By Gabriel Piterberg
Within the area of six years early within the 17th century, the Ottoman Empire underwent such turmoil and trauma--the assassination of the younger ruler Osman II, the re-enthronement and next abdication of his mad uncle Mustafa I, for a start--that a student said the period's three-day-long dramatic climax "an Ottoman Tragedy." below Gabriel Piterberg's deft research, this era of concern turns into a ancient laboratory for the heritage of the Ottoman Empire within the 17th century--an chance to monitor the dialectical play among historical past as an prevalence and event and background as a recounting of that have. Piterberg reconstructs the Ottoman narration of this fraught interval from the foundational textual content, produced within the early 1620s, to the composition of the kingdom narrative on the finish of the 17th century. His paintings brings theories of historiography into discussion with the particular interpretation of Ottoman ancient texts, and forces a rethinking of either Ottoman historiography and the Ottoman country within the 17th century. A provocative reinterpretation of an enormous occasion in Ottoman historical past, this paintings reconceives the relation among historiography and heritage.
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Additional resources for An Ottoman Tragedy: History and Historiography at Play
This was not an abandonment of the devo- 18 / Foundations tion to the principle of gaza, since martial music as a reminder of the Ottoman duty to struggle for the faith would still be regularly played at the gates of the palace; it was rather the expression of a fundamental change in the relationship of the House of Osman and of the Ottoman state to that principle and its representatives. 18 The basic and exceptional weakness from which Osman II suffered was the conspicuous absence of a female power basis in the harem.
31 By the seventeenth century this relationship already had an established pattern and reciprocity that could not be easily violated. As this event amply demonstrates, the kul felt that they had the right—and power—to determine whether the ruler was adhering to the established pattern or straying from it. Instances of parsimoniousness and an arbitrary attitude as a major cause for the kul’s resentment abound. The importance of performing certain rituals that demonstrated imperial largesse as well as acknowledgment of the kul’s commitment and effort were central to keeping the relationship harmonious.
This is a convenient point to resume the unfolding of the story of the Haile-i Osmaniye. Sultan Mustafa had been deposed and Genç Osman had been the padishah for three years. Having had his brother, Prince Mehmed, executed, the sultan was now ready and willing to lead the Victorious Army into Poland. Osman II and his advisers were perhaps trying to take advantage of Europe’s politics and reinvigorate Ottoman expansion there. Skirmishes notwithstanding, strategically the European front had been dormant since 1606.
An Ottoman Tragedy: History and Historiography at Play by Gabriel Piterberg