The opening couplet Latîfî praised as Remzî's own invention: the gathering a sugar field, red wine a parrot, the cup a nest and the bubble on the wine an egg.
Sebâtî's seven-couplet chronogram on the death in 1303 of his sheikh Mîr Hamza Nigârî, "the sun of the constellation of saints", with the year hidden in its last line.
A ghazal of renouncing the world that Kınalızâde gives to Türâbî and Latîfî ends with his own pen name: two couplets, textual variants and the trace of a confused attribution.
The poem with the refrain "'Osmân" that follows Osman Gazi's election as bey and praises him as the warrior who girded on the sword of faith and became the key to the gate of Islam.
In this kıt'a describing the first down on a face in the language of calligraphy, Sülûkî uses the word gubâr for both dust and a fine script.
Rûhî Fâzıl Çelebi says the fire of love outlasts death and will scorch the grave if the rent in the breast is not sewn up; Hüsameddin reads the couplet differently.
When the beloved goes walking with the rival the lover's soul cannot settle; Hüsameddin mistook this opening couplet of Refîkî's for the refrain of his famous tercî'-bend.
A four-couplet Arabic piece attributed to Emrullah Efendi: do not trust the world, the ship of patience, the verse on Noah's ark and a last couplet taken from Bânet Suâd.
Sıdkı Mustafa Pasha's couplet likening the beloved's lip to Jamshid's cup and her cheek to Alexander's mirror, and praying that the rival may not look into them.
A couplet left from a kaside by Şeyhî: the patron's generosity turns a drop into a sea and his wrath a sea into a drop, a reversal built on the words katre and derya.
Cevherî's matla found in three sources: the tiny mouth that teaches lovers the science of concealment, and how the readings ihfâ and ahfâ turn wit into Sufi verse.
A beloved who takes bloody tears for a trick and a wasted body for a fancy: the two senses of âl and hayâl in Ehlî's matla, and a difficulty of reading in the text.
A dog at the beloved's door mistaken for a man, and a candle silenced after disputing beauty with a sun-faced beloved: two couplets by Emîrî kept by Sehî.
Rahîmî's conceit of the broken mirror: he asks the beloved not to break his heart's mirror, for a broken mirror multiplies the image and the gaze turns to others.
A couplet of Zekâî that Latîfî counts among his jesting hezl verse: a joke on a silver-bodied beauty, gold and the florin, and an innuendo open to two readings.
Ca'fer Efendi's couplet bearing his name: a reckoning between boundless cruelty and a short life, and the complaint of a lover who wishes for an endless life to bear his pain.
The tailor poet Siyâbî's couplet on a lover smitten with a tailor beauty: a poor lover whose two collars never meet, the echoes of the word eski and Hüsameddin's Dürzî reading.
Sânî's opening couplet praised by Latîfî: a verbless address naming the beloved's stature and face with three trees and four flowers, the art the anthologist calls four within four.
Two couplets by Pîrî Mehmed Pasha preserved by Latîfî: a lover who, denied the down on the beloved's face, wishes for the lines of her letter, and a fortune read in reverse.
Dervîş Mehmed Çelebi's Persian reply to Molla Câmî's Nûşirevân kıta: the Prophet cannot take justice from a Zoroastrian; it was Mustafa who purified the Chosroes.
Three couplets of reproach by Ümîdî of Merzifon: a sun that never visits its mote, a beloved who promised to stitch the wound but passes like an arrow, and a closed rosebud.
A three-couplet ghazal fragment by Eşref, mufti of Merzifon: a pain the pen cannot write, a fever of grief treated with the pill of patience and eyebrows like a hidden verse.
Edîb of Lâdik's opening couplet setting a dawn prayer beside a wine-filled conversation, read between "sihir" (spell) and "seher" (dawn), written with the same letters.
Two couplets of a ghazal attributed to Hayâtî by Âşık Çelebi: Farhad, who learned love from the Master of pre-eternity, and the executioner glance that sheds a thousand bloods.
The opening couplet of Bâkî's ghazal preserved in the Merzifon Cönkü: the beloved's lip set above Jamshid's cup and her face above Alexander's mirror.
Hilmî Dede's kıt'a satirising Mir Hamza Nigârî: the aim of the Sufi path as asceticism and piety, puns on Nigâr and Leylâ, and a Karabağ that cannot bind the gnostic's heart.
The opening couplet of Eyüb Sabrî's kalenderî preserved in the Merzifon Cönkü: the fairy-faced beauty whose glances give signs but who cannot be won, and the lover's burning.
Sirâcî's second elegy for Prince Mustafa: brothers who slew a second Joseph, the "old-hag heaven", Karbala, and a terkib-i bend that ends with the couplet it began with.
Hasbî's seven-couplet chronogram on the death of Prince Mustafa: "tokuz yüz altmış" (960), the two texts in Âşık Çelebi and Kınalızâde, and the language of submission.
Nisâyî's second elegy for Prince Mustafa: Hürrem Sultan as the "Russian sorceress", a curse on the mufti, the sultan reminded of the hereafter, and a mother's grief.
Three couplets surviving from Edirneli Nazmî's qasida in praise of Prince Mustafa: a wish to serve at his door and the hope of conquests from East to West in his reign.
Senâyî's two couplets on sweetness and a stony heart: speech that dazes the sugar-seller, a lip that colours the ruby, and a lover offering his yellowed dust as litharge.
Zamânî's opening couplet found in three tezkires: a heart grown dusty because of the down on the cheek and a world-showing mirror gathering rust as the beloved's beauty fades.
The Turkish couplet of the painter Şahkulu, pen name Penâhî: a lover who keeps the wound in his breast like a rose as a beauty's keepsake, his address to his tears, a colour image.
Seven couplets from Melîhî's kaside arranged by the letters of the alphabet: the cypress that imitated the beloved, earth and the Pleiades, and a last couplet woven of calligraphy.
Nigârî's four-line satire against the scholars of Amasya: fodder for the preacher, a saddle for the donkey, a morsel for the ascetic, and the targets Hüsameddin names one by one.
Karekod · QR code
Bu sayfanın karekodudur. A5 olarak yazdırıp asabilir ya da yapıştırabilirsiniz; okutan kişi doğrudan bu içeriğe ulaşır.
This QR code links to this page. Print it on A5 and post it anywhere; scanning it opens this content.