we are accustomed to think of as Ottomans are so only by adoption, being really the descendants of Seljouks or Seljoukian subjects, who had derived from Persia whatever they possessed of civilization or of literary taste. An extraordinary love of precedent, the result apparently of conscious want of original power, was sufficient to keep their writers loyal to their early guide for centuries, till at length the allegiance, though not the fashion of it, has been changed in our own days, and Paris has replaced Shiraz as the shrine towards which the Ottoman scholar turns. While conspicuously lacking in creative genius, the Ottomans have always shown themselves possessed of receptive and assimilative powers to a remarkable degree, the result being that the number of their writers both in prose and verse is enormous. It ought to be premised that the poetry of the old school is greatly superior to the prose. When we reach the reign of Mahmoud II., the great transition period of Ottoman history, during which the civilization of the West began to struggle in earnest with that of the East, we find the change which was coming over all things Turkish affecting literature along with the rest, and preparing the way for the appearance of the new school. The chief poets of the transition are Fazil Béy, Vasîf, notable for his not altogether unhappy attempt to write verses in the spoken language of the capital, Izzét Molla, Pértév Pasha, Akif Pasha, and the poetesses Fîtnét and Léyla. In the works of all of these, although we occasionally discern a hint of the new style, the old Persian manner is still supreme. More intimate relations with Western Europe and a pretty general study of the French language and literature, together with the steady progress of the reforming tendency fairly started under Mahmoud II., have resulted in the birth of the New or Modern school, whose objects are truth and simplicity. In the political writings of Réshid and Akif Pashas we have the first clear note of change; but the man to whom more than to any other the new departure owes its success is Shinasi Efféndi, who employed it for poetry as well as for prose. The European style, on its introduction, encountered the most violent opposition, but now it alone is used by living authors of repute. If any of these does write a pamphlet in the old manner, it is merely as a tour de force, or to prove to some faithful but clamorous partisan of the Persian style that it is not, as he supposes, lack of ability which causes the modern author to adopt the simpler and more natural fashion of the West. The whole tone, sentiment and form of Ottoman literature have been revolutionized by the new school: varieties of poetry hitherto unknown have been adopted from Europe; an altogether new branch of literature, the drama, has arisen; while the sciences are now treated and seriously studied after the system of the West. Among writers of this school who have won distinction are Ziya Pasha, Jévdét Pasha: the statesmen and historians. Ahméd Midhat Efféndi, Sami Béy: the lexicographer and encyclopedist, Ebûz-Ziya Tévfiq Béy, Mouallim Naji Efféndi, Hamid Béy: who holds the first place among Ottoman dramatists, Mihran Efféndi: the grammarian, and Kémal Béy: the leader of the modern school and one of the most illustrious men of letters whom his country has produced. He has written with conspicuous success in almost every branch of literature, history, romance, ethics, poetry, and the drama. G. Sultans of the House of Osman. The dates are those of the Sultan's accession, according to the Moslem and Christian eras. The Arabic, i. e. Lunar, Year being 10 days, 21 hours and 14/5 seconds shorter than the Christian i. e. solar year, does not correspond exactly with it. Its reckoning begins from the Hijrét or departure of Muhammed from Mecca to reside in Medina, A. D. 622 July 15/19 (Mouharrém 1). In order approximately to convert a year of our Era into one of the Moslem Era: subtract 622, divide the remainder by 33 and add the quotient to the divident. Conversely, a year of the Moslem Era is converted into one of the Christian Era by dividing it by 33, subtracting the quotient from it, and adding 622 to the remainder; as: In the 1205th year of the Héjira (1/12 March 1789), Sultan Sélim III. issued an Iradé to use this calendar in financial and commercial transactions. It corresponds exactly to the Old Style, only the new year begins in March instead of in January. The following table shows the years of the Financial Calendar corresponding to those of ours, till 1909. 6 1810 1205 1789 1225 1809 1245 1829 1265 1849 1285 1869 6 1790 The method of parsing in Arabic includes Grammatical and Logical Analysis. But in Ottoman-Turkish all that is really necessary is to give such particulars as are given in the subjoined parsing of a piece. The genders, numbers, moods, tenses and all particulars about the words must be mentioned, and the parts of Regular and Irregular Verbs must be given. Read first with expression the following Exercise, and analyse it afterwards. Turn up all references to the Grammar. .The Prophet's Speech خطبه پیغمبری رسول اکرم بر جمعه کونی کندی دوه سنه ببندی و یوز نفر اهل اسلام ايله قبادن قالقدى ، و نفس مدينه يه عازم اولدی . اثنای راهده صول طرفنه ميل ايله بنى سالم بن عوف يوردنده رانونا دينيلن وادينك اوست طرفنه ايندى و اوراده غایت بلیغانه بر خطبه او قویوب جمعه نمازی قیلدی . خاتم الانبيا حضرتلرينك الـ ابتدا قيلدين جمعه نمازی بو در . و ابتداکی خطبه سی او در که خلاصه وجه ایله ترجمه سی بوراده ایراد اولونور. رسول اكرم قالقوب حق تعالى حضرتلرینه لایق اولديغي وجه ايله حمد و ثنا ایله دکدنصو گره بویله بویورمش ایدی : ای ناس ! صاغلینگزده آخرتگر ايچون تدارك كوروكز . مُحَقَّق يبليكز که ، يوم قیامتده هر فرد باشینه ووروله حق و چوبانسز براقدیغی قویونندن صوريله حق . صوره جناب حق اوكا دييه جك . اما ناصل دييه جك ? ترجمانى یوق ، پرده دارى يوق ؛ بالذات دييه جك كه : بالذات دييه جك كه : اى قولم سكا بنم رسولم كاوب ده ، لطف و احسان ايتدم ؛ سن كند تبلیغ ایتمهدی می ? بن ایچین نه تدارك ايتدك ؟ سكا مال ويردم «اوکیمسه دخی صاغنه صوانه با قه حق بر ش كورمه يه جك . اونمونه |