This study presents an annotated translation of the Lubb-i Fazilet, authored by Ahmed Remzi Akyurek, a prominent late Ottoman poet, mystic, and scholar. This translation focuses on the forty-couplet qasida contained within the divan of Molla Jami, a distinguished figure in classical Persian poetry, and includes transcription letters for clarity. To contextualize the published text, it is essential to explore the life, works, and contributions of Ahmed Remzi Akyurek, reflecting his scholarly diligence and significant contributions to the Mawlawi tradition. The biographical account primarily draws from the works of Huseyin Vassaf, Sadeddin Nuzhet Ergun, and Ibnulemin Mahmud Kemal Inal. Additionally, the study highlights various scholarly investigations on Akyurek’s oeuvre. Beyond the mystical themes in Molla Jami’s qasida, the research discusses the linguistic and artistic nuances exhibited in each couplet. This study analyzes both the meaning and structural framework of these artistic constructs, highlighting their architectural finesse.

Molla Jami is a prominent figure whose influence extends far beyond his contributions to classical Persian literature. His established position within the Persian scientific and literary heritage is noteworthy, and his impact on Ottoman scholars is significant. Beyond his works in Islamic sciences, Molla Jami’s poetry and independent marhews, featured in his three-volume Persian Divan, have captivated Ottoman writers across various periods. The interest in his works has notably grown over time, particularly through the translations and commentaries that have emerged. A pertinent example of this engagement is found in Akyurek’s concise treatise, Lubb-i Fazilet. This work reflects the ongoing interest in Molla Jami’s poetry the Turkish Islamic literary tradition. Akyurek undertook the translation and exposition of a forty couplet poem from Molla Jami’s first divan meticulously, analyzing the rhetoric and figures of speech present in the text. His efforts not only elucidate the literary and mystical foundations of the poem but also highlight the intricate relationship between rhetoric, figures of speech, and meaning, drawing the attention of literary researchers to its significance.  

Lubb-i Fazilet, authored by Ahmed Remzi Akyurek, serves as the focal point of this article. This work features a forty-couplet qasida by Molla Jami, accompanied by semantic and grammatical analyses of individual words within the couplets. It also presents translations of each couplet articulated in various expressions, as well as detailed explanations of the figures of speech employed throughout. Akyurek considered the title Lubb-i Fazilet, which translates to “the essence of virtue/matureness,” particularly fitting for this endeavor. Notably, the sum of the letter values of this title corresponds to the date of its writing. This is the Hijri year equivalent to 1933-1934 in the Gregorian calendar.

Studies referencing the works of Ahmed Remzi Akyurek indicate that Lubb-i Fazilet is cataloged under inventory numbers 1475 and 1476 within the “Yazma Bağışlar” collection at the Suleymaniye Manuscripts Library. It is important to clarify that the work starts the beginning of book number 1475 and concludes on page 32b. The subsequent material beginning from page 33a and extending to the end of that volume, along with the content in book number 1476, comprises a distinct work that includes annotations of quotations from Ibn Arabi’s Fusus al-Hikam. Furthermore, there exists an additional copy of the work, not previously mentioned, is housed in the collection of the Marmara University Faculty of Theology Library under inventory number 63. Evidence confirms that this specific work was authored by Ahmed Remzi Akyurek, and further details are elaborated in the associated article.

The term “fazilet,” which serves as the title of this work, is typically translated as “virtue” in Turkish. However, in this particular context, as in al-Madinah al-Fadilah, it is more accurately interpreted as referring to perfection or maturity, which emanates from a foundation of values and worth. The qasida’s religious, philosophical, and mystical characteristics, coupled with its occasionally didactic style, strongly indicate that this profound interpretation is intended.

In this document, the term “müfredât” is positioned directly below each couplet in the referenced qasida. This choice reflects the focus on individual meanings and grammatical features of the words contained within each couplet, thereby justifying the use of “müfredât” as a fitting title for this section. The analysis includes explanations of word meanings that alternate between lexical, definitions and contextual interpretations within the couplet. In addition, words and phrases are often broken down structurally to examine them as smaller semantic units. Commonly used terms in Turkish, deemed familiar to the audience, are indicated as “malûm” without providing their equivalents. Grammatical analysis of the words was conducted using Persian grammar rules. Although there may not be a strict ordering of the words based on their meanings and grammatical features, they are systematically presented in the order in which they appear within the couplet.

The individual meanings of the words within the couplet, as well as their functions, are meticulously examined. Following this analysis, the overall interpretations of the couplet are presented in the section titled “meâl.” The choice to use the term “meâl” reflects a desire to uncover the intended message rather than focusing solely on literal words. As a result, in certain  instances, after outlining the intended meaning of the couplet, the term “yanî” is employed to introduce similar or supplementary sentences for further clarification.

In each couplet of the qasida, various figures of speech are identified, along with an explanation of the artistic performances associated with them, as outlined in the “sanat” section. Akyurek’s commentary highlights that certain couplets contain different types of figures of speech, including sophisticated letter games that may be challenging to recognize. By introducing the topic of “sanat” for each couplet and conducting a thorough analysis of the figures of speech, Akyurek illustrates that one of the primary reasons for his finding the qasida worthy of commentary is its extensive use of figures of speech, which merits detailed examination.

Through a careful examination of the text found in the manuscript copies of this work, we seek to enrich the body of literature surrounding the writings of Ahmed Remzi Akyurek, as well as the Molla Jami collection in Turkey. This effort also enhances the field of Turkish-text commentary literature.