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Divan-i Nesimi
Copied in black ink with the text arranged in two columns of a maximum of 17 lines each. Space has been left between the poems, possibly with the intention of adding in titles at a later date. Lightly marbled fly-leaves. Illegible ownership seals found on pp. 1 and 95. A short note in a different hand is written in the margin of p. 158.
The Ottoman Turkish poetry of Nesimi.
Copyist: Ibrahim Gurban-i Sani.
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[Доктринальні настанови та історії пророків]
The manuscript is a compilation of prose and verse works in both Ottoman Turkish and Arabic that are not entirely identifiable. It begins with an Arabic explanation of the important points of Islamic practice, followed by an Ottoman Turkish continuation of the same topic, or translation of the text. Much of it is arranged in the form of questions and answers about the beliefs of a particular mezhep, with a long meditation on the names of Allah and their significance. In the middle, after a break in the main text (dated at this point at 1147 AH/1734-35 CE) that is replaced by later additions, there is a brief explanation of the chieftains of the Quraysh, from Hashim ibn Abd Manaf down to Abu Talib ibn Abd al-Mutallib. This is followed by an elegiac (?) poem about Shah Muhammad Janfi (?) bin Ali in Ottoman Turkish (dated 1146 AH), followed by a dua in Arabic. Then comes a chart of the days of various Hijri months assigned to different letters of the abjad in 1103 AH (1691-92 CE), followed by vocalized Ottoman Turkish hikayeler about the Prophets Ibrahim, Yaqub. The hand changes abruptly here, and the vocalization ceases, but the catchwork implies that it is a continuation of the same text. This goes into a series of questions and answers, as well as beyitler, before ending formally. The final two pages contain considerable amounts of graffiti in various directions and hands.
Physical description: The text is copied in an inconsistent hand or possibly hands, mainly following nesih forms but with occasional influence of nestalik in the sins, shins, and final yaas, or rık’a forms elsewhere. Vocalization is more frequent towards the middle and end of the document. About halfway through the manuscript, the original copy ceases, and is then resumed on the following page in a different but similar hand. It is copied throughout in black ink, with inconsistent and sporadic use of red ink for headers, separators, and overlines. The text is arranged in a single column without textboxes at first, and then goes into two columns when in verse, only to return to a single column in prose. The pages contain 19 lines consistently.
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Lugat-ı Müntahab
The text is copied in nesih in black ink with red used for headers and titles, separators, and ruling. It is compiled into a single column within a single-ruled textbox containing 7 lines of Arabic and 7 lines of Ottoman Turkish translation. On occasion, a separate textbox created in the same fashion and by the same hand as the main one is added in the margin of the page with a single column of additional Arabic words and Ottoman Turkish translations. Both the main and the additional text boxes were clearly added after the text, as they are often irregular in shape, following the course of the words, and are absent on some pages. Some pages include catchwords. The Arabic line is horizontal, with the translation occasionally slanted or vertical. There is considerable paratextual content, and heavy waterstaining. At times, the manuscript has been repaired in a very crude manner, with pieces of paper affixed to tears (?) or holes, obscuring the text. There is a single, exceptionally faded stamp at the start of the work.
This volume contains an Arabic to Ottoman Turkish word list. The text is organized according to the first letter of each word, and then sub-divided according to the letter that follows. The Arabic explained in the text is not Classical Arabic, as many of the plurals identified do not match those expected for the Classical language, and a large number of words are not found in standard dictionaries of Classical Arabic. The (socio?)lect has yet to be identified, and it is not clear whether the scribe is following their own interpretation of the lect’s phonology, or a more widespread system. The text includes a brief colophon that provides the date of copying and a prayer for Muslim men and women. There is also a partially legible seal at the start of the work identifying it as the property of Seyyit Ahmet, as well as an inscription identifying Hoca es-Seyyit Ahmet Efendi as the man who purchased it for 10 kuruş at an unspecified date. -
Arabic-Ottoman Turkish dictionary
The text is copied in nesih for the Arabic lines and a rık’a/divani mix for the interlinear Ottoman Turkish translations, black ink throughout with red used for titles. These are not consistent and occasionally appear in black, possibly replacing either missing or faded titles, in a different hand. There are no textboxes, but catchword appear throughout, with 7 Arabic lines and 7 interlinear translation lines per page. The translations are often, but not exclusively, written at an angle. Arabic words are sometimes separated by large black dots. Despite a sudden gap after Babu’l-kaf faslu’l-ya, it does seem that the original text is resumed as intended. Obscured or faded ownership seals appear towards the start of the text. There is considerable evidence of water damage.
This volume contains an Arabic-Ottoman Turkish dictionary divided into 28 ebvap based on the final radical of each word, with each bab subdivided into 28 fusul based on the first letter of the word. The volume contains neither a mukaddime or hatime, and there is no colophon. The text has not been matched to any extant copies found in the British Library’s collections. -
Şemayil-i şerif
The text is copied in unvocalized nesih in black ink, with red used for titles, headers, and textboxes, except for the first two folios of the main text, which contain thick outlines in gold. The first folio of the main text also features an unvan in gold, with an undulating triangle outlined in red containing white and pink flowers, green vines and red buds on a gold background, and green shoots rising from the triangle. After the initial takriz, the text is arranged in two columns (with titles, endings, opening and post-script in a single column), incorporating 17 lines.
The main text of the volume is a description of the Prophet Muhammad’s physical appearance, characteristics, and personal history, divided according to the fihrist at the start of the work. It is likely a copy of an Ottoman Turkish translation of the Shamā’il al-nabawiyah wa’l-khaṣā’il al-Muṣṭafawiyah by al-Tirmidhī without the name of the translator immediately available. The manuscript begins with a takriz and then followed by the start of the main text, which is followed at the end by a long supplicatory poem in Ottoman Turkish. The volume contains a seal and inscription indicating its ownership by Da’i Abdi. There are frequent long comments in Ottoman Turkish in the margins.