Adlî's five-couplet ghazal on the refrain "halâs" (escape): a bird in the snare, a burning straw and the arrow of a sigh show that no one who falls in love escapes.
Sâhib's ghazal of feigned ignorance: eyes like swallows nesting in the arch of the brow, a lovelock like the scales of the heart's market, and beauty marks like Majnun's gazelles.
A ghazal that begins with the ruin of separation and goes on in prayers: Ferhad the mountain-digger, dust of lovers' horseshoes, nightingale and parrot, and a plea not to be parted from God.
Four couplets praising the sermon read in Orhan Gazi's name in İznik, where he made a church a mosque and opened the soup kitchen himself, naming Âşık Paşa.
A ghazal built on the imperative "eylegil" (do): a lover content to be remembered even for cruelty, a pine freed after being circled over the head, advice to the rival and letters of sighs.
Refîkî's ghazal opening on 'yâd' as stranger and as memory: the proverb that kindness is never forgotten, tulips from Farhad's bloody tears, and a beloved bowing from his horse.
A historical document in confrontational language, showing a Sunni Naqshbandi sheikh's view of Kızılbaş circles in the late nineteenth century: the “sürh-ser”.
Mustafa Vâzıh's ghazal with the refrain "benefşe": the drooping violet, the eyebrow as the nun in the word "violet" and a time-honoured theme dismissed as "just a purple flower".
Harîmî's ghazal rhyming in "-eh": love's army plundering the heart, a poppy dashing its cap in ecstasy, an Indian mole in paradise and a lover who follows like a shadow.
Münîrî's macaronic ghazal mixing Arabic, Persian and Turkish lines; the sky becomes a sea of the lover's tears and the stars turn into bubbles upon it.
Basîrî's food ghazal: the poet, slave of rice and dervish of kalye, flees bulgur, soup and cabbage soup in a playful poem that carries the language of love into the kitchen.
Adlî's seven-couplet ghazal rhyming in "-at" likens the beloved's face to a Mushaf written in musk and the down on the cheek to the flawless script of God.
Sâhib's ghazal of questions: Noah's flood boiling from the oven of the heart, a monarch of beauty holding council on the face, an eye with a sea of pearls, and a lover with no soul left.
In this short five-couplet ghazal the blame falls on separation rather than on the sphere or fortune; the beauty spot is bait in a trap and grief rains pearls of pain.
Four couplets on the covenant between God and man, after the tekfur of Ulubat, who did not keep his pact, is killed on the Karasi campaign that began with the death of Aclan Beg of Karasi.
Five couplets on roses and wine: a river of the bleeding heart carrying a rose petal, bunches of roses in the cup, a couplet playing on tulip names and a heart that refuses every crown.
From a tress likened to Mansur's gallows to Joseph passing through the bazaar, and from a beloved with the breath of Jesus to beauty that comes in through the wall.
A harsh address to one who reviles the Companions: the Sunni principle of independent judgement, “the words of a Persian traitor” and who truly loves the Prophet's house.
Mustafa Vâzıh's ghazal on narrowing eyes: a yellow body like a golden sheath, a glance like a Frankish folding knife, a winking farrier and a rival's plucked beard.
Harîmî's ghazal with the refrain "-um gibi": love enthroned like Solomon in the heart, a swaying cypress, a moon lighting the ruin and a flask bowing at the feet.
Münîrî's libertine Persian ghazal counted as a response to Hâfız; the cupbearer's arrival ruins vows of repentance and the burning heart smells of kebab.
The only kaside among Basîrî's Turkish poems: nineteen couplets praising Sultan Selim Shah through the heavens, with a renewed opening and a love section, presented to Selim I.
Adlî's seven-couplet ghazal moves from the lover's devotion to counsel on hearing those who seek justice, and to the saying that the royal crown brings only a headache.
Sâhib's ghazal listing things that interlock: Rumi and Arabic months merging like a doubled letter, interlaced fingers like a Qur'an stand, and water and waterwheel that need each other.
A ghazal whose every rhyme follows the pattern "cefâ-ender-cefâ": rose garden against furnace-room, countless sacrifices, the reed flute of the body and a complaint after the pen name.
The Karasi heir flees to Bergama, his brother is shot before the fortress and Karasi passes to Orhan in 735 (1335), all told in four couplets in the language of chess.
Couplets that explain an act by a rule: a heart-bird drawn to the cheek like a salamander to fire, a rival unmoved as rock and a parrot drawn to sugared words.
Refîkî's ghazal woven of music and chess terms: a stature bent like a harp, lament as the kanun, a sigh raising banners, and Sultan Mahmud and Ayaz on the board of the world.
The section on contentment and the four caliphs: the heart's mirror polished by remembrance, man and animal, not blaming destiny, and praise of the four together.
Mustafa Vâzıh's playful ghazal with the refrain "olursa": a pun on bed and bedridden, the proverb of the fish in muddy water, a bathhouse scene and wordplay on tutor and father.
Harîmî's ghazal on the same ground as Ghazal 45: love ruling like Solomon, a glance that strikes a lancet into the breast, pain sought like a cure and a lock that scatters the mind.
Münîrî's Persian ghazal that opens with the fire of the valley of Ayman and ends with Ferhad and Şîrîn; Ferhad dug mountains, the lover digs out his life.
The kıt'a Basîrî addressed to the chief judge Zeyrekoğlu, who promised a reward and gave none: a man praised as an ocean of learning who would not give even a drop beyond a promise.
Adlî's five-couplet ghazal: the tulip's scar, lamp and moth, a lover who renounces the cup of Cem and the throne of Keykâvus, and owl and crow in the rose garden.
A heart hurt even by grief's leaving, a beloved hurt whether he is looked at or not, a warning to the breeze, and the rose on a seal ring hurt by a thorn.
The speaking voice leaves the desert of love to Nigârî, keeps service at Leylâ's tent for itself, and ends by reproaching Majnun, called here by his real name Qays.
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.