, 29r, 33v, 35v, 37r, 38r, 39r, 40r, 42r, 43v, 45v, 47v, 48v, 50r, 51r, 53r, 54r, 55v, 56v, 58v, 59v, 61r, 62r, 65r, 67r, 68v, 70v, 73v, and 74v. Some of the marbling designs are of great elegance; others feature unusually bold contrasts of colour (e.g. pink with green). Some other folios are tinted in various pale colours, including pink, greyish green, orange, and yellow.

Another notable feature of this manuscript is its illuminated, richly gilded serlevha, featuring an unvan of good quality, with floral motifs, broad gold frames around the text area, and ornate floral tığlar. There are text frames in silver or gold throughout, with the choice depending on the colour of the page.

The rarely seen ornamentation of the binding is also noteworthy; the original morocco covers are decorated on both front and back with a flower spray in an ornate vase, with matching cornerpieces. These are painted in maroon, green and gold. The binding also has the more conventional feature of gilt chain borders.

Begins:

Mahamid-i manzuma-i fasaat-nizam ve medayih-i mensure-i belagat-intizam ol Müfzi-i feyiz ve ilhama ve Mülhim-i hayrü’l-kelama ki lisan-i insana elfaz-i rengin ile nutk-i fasih ve ibarat-i ibret-karin ile beyan-i melih vurup...

Ends:

Ol mukahhal çeşmin asım gamzesinden kıl hızar * tığ-i musk-aludenin zir (sic, for zira) onulmaz çaresi

Other contents of this volume include: verses by Vehbi, letters of the alphabet, and the text of Fatiha suresi on 1r; verse 21:69 from the Quran on 2r; two poems in praise of the Prophet and commemorating his birth, dated 1154 and 1172 AH (1741-2 and 1758-9 CE) respectively, on 2v; and verses on the Prophet and a few arithmetical calculations on 3r. The names of Ottoman Sultans between Osman and Mahmud II have been plotted in grid format on 74v-75r, along with the dates of enthronement (cülüs) and the duration of their reigns. Between 75v-76r, the same has been done for the names of Grand Viziers (Vüzera-yi Al-i Osman) from Hayrettin Paşa to Tiryaki Mehmed Paşa. Dates are given infrequently for this list, as are the names of the sultans under whom each vizier served. The reason for the end of each vizier’s reign is given; these are most frequently dismissal, but also death, retirement, martyrdom, or execution.

Following the final beyit on 74r, there is the date of 1130 AH/1717-18 CE.