A verse from the sura al-An'am is spoken of the unseen mouth of a beloved who comes unveiled from the tavern of the Unseen; the poem ends with the dog of her street.
The ghazal opens on the idiom of not looking at one's tears and runs on the refrain "there is no". Zâtî took its second line almost unchanged; the beloved's stature raises doomsday.
Five couplets signed Âşıkî on guests denied food at Ottoman imarets, the excuses of their servants, and inspectors who cut endowment income for the treasury.
Münîrî's Turkish ghazal: Jesus rising to heaven to see a crescent eyebrow, a yellowed quince, a lofty stature that brings calamity, and the "lā" written by stature and tresses.
Colloquial echo-words such as "akçe makçe" mock an alms-collecting preacher in a ghazal close to syllabic measure, where the poet also names his ancestor Ağa Bâlî.
One of the divan's plainest ghazals: a lover telling the preacher he has no business with him, a play on "ayak" as foot and cup, a lover lower than black earth, and grief that dispels grief.
Four couplets on the viziers' need for zeal for God and the worldly aims of scholars and dervishes who visit them, told from the author's own experience.
Münîrî's get-well ghazal for a ruler struck by fever: a sun that trembles, a morning breeze that flees in fear, and advance atonement for a sinless sovereign.
A lip recalled again and again like twice-refined "kand-i mükerrer", a heart turned Moses asking a single mote of light, and a terse warning not to break the cup.
The lover is jealous of the beloved even for her shadow and stays away on moonlit nights. The refrain "olıcaḳ" sets a condition in every couplet; the cup is a moon lighting the night.
Four couplets on the end of oppression, in the chapter where Murad II dismisses Fazlullah Paşa saying "in our land there are three lawful morsels."
Münîrî's Turkish ghazal: a lover no one claims blood money for, death that comes in a breath, a fire-breathing dragon of tresses, and the star Sühâ that vanishes at dawn.
The beloved's cheek is a Qur'an learned by heart, her name the Greatest Name, the dust of her foot red sulphur, and the preacher a snake blinded by an emerald cup.
All eleven couplets end in "love", which becomes in turn a sultan, a table, a sea, a scale and a shop; the pen-name couplet calls the repeated word the heading of a letter.
Two couplets in the chapter on the end of sovereigns who hoarded wealth: Timur devoured Yıldırım's treasure, and Sultan Ahmed of Baghdad had his treasure sunk in the Tigris in stone chests.
Münîrî's Turkish ghazal: a breeze driven mad by touching the tresses, the wind of longing, a lover trampled by twofold tresses, a barking dog and a beggar, and the wind of extinction.
A commander who takes a thousand Khaybars at one stroke, a bond between the chain of the tress and the line of Mîr Hayder, and divine secrets storming the poet.
Every rhyme is a Turkish reduplication: varaḳ varaḳ, ṭabaḳ ṭabaḳ, ḳabaḳ ḳabaḳ. The anthology of beauty opens leaf by leaf, and a yellow face becomes saffron pudding.
Three couplets signed Âşıkî on wealth and reckoning: Mirza Şah and İbrahim of Karaman hoarded wealth and perished, for true wealth is what is spent on good.
Münîrî's ghazal of surrender: a lover who holds faithfulness and cruelty alike, a dog-like rival, a cypress-tall beloved and a closing line that says what is past is past.
The whole ghazal behind a couplet published alone on this site: the edition's "hergiz" turns the subject to the heart, Majnun finds his Leyla and blame becomes a wine.
Peris were said to haunt desolate places, and the lover finds the belief true in his own heart. One line strings three proverbs: no treasure without a snake, no rose without a thorn.
Two couplets on the just khan's throne in both worlds, where a mystic is asked "Do sovereigns need a treasury?" and answers "The prayers of the subjects are the sovereigns' treasury."
Münîrî's ghazal of the lips with the breath of Jesus: lips that revive yet kill, a glance like death's courier, sick eye and sick heart, and a curse called a prayer.
A lover who leaves paradise to the preacher and keeps the tavern, a play between musk and the wretched, and a hard verdict that any lover who tells his secret is a Hallaj.
The pen, bowed and weary from writing the lover's longing, has black water over its eyes. Câfer Çelebi restates the pen image of Ahmed Paşa and Necâtî through an everyday idiom.
Four couplets on Mehmed II and Bayezid II, closing a list of Ottoman-era saints and scholars from Baba İlyas and Âşık Paşa to Hacı Bayram and Akşemseddin.
Münîrî's ghazal of the sword's grain: the pattern on the steel as lovers' nail marks, a cypress beaten dry, a banished tear and a full moon lit by the pen name.
The cruel beloved's arrival at the gathering is likened to Hülagü entering Baghdad, yet musk, gâliye and jasmine foretell it, and at the end the one arriving is the poet.
Lovers have rubbed their faces so often on the beloved's walls that their yellow cheeks gild the hall; in the pen-name couplet the poet's divan leaves the rose's notebook unfinished.
Four couplets in the chapter answering "Why did you not mention Hacı Bektaş": he kept no company with the Ottomans and did not originate the janissary cap.
Münîrî's ghazal rhyming on "Muṣṭafā": a face whose tresses the breeze has carried off, the fear of affliction, a stray arrow and the light of Muhammad in the last couplet.
The rhymes "bî-hâr", "bî-mâr" and "bî-nâr" are built like proverbs, no rose without thorns, no treasure without a serpent, while the heart turns Christian in the idol house.
An opening built on a complete pun on "revān": a walking cypress to whose feet souls flow like water, a bud full of blood, souls sacrificed to the brow's bow, and Şeyhî's ground.
Three couplets in the appendix, where envoys between the Ottomans and Sultan Hoşkadem cease and Egypt declares over Dulkadır, "the sovereign of Rum is my enemy."
Münîrî's ghazal of counsel with the refrain "ola": a lover sacrificed at the feast of union, the burden of "ẓalūmen cehūlā", life as capital and advice for the soul's ear.
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.