Süleyman Efendi of Tirebolu, Naqshbandi-Khalidi sheikh in Amasya from 1875 to 1915, and the poems of his verse manual of the order, Âdâbü'l-müeddeb.
Süleyman Efendi of Tirebolu, Naqshbandi-Khalidi sheikh and poet: his settling in Amasya in 1875, his break with Nigârî's circle and his verse manual Âdâbü'l-müeddeb.
The twenty-eight couplets that open the book after the basmala: praise of God, of the Prophet as the “mirror of the essence”, the four caliphs and all the Companions.
A catechism in verse: thirty-two didactic couplets on God's essence and attributes, on submission to destiny and on the vision of God in the hereafter.
The book's first ghazal: lovers drunk on the wine of the primordial covenant, dervishes withdrawn to ruins, burning moths and the poet as a pearl diver.
The section on the Reality of Muhammad, telling of creation from love and from the light of Muhammad, with the mirror image and closing couplets on love.
The book's first na't: the Prophet first in creation and last to be sent, the new moon of Muharrem in a dark night, and a poet who leaves his wish unspoken.
A na't turned into a litany by a long Arabic refrain: allusions to the chapters of Victory and the Sun and the levlâk hadith, a shamed pen and a plea for intercession.
A poet devoting his honour to the Prophet, a prophet informed of his community as a child, and an ending of daily festivals: seven couplets on the refrain “saña”.
On the Creation of Muhammad: the first-created light, the prophets and books that heralded him, Qur'anic allusions and a poet calling himself a worthless mirror.
The Prophet as manifest sun, Joseph helpless before him, the word “‘alâ” turning five times in one line, and a riddle opened only to the people of reality.
A na't whose every line opens with the question “Var mı bir …” and ends “sen gibi”: sun-like face, cypress stature, a riddle, and a comparison with Ferhad and Mecnun.
A mesnevî section that praises the Prophet as the only road to God and then turns, in reproaches beginning “Ey …”, on traitors to the law and deniers of the sheikhs.
The plea for intercession of a poet standing as a beggar at the Prophet's door, his face darkened by sin, in fear of hell: the shortest and most personal na't.
The Prophet as a treasury of secrets, the pun between perfections and deficient tools, the language of state of earth and heaven, and the plea that binds the na'ts.
A na't in the language of a love ghazal: eyebrows as mihrab and qibla, the cheek as place of prostration, a face recalling the chapters of the Morning and the Sun.
The book's last na't: a chain of prophets from Adam and Eve to Moses and Jesus, an echo of the first na't, and a poet who calls himself a blind beggar.
Admitting a seeker to the Naqshbandi-Khalidi path: istihare, the remembrance of God's name, the five subtle centres and negation and affirmation, in six couplets.
A ghazal praising the path to the new disciple: a Naqshbandi way that never leaves the law, walks by the four schools and rests on companionship, and Shah Bahâ.
Conduct before the master, point by point: silence, no extra prayers, counting the sheikh's error one's own fault and ranking him above even Ibn Arabî.
A ghazal in the shared voice of the disciples: the master as the greatest miracle, criticism of miracle-seekers, the saying on poverty and the pun on deficient tools.
The disciple's daily order of remembrance: fifteen requests for forgiveness, rabıta, two cycles of prayer, five thousand “Allah” and the stages of annihilation.
A praise of the saints, a kaside in name and a ghazal in form: saints devoted to remembrance and hidden from the people, “We are nearer” and Hallâc's “I am the Truth”.
Counsel to a seeker who has found a perfect master: surrender like a corpse in the washer's hands, conduct even in sleep, extra prayers and a warning in a folk idiom.
A ghazal addressing the people of Amasya: a sheikh not hidden yet beyond understanding, who comes as the Lord's appointee and is counted wise or mad by the city.
The section on uprightness: the teacher who gave remembrance, leave to seek another master if a sheikh leaves the law, signs of the perfect and deputies whose sheikh has died.
A ghazal whose every couplet ends with “etmiş misiñ”, have you: an examination of the claimant to love through two bows' length, the moth, Ferhad and prayer.
Love of saints and the Hizbü'l-bahr, a call to unity in the Khalidi hatm, and sharp yet measured criticism of other orders: on the superiority of the Naqshbandis.
The book's only rubai: a reply to the Sufi who thinks the saints' spirits dead, God's sword that cuts more than an axe and a remedy kept in a flask.
A ghazal that lists the qualities sought in a master as a row of attributes: not every crowned head is a master, the balance of law and inner path, the lover thought mad.
A section on the necessity of a pledge to a master and on saints still existing: the intermediary before a king, a reply to “there is no master” and the lineage's start.
A Persian couplet in the section on the pledge to a master: praise of the reasoning dervish, superiority given to the one who always worships God, an uncertain reading.
The second ghazal to Amasya, opening “do not think I bring you harm”: a sheikh who brings prayer, charged to mark granite-hard hearts with the pen of love.
Love as the capital and tavern of lovers, the jewel fallen into filth and Bâyezîd-i Bistâmî's anecdote of the lost donkey: one of the book's most poetic mesnevî pieces.
The deliverance of a poet burned by love, through the beloved's grace: the sheikh taken for a stranger, the master who opened the road, and a sharp word for the ascetic.
Those who drift from master to master, those who say there is none, and the likeness of Rûmî and Şems: on seekers who waver and whose aspiration is low.
Five counsels with the refrain “etmek gerek”: need laid before God, throne and crown left like İbrâhim b. Edhem, the command to be upright, the master as physician.
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