MS. Ind. Inst. Turk. 14 (Bodleian Library, Oxford University)

The top of folio 1a bears the title هویداس (؟) فقیرلیق, wherein the first word(s) are not legible, but may be a corruption of هویدا Huwaydā, which is the name of the author of a poetic excerpt which appears on folios 187a-188a of this same manuscript in a similar hand. They are, however, repeated in the first line of the text itself. The text(s) is/are written in three or four separate hands, some of which may belong to the same scribe writing at different times. It is unclear if all these texts belong with the same title, or if they are of different origins. Some fragments on the back appear to have been intentionally erased, both with water and by being stricken out.

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Notes of unknown origin on the following work.

The second word of the title on the top of this page is written ختٮمهٔ. The closest possible reading is ختیمهٔ, though admittedly no likely reading seems to make very good sense in context.

There are two hands in this section, the second beginning at the bottom of folio 2a and continuing onto the right margin of folio 2b. It is unclear if both of these belong to the same title.

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The virtues (مناقب manāqib) of سید عبدالقادر الجیلانی Sayyid ‘Abd al-Qādir al-Jīlānī, a sufi saint. Versions exist in both Arabic and Persian under the title تهفة القادریة, the most popular of which being a Persian version by ابو المعالي محمد Abū l-Ma‘ālī Muḥammad. Götz (1979: 504, Nr. 534) suggests in his analysis of another manuscript of the same Chaghatay text that this Persian version is only the main source of a number of sources which the author has drawn upon for this Chaghatay work. The name of the author does not appear in this manuscript, but in the manuscript described by Götz (see below). There is some suggestion of a textual relationship to Persian versions of the تحفة القادریة Tuḥfatu l-qādirīyya, which is also given as a title in that manuscript; however, this awaits further research.

The title of this work can be found again beneath some unrelated notes on folio 129b, repeated over and over in whole or in part seven or so times as حضرت سید عبد القادر جیلانی رضی الله تعالی‌نینک منقبت‌لاری Ḥażrat-i ‘Abdu l-qādir Jīlānī rażī Allāhu ta‘ālānïng manqabatlarï.

Kut (2003: 79 § 114) labels this text "MS Ind. Inst. Turk. 14/1", counting only the larger works within this manuscript.

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A lengthy passage of littanies (مناجات munājāt) in supplication to various sufi saints, written in heavily formulaic Persian. The origin of these littanies is unknown, and they do not appear to be from any of the more famous Persian مناجات‌نامه munājātnamah works.

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Two separate pages of records (some incomplete) of the death dates of individuals who appear, by the names and the contexts of the manuscript, to be members of the same sufi circles to which the anonymous author(s) belonged. It is unclear how the two pages relate to one another besides being similar in form and content, or why they should be so far apart in the manuscript. Several of the records on folio 129b have also been erased or stricken through.

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A single page of with a variant of an Arabic commentary on the Companions of the Cave (اصحاب الکهف Aṣḥāb al-Kahf, a.k.a. the Seven Sleepers) attributed to جعفر الصادق Ja‘far al-Ṣādiq , which invokes the virtues of the sleepers. The names of the sleepers differs slightly here than in most versions of the text.

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49 ḥikmats from the divan traditionally attributed to Aḥmad Yasawī, though almost certainly dating to a period several centuries later than his death.

Kut (2003: 104 § 152) labels this text "MS Ind. Inst. Turk. 14/2, counting only the larger works within this manuscript.

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Kut (2003: 105 § 152) suggests that the name of the poet is "‘Āsī ‘Ömer" based on folio 186a, line 10 (ای برادر بو سوزلارهن اشیتکیل عمر عاصی‌غه هم دعا قیلغیل); however, this is not the name of any well-known Chaghatay poet.

The text ends abruptly on folio 186b, and though there is some water damage at the top of the next folio the catchwords at the bottom of this page do not seem to match the first words of the next, which in any case begins in the middle of a different work entirely.

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A large portion of this section, if not all of it, belongs to the divan of the 18th c. CE poet خواجه‌نظر غایب‌نظر اوغلی هویدا Xwājanaẓar Ġāyibnaẓar oġlï Huvaydā, though the order of the bayts in many ghazals and mukhammases does not follow the canonical form of this work.

A single, poorly written line at the end of this section appears to be a note from a reader.

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