Consequently, I was able to pick up a few interesting items. Of most immediate interest is a Soviet-era study on medieval Central Asian Turkic poetry (Э. Р. Рустамов, Узбекская поезия в первой половиние XV veka. Taшкент: 1963). Anachronistic usages of 'Uzbek' aside, it's a hugely useful survey of the Turkic poets of Central Asia who effectively constitute 'Alī Shīr Navā'ī's immediate predecessors, one of whom - اتایی - is the subject of a paper I'm writing this semester on the Yasavī sufi presence in Khurasan.
Only one copy of his divan is known to exist, and is held at the Russian Academy of Sciences Institute of Oriental Studies in St. Petersburg. A descendant of one of the successors of احمد یسوی, his poetry reflects some sufi themes and ideas (although I want avoid as far as possible simply labelling him as a 'sufi' poet). One couplet quoted by Рустамов caught my eye:
قویغیل اتایی مدرسه و خانقاه
معنیدا قولی صادق و صوفیدا حال یوق
معنیدا قولی صادق و صوفیدا حال یوق
As usual, I'm struggling with a translation that is both literal and lyrical. This is my best attempt to date:
Ata'i: let go of the madrasa and the khaneqah;
Spirituality is an expression of devotion and a Sufi has no means.
Spirituality is an expression of devotion and a Sufi has no means.
The first line is fairly self-explanatory; it's trying to clarify how اتایی elaborates upon that statement in the second line that causes me to stumble. My best guest is that formal study in the مدرسه is not necessary because an 'expression of devotion' (I'm guessing that for metrical purposes قولی صادق is an inversion of the Possessive construction in Turkic) is all that is required to achieve spirituality, and that because a 'Sufi has no means' i.e. has foresworn worldly goods, then a خانقاه is also not necessary.
Regarding this last part, if that is indeed what اتایی is saying, then this would strike one as peculiar because if there is one thing we associate with sufis in this period, it is affiliation with the institution of the خانقاه. It may be an elaboration of a 'rejectionist' stance (similar to the one described by Ahmet T. Karamustafa, God's Unruly Friends: Dervish groups in the Islamic later middle period, 1200-1550. Сalt Lake City: University of Utah Press, 1994.), and thus we may consider the poetic voice in this case representative not of sufis, but of dervishes. Just a thought.