Five names for the sheikh's heart: house of grace, lodge of the Prophet and the polished mirror in which the disciple sees himself; a ghazal on “ḳalb-i şeyḫ”.
Mustafa Vâzıh's ghazal with the refrain "n’olsun bu": the candle of the world dressed in red, moths around her, a beloved laughing into the gathering and a sword of grief for Vâzıh alone.
Harîmî's ghazal of heavens and Resurrection: Jupiter and the Pleiades, a bare dagger, the play of kıyam, kıyamet and kâmet, and verse burning enough to turn Âzer to ash.
Münîrî's Persian ghazal turning the blood of the liver first into jewels of tears, then into tulips in the meadow; without the beloved, roses bring a headache.
Basîrî's satire on Nasûhî, chief physician of the Edirne hospital: a two-couplet kıt'a saying that patients who drink his sherbet make a "sincere repentance" of good health.
Adlî's seven-couplet ghazal on the refrain "yok" describes a matchless beloved, grief driven from the house of the heart, a lip of living water and a school of grief.
An eyelash passes like fate's arrow and only contentment remains; "what is past is past", a sky no bigger than a blister and a costly union meet on the refrain "kadar".
Each couplet says where something comes from, and the "silsile-i zülf-i Bahâ" of the third joins the chain of the curl and the lineage of Bahâeddin Nakşibend in one phrase.
Two couplets closing the chapter in which the tekfur of Konur is ambushed and the fortress surrendered, Gallipoli is taken by agreement and Yakub Ece and Gazi Fâzıl are given lands.
Six couplets of a lover speaking as king of love: his crown the dust of the beloved's feet, his throne her street, and an army whose dust becomes kohl for the stars.
A ghazal spoken entirely by the beloved, with a watchman at the threshold, a chin-dimple as a nest for nightingales, a crooked gazer bent like a bow, and Refîkî named lord of lovers.
The section of counsel to sheikhs: when a gift may be taken, a dervish woman in Istanbul who sued her sheikh for gold, and deficient sheikhs who refuse leave.
One of the two ghazals Mustafa Vâzıh wrote in the quatrain metre: a stature bent like the letter nun, a Majnun for a forelock, the mill of love and a pun on kemançe and kanun.
Harîmî's ghazal with the refrain "ol yüri": a heart moaning like the reed flute, kingship in the beloved's street, Egypt left to the rival and a wish to be a Selmân in verse.
Basîrî's single couplet likening his eyes, weeping from separation, to the Black Sea: a pun on "ayn" as eye, likeness and spring, and tears that must not resemble the sea.
Münîrî's Persian ghazal counted as a response to Hâfız and ending with a prayer for Bayezid II; the mole is a black slave and the tavern corner a lodge.
Adlî's ghazal on the refrain "olmak" moves through the sick eye, forelock and curls, the bandit and the lawful, and ends with love shaking the foundation of a sultanate.
Sâhib's short ghazal with the refrain "kadar": generosity and delight rarer than the Simurgh and alchemy, submission guarding the ship, advice on surfeit.
A list of offerings with the refrain "fedâ": heart to lips, eye to a gazelle glance, reason to a languid narcissus, the earnings of asceticism to one cup; and "kara bağrım" and Karabakh.
Süleyman Paşa dies in a fall from his horse while hunting in 758 (1357), Orhan Gazi soon after; the transience of the world is the theme of the four couplets that follow.
A ghazal of writing with the refrain "yazam" (let me write): fire from the pen, a prayer read over the sword, tears given to the seas and grief written on the sky.
Refîkî's ghazal of a lover who cannot turn from side to side in the oven of separation: tears as an eye-lotion, a mischief born of wine, and a portico that makes the heavens envious.
A twenty-nine-couplet poem turning on the question “Ḳanı”, where: a lament for corrupt times, sheikhs for gold and blind seekers who wander to Baghdad.
Mustafa Vâzıh's ghazal of a night of entertainment: dancing boys whirling like angels, sighs wandering the heavens, rolled-up sleeves and a gold-spotted Damascus fabric.
The last ghazal in Harîmî's Dîvânçe: a poem that opens "Where are those days" and recalls a past with a steed like Rahş, a tall cypress and many young men at hand.
Münîrî's short-metre Persian ghazal; the heart loses its way in the locks, falls like Joseph into the well of the chin, and the lover's hand stays short.
Basîrî's opening couplet on the chief judge Müeyyedzâde, who refused him a post: a conceit framed as a petition for office, finding the beloved more merciless than Müeyyedzâde.
Adlî's five-couplet ghazal opens with a pun on neğam and ne gam, names the cup of Cem, Mecnun and Ferhad, and seeks the secret of the tiny mouth in nothingness.
Sâhib's ghazal on the tools of writing: the pen as the tongue of thought, the inkwell as a kohl box, the ruling board as a ladder, word and meaning as body and soul.
Here Nigârî says that desire for the beloved wrote his divan, does not shrink from challenging Örfî of Shiraz, and counts himself the Majnun of the Leylâ of his age.
Five couplets on reason, patience and anger, in the chapter where Murad Han, after his brother's death, crosses to Rumelia, takes Banatoz, Çorlu and Misini and burns Bırgoz.
A ghazal with the refrain "idelüm" (let us) calling friends to the tavern: serving the Magian elder, climbing from the wine jar to Sinai, a "cup" for the dry ascetic and wine as a mirror.
The whole of a Refîkî ghazal whose opening couplet the tezkires quote: roses added to the dish of beauty, cups endowed to tavern riffraff, and eye, mouth and brow spelling 'life'.
The only Arabic poem in Prince Korkut's Dîvânçe: two couplets on a heart sick with love that refuses a physician, and a stranger who comes begging to the beloved.
The section on the Naqshbandi masters' path: a way whose beginning is others' end, the Khalidi branch and a eulogy of Mevlânâ Hâlid as renewer of the last age.
Mustafa Vâzıh's ghazal on the beloved's beauty spots: horsemen of the Hijaz raiding Rum, Bedouins robbing the pilgrim, a spot at prayer and a healer's black pills.
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.