Tâcîzâde Sa'dî Çelebi was a scholar, munshi (master of chancery prose) and poet who grew up in Amasya in the second half of the fifteenth century and became known in the Ottoman world of the pen above all for his Arabic. His father was Tâcî Bey, defterdar to Prince Bayezid (Şehzade Bayezid) in Amasya; his elder brother was the poet and munshi Tâcîzâde Câfer Çelebi, who rose as high as the office of nişancı, head of the imperial chancery. The biographers of poets usually mention him together with his brother and compare the two. Câfer Çelebi won wide fame with his Turkish divan and his ornate prose, while Sa'dî Çelebi made his name in a narrower but more select circle with Arabic odes, letters and endowment deeds. Only a handful of couplets survive from his Turkish poetry; on the other hand, an Arabic verse creed, a stanza quoted from a work in praise of Amasya and a miscellany collecting his letters have come down to us.

His tie to Amasya goes beyond his birthplace. Hüseyin Hüsameddin records that Sa'dî Çelebi wrote an Arabic work called Hayrü'l-ahlâm describing the vineyards, flowers and pleasure grounds of Amasya, and quotes a stanza from it. The same historian counts him among the çelebis who emerged during the Amasya governorships of Bayezid and Prince Ahmed, "Tâcî, Âfitâbî, Figânî, Kutbî, Münîrî, Ca'ferî and Sa'dî", and names him, with Mü'eyyedzâde Abdurrahman Efendi, among the "allâme", the most learned men Amasya produced. Since the details of his life are told in the separate biography on this site, they are kept brief here, and the weight falls on his works and on the poems recorded in the sources.

Life and the Amasya Years

Sa'dî Çelebi's date of birth is unknown. That he was born in Amasya is learned from Âlî's Künhü'l-ahbâr and later sources. Since his brother Câfer Çelebi is accepted to have been born in Amasya in 856 (1452), it is reasonable to suppose that Sa'dî was born after those years, while his father was in Bayezid's service. The sources are not in agreement on this point: Âşık Çelebi, Kınalızâde and Beyânî simply call him Câfer Çelebi's "birâder", brother, whereas Latîfî writes "ah-i ekberidür" and makes him the elder brother. The TDV Encyclopaedia of Islam and later research, however, take Câfer Çelebi as the elder and Sa'dî as the younger brother. According to an anecdote told by Âşık Çelebi, Mü'eyyedzâde and Tâcîzâde grew up together in Amasya from childhood, during Bayezid's years as prince; the remark concerns Câfer Çelebi, but it shows well the setting in which both brothers were raised.

According to records based on Taşköprizâde and on Mecdî's translation of his work, Sa'dî Çelebi studied, most probably in Bursa, under Mevlânâ Kâsım, known as Kadızâde, and Hacıhasanzâde, and became müderris (professor) at the Gazi Murad Madrasa in Bursa. Letters in his own miscellany show that he was in Bursa between 897 and 906 (1492-1501). Kamile Ünlüsoy and Mohammad Shakib Asım, drawing on Taşköprizâde and İshakoğlu, also list the Çifte Başkurşunlu, Bayezid and Şehâbeddin Paşa madrasas among his posts. By 909 (1503) he was müderris of the Ali Paşa Madrasa in Istanbul; later he moved to one of the Sahn-ı Semân madrasas. Âşık Çelebi writes that his daily stipend at the Sahn reached a hundred akçe.

The best-known episode of his life followed the execution of his brother by Selim I (Selim the Grim) in 921 (1515). According to Âşık Çelebi and Kınalızâde, as Sa'dî Çelebi received Câfer Çelebi's body from the council, he could not contain his grief and spoke harsh words about the sultan; when he heard that these words had reached the sultan's ear, he began to fear for his own life. Shortly afterwards a letter had to be sent to the Mamluk Sultan of Egypt, Kansu Gavri, and the sultan lamented that, had Câfer Çelebi been alive, the task would have been his; one of those close to him then pointed out that his brother was no less able in such matters. Summoned to the palace, Sa'dî Çelebi, as Âşık Çelebi describes it, renewed his ablutions and made his will before setting out, and when he learned that a letter was wanted from him, he went home and worked until morning. The letter he composed was well received: thirty akçe were added to his daily stipend at the madrasa, and he was given thirty thousand akçe and a robe lined with sable. Beyânî repeats the same story in brief.

Sa'dî Çelebi buried his brother in the graveyard of the mosque Câfer Çelebi had built on the Fener heights. The sources state that he spent the rest of his life in Istanbul, made the pilgrimage, and on his return retired on a pension of eighty akçe. His date of death is given as 922 (1516) in the TDV Encyclopaedia of Islam and in the Ünlüsoy-Asım edition. Âşık Çelebi, for his part, writes that he died "during the Egyptian campaign", a record that likewise points to 922-923 (1516-1517). He was buried in the garden of the primary school he had built in Balat. The statements of Ünlüsoy and Asım that he returned to his home town after the pilgrimage, was appointed mufti of Amasya and tutored Prince Mehmed, son of Süleyman the Magnificent, are not found in the other sources. Considering that Prince Mehmed was born in 1521, this last piece of information was probably confused with the mufti Sa'dî Çelebi, who bore the same name.

In the part of his Amasya Tarihi devoted to the biographies of the ulema, Hüsameddin writes that Cemâleddîn Mehmed Çelebi (Molla Çelebi), son of Zenbilli Ali Efendi, was born in Amasya in 894 and, after receiving his first lessons from his father, completed his education "under Tâcîzâde Sa'dî Çelebi" and the Amasya scholar Kara Sâlih Efendi. This record is one of the rare documents showing that Sa'dî Çelebi kept his ties with students from Amasya. Molla Çelebi later rose to a professorship at the Sahn and in 944 returned to his home town as qadi of Amasya.

Works

Sa'dî Çelebi's works fall into two fields: on one side glosses and didactic verse belonging to madrasa learning, on the other chancery prose and poetry. Drawing on Ömer İshakoğlu's 2008 article, Ünlüsoy and Asım list his prose works as the Şerhu'l-Miftâh Hâşiyesi, the Münşeât Mecmuası, the Şerhu'l-Vikâye Hâşiyesi, the Hilyetü'l-'arûs, the Semâ'î Müennes Kasidesi Şerhi and the Hayrü'l-ahlâm, and his verse works as a qasida on creed and a collection of poems. The biographers and archival records add to this list the Ali Paşa endowment deed, his Arabic odes and the letter written to Egypt. Only part of these works has been published.

  • Sa'dî Çelebi Mecmuası: Beyazıt State Library, Veliyyüddin Efendi, no. 3258. It contains his Arabic poems, chronograms in Arabic, Persian and Turkish, and official and private letters. According to Erünsal, the miscellany also includes a letter and chronograms by his brother Câfer Çelebi. His Arabic poems are arranged as a divan but are incomplete; they are scattered over folios 24a-26a, 29a-34a, 56a-57a, 103a, 110a and 147b-150a of the manuscript. The poems in the last group were written in 905 (1499-1500), while he was in Bursa.
  • Münşeât: Part of the miscellany was published by Necati Lugal and Adnan Erzi as Tâcizâde Sa'dî Çelebi Münşeâtı (Istanbul 1956). At the end of the work are four chronogram lines on the death of Tâcî Bey, all giving the date 890 (1485). A chronogram by Sa'dî on Câfer Çelebi's appointment to a professorship and three chronograms on his appointment as nişancı are also in this edition. The Turkish victory letter sent to the people of Bursa after the conquest of Modon is, according to Erünsal, from Câfer Çelebi's pen. Erünsal notes that in the introduction to the edition a letter dated 906 is wrongly attributed to Tâcî Bey.
  • Letter to Kansu Gavri: Written in the name of Selim I shortly after 1515, this letter was, in Âşık Çelebi's words, ornate enough to be a necklace on the throats of the learned and an amulet on the arm of the turning heavens. The biographers describe the letter's success but do not quote its text.
  • Endowment deed of Vizier Ali Paşa: Kâtib Çelebi counts this text among the rarest of its kind in the world; Kınalızâde too says the deed was "gâyetde bî-nazîr", without equal, and that it spread everywhere like the sun.
  • Arabic odes: The İn'âmât Defteri, the register of royal gifts from Bayezid II's reign, records that Sa'dî Çelebi, müderris of the Ali Paşa Madrasa, presented an ode to the sultan in Cemâziyelevvel 909 (October-November 1503). The same register notes that in Zilhicce 915 (March 1510) Mevlânâ Sa'dî, "brother of the Nişancı" and müderris at the Sahn, presented another ode.
  • Verse creed: A work of 234 couplets putting into Arabic verse the Akâid of Ömer en-Nesefî. The copy in the Topkapı Palace Museum Library (III. Ahmed, no. 1777, 1b-33a) bears a seal with the tughra of Prince Ahmed; it is written in vocalized naskh, rhymes in lâm and is in the serî' metre. The second copy in the National Library (Mil Yz A 4800/4, 26a-30b) is attributed to Câfer Çelebi under the title Kasîdetü Kelâmiye; the couplet at the opening of both copies in which the poet names himself confirms that the work belongs to Sa'dî Çelebi. Ünlüsoy and Asım published the work from the two copies with a Turkish translation (2021).
  • Glosses: Taşköprizâde mentions his glosses on Seyyid Şerîf Cürcânî's Şerhu'l-Miftâh and on the "şehid" (martyr) section of Sadrüşşerîa es-Sânî's Şerhu'l-Vikâye.
  • Ode on the semâ'î feminines: This qasida and its commentary, on Arabic words treated as feminine in usage although they carry no feminine ending, were studied in Ömer İshakoğlu's article in Şarkiyat Mecmuası (12/1, 2008).
  • Hayrü'l-ahlâm: According to Hüsameddin, an Arabic literary work describing the vineyards and flowers, promenades and pleasure grounds of Amasya. No copy of its full text has so far been identified; only the stanza and a single phrase quoted by Hüsameddin are known.
  • Others: Âşık Çelebi speaks of an Arabic maqama by him and of the abundance of his "Arabî kasâ'id ü resâ'il", Arabic odes and epistles. The sources available to me give no information on the subject or the copies of the Hilyetü'l-'arûs in the list of Ünlüsoy and Asım.

The date of the verse creed poses a problem. The date 882 (1477-1478) is written at the end of the National Library copy. Yet in both copies the poet prays for Sultan Bayezid, whom he praises as a "just king", and Bayezid came to the throne only in 1481. For this reason Ünlüsoy and Asım consider it more likely that the work was written at the end of the fifteenth century. The seal of Prince Ahmed in the Topkapı copy, meanwhile, shows that the work entered the library of this prince, who was sanjak governor in Amasya.

Literary Character

The judgements of the biographers on Sa'dî Çelebi are close to one another, and all of them put his Arabic first. Âşık Çelebi writes that from "sıgar-ı sin", early childhood, he devoted himself to the Arabic sciences and the literary arts, that he was "mâhir", masterly, in Arabic prose and "kâdir", capable, in Persian prose. He considers him superior to his brother in Arabic. The same author expresses this superiority through a curious comparison: according to the learned, a child raised in a cave without ever hearing a human voice would, on reaching the age of speech, speak Arabic of his own accord. Sa'dî Çelebi's faculty of speech, he says, was so strong that even mixing with people and dealing with other languages did him no harm, and Arabic remained dominant in him. Âşık Çelebi adds that Taşköprizâde, quoting his own father, said of him "if there is anyone who never told a lie in his life, it is he".

The comparison drawn by Kınalızâde and Beyânî concerns prose style. According to Kınalızâde, Câfer Çelebi's prose became famous because it was "avâm-pesend", suited to the taste of the wider public, while Sa'dî's was "münşiyâne vü üstâdâne", in the manner of a true munshi and master, as those who know are aware. Beyânî repeats the same idea, saying that the younger brother's style was "makbûl-ı havâs", prized by the elite. This is valuable as contemporary testimony that the two brothers addressed different readerships: Câfer Çelebi's ornate Turkish prose served as a model in the chancery and court circles, whereas Sa'dî Çelebi's Arabic letters and endowment deeds were admired among the ulema and munshis who could read texts at their source.

As for his Turkish poetry, all the biographers are reserved on the matter. Beyânî says "Türkî eş'ârı nâdirdür", his Turkish poems are rare, and Kınalızâde "Türkî eş'ârı meşhûr degüldür", his Turkish poems are not well known. Âşık Çelebi too says "gâlibâ şi'ri müstesnâdur"; in his view the poetry is an exception and scarce, while his Arabic odes and epistles are many. Latîfî explains this scarcity with a reason: Sa'dî Çelebi was one of the distinguished professors of the Sahn-ı Semân in Bayezid's time, a scholar of standing at the rank of the fatwa, who sat at the head of gatherings and knew how to weigh words; he was a "belîgu'l-kelâm" poet and munshi, eloquent of speech, but the bonds of his profession left him no opportunity to bring into the open the poems that came to his heart. This explanation also reflects the restraint with which the Ottoman ulema regarded poetry; in their hands it often remained a skill displayed in gatherings and then left aside.

Sa'dî Çelebi's circle was made up of ulema and men of the pen who had left Amasya and risen in Istanbul. His brother Câfer Çelebi, Mü'eyyedzâde Abdurrahman Çelebi and Vizier Ali Paşa stood at its centre. The name of Tâcîzâde Sa'dî Çelebi also appears among the poets and scholars patronized by Bayezid II, who wrote under the pen name Adlî. The recipients of his letters, the chronograms he composed and the endowment deed he wrote for Ali Paşa show that he was a sought-after pen in this world. In the private letters he wrote to his brother from Bursa, however, he sets aside the weighty language of official prose for a sincere voice that laments separation and says he is waiting for letters; Erünsal records that in two letters written in 906 he complains that Câfer Çelebi has not written to him.

The similarity of names has caused an old confusion over Sa'dî Çelebi's poems. In the same period lived the mufti Sa'dî Çelebi of Kastamonu (Sa'dullah Çelebi, d. 945/1539) and Sa'dî-i Cem, companion of Prince Cem. Latîfî gives the three in separate entries. Some couplets that Âşık Çelebi placed in the Tâcîzâde entry are corrected by Kınalızâde, who says they belong to the mufti Sa'dî Çelebi. For this reason, in the examples below, the couplets on which the sources agree are shown separately from the disputed ones.

Selected Poems

Opening couplet: "Yâ Rab n'olaydı 'âlem içinde dil olmasa"

Yâ Rab n'olaydı 'âlem içinde dil olmasa
Bârî olursa her güzele mâ'il olmasa

In plain English: "O Lord, if only there were no such thing as a heart in this world; or, if there must be one, would that it did not incline to every beauty." This is the only example of Sa'dî Çelebi's Turkish poetry on which the sources agree. Latîfî, Âşık Çelebi, Beyânî and Kınalızâde quote the couplet in the same form, and Latîfî describes it as "mümteni'u'n-nazîr", an opening couplet to which no match could be made. In the couplet the lover, complaining of the very existence of the heart, first voices an impossible wish and then settles for a humbler one. This retreat, built on the word "bârî" (at least), carries a fine conceit within a plain diction. (Latîfî, ed. Canım, p. 273; Âşık Çelebi, ed. Kılıç, p. 425; Kınalızâde, ed. Sungurhan, p. 431; Beyânî, ed. Sungurhan, p. 91.)

Couplet: "'Aşk hâlâtını Ferhâd ile Mecnûn ne bilür"

'Aşk hâlâtını Ferhâd ile Mecnûn ne bilür
Biri tâg âdemîsidür biri sahrâ delüsi

In plain English: "What do Ferhad and Mecnun know of the states of love; one is a man of the mountain, the other a madman of the desert." This couplet, which belittles the two most famous lovers of divan poetry, rests on the poet's placing his own love above theirs. Ferhad's labour of cutting through the mountain and Mecnun's wandering into the deserts are stripped here of their value as proofs of love and reduced to rough epithets such as "man of the mountain" and "madman of the desert". Such reversals are the play of a poet who knows the stock figures of the tradition well. The couplet appears only in Latîfî, in the Sa'dî Çelebi entry, introduced with "velehu" (and also by him). (Latîfî, ed. Canım, p. 273.)

Couplet: "Dimenüz ben var iken Mecnûna şeydâ bir dahı"

Dimenüz ben var iken Mecnûna şeydâ bir dahı
Künc-i fırkat bir dahıdur seyr-i sahrâ bir dahı

In plain English: "While I am here, call Mecnun a lovesick madman no more; the corner of separation is one thing, roaming the desert another." Working the same idea as the previous couplet, the poet here compares Mecnun's wandering in the deserts with his own seclusion in the corner of separation and finds his own suffering the heavier. The real skill of the couplet lies in the double use of the refrain "bir dahı", meaning "once more, any more" in the first line and "another, a different thing" in the second. Latîfî gives this couplet too as the second example in the Sa'dî Çelebi entry. (Latîfî, ed. Canım, p. 273.)

Ghazal (disputed attribution): "Rûşen kılan cihânı bugün hüsni mâhıdur"

Rûşen kılan cihânı bugün hüsni mâhıdur
Meftûn iden bu gönlümi zülf-i siyâhıdur
Nâlemden eylegil hazer ey gonce-leb gülün
Defterlerini yile viren bülbül âhıdur
Ebrûları hayâli bu kanlu yaşumda san
Bahr-i muhît içinde gezer iki mâhîdur
Şâdîye nice irişesin sen ki Sa'diyâ
Dil mülkini harâba viren gam sipâhıdur

In plain English: "What lights up the world today is the moon of his beauty; what has enchanted this heart of mine is his black tress. O bud-lipped one, beware of my lament; it is the nightingale's sigh that scatters the rose's leaves to the wind. Take the image of his brows in these bloody tears of mine for two fish swimming in the encircling ocean. O Sa'dî, how could you attain joy, when it is the army of grief that lays waste the realm of the heart." The ghazal stands out for images that liken the rose's petals to the leaves of a "defter", a register, and turn the beloved's brows into two fish swimming in a sea of tears. Âşık Çelebi gives it in the entry on Tâcîzâde Sa'dî Çelebi, and the pen name "Sa'diyâ" appears in the last couplet. In one manuscript of the same tezkire, however, these couplets stand in the entry on the mufti Sa'dî Çelebi; Kınalızâde too assigns the opening couplet to the mufti Sa'dî Çelebi and reads "çeşm-i siyâhı" (his black eye) instead of "zülf-i siyâhı" in the second line. It is therefore not certain that the ghazal belongs to Tâcîzâde. (Âşık Çelebi, ed. Kılıç, p. 425; Kınalızâde, ed. Sungurhan, p. 433.)

Kıta (disputed attribution): "'Âleme toldı meserret lîk ben şâd olmadum"

'Âleme toldı meserret lîk ben şâd olmadum
Âh kim ben bende bir dem gamdan âzâd olmadum
Ben nice alam 'arûs-ı baht-ı devletden murâd
İki kâzî'askerün birine dâmâd olmadum
'Ömrümi kesb-i fezâ'ilde 'abes harc eyledüm
Cehl ile 'unvân bulup 'âlemde dil-şâd olmadum

In plain English: "The world filled with joy, yet I was not glad; alas, I, your servant, was not free of grief for a single moment. How am I to have my desire of the bride of fortune and power; I did not become son-in-law to either of the two chief judges. I spent my life in vain acquiring virtues; I did not find a title through ignorance and so was never glad of heart in this world." The stanza is a wry complaint that advancement in the learned profession came through kinship and marriage rather than knowledge. Âşık Çelebi gives it in the Tâcîzâde entry; the last couplet is missing from some manuscripts of the tezkire. Kınalızâde, however, states plainly that the first two couplets belong to the mufti Sa'dî Çelebi: "Âşık Çelebi bu iki beyti galat idüp mezbûra isnâd itmişdür. Müftî olan Sa'dî Çelebinündür" (Âşık Çelebi wrongly attributed these two couplets to him; they belong to Sa'dî Çelebi the mufti). The subject of the stanza, a career grievance turning on the office of kazasker and on marriage alliances, also fits better the mufti, who waited many years in the learned hierarchy. (Âşık Çelebi, ed. Kılıç, p. 425; Kınalızâde, ed. Sungurhan, p. 431.)

Arabic stanza: a description of Amasya from Hayrü'l-ahlâm

روضة نورت حمائلها
وجرت بينها جداولها
إذ تغنت بنا بلابلها
قد خلا بالنا عن البلبال
شابهت نزهة لجنات
بنسيم الصبا عنادلها
كقصور الجنان أشجارها
وأزاهيرها قنادلها

Following Hüsameddin's translation, the meaning is as follows: Amasya is a garden whose grounds, stretching like sword belts, are adorned with flowers; the channels drawn from the river that runs through its middle flow among its vineyards. When its nightingales sing sweetly, no trace of grief or sorrow remains in the heart. Free of the troubles peculiar to cities, the town resembles the gardens of paradise; its nightingales, in the gentleness of the air and the delicacy of their song, resemble the morning breeze; its trees, in order and height, the pavilions of paradise; and its flowers of many shapes, the lamps that light those pavilions. This stanza is the only verse passage from Hayrü'l-ahlâm to have survived, and as the most concrete published example of Sa'dî Çelebi's Arabic poetry it has a special value for Amasya. The text is taken from Hüsameddin's quotation; since the order of the lines is jumbled in the digital copy, they have been arranged according to the order of Hüsameddin's translation, and two typesetting errors have been corrected. From the same work Hüsameddin also quotes the phrase "ve hiye'l-cennetü'n-nakiyye fi'r-riyâzi'l-Fernakiyye" (it is the pure paradise among the gardens of Fernak), citing it as evidence for Fernak, the old name of the Çakallar quarter. (Hüsameddin, Amasya Tarihi, I, 13.)

The Arabic text of the verse creed appears in the edition of Ünlüsoy and Asım. In the opening couplets the poet names himself "Sa'dî b. Tâcî", says that he wrote the work in a style flowing "like lawful magic", without lengthening his words so that it would be easy to memorize, and praises Sultan Bayezid as "lightning flashing on the day of battle, a cloud raining at the time of spoils". Because the Arabic letters are corrupted in the digital text of the edition, these couplets could not be given here in their original form.

Chronology

856 (1452): His elder brother Câfer Çelebi is born in Amasya.

882 (1477-1478): Date written at the end of the National Library copy of the verse creed.

890 (1485): His father Tâcî Bey dies; the four chronogram lines at the end of the Münşeât give this year.

Receb 897 (1492): Letter from Bursa inviting his brother to Bursa.

905 (1499-1500): Writes some of his Arabic poems in Bursa; sends two letters to his brother in Edirne.

906 (1500-1501): Two letters complaining that his brother does not write to him; the last records of his presence in Bursa.

Cemâziyelevvel 909 (October-November 1503): As müderris of the Ali Paşa Madrasa, presents an ode to Bayezid II.

Zilhicce 915 (March 1510): As müderris at the Sahn, presents another ode to Bayezid II.

8 Receb 921 (18 August 1515): Câfer Çelebi is executed; Sa'dî Çelebi buries him. Shortly afterwards his letter to Kansu Gavri is rewarded.

922 (1516): Dies, according to Âşık Çelebi during the Egyptian campaign. He is buried in the garden of his primary school in Balat.

1956: His Münşeât is published by Necati Lugal and Adnan Erzi.

2008: Ömer İshakoğlu studies his ode on the semâ'î feminines.

2021: The verse creed is published with a Turkish translation by Kamile Ünlüsoy and Mohammad Shakib Asım.

Bibliography

Primary sources

  • Latîfî, Tezkiretü'ş-şu'arâ ve tabsıratü'n-nuzamâ, ed. Rıdvan Canım, Ministry of Culture and Tourism e-book, Ankara 2018, pp. 272-273.
  • Âşık Çelebi, Meşâ'irü'ş-şu'arâ, ed. Filiz Kılıç, Ministry of Culture and Tourism e-book, Ankara 2018, pp. 424-425.
  • Kınalızâde Hasan Çelebi, Tezkiretü'ş-şu'arâ, ed. Aysun Sungurhan, Ministry of Culture and Tourism e-book, Ankara 2017, pp. 430-433.
  • Beyânî, Tezkiretü'ş-şu'arâ, ed. Aysun Sungurhan, Ministry of Culture and Tourism e-book, Ankara 2017, pp. 90-91.
  • Hüseyin Hüsameddin Yasar, Amasya Tarihi, I, pp. 13, 218-220; vols. 6-8, pp. 170-171.

Academic studies

  • İsmail E. Erünsal, The Life and Works of Tâcî-zâde Ca'fer Çelebi, with a Critical Edition of His Dîvân, doctoral thesis, 1977 (Istanbul 1983), pp. 8, 12-13, 18-21, 40-43.
  • Kamile Ünlüsoy - Mohammad Shakib Asım, "Osmanlı Klasik Dönemine Ait Bir Manzûm Akâidnâme Örneği: Tâcîzâde Sa'dî Çelebî'nin 'Akâidü'n-Nesefî Üzerine Hazırladığı Manzûme", Kafkas Üniversitesi İlahiyat Fakültesi Dergisi, 8/16 (2021), pp. 612-646.

Books

  • İsmail E. Erünsal, "Tâcîzâde Sâdî Çelebi", TDV İslâm Ansiklopedisi, vol. 39, Istanbul 2010, p. 356. islamansiklopedisi.org.tr
  • Necati Lugal - Adnan Erzi (eds.), Tâcizâde Sa'dî Çelebi Münşeâtı, Istanbul 1956 (cited via Erünsal).
  • Ömer İshakoğlu, "Tâcizâde Sa'dî Çelebi ve Semâ'î Müennes Kasidesi", Şarkiyat Mecmuası, 12/1 (2008), pp. 59-72 (cited via Ünlüsoy-Asım).

Online sources