"Wanderer above the Sea of Fog," an opus by the eminent German Romantic visionary Caspar David Friedrich, emerges as a profound embodiment of the cultural and artistic Renaissance of 19th-century Romanticism.

A lone figure standing on a rocky precipice, gazing out at a vast and misty landscape below, facing the fog-covered sea and distant mountains. These symbols carefully arranged in the painting provide a clever depiction that instantly conveys the themes of solitude, introspection and the individual's contemplation of nature's vastness and enigma, conveying the essence of Romanticism. Simultaneously, they serve as an iconic representation, unveiling the overwhelming power and breathtaking beauty of nature. This portrayal captures the essence of the "sublime," the concept that deeply inspired Romanticism, evoking both a sense of awe and a hint of terror in the beholder.

Similarly, Istanbul has been regarded as a city that resonates with the sublime, particularly for two Romantic poets. To delve deeper into this aspect, the Embassy of Spain in Türkiye, in collaboration with the Cervantes Institute, organized an event titled "Romantic Myths: Espronceda, Byron, and Istanbul." The event aimed to explore the themes and lives of two prominent Romantic writers, Jose de Espronceda and Lord Byron, in relation to the city of Istanbul. Ilia Galan, an academician from the University Carlos III of Madrid, and Nicanor Gomez Villegas, an expert in the Ottoman-Byzantine world, presented a conference that delved into the enchantment left by these literary geniuses, spanning different generations, genres and geographical locations, while also examining the grand aesthetics and historical transitions in Istanbul.

As the former capital of the Ottoman Empire and a meeting point between East and West, Istanbul represented an escape from social conventions and a place where desires and passions could be unleashed for both Espronceda and Byron.

"They were both Romantics and revolutionary. Byron and Espronceda tried to change the world through politics and also through works of art, through their poems and in general all kinds of writings. Not only because they destroyed what they called a false moral or a world in which they didn't trust. But also because they tried to build another world of freedom," Galan highlighted the revolutionary and Romantic nature of both poets.

"In the works of Byron, we have a connection with the life of Byron self. He wrote his own experience and in many poems, he wrote about Istanbul was very exciting in general, because it was for him the end of the Mediterranean world. Something exotic. Something special. Another world. So for him became something like a myth of the Orient," he spoke about Byron.

"In the case of Espronceda, he didn't have the opportunity to travel because he was always in prison or fighting with revolutionaries in London, Paris and Spain too. But he interpreted the myth of Türkiye and Istanbul as the other world where fantasy could be developed in different ways. He mentioned Istanbul in his poems with this vision that they used to believe more than to know," Galan elaborated.

"The myth of Istanbul is much more crafted by their imagination. But not the perceived reality, but the real knowledge of Istanbul. It's the vision of poets. The vision of filmmakers, nowadays" he remarked.

Around Istanbul

Espronceda, a 19th-century Spanish poet and writer, was renowned for his rebellious spirit and his emotive and passionate poetry. His poem "Song of the Pirate" exemplifies these themes as it portrays the feelings of a sailor on a pirate ship crossing the Istanbul Strait. Through vivid imagery of the sea and ocean, which sailors perceive as their homeland where they can fully experience freedom, Espronceda romanticizes the notion of the pirate as a symbol of rebellion against societal norms and constraints.

Even though he never visited the city, it was a symbol of a gateway to the exotic and unknown, a distant and mythical land where adventure awaits, echoing the Romantic fascination with Orientalist ideas prevalent in the 19th century. Istanbul's rich history, legendary stories, and connection to the Silk Road provide a backdrop for the pirate's dreams of conquest and exploration, adding an air of allure and mystery to the narrative.

Espronceda's pirate, as an emblematic figure of rebellion, sails the seas in search of treasures and uncharted territories. The sea itself carries both positive and negative connotations. In ancient civilizations, the sea was often associated with terrifying monsters, unknown horizons and infinite darkness, defining the boundaries of the known world. However, within these so-called boundaries, Espronceda portrays the pirate as an individual who rejects authority, lives by his own rules and roams the vast oceans in pursuit of his desires. In doing so, Espronceda taps into the romantic ideal of the outlaw, creating a sense of allure and excitement around the pirate figure.

Similarly, Lord Byron, the renowned English poet, was deeply influenced by his travels and experiences, including his time spent in Istanbul during the early 19th century. Istanbul left a lasting impression on Byron, and he wrote about his recollections and observations in various works.

One of Byron's most famous works inspired by his experiences in Istanbul is the narrative poem "Childe Harold's Pilgrimage." Published in multiple cantos, the epic poem follows the travels and reflections of a disillusioned young man named Childe Harold. The second canto of the poem delves specifically into Byron's observations and musings on Istanbul.

Moreover, Byron was deeply moved by the beauty of Istanbul's natural surroundings, including the serene waters of the Bosporus and the scenic hills overlooking the city. He found inspiration in the interplay between nature and human civilization, often contemplating the transient nature of existence.

Additionally, in Peter Dore's "Famous Travelers to Türkiye" series for Daily Sabah, he highlighted Byron's perspective on Istanbul's graveyards. Byron regarded these burial grounds as places of peace and repose, remarking that "Turkish burying grounds" are "the loveliest spots on earth" and "full of enormous cypress trees."