Îdîzâde Âkif Mustafa Efendi, the Amasya mufti and madrasa teacher known as Koca Müftü: his life, his divan and the poems that survive.
Îdîzâde Âkif Mustafa Efendi, twice mufti of Amasya and a teacher for forty-five years: his life, divan, Arabic maqamas and poetry according to Hüsameddin and his grandson.
Âkif's na't from his divan: praise of the sacred law and the Prophet, the battlefield pictured as a rose garden, the four imams, the Şeyhülislam and an orphan's plea.
Âkif's gloomy ghazal with the refrain "dur baña": every beauty of spring appears to the poet as blood, mourning and winter, and comfort is sought from God alone.
Âkif's ghazal with the refrain "âsâ" (like): a world that camps and moves on like a guest, a beloved faithless as time, the brow-bow play and a pen like a lion in the reeds.
Âkif's ghazal of supplication with the refrain "eyleme yâ Rab": a prayer to be kept from the cup of heedlessness, the snare of sin and the well of disobedience.
Âkif's ghazal with the refrain "eyler": a complaint against an age that favours the unworthy, a garden where crows are the rose's confidants, and praise of a patron.
Âkif's ghazal on toothache: teeth as pearls, pain as a kicking horse, an ache likened to the torment of the grave, and a jest at the poet who did not shun the beloved's honey lip.
Âkif's ghazal with the refrain "ḳalur gider": the letter of union that never comes, a beloved who stays at the rival's feast, the ascetic stuck in mud and a heart offended until Judgement.
Âkif's ghazal with the refrain "mi degildir": glances as swords of martyrdom, the coffin as a bed of mercy and a closing couplet admitting that the poet longs to return to Amasya.
Âkif's ghazal with the refrain "itmiş": the beloved setting out for the rose garden, the heart's nightingale crying in the body's cage, a partridge fleeing to a falcon and a deadly mercy.
Âkif's ghazal with the refrain "mı ḳaṣdıñ": a dawn cypress swaying to the garden, an angry rosebud, a smile that would betray secrets and a physician beloved of poison and antidote.
Âkif's autumn ghazal: a seasonal poem that calls autumn "the wedding feast of the old spring" and sees the joy of the path of annihilation in hennaed and falling plane leaves.
Âkif's quatrain addressed to God: a heart that sings like a nightingale in His grace and lives like a salamander in His wrath, between the furnace of fear and the garden of hope.
Âkif's quatrain of prayer: asking God, the absolute sovereign, to join him to the hidden servants and to let the sword of his tongue, tempered by the law, lay bare the veins of truth.
A single couplet by Âkif: the poet's smile is on his face, his grief in his heart; the pen's grace is in its writing, its bend in its reed. A couplet woven of sound and sense play.
A single couplet of congratulation and prayer by Âkif: wishing its addressee to surpass his peers and to be, among his brothers, the Joseph-like lord of the Egypt of fortune.
The single published couplet from Âkif's 96-couplet kaside presented to Sultan Ahmed III and Dâmâd Ali Paşa: a couplet of praise calling the sultan God's drawn sword.
The single published couplet from the part of Âkif's kaside devoted to Dâmâd Ali Paşa: a eulogy built on the words "first intellect" and "second".
Two couplets published from the fahriye of Âkif's kaside to Ahmed III: the poet says he studied morphology, logic, theology, astronomy, geometry, hadith and tafsir and wrote on most.
Two couplets published from the fahriye of Âkif's hundred-couplet kaside on a new fortress, written for Mehmed Paşa: the poet calls himself both poet and scholar devoted to study.
Two couplets published from Âkif's 18-couplet response poem to a ghazal by his teacher Uşşâkzâde Efendi: the poet praises his teacher and asks to be taken on the pilgrimage.
The single published couplet from Âkif's ghazal with colours as its refrain: black, red, white, green and yellow matched with the beloved's beauty and the lover's state.
The published last couplet of Âkif's 25-couplet chronogram on a commentary by the Kaymakam Paşa: the date 1121 (1709-10) and an image of ink and the Kaaba's black covering.
The last couplet of Âkif's 18-couplet chronogram elegy on the death of his father, Îdî Bayram Efendi: the date 1112 built on the name "Bayram" and the word "ıyd" (feast).
The last couplet of Âkif's 12-couplet chronogram for the fountain built by Gülnuş Emetullah Sultan in Üsküdar: the date 1120 (1708-09) in an invitation to "come and drink".
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