Early Modern Campaign Life: Through the Eyes of Margriet Van Noort

the siege of the city of alesia melchior feselen
Detail from The Siege of Alesia by Melchior Feselen: painted in 1533, this massive painting, from which this detail and the one below is taken, depicts a battle from antiquity but does so in a thoroughly anachronistic fashion, instead showing in great detail the workings of sixteenth century warfare, including the presence of soldiers’ families as described in the passage below.

The excerpted text below comes from the autobiography of Sister Margaret of the Mother of God, born Margriet Van Noort in 1587. Before her death in 1646 she wrote a range of autobiographical pieces of literature, at the behest of her confessor at the convent of the Discalced Carmelites in Brussels in the Low Countries. This passage describes aspects of her childhood, one spent out on campaign alongside her father, a soldier fighting under the Habsburgs during the Eighty Years’ War. Margaret provides a powerful and moving look into what everyday life was like for the families of the soldiers, families that, as in many other early modern wars, went on campaign as well, sleeping in tents, dodging bullets, and contributing to combat in various ways, including, as Margaret later describes, digging trenches. Margaret’s mother sought to give her children some semblance of normalcy, Margaret notes, even if her children could not avoid being swept up in the chaos and danger of an early modern army on the move, as Margaret’s account of her three days separated from her family suggests.

the-siege-of-the-city-of-alesia-melchior-feselen-2.jpg

Since my father was a soldier, my mother always followed him with all the children; there were seven of us. We went with him in every campaign where we suffered hardships of every kind, as you can imagine, from heat and other trials. We often lacked food, and even when we had money there was often nothing to buy. At times when we had no money, we would that a horse might be shot so that we could have something to eat. One time we ate meat with no bread because we did not have any; we could not even find a loaf to buy. Other times we would eat raw meat because we had no time, fire, or proper conditions for cooking. And we usually slept four or five months of the year in our clothes on the ground with a bit of straw for a soft bed. Our home was a tent, but my mother took pains to keep us all gathered together as if we were in a house. There we recited our devotions, did our handwork, and read religious books, to which I was always greatly devoted. We never missed Mass when it was said. It was in a tent set up in the open countryside and there were thousands of people who attended. The enemy would shoot artillery and the bullets would fall in the middle of all those people. No one was ever hurt.

About the age of nine, I had a desire to stay in a monastery of the Order of Saint Bernard that was near where we were garrisoned. But my father did not want me to because he said that Friesland was sure to revert to heresy, and so I stayed with my parents. My mother saw that I was quite a young lady at eleven years old, and she had me make my First Communion. At twelve, my father had contracted marriage for me with a young man from a good family; but he was a military man and he died in battle, and I was very happy.

We used to go every summer on a campaign that sometimes lasted until Christmas with a lot of snow and cold. I was very fond of walking and since my parents had carts and horses in which to carry us, when I would see other soldiers’ small children crying so and dying of cold, I would ask my mother to allow me to walk so a little girl could ride in my place. Sometimes she would scold me and tell me that I was going to get lost among the crowds and it happened just so. I had walked all day and at nightfall the companies split from each other with each company camping together. I stayed seated by the road where I thought our people would be passing. But only the Walloons came. I began to ask if the Germans were not passing by there also, and they told me no. I was very distressed and started to cry like a girl of thirteen would. And God willed that a good man might pass by, a captain who asked me why I was crying. I told him of my trouble, that I had thought my father would have come by there. And God willed that this good man should console me, and he took me with him and pampered me, and I spent three days with him while he took care of me as if I were his daughter. He was a captain of the Wallons, and he asked me my father’s name. I said he was an ensign with a German regiment and his name was Sebastiaan Van Noort. Finally my mother came searching for me with two other people. On the third day the companies were reunited and my mother and everyone was very happy that I was found. After that, I always stayed with them.

Margaret van Noort. Spiritual Writings of Sister Margaret of the Mother of God (1635-1643). Translated by Susan M. Smith. (Toronto, Ontario: Iter Academic Press, 2015). 66-67.

Print Culture Remixed: Safavid Painting Across Confessional Boundaries

Hayrapet Jul'ayec'i bible
Fig 1.: Manuscript Bible, illustrated by Hayrapet Jul’ayec’i, 1649 in New Julfa. (“Matenadaran” Mesrop Mashtots Instutute-Museum of Ancient Manuscripts, ms 189) .

The four images in this post- two from Western Europe, two from the Safavid Empire- paint a picture of the inter-connectivity of places, religious communities, and cultural traditions of early modern western Eurasia, inter-connectivity that took place without any single power or region dominating, as would be true from the nineteenth century forward. These images also illustrate the problems with the language of ‘influence,’ as well as the fact that religious communities and traditions that were at odds in some respects could still participate in shared cultural paradigms and draw upon the work and concepts of others in creative ways. In particular these images demonstrate the complicated place of ‘print culture’ in a Eurasian context, printed texts co-existing and interacting with non-print modes well through the seventeenth and eighteenth centuries.

In this first pair of images, Fig. 1 and Fig. 2, illustrating the first chapters of Genesis, the Armenian illustrator Hayrapet Jul’ayec’i has drawn upon the images of Johann Theodor de Bry for his own illumination of the Bible. The relationship is obvious upon even casual examination, such that one might be tempted to call the Armenian paintings ‘copies.’ But slightly closer examination reveals something more subtle going on. Jul’ayec’i has followed the general form and many of the details of de Bry’s engravings, but has done so in a transformative way: the images have been placed in a new arrangement, one that proceeds in chronological order from left to right, the borders dividing the scenes employing motifs with deep roots in Armenian illumination. Most significantly, Jul’ayec’i has rendered these scenes in color, in brilliant color which calls to mind earlier illumined Armenian Bibles. The entire production has furthermore been placed within a manuscript Bible, instead of the printed Bible of de Bry. The reference to de Bry, and by extension, Western European art conventions, remains unmistakable- but in rendering them in the bright splashes of Armenian painting they have been translated and re-appropriated (there is literal translation as well- note the inclusion of Armenian text in Jul’ayec’i’s painting). ‘Remix’ is one way of thinking about such a piece, the form remaining but the interpretation rendered making the piece an effectively new creation, the mood and resonances it conveys departing dramatically from the original ‘cited’ imagery, even as the new art depends on the original to some degree.

Biblia Sacra vulgatæ, pages 2 & 3
Fig. 2.: Biblia Sacra vulgatæ, pages 2 & 3, engravings by Johann Theodor de Bry, Mainz, 1609 (General Research Division, The New York Public Library).

What is particularly notable about Jul’ayec’i’s art, and that of the many other Armenian artists and manuscript producers who employed similar techniques vis-a-vis print culture circulating in Armenian communities (which in itself reminds us that it was not unusual for a Bible printed in the Netherlands to end up in the Safavid lands), is that Armenians were not themselves strangers to print culture. The first Armenian book was printed in 1512, with an increasing pace of printing in a number of presses across the vast Armenian world of western Eurasia. Simultaneously, Armenians produced, sponsored, and purchased manuscripts such as that from which contain Jul’ayec’i’s illuminations. Print culture was useful for some things, while manuscript culture and its associated arts continued to play an important role, from liturgical texts to diaries to magical scrolls. And just as manuscript arts and traditions left their imprint in Armenian print culture (and many other iterations of print culture across early modern Eurasia), the new possibilities that printing opened up could find their way into manuscript production.

In the Safavid world, Armenians were not the only people creatively adapting and ‘remixing’ Western European print culture material. Persian-speaking Muslim artists, such as the seventeenth century painter Muhammad Zaman, were also making interesting use of imagery circulating out of Western Europe. Witness Zaman’s rendering of the iconic scene of Judith with the head of Holofernes:

MSS 1005
Fig. 3.: Judith with the Severed Head of Holofernes, Muhammad Zaman, c. 1680,
Isfahan, Safavid Iran (Khalili Collections MSS 1005).

Zaman’s depiction of this scene incorporates material from an etching of a painting by the fifteenth century Italian artist Andrea Mantegna (fig. 4). But just as his Armenian contemporary had done with de Bry’s etchings, Zaman has transformed the scene. It is now in bright and vivid color, reminiscent of more traditional forms of Persianate miniature (which itself had long been in dialogue with Armenian painting). Just as Jul’ayec’i reframed his source material, Zaman has not only filled out the scene around Judith and her maidservant with lush vegetation, vivid flora, and a scene of a camp and a city in the background, but in keeping with the conventions of Persianate art he has embedded his painting within a series of frames, frames that are as much a part of the painting as the main image itself. Particularly strikingly, he has filled the upper panel with realistic flowers, flora typical of alpine Eurasia such as primroses and irises. The result is a striking contrast between the delicate beauty of the flowers and the gory sight of Holofernes’ head being held aloft, a somewhat incongruous scene. What would Zaman’s viewers have taken away from this painting? Would they have known to what it was referring, whether in terms of story or in terms of the source in Andrea Mantegna’s depiction? The Western European elements, as in the Armenian imagery above, are unmistakable, diverging as they do from the canons of Persianate art: yet they have been rendered into a Persianate style and frame (literally and figuratively). Some of the meaning is retained, while other aspects are transformed- for instance, it is possible that most viewers would not have known the story itself, leading them to imagine their own story or to connect the image with stories they did know. Continue reading “Print Culture Remixed: Safavid Painting Across Confessional Boundaries”

Converting Constantinople after the Conquest: Akşemseddin’s Finding of Ebû Eyyûb

Şehname-i Selim Han (BL Or. 7043)
Sultan Selîm II (r. 1566-74) visits the shrine of Ebû Eyyûb, from the poet Lukmân’s Şehname-i Selim Han (BL Or. 7043)

Perhaps the best-known, and most-visited, Islamic place of pilgrimage in modern-day Istanbul is the tomb-shrine complex of Ebû Eyyûb (Ar. Abū Ayyūb al-Anṣārī), located in the eponymous quarter of Eyüp, just north of the Theodosian  land walls along the Golden Horn. Ebû Eyyûb, an early Muslim (one of the Anṣār, the ‘helpers,’ who joined the fledgling community later than the Companions), was said to have died during the unsuccessful Muslim siege of Constantinople in 669, being buried where he fell without the walls. His tomb, whose ‘discovery’ is described in the text below, would become a center of visitation soon after Mehmed II’s conquest of the city in 1453, and over time there would be built up the sprawling array of mosques, medreses, tombs, cemeteries, and so on that encompasses the main tomb-shrine complex. The tomb itself has gone through many permutations since the above image was painted in the early 17th century, but the tomb remains at the center of it all. Its discovery is described in the following story, an account taken from a menâkıb of one of the major Muslim saints of the fifteenth century Ottoman lands, Akşemseddin (1390–1459). The saint’s life was written down by one Göynüklü Emîr Hüseyin Enîsî in the mid-sixteenth century, drawing upon oral narratives circulating in his native Göynük, the small west Anatolian town where Akṣemseddin eventually settled and where he would die and be buried, and elsewhere, in including in Constantinople. This story picks up from Akṣemseddin’s close relationship with Mehmed II, who has just led the conquest of the city from the Byzantines:

Ottoman Velvet

Then Constantinople was conquered. Sultan Muhammed [Mehmed Fatih] sought from Akşemsüddin the exalted tomb of Ebû Eyyûb. The Şeyh, finding a thicket growing in the midst of the exalted tomb, marked it out by placing his staff to the right side of Ebû Eyyûb’s body. But someone took the staff, so that the marker that the staff had provided of the place was hidden, and it was said to the Şeyh, ‘The marker has gone away, do designate it once again!’ So they Şeyh returned to the place. He set up his staff, and they began to dig, and he stood up the hidden markers [under the ground].

Akşemsüddin then said: ‘This is the exalted tomb! The evident sign of this is that the night that Ebû Eyyûb was buried, an ascetic monk (bir ehl-i riyâzat ruhbân) saw in a dream the Prophet, upon whom be peace. The Prophet, upon whom be peace, indicated his desire for the monk to become a Muslim, saying: “One of my companions, Ebû Eyyûb-i Ensârî is buried in such-and-such place. It ought not remain unmarked in this foreign realm,” he said. The monk awoke, his heart filled with the light of faith: ‘I bear witness that there is no god but God and I bear witness that Muhammad is his servant and his messenger,’ he said. He tasted the savor of faith, and with love and purity before morning he went out from the fortifications, and looked for the indicated place. In the place of the exalted tomb he saw a light. Dawn was approaching. This was the exalted tomb. He rubbed his face [upon it]. He built a place of visitation (mezâr) over it, and digging down close by to the tomb uncovered an ayazma [1].

This being so, Sultan Muhammad Hân and all the lords of the devlet [2] came to the exalted tomb and dug, and clearing away the rubble in accordance with the Şeyh’s words uncovered the exalted tomb and the ayazma. Sultan Muhammed Hân then built up the exalted tomb and built for the Şeyh built a hânigâh and a tekye, but the Şeyh did not accept them, and they were made into a medrese later [3].

After having excavated Ebû Eyyûb-i Ensârî’s place of visitation (mezâr), in support of the evidence that the Şeyh had adduced a shepherd came forward and said: ‘This is the exalted tomb! For I was driving my animals along, and upon coming to this place, the sheep would not pass over this exalted place of visitation, but split up to go around it, coming back together afterwards.’ [4]

Ottoman Velvet

There is much to uncover (pun intended) from this story. Ebû Eyyûb was known to have died before Constantinople from a wide range of Arabic sources dating back to the formative period of Islam, but those sources gave no indication of exactly where he was buried, and the conquering Ottomans clearly could find no visible trace of his tomb, as much as they may have hoped to establish its location and so have at hand the holy tomb of a warrior from the earliest days of Islam and who was in direct contact with Muhammad himself, evidence of the long-standing ‘Islamic-ness’ of the city. We can see similar ‘strategies’ at work elsewhere in Anatolia and in the Balkans, through the ‘discovery’ of tombs of figures from early Islam, and the elaboration of stories about them, such as Battal Gazi.

The intervention of Akşemseddin provides saintly authority as to the tomb’s location, which is presented here as being in a basically rural area (as indeed parts of the district, in Byzantine times known as Kosmidion, were devoted to various forms of agriculture well through Ottoman times). Note that he presents a very particular argument with ‘evidence,’ and not just the presentation of his word as authoritative in itself or as a result of a dream-vision delivered to him. He claims instead to have knowledge (though he does not describe how he came about the knowledge) of how the tomb was originally discovered, by a Byzantine monk. This monk, while he (secretly?) converts to Islam through a dream-vision, is notably depicted as already being pious and ascetic even as a Christian, the phrase ehl-i riyâzat one that might be applied to Muslim saints as well. And when he uncovers the tomb of Ebû Eyyûb, he also uncovers an ayazma, a holy well, a typical feature of Orthodox Christian holy places in Constantinople (as discussed in this post), and which is still accessible at the tomb-shrine. The story suggests an awareness of continuity and a need to deal with the existence of Orthodox Christian holy places in the vicinity, such as the monastery and shrine devoted to the saints Cosmas and Damian that stood nearby (the name Kosmodion in reference to this shrine). Even more, it suggests a continuity among the Ottomans from the Orthodox Byzantines of ideas of what constituted a holy place, ideas that would continue to be re-manifest from time to time, as the account of Merkez Efendî’s ayazma indicates. Continue reading “Converting Constantinople after the Conquest: Akşemseddin’s Finding of Ebû Eyyûb”

Shaykh Jawhar and the Green Bird of Destiny

Jami Birds
Birds, insects, and flowers, from the border of a c. 1500 calligraphic rendering of a different text by Jāmī, the Subḥat al-abrār. (Met 1985.149)

Shaykh Jawhar was in the beginning of his life the slave of someone, then became free, and took to buying and selling in the marketplace of Aden. He would attend the sessions of the [sufi] fuqarā’, [1] and had perfect belief in and loyalty towards them. He was illiterate. When the time of his shaykh’s death approached—the great shaykh Sa’d Ḥadād who is buried in Aden—the fuqarā’ said to him: ‘After you, who do you want to be shaykh?’ He replied: ‘The person who, on the third day after my passing, in the place where the fuqarā’ have gathered, a green bird comes and sits upon his head.’

When the third day came and the fuqarā’ had finished with Qur’an and dhikr they sat down in keeping with the shaykh’s words. Suddenly they saw a green bird had come down and had settled nearby, each of the important members of the fuqarā’ hoping that the green bird would sit on his head. But after a while that bird flew up and alighted on the head of Jawhar! He had not at all imagined that this would happen, nor had any of the other fuqarā’! They all came before him and were set to bear him to the shaykh’s zawīya [2] and seat him in the place of the shaykh. But he said, ‘What qualification do I have for this work? I’m just a man of the marketplace and am illiterate! I don’t know the adāb and the ṭarīqa of the fuqarā’, [3] and I have obligations towards others to fulfill and relations to untangle!’

They replied, ‘This is the will of Heaven, you don’t have any way out of it! God will help you in whatever ways are necessary.’ So he said, ‘Give me a delay so that I can go to the marketplace and fulfill my obligations towards the Muslims there.’ So he went to the marketplace and met his obligations towards everyone, then went to the shaykh’s zawīya and adhered to the instruction of the fuqarā’, and he became like his name a gem (jawhar), possessing virtues and perfections whose enumeration would stretch long—glory to the Noble Beneficient One, that is grace of God which He bestows upon whom He wills, God possesses great grace! [4]

Abb al-Raḥman ibn Aḥmad Jāmī (1414–92), Nafaḥāt al-uns min ḥadarāt al-quds, edited by Mahdi Tawhidipur (Tehran: Kitabfurushi-i Saadi, 1959), 573-4, translated by Jonathan Parkes Allen, 2018.

[1] Literally, ‘the poor ones,’ but by this period shorthand for sufi devotees (who may or may not have been literally poor).

[2] The structure devoted to a particular shaykh and his companions, for sufi ritual, teaching, and so forth. One of several words for a space of this sort.

[3] That is, the ‘mannered practices’ and ‘spiritual path’ of the sufi devotees. Both terms have so many resonances that I find it generally best not to translate them into English but to leave them in the original.

[4] The section in italics represents Jāmī’s switch from the Persian of the main narrative to Arabic.

 

 

 

 

A Tale of Two Holy Wells in Early Modern Constantinople

The Living Fountain, 17th century
Fig. 1: A seventeenth century icon of the Zoödochos Pege, probably produced in Constantinople (Wellcome Library no. 44943i)

Just outside the Theodosian Walls of Istanbul is a spring which is today accessible from beneath a church of nineteenth century vintage, reached by a flight of marble stairs down into the living stone, a spring known as Zoödochos Pege (the ‘Life Giving Spring’) in Greek, Balıklı Ayazması (the ‘Fish Spring’) in Turkish, both names alluding to important features of this site of pilgrimage. One of numerous ayazmas, or holy wells, that appeared in and around Byzantine Constantinople and many of which have survived as places of veneration in modern Istanbul, the Zoödochos Pege is one of the most storied and most visited, from late antiquity to the present (it’s one of the handful of ayazmas I’ve visited, in fact). Long associated with the presence and activity of the Theotokos- as can be immediately surmised from the icon above- the spring’s veneration probably began during the reign of Justinian (527-565), though it might have begun even earlier, a vast trove of miracle accounts associated with the healing powers of the spring, blessed by the Theotokos, accumulating over the centuries. By Ottoman times, which are my concern here, the church above the spring had fallen into ruin, perhaps even before Mehmed II’s conquest of the city. Until the 1720s pilgrims visited a holy well that was, at least in part, out in the open, much as the icons I’ve selected here indicate (though they suggest a location on the surface of the ground, not essentially underground as was almost certainly true then and is definitely the case now.

The early modern Ottoman period seems to have seen a surge in interest in and veneration of this holy well, if we are to go by the numerous iconographic depictions that began to appear in the seventeenth, quite a few of which made their way into the Wellcome Collection (by a route unknown to me), from which I have drawn the two examples featured here. The above icon (fig. 1) lays out several repeating elements in these depictions, depictions which probably brought together a range of traditions and stories circulating among devotees: gathered around the stone basin of the holy well are representatives of miracle accounts, some whose stories we can easily put together- a man rising from his bed, a mother holding a healed child- others less evident to us now. The potency of the holy water of the well underlines each vignette, however, with the enthroned Theotokos and Christ rising above the waters, radiating holiness down into the well. The famed fish are also visible, themselves a part of the sacredness of the well, as the Turkish name indicates. This icon also features a row of ‘supporting figures’: St. John the Forerunner, Sts. Helena and Constantine at the Invention of the Cross, and a third saint, perhaps St. Mamas, an extremely popular saint during the Ottoman period. The icon is in rather rough shape, having been scratched or scraped at various points- not as iconoclastic damage (which would have targeted faces), but in order to use the scraped material for blessing, a way to participate in the holy power of the spring at a remove, as it were. The second icon I’ve included (fig. 2), at the end of this article, probably dates from the eighteenth century, and reproduces much of the same visual material as that above, but with the addition within the image of a stream of text coming from the Christ Child to a soldier, along with a gilded frame without. What drove this evident resurgence of interest in and devotion to the Zoödochos Pege? I am not sure, though, as I will hopefully soon discuss in a later post, early modern Ottoman Christians and Muslims alike expressed renewed devotions, often expressed visually, to their various holy places, from the seventeenth century forward. And indeed, it is possible, as the story of the second holy well might indicate, that it was not only only Orthodox Christians visiting this ayazma, but Muslims as well, which might help us understand the resurgence in interest of this particular ayazma, as a competitive process.

Less than a mile north of the Zoödochos Pege is the zaviye complex of a prominent Muslim saint of 16th century Constantinople, Merkez Efendi (d. 959/1552). While it does not seem to be very prominent today, this site also features a holy well, along with several other sites of veneration, at least in the early modern period, as described by Hafız Hüseyin Ayvansarayî in his late eighteenth century guide to the mosques and other religious structures in and around Istanbul: ‘There is an exalted ayazma in the vicinity of Şeyh Merkez Efendi’s tomb. One descends to it by steps. The abovementioned [Merkez Efendi’s] subterranean halvethane, which is like a cave, is still extant, and it is a place of pilgrimage for the Faithful [1]. The hamam located next to [Merkez Efendi’s zaviye] is one of its vakfs. The aforesaid [Merkez Efendi] had a private room in the hamam for bathing. At present the sick and invalid bathe [there] with purity of purpose and are restored to health.’ [2]

Continue reading “A Tale of Two Holy Wells in Early Modern Constantinople”

Stability

Ah world of plastic and poorly bonded materia, fast consumption
Your truest mode, you will be washed in the floods of divine judgment
Woven into the fabric of the world, an assurance
That all our works will suffer the land only so long. Ephemera
Accumulate, then rot. One day a stylite will carve out a home
And radiate his holiness from some marbled remnants rising
Out of the Potomac’s heaped higher floodplain. He will climb down one day
And find at his feet a flint shard washed down from the highlands,
Proof of peoples’ longer gone but with longer echo. He will
Return to his perch and pray in words also solid and deep.

A Dangerous Vision, a Sufi Martyr, and Ghengiz Khan

This folio from Walters manuscript W.650 depicts the hanging of Mansur al-Hallaj. s
A depiction, from an early 17th century Mughal edition of Dihlavi’s Diwan, of the martyrdom of al-Ḥallāj, perhaps the best-known, if long contested and ambiguous in meaning, martyr in the history of sufism. Walters W.650.22B

The relational nexus between Muslim saint and Muslim ruler in medieval and early modern times was almost always a fraught one. Both saint and ruler laid claim to divinely invested authority, claims that could coexist, cooperate, and clash. A given saint might support a ruler, undermine him, or simply ignore him, while rulers moved between strategies of co-opting saints, seeking them out for their baraka and the social power that being connected to a saint might bring, endowing zawiyas, khaniqahs, and the like, even as some saintly shaykhs made a prominent point of rejecting both contact with and reception of wealth from rulers. Occasionally a Muslim claimant to sainthood ran seriously afoul of a ruler, resulting in exile, imprisonment, or even martyrdom.

I encountered the story- from the early thirteenth century Khawarezm domains- I’ve translated and presented below first in an Ottoman context, in the Ta’rîh (History) of Ibrâhîm Peçevî (d. c. 1650), an Ottoman official and author, who described the martyrdom of the Kurdish Şeyh Mahmûd of Diyarbakır, executed by Sultan Murad IV, probably because the sultan feared the saint, who had a vast following across the Kurdish lands, posed a political threat. Peçevî, who had been posted in Diyarbakır as a defterdâr, had been an intimate of the saint and was deeply sorrowed to learn of his martyrdom. Upon learning that Şeyh Mahmûd had died, he was reminded, he writes, of the story I’ve translated here. It comes from the massive Persian hagiographic compilation, Nafaḥāt al-uns, by the poet, sufi, and author Nūr al-Dīn ‘Abd al-Raḥmān Jāmī (d. 1492). There are indeed striking parallels, as well as differences: Majd al-Dīn, while clearly of saintly status, is seen here oversteping his limits in his relationship with the powerful and axial saint Najm al-Dīn al-Kubrā (d. 1221) in relating his vision, a vision that implies exalted spiritual status. The remainder of the story is largely self-explanatory, though I’ve included some notes for clarification here and there. Given both the odd details, the hints of court intrigue, and the spectacular ending- the Mongols totally devastated the Khawarezm lands- it would be a popular item in Jāmī’s hagiography. Peçevî reproduced, in Ottoman Turkish form, a condensed version of the story (and thereby implicitly criticized the by-then deceased Murad IV and warned future sultans) in his chronicle, while it was circulated in Ottoman Turkish in other contexts as well. The lessons are clear enough: rulers ought to observe proper care and respect around the saints, as the consequences of not doing so can be truly enormous!

Ilkhanid Star Tile With Horse
Ilkhanid star-tile with poetry attributed to Majd al-Dīn around the border, made in 1310 (BMFA 31.729)

One day Shaykh Majd al-Dīn [Baghdādī] was sitting with a group of dervishes when a state of spiritual intoxication came over him. He said: ‘I was a duck’s egg upon the shore of the sea, and Shaykh Najm al-Dīn [Kubrā] was a bird with his wings of spiritual instruction spread out above my head until I came forth from the egg and I was like the young of the duck, then went into the sea, while the shaykh remained on the shore.’

Shaykh Najm al-Dīn knew [what Majd al-Dīn said] by the light of divinely instilled power, and the words ‘He will go into the ocean!’ passed upon his tongue [1]. When Shaykh Majd al-Dīn heard that he was fearful, and he came before Shaykh Sa’d al-Dīn Ḥamawī and with great humility asked, ‘When the time is right with the shaykh, will you give him report of me such that I may enter his presence and request forgiveness?’

Continue reading “A Dangerous Vision, a Sufi Martyr, and Ghengiz Khan”