Shaykh Galib (d. 1799) is celebrated the last of four greatest Turkish poets to write in the classic aesthetic of Ottoman times. E. J. W. Gibb has called his Beauty and Love (Husn-u Ask) "the crown and consummation" of the Turkish romance. The present study offers a first translation and critical-interpretive analysis of Galib's work. Narrative techniques articulated in romance, symbolical techniques articulated in mystical discourse, and metaphorical and stylistic techniques articulated in Indian Style lyric come together in Beauty and Love. Galib's plot structure is based on a paradigm made famous by Ahmad Ghazzali which I have called the paradigm of love. It expresses an anagogic relationship between human and divine love: divine love is the exegesis of human love. While remaining scrupulously correct in philosophical terms, Galib inverts the paradigm, presenting a mirrow image of the ancient structure. His symbolic system is derived from that of Rumi: The mode is allusive, depending upon an interplay between passing and archetypal likeness. Galib's symbols are allusive signs pointing out "doors" between different orders of reality. A girl named Beauty and a boy named Love enact the divine drama of human life. The foundations of Galib's metaphorical system were laid by the articulations of the Indian Style. His repeated use of the poetic device of contrast to an extension I have called the coincidence of opposites prepared the way for the modern Turkish symbolist school. His habit of paradox has a dazzling effect upon the reader, who is led to a dynamic realization of the imagery evoked. Galib pauses in the midst of this work to expound his philosophy of poetry, leaving a rare document of Turkish aesthetics. He stresses the reality of poetry as a modality bridging truth and appearance. He personifies it in the character of Noble Speech, taking an intellectual and imaginative leap forward in the millenium-long march of an Islamicate dialogue between spirituality and aesthetics. "Personification" takes on an ontological, rather than allegorical, significance in Galib's poetry. My purpose is to present this sophisticated and beautiful work to an international audience. My priorities were to produce a translation of the highest quality, and to analyse the work according to the professed intentions of its author, carefully defined and simply stated.