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Zenanname, Hubanname, and Çenginame
The text is copied in nestalik in black ink with red used for titles. It is arranged in two columns, which become one for titles and the colophons, surrounded by double-ruled text boxes in gold containing 17 lines of text with catchwords on occasional pages. The work is misbound and might be lacking.
This volume contains Enderuni Fazıl Bey's Zenanname, a mesnevi describing the merits and defects of the women of various nations of the world; Hubanname, a mesnevi describing the merits and defects of the young men of the world; and his Çenginame, a mesnevi describing the merits and defects of the dancers (çengiler) of Istanbul, all three texts in Ottoman Turkish. Much of the content is misogynistic and racist in nature. Fazıl Bey, the son of the famous Tahir Ömer Paşa of Akka (Acre, Ottoman Palestine), lost his father in early life and was brought up in the palace of Sultan Abdülhamit. Under Sultan Selim III he was appointed Vali of Rhodes and was afterwards attached as Hoca to the Divan. He died in Beşiktaş at the end of Zulhicce 1225 AH (January 1811 CE). In the prologue to this work, the poet introduces his beloved, for whom he wrote his Hubanname, and to whose entreaties he again yielded in composing the Zenanname. The text contains three highly similar colophons throughout, none of which provides an exact date of copying. -
Yusuf Züleyha min Tanzim-i Hamdi : [manuscript] / Hamdi ; copyist Behram Bey es-Sibahi.
The text is copied in unvocalized nesih with vocalization appearing only at the start and for non-Ottoman Turkish sections. It was copied in black ink, with red used for titles. It does not contain textboxes, but is divided into two columns, with 13 lines per page. There is considerable evidence of water and other damage, with repairs of sections pasted in, copied in a different hand. Towards the end of the work, the quality of the paper changes and it appears that the text might have been copied by a different hand, following the same structure as above. There are occasional marginal notes and considerable graffiti at start and end.
This volume contains the Ottoman Turkish story of Yusuf and Züleyha, as recounted by Jāmī and paraphrased in verse by Hamdi. Hamdullah, whose mahlas was Hamdi, was the youngest son of the celebrated Şeyh Ak Şemseddin. He lived under Bayezit II and died in 909 AH (1503-04 CE). His Yusuf ve Züleyha, among the most popular of the corpus of Ottoman Turkish mesneviler, was first dedicated to Bayezit, but the poet, seeing that it did not meet with the expected acknowledgment, subsequently suppressed the dedication. Besides the present poem, he left, according to Kınalızade and to the Şakaik, a Leyla Mecnun, a Mevlid poem entitled Mevlid-i cismani ve mevrid-i cani (or mevlid-i ruhani), and a Kiyafetname. The current volume contains both the original colophon dating the work to 897 AH (1492-93 CE), as well as a second colophon asking blessings on the ‘reader, writer and listener’ of the current text and identifying the copyist of the current recension as Behram Bey es-Sibahi, who completed it in Rebiülehir 1001 AH (January 1593 CE).
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Various works by Mustafa İbn-i Ali Muvakkıt
Copied in nesih in black ink with red overlines and titles and red text boxes, except for the opening, which is gold ruled. Space has evidently been left for the illumination of an unvan and a title, but neither has been completed. 11 lines per page. A third of the way through the text there is a short marginal text.
The volume contains a variety of works by Mustafa İbn-i Ali Muvakkıt, including Kifayetü'l-vakıt li-maarifetü'l-dair ve fazluhu ve el-semt; Risale-yi ceyb-i afaki; and Kaide-yi irtifa. These texts generally relate to the keeping of time and the various geographical, astronomical, and mathematical information and operations required for it. At the end of the volume are various cetvel (tables) providing the days of the Rumi months; the longitude and latitude of a large number of Ottoman cities and towns, plus Yajuj (Gog); and a listing of Hijri and Rumi months. -
Untitled theological tract
Copied in fully-vocalized nesih in black ink. The text is arranged into a single column with no text boxes, 20 lines per page. As there are numerous ink blotches and one section crossed out, it is likely that this was not a fair copy but either a draft or a copy made for personal use.
The work begins with a short Ottoman Turkish poem and the title Divan-i Mustafa in rık’a, but the main text is in a completely different hand and written in prose, making it highly likely this is not the name of the main work. The bulk of the text is an Ottoman Turkish theological tract that addresses a wide variety of topics, including the Prophet Muhammad’s physical appearance, the hadith, heaven, hell, and rituals. At the end of the text is an additional note that the owner of the work is Derviş Hüseyin Efendi.
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Tefsir-i şerif li-Ebu’l-Leys bi lisan-i Türki : [manuscript] / Abū al-Layth al-Samarqandī ; copyist Meḥmed İbn-i İbrahim
The text is copied in unvocalized nesih, with vocalization for Arabic quotes, in black ink, with red used for titles, headers, overlines of Arabic quotes, and dividers. Overlines in black signify names and passages of note in Ottoman Turkish. It is organized into a single column surrounded by a single-ruled red textbox, with gold-ruled textboxes for the first two folios of the main text. Each page contains 23 lines and alternate pages have catchwords. The volume is in good condition with rare occasions of smearing or (water-)damage to the text.
This volume contains the four-volume Ottoman Turkish version of the commentary on the Quran by the theologian, jurisconsult, and Sufi of Transoxania Abū al-Layth al-Samarqandī (Ebü’l-Leys Semerkandi) (died 373 AH/983 CE). Ebü’l-Leys was a prolific writer in a number of fields, and his works enjoy widespread renown up to the present day. Abū al-Layth’s Tafsīr was initially translated from Arabic into Old Anatolian Turkish by Ahmed-i Dai (died after 824 AH/1421 CE) as Tercüme-i Tefsir-i Ebü’l-Leys es-Semerkandi, and later by Ebü’l-Fazl Musa ibn-i Haccı Hüseyin İzniki (died 838 AH/1434-35 CE), who called his translation Enfesü’l-cevahir. Copies of İzniki’s Enfesü’l-cevahir are often mistaken for Ahmed-i Dai’s Tercüme-i Tefsir-i Ebü’l-Leys es-Semerkandi. A shortened version of İzniki’s Enfes was produced by Şehâbeddin İbn-i Arabşah (died 854 AH/1450-1 CE). İzniki also produced a separate translation of Ali ibn-i Muhammed el-Hâzin’s (died 741 AH/1341 CE) Lübabü’t-tevil. There is sparse marginal annotation in Ottoman Turkish throughout the text, with a two-page marginal note in a different hand found towards the end of the section on the Sūrat al-Ḥashr (folio 361v). The volume ends with a colophon providing the scribe and date of completion of the work, as well as a long list of individuals and groups for whom the reader should pray, including the Padişah-i İslam.
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Şerh-i kaside-yi Yunus Emre Misri Efendi
Nesih, main text in black in with red catchwords, overlines, and text boxes. The item was likely taken from a larger codex, as it is foliated with Ottoman numerals running from 39 to 51. The text does not contain a dated colophon.
An explanation of the meaning and structure of Yunus Emre’s Kasideler, composed in the late 13th century CE.
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Şerh-i Gülistan-i Sudi
The text is copied in nestalik in black ink throughout, with red used for headers, titles, overlines, and textboxes. The text is arranged into single columns inside each of the textboxes, with 23 lines per page, and catchwords.
This volume contains Sudi Bosnevi’s (died 1007 AH/1599 CE [?]) Ottoman Turkish commentary of the Divan of the celebrated Persian lyric poet, Shams-al-Din Moḥammad Hafiz of Shiraz (about 715-792 AH/1315-1390 CE). The Şerh also includes Sudi’s recension of Hafiz’s Divan, as well as his paraphrases of the poems. Sudi was born in the village of Sudići in the Bosnian town of Čajniče, close to the Montenegrin border. He spent time, much of it devoted to studying, in Sarajevo, Istanbul, Erzurum, Diyarbekir, Damascus, Baghdad, Kufa, and Najaf, before performing the hajj and finally settling in Istanbul. He was appointed as a teacher in the Gılmân-ı Hâssa in the palace of İbrahim Pasha, but was dismissed from his post after a short time. After this he retired to a life of seclusion and writing. He was a leading scholar of the period, especially in the field of Persian language and literature. As well as the Divan, he composed commentaries on a number of other Persian classics, including the Shafiya, Kafiya, Masnavi, Bustan, and Gulistan. Sudi composed his commentary of Hafiz’s Divan at the suggestion of Mehmed ibn-i Bedreddin Muhyiddin el-Münşi, or Mehmed Efendi, of Akhisar (died 1001 AH/1592-93 CE). The latter had passed away by the time that Sudi had completed the work in 1002 AH (1594 CE) or 1003 AH (1594-95 CE). Sudi says that the late Mehmed Efendi was a dear friend and benefactor who was also Şeyh of the Haram in Medina, who had requested him to explain the natural sense of the poems of Hafiz without entering into Sufi interpretations. Sudi himself also felt that the existing commentaries of Muslihuddin Mustafa Sürûrî and Şem‘î were not satisfactory, and thus opted to compose his own work in order to remedy their mistakes. The commentary gives, after each verse, some short verbal and grammatical explanations, followed by an Ottoman Turkish paraphrase. It was written more than 20 years after the commentary of Şem‘î, which is occasionally the object of the author's strictures. Both Sudi’s recension of the Divan and his commentary were acclaimed and widely used for editions by Persian scholars as well as for studies by European orientalists (Burrill, ‘Sūdī’). The text is heavily annotated, particularly towards the start, in Ottoman Turkish, Persian, and Arabic. Some of the annotations appear to be in the same hand as the scribe, while others, in a variety of styles including nesih and divani, are by others. The text is also preceded by a short fihrist in red providing the names and locations of the various ebvap. None of the colophons included in the sections provides the name of the scribe or the date or location of copying. -
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. -
Nevhatü’l-uşşak
The first page is copied in nesih, while the subsequent pages are in nestalik, except for the final five pages, which are again in nesih by a different hand. The text is in black ink with red used for headers, textboxes, and titles. Text boxes in red have been added to the first three pages, with the unvan on the first page featuring basic design elements in red and blue. It is arranged into two columns each containing 15 lines, and there are blue pencil marks and occasional notes found throughout the text. The pages in nesih appear to be more recent editions, and, given a note at the end of the added text, reading ‘Up to here to be printed’, it is likely that the additions were made in order to complete a wanting text prior to publication, implying that these additions are unlikely to be 17th century CE but rather from the 19th century.
The main text of the work is an Ottoman Turkish mystical mesnevi. At the end of the text are several short prose works and poems in Ottoman Turkish of a supplicatory nature. -
Nazihatu’l-muslimîn
The text is copied in fully-vocalized nesih in black ink, with red-inked text boxes, section titles, dividing roundels, and occasional faded overlines. The text is found in a single column of 19 lines. Original Arabic quotes (fully-vocalized) are overlined in black. Pagination has been added at a later date in pencil in Arabic numerals. An obscured ownership or vakfiye stamp is found towards the end of the work.
This text is an Ottoman Turkish commentary on the Vasiyet of Birgivi, a book of religious instruction. There is considerable paratextual material, sometimes expanding the text and sometimes correcting it, as well as reading notes or comments. The paratextual materials are in hands other than the main text. Notes in Latin script, in which are more numerous in the second half of the work, are found in pencil and appear to be transcriptions of the text. -
Lugat-ı Nimetullah bi Farisi
Фізичний опис: Текст скопійований доволі рівним насталіком. Основний текст чорнилом, з заголовками, роздільниками та надрядковими лініями червоним кольором, а також червоний колір використовується для кінцевої текстової рамки та іноді в маргіналіях. Текст розташований в одній колонці, більшість без текстових рамок, хоча на останній сторінці основного тексту є намальований прямокутник та трикутник навколо колофону з підсвічуванням чорним і червоним кольорами; 21 рядок на сторінці. Надрядкові лінії вказують на перські слова і фрази як у основному тексті, так і в маргіналіях.
Цей рукопис - це персько-османський словник Німетуллаха ібн-і Ахмеда ібн-і Каді Мубарек ер-Румі (помер 969 р. за хіджри / 1561-2 р. н.е), відомого як Соф'ялі Німетуллах Ефенді. Німетуллах народився у Софії і здобув певну репутацію як емалювальник. З перською поезією та літературою познайомився після переїзду до Стамбула та вступу до Накшбендійського тарікату. Після цього він вирішив поділитися своїми знаннями через цей персько-османський словник, роботу над яким було завершено в 947 р. хіджри (1541 р. н. е). Ймовірно, він зробив це «зі спонуканням та за допомогою» відомого шейхуль-іслама Кемальпашазаде (помер 940 р. за хіджри / 1533 р. н.е) (Бертельс, 'Niʿmat Allāh').
Текст поділяється на три частини: дієслова в алфавітному порядку; правила перської граматики з поясненнями перською мовою; іменники в алфавітному порядку. Тут слова розташовані відповідно до їхньої початкової літери, а всередині вони поділені на три розділи залежно від початкової голосної в слові. Поетичні цитати переважно взяті з перського глосарію Шемс-і Фахрі, складеного в 745 р. за хіджри (1344-45 р. н.е) із назвою Міяр-і Джамалі. Німетуллах використав принаймні п'ять інших джерел, а також надав значну кількість власного матеріалу. З цих додатків нотатки про діалекти та його етнографічні спостереження є великою цінністю (див. Бертельс, 'Niʿmat Allāh'). В кінці основного тексту є перелік чисел перською мовою, за яким слідує серія нотаток на цій мові.
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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.