Ahmedi, whose real name is Taceddin Brahim, was born in the XIV century. He is regarded as one of the most important poets of 19th-century Turkish literature. He brought elements of Arabic and Persian literature to Turkish literature without losing his nationality. He created didactic works. He boasted about his poetry and art, claiming that his poems could only be criticized by the poets of his time, Lebîd, Kemâl-i Hucendî, and Gülşehrî. He considered himself superior to Salman- Farisi and Sa’dî, and he criticized previous poets such as Elvan elebi, eyholu Mustafa, and Kemalolu in some ways.
Ahmedî used expressions and sentences with ki in his poems that did not fit the Turkish sentence structure, resulting in a dryness in his expression. He is a realist poet, and he wrote poems with the precision of a painter at times. Ahmadi composed poems in the form of “I said-she said” and “question-answer.” The poet, who is also well-known in the field of ode, composed more odes than Nef’i. He wrote in a variety of verse styles, including ode, ghazal, tercib-i bend, and tercî’-i bend. His Divan contains seven hundred and fifty ghazals, seventy-three odes, two tercî’-i bend, seven tefîb-i bend, and one muhammes.
He translated skender-name from Nizami and added to it to make it a copyrighted translation. It is the first and most successful of the masnavis written on this subject in Turkish literature. He described Alexander the Great’s expeditions and conquests to the east in the work. There are mawlid and Tevârih-i l-i Osman sections in the work, and the work is very important in this regard.
In 1403 at the request of Emir Süleyman, Ahmedî translated his masnavi Cemşid ü Hurşid from Selmân- Savecî and made it a copyrighted translation by making additions. Cemşid ü Hurşid has 4798 couplets and is written in the meter mefâ’îlün mefâ’îlün fe’ûlü. Ahmedi told the love story of Cemşid, the son of a Chinese fagfur, and Hurşid, the daughter of a Greek kaiser in his work Cemşid ü Hurşid. Ahmadi added the phrase “Münâzara-i em’ bâ-micmer (Mum’s Debate with the Censer)” at the beginning of his Iskender-name to the end of Cemşîd ü Hurşîd.
Tervîhü’l-Ervâh, his masnavi, is about medicine and consists of 4607 couplets. Mefâ’îlün mefâ’îlün wrote in fe’ûlün form.
Bedâyi’u’s-Sihr fî-Sanâyi’i’ş-i’r is a mixed Persian prose verse work. Ahmadi wrote by summarizing and adding Persian examples to the discussion about literary arts in Reşîdüddin Vatvât’s Hadâ’iku’s-Sihr fî-Dekâ’iki’ş-i’r. Ahmedi also included examples of his own poetry in this work. Mirkâtü’l-Edeb is an Arabic-Persian verse dictionary written for Cüneyd Bey, son of Isa Bey from Aydnoullar. There are two Persian eulogies at the end of Mirkâtü’l-Edeb: Mîzânü’l-Edeb and Mi’yârü’l-Edeb. Mîzânü’l-Edeb contains 195 couplets written in the form fâ’ilâtün fâ’ilâtün fâ’ilün fâ’ilün fâ’ilün fâ’ilün fâ’ilün fâ’ilün fâ’ilün fâ’ilün fâ’ilün f (vocabulary, morphology). He explained the Arabic nahiv (syntax, sentence, and syntax) rules in Mi’yârü’l-Edeb.
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