The text is copied in large, fully-vocalized nesih in black ink, with red used for titles and separators. It is organized into a single column with no text boxes, with 9 lines per page, at the start, followed by five lines of horizontal text interspersed with diagonal text. The text ends abruptly with no follow on from the catchword on the last page, implying that it is incomplete. It contains considerable paratextual elements at the start of the volume in various hands and styles, not all of which is legible.
An Arabic-Ottoman Turkish rhyming vocabulary compiled by Abdüllatif İbn-i Abdülmecit called Ferişteoğlu (died around 879 AH/1474-75 CE), beginning with a short prose preface.
The text is copied in vocalized nesih with the main text in black ink and red used for titles, overlines and dividers. It is contained in a single column inside single-ruled red text boxes with 9 lines of text each, including titles. The pages feature catchwords.
An Arabic-Ottoman Turkish rhyming vocabulary compiled by Abdüllatif İbn-i Abdülmecit called Ferişteoğlu (died around 879 AH/1474-75 CE), beginning with a short prose preface. There are occasional marginal notes throughout the text appearing to be additions to the original work, and two smudged ownership seals at the start, below an inscription identifying this as the property of es-Seyyit el-Umd Ramiz (?).
Nestalik, main text in black ink with red titles and gold text boxes. The text is arranged in two columns of 17 lines each. Occasional marginalia in Persian occurs throughout the text. The text contains a hatime but does not have a dated colophon.
An Ottoman Turkish poem describing the physical appearance of the Prophet Muhammad.
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).
Nesih with full vocalization. Main text copied in black ink with text boxes in maroon ink. There is an unvan at the start of the text in black and maroon ink featuring floral geometric patterns as well as a moon and six-pointed star. The unvan has evidently been created with a pen rather than a brush. The text ends abruptly and is apparently imperfect, as the catchword on the final page with a text box is not found on the following page. The manuscript has suffered some water damage and ink on several pages is smudged. At the end of the work is a vakfiye in the name of Dizdarzade Bekir Ağa.
The work, written in a plain style, begins with a long introduction in which the author promises forgiveness of all sins, a blissful end, and the joys of heaven, to whosoever shall write or read his book, or pray for the author. The rewards attending a liberal treatment of fakirler are so often insisted upon that it might be assumed that the author belonged to that tarikat. The body of the text addresses the hours of the night in the following order: Akşam saati; Yatsı saati; Gökler saati; Uyku saati. In each section, the author dwells a great deal on the stories of the Prophets connected with them, the movements of angels and devils in each, and the rewards in store for those who wake and pray in each of them. The latter part of the book is devoted to the hours of Paradise (Cennet saati) and to a full account of the fate of souls after death and on the day of judgment.
Place of copying: Egypt? The vakıf, Dizdarzade Bekir Ağa, is named as being in Upper Egypt by Evliya Çelebi.
